Interviews with Cast #2 Keir Mills

To continue our series of interviews about being part of the winter season, we catch up with KDC-er Keir Mills who is in BU21.

What drew you to this play?

Well firstly the amazing Steph is directing it. What human wouldn’t be drawn to that. But furthermore, the structure of the play itself is incredibly unique. A series of interlocking monologues that dip in front and behind the fourth wall at various points.

The characters are so carefully constructed. Each one lovingly carved out of the material of life and delicately positioned throughout the show, there isn’t a moment that doesn’t ring true. It really is an incredible piece of work.

I had read the play before the auditions, just on a whim, and had been incredibly impressed with it. I had also seen the write ups from the first run of it – they had kept popping up in my social spaces – so it was like, if I hadn’t put myself forward for it, I would’ve been slapping fate in the face. And if there’s one thing you shouldn’t do to fate it’s slap fate in the face.

What is it about KDC that keeps you coming back?

Well, firstly, blame yourselves for casting me.

But secondly, KDC is a truly rare theatre company that from the instant you walk into an audition you are treated like friend. Whether it be your first casting or your fiftieth. Everyone is incredibly supportive of everyones projects. Whether inside or outside of KDC itself. The same faces start appearing at other fringe shows and you realise that KDC is like the Kevin Bacon of fringe theatre. You are never more than a few steps away from a KDC-er. This honestly creates a rare and wonderful atmosphere that is simply delightful to breathe.

How are you finding working on a script that is monologue based?

It is a different challenge. Usually you can use other actors to help to create your character. You bounce off other people in a scene as everyone pushes the other to make the most of their parts. But with something like this – you are out on your own – predominantly. You have to feed the character yourself for the most part. You rise and fall by your own choices. It’s really quite nerve-racking. One new step and you can take to entire delivery on a tangent you didn’t see coming. You have to reign yourself in and then throw yourself out.

And if something goes wrong in your big scene, with a monologue, chances are, it’s your fault.