Cathy Tyson is an understated acting legend. After being spotted during a youth theatre performance in Liverpool, she secured a place at the prestigious Everyman Theatre aged 17 before joining the RSC in 1984. Two years later she landed the lead role in her first film, the British classic Mona Lisa. More films followed, including Priest and The Serpent and the Rainbow. Most people will remember Tyson from her acclaimed role as prostitute Carol Johnson in ITV’s successful series Band of Gold.
In 2010 she started a degree in English and Drama at Brunel University and recently made a much welcomed return to the stage in the play Monkey Bars. With writer now added to her impressive CV, Tyson explains to Joy Francis why she became an actress, how she dealt with the success of Mona Lisa and her concern with the apparent shadism being applied to the way actors of colour are being selected for TV and stage roles.
What got you into acting?
The opportunity it gave me to express myself. Acting allowed me to vent emotions that I had for a long time. Certain classical pieces sparked my interest and gave me a voice. At school, every Friday from the age of 15 to 16, we had three hours of drama. I was very shy at school and hated standing up in front of people. It wasn’t until the second year, when I did improvisation that I began to be interested. When I played the role of a male sergeant in a school play I noticed that the noisy girls in my school were quiet and listening. That was a turning point for me. That was when I recognised the power of drama.
You were part of the Everyman Theatre Company in Liverpool, which produced great actors such as Julie Walters, Pete Postlethwaite, Antony Sher and Bill Nighy. What was it like?
After I left school I went to college for a year and did a YOP [Youth Opportunities Programme] scheme. I became a member of the Everyman Youth Theatre and went there four nights a week. Anyone could walk through their doors. It would have a cast of 100 as everyone had a part. We did a play by R. D. Laing called Do You Really Love Me, which was quite a challenging piece about psychiatry in Scotland. The production was put on in the foyer of the theatre and as the [adult] actors passed through they would see us perform. From that performance I was recommended to audition for the main Everyman Theatre Company. I got in and did two productions with them, then some TV before going to the RSC.
The British film Mona Lisa is a classic. How did that role come about and how did you deal with the positive critical reaction to the film?
The director [Neil Jordan] came to see a show I was in at the RSC in London and I got an audition from that. The reaction was unusual. I had never experienced anything like that before. It was nice to be flown around in planes, going to different countries and meeting different people. I was very young and insecure at the time. I didn’t have much life experience and I certainly didn’t know what I wanted. I probably didn’t make the most of it. I wasn’t overly ambitious and I didn’t have a plan.
You recently returned to the stage in the play Monkey Bars. What was it about the script that attracted you?
I hadn’t done a verbatim piece before. They play is based on interviews with children, many of whom are not listened to by adults, which is true in society. These children are going to grow up to be adults as well so there is a responsibility. The whole theatre company was devoted to the text and we had fun as a cast. It offered me an opportunity to be lighter.
Does that mean that most of the parts you’ve played have been heavy and serious?
I’m known more for my serious gritty parts. I don’t think you can do that all the time. You do need variety and to be able to tap into the humorous side. I don’t know why more gravitas is given to tragedy than comedy. I can do angst ridden characters very well, but it’s good for me – artistically and therapeutically – to do different types of characters and be involved in different types of work.
What writers do you like and what attracts you to a script?
I love Shakespeare and modern writers like Martin Crimp. I’ve just finished university where I read Arthur Miller and Tennessee Williams. I recently saw Nut by debbie tucker green. I tend to like writers that have quite a few monologues in their work. I find that when dialogue is based on one-liners, as I’ve seen in modern plays, it’s quite difficult to listen to. I want to go deeper with the characters.
You mentioned university. You just studied English and Drama at Brunel. Why?
I needed to re-inspire myself. I did an access course first and then did the degree full time. I graduated in July. It was fantastic. It gave me the courage to write more and that is what I’m doing now. It made me take risks. I’ve never done a three year [acting] contract, yet I stayed with the degree, through thick and thin. I’m ready to do another.
Have parts for actors of colour improved since you started out?
There are more actors of colour now than when I started. On stage you see more darker skinned actors but on TV you have more mixed race actors, so we have to strive to improve things. There was an article in The Guardian recently about the fact that the people of colour being chosen to be on TV are of mixed race heritage. If you look European then it is more palatable. Even when you are darker skinned [on TV] you have to have European looking hair. There is always something to keep challenging and questioning and critiquing.
What are you working on now?
I’m doing a show at the Deptford Lounge on the 3 December for one night only. It will feature poems, short stories and prose about my past followed by a Q&A. My son Jack Tyson-Charles, a singer/songwriter, will be performing six to seven of his songs. After 30 years of being asked to talk about my career, I wanted to do something new as well as talk about my career. I have included my writing as I wanted to create new stuff.
What advice would you give to any budding actors?
They need to trust themselves. You have to be brave and honest, and stand up for what you want. I made demands, such as a no nudity clause when I was doing Mona Lisa. Many [actresses] wouldn’t have done that for their first film.
Cathy Tyson, and her son Jack Tyson-Charles, will be appearing at the Library at Deptford Lounge on Tuesday 3 December 2013 from 7pm-8.30pm. To book this free event call The Albany on 020 8692 4446.