Lead actress Beth Burrows talks upcoming play ‘The Devil May Care’: “Of all the characters I’ve played, I don’t think the stakes have ever been this high”

London’s Southwark Playhouse opens this new period drama inspired by the work of George Bernard Shaw – exploring one of the most striking episodes of America’s history. Guillermo Nazara chats with its lead actress, to learn all the fun facts about this upcoming production, which is determined to storm the barricades of Western zeitgeist.

How does it feel to be starring in this new adaptation of George Bernard Shaw’s classic?

This is my first Shaw piece, so it’s an exhilarating challenge! The way Mark has remoulded this adaptation from the original feels very pertinent to today’s world and geopolitical landscape – plus it’s always exciting to work with a gorgeous, talented new company!

The story is set during America’s First Vietnam War, a conflict where the US fought to prevent the independence of the Philippines. As an actor, does a historical background pose any particular challenges?

The historical context is always hugely important, nowhere more so than in this piece. I must confess I was totally ignorant of the Philippine War of Independence and what the Americans did prior to reading the play. It’s one of those blind spots that history (and those ‘guardians’ who control historical narratives) have managed to divert attention away from. But the situation was pretty awful (if not scarily familiar). The challenge as an actor is to work through any contemporary personal reactions in order to understand the world these characters were living and operating in. Our norms are not theirs. This play covers a range of sociopolitical issues –  not least race, gender and class – so it’s hard, but important, to remember that.

Has your character required any kind of special preparation?

I wouldn’t say Judith has specifically required any special preparation. But in approaching this adaptation, I read Shaw’s original a couple of times in order to understand the source material and characters Mark was working with. That was enlightening, as Judith is quite a different beast in this production compared to the original text (for the better, I like to think)!

What do you find unique in this role in comparison to other previous parts you’ve played?

Judith finds herself in a ‘checkmate’ that is uniquely paralysing and fierce. There are these two men orbiting around her and at different moments their gravitational pull completely interferes with the path she is on. She thinks she knows them, but as events unfold she is forced to assess and judge them anew. Ultimately, she is faced with an impossible choice – who to save and who to sacrifice. Of all the characters I’ve played, I don’t think the stakes have ever been this high?!

How would you describe the message this play conveys about the line between good and evil?

I think the play asks is there one? All the characters harbour both good and evil. I suppose, if we’re honest, aren’t we just the same? Of course the ratio is more extreme in some than others, but whether it’s telling a lie to protect a loved one or being seduced into infidelity, none of us are blameless. This play is very much about peeping behind the facade and shining the torch on what’s really back there. In some cases, it’s better than expected, in others it’s much much worse. That’s the joy of watching this group of characters undress each other and themselves.

Are there any other messages you intend to deliver through your performance in particular?

I’d like to have a go at disproving the idea that Victorian women were flimsy, fearful creatures. Judith might be in a corset, but at some points she is very much wearing the trousers.

Why come see ‘The Devil May Care’?

I genuinely think you’ll still be talking and thinking about this show long after the curtain call… it’s a meaty one – a Rubik’s cube for the brain!

The Devil May Care plays at London’s Southwark Playhouse Borough from 8 January to 1 February. Tickets are available on the following link.

By Guillermo Nazara