SPOTLIGHT ON... LAURA GRIFFIN
- theatrereviews
- Mar 25
- 8 min read
This week, we caught up with an almighty all-rounder in theatre - Laura Griffin.
Q. Where in Lincolnshire are you based, and what was your first ever live performance that you participated in? Be it on-stage or backstage role.
"I am currently based in Heckington, though I have travelled across the county for various theatrical endeavours – and I’ve been posted back here as the child of an RAF squadron-leader at least three times!
My first ever live performance that I was a part of was in a production very far away from Lincolnshire in many ways – on a stage at the NATO base SHAPE in Belgium. At the time, I was a very shy child who would be most happy keeping myself to myself and studiously reading in every social situation imaginable. My mother decided that in order to get me out of my shell there was a hobby that I might be interested in – amateur theatre, a staple of the Forces community. I was cast in a production of 'The Lion, The Witch, and The Wardrobe', where multiple children were cast as the titular Pevensie children. I was cast as Edmund in the section of the script where all four children enter Narnia. It might seem strange to have been cast as a boy when I was only eight years old, but it started my long career of acting interesting, sometimes gender-bending roles. It also started off my lifelong love of anything theatre, which my mother had not banked on when she signed me up!"
Q. What was it that first drew you to the local theatre/arts scene? Has it been a constant in your life, or was there a hiatus due to work/life commitments? What sparked or, indeed, relighted your interest?
"For quite a few years, I was involved in youth theatre whilst my family moved with the Forces, including the amateur theatre group at RAF Cranwell. It became a routine for me, and helped me build my confidence. This continued through university where I was given more freedom to write and perform different stories and characters. Returning to Lincolnshire after my masters degree, I thought I would give the local groups a try to see if this was a hobby that I would still enjoy – and where I could be needed. I was living on my own for the first time, and I was trying to see if this youthful hobby was still a fit for me. Over the course of years since, I’ve found that the community of wonderful found family and friends made this much more than a hobby for me. Through their support and love, I’ve tried different ideas, auditioned for roles I never thought would be for me, and even restarted another childhood love of mine – writing.
I feel that my love of theatre is divided in two – one, the youthful exploration of theatre and what it could possibly mean; and the second adult, life-long immersion in theatre where I act on the possibilities I once imagined with the support of those fellow thespians around me."
Q. Quite simply, give me three words that describe what theatre means to you.
"Family, magic, home."
Q. What do you think Lincolnshire, and Boston Playgoers, do really well for the local arts scene?
"Boston Playgoers is an incredibly friendly and welcoming society, and feels more like a supportive family than a society. It’s also an incredibly fun and imaginative society to be a part of – ideas for new projects and productions are supported from beginning to end, new members are always welcome alongside stalwarts of the society, and the only difference between us and professional theatre groups seems to boil down to the fact that we aren’t paid for our time and our skills. Lincolnshire is very lucky when it comes to amateur theatre – there are so many talented groups dotted around the county, bringing quality theatre to everyone in the local community. I feel very lucky to have the opportunity to work with such talented, supportive artists who are always looking to develop the society to be better than it was when we joined – I’m really excited what the society will do in the future for its members and for its local audiences. Whenever I sit down with my friends from the society, it’s always so exciting to hear everyone’s ideas and projects for the future and how we can all help to bring them to fruition. I feel that British theatre wouldn’t be as rich, varied, or interesting without amateur theatre groups who volunteer their time and skills to put on professional standard productions without payment – except, perhaps, an applause and a drink at the theatre bar afterwards."
Q. Can you share with us your fondest, or a particularly strong, on-stage/backstage memory?
"There are so many fantastic backstage memories through the years – I think, though, my fondest memory of backstage would have to be when I was the stage manager for 'The 39 Steps' with Boston Playgoers. It was the first production the society produced after the COVID-19 pandemic, and as soon as I heard this play was going ahead I knew I had to be a part of it. It’s a madcap, fast-paced comedy of the Hitchcock classic film, with four actors covering over a hundred roles and scene changes in seconds transporting you from London to the Highlands and back again. I must have been out of my mind to think that this would be the best play to debut as a stage manager!
The performances were absolute magic where the actors, script, props, set, and audience laughter all came together in an irresistible cocktail. There was a moment where myself and a friend ran onto the stage with shadow puppets and a plane on a stick to recreate Hannay’s escape across the Highlands, before racing off with all our puppets and shadow landscape in a matter of seconds. There was the moment I pushed the villain onstage in a wheeled armchair which always ended up with its back to the audience, leading to the actor having to fidget their way to the front of the stage. There was the moment that a lamppost accidentally fell onto the stage during a dramatic moment, and was removed in a moment was covered by an actor remarking on how windy the weather had gotten. There were two times every production where I had to pull dead bodies through the curtain as they had decided to die annoyingly across the closed curtains.
Was it absolute insanity to be a stage manager for the first time with this play? Probably. Would I do it again? I would gladly do it tomorrow if asked, no question."
Q. What is the current production you're involved in, and your role within the company?
"I’m the director for Boston Playgoers’ March 2025 production 'The Importance of Being Earnest', a play that I’ve loved for many years and am so honoured to bring to the stage at Blackfriars. I’ve directed the actors, designed soundscapes for the scenes on stage, helped source props, assisted with social media, gotten ready for stage management of the production, brought tea and biscuits for rehearsals, designed the programme, sewed a cravat… I’m one of those people that loves to get stuck into every aspect of a production if allowed, it at least keeps me out of trouble!
My role in the society has been varied over the almost three years I’ve been a member – I’ve now been director twice, stage manager three times, actor once, producer once, committee member forever… can’t wait to see what I do next!"
Q. Talk me through the rehearsal process at Boston Playgoers... I appreciate every production varies, however, how much in advance are play titles decided, and what is the selection process, and then, how long is the rehearsal process before opening night?
"Play titles are normally chosen about a year out from production weeks, although the rota may be changed due to rights not being available or new members and new ideas coming to the fore. The selection process is a committee decision based on our experience with Blackfriars, our audiences, and wider industry insights, and we’re open to any and all ideas being brought to us.
The start of rehearsals depends on the production – our autumn production at the end of October can start as soon as June/July; whilst our spring production at the end of March normally starts in November after the end of the autumn production, with rehearsals really starting in earnest (forgive the unintentional pun) normally in the New Year. Our rehearsal structure and timetables depend on the production and the director – for instance, this time around for Earnest we dedicated early rehearsals to character deep dives and really delving into each and every character, no matter how many lines they have. I’ve always been of the opinion that there is no such thing as a small part, only a small actor – and that a character with no lines at all could still steal the show. As a result, I like to dedicate as much time to every character as possible so that every actor and character is involved in the story – which can only make a story more interesting and layered."
Q. Do you have any incidences or stories from this or previous productions where it has, perhaps, been far from an enviable situation?
"That’s a really tricky question! Whilst there are situations in every production where stress and frustration return like unwelcome acquaintances, and there are always certain points during the technical rehearsal where you wonder why you thought any of this was a good idea (which is normally due to a lack of caffeine of some description and a lack of sleep), I can’t think of a less than enviable situation in recent productions. I think it speaks to the atmosphere of Boston Playgoers that any issues are taken really seriously, you’re supported the entire way through a production, and you are surrounded by people who want to help you thrive.
Now a lack of cucumber sandwiches, even for ready money? A less enviable situation cannot even be entertained!"
Q. What creative work is on the horizon for you?
"I’ve been working over the last few years to build up a portfolio of writing, which I hope one day will allow me to live by my pen in the future. I have had success with one act plays that I have written for Boston Playgoers at the Hunstanton One Act Drama Festival, including winning the Best Original Script in 2023 and picking up a nomination for Best Production in 2024. I’m really excited where else my writing will take me, and really hoping I can one day become a professional theatre writer. If there is anyone who is looking for a script for their society, or a brand-new script from a local, award-winning writer, get in touch with me by emailing legriffin784@gmail.com!
I’m also looking forward to producing and stage-managing Boston Playgoers’ Autumn 2025 production of Agatha Christie’s 'Black Coffee' – cannot wait to help bring Poirot to the Blackfriars stage!"
Q. Back to 'The Important of Being Earnest', could you give me one popular song title that describes the 'The Importance of Being Earnest’ experience for the audience. NB. It doesn't have to be a song in the show, but it may well be.
"As much as I am tempted to go for a song from the musical based on 'The Importance of Being Earnest' (including ‘A Bunburying I Must Go’ which sounds hysterical), I think I have to go for Steppenwolf’s ‘Born to Be Wild’. Whilst this may seem a really unorthodox choice for such a Victorian comedy as Earnest, I think the song really captures the energy of the characters. Each one is looking in some way for an adventure away from strict, starched society and looking to take the world on in the name of love. There is also a part of me that thinks it could be renamed ‘Born to Be Wilde’ and would suit Oscar down to the ground!"
'The Important of Being Earnest' is being performed at the Blackfriars Arts Theatre, in Boston, Wednesday 26th - Saturday 29th March, 7.30pm.
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