In Quest of Quast

Philip Quast who will be coming to London this autumn when this year's RSC Stratford repertoire transfers to the Barbican, talks to Liz Gilbey about moving from musicals to classics.

There is only one problem with trying to write about Australian star Philip Quast, and that is knowing just where to begin. For in a profession where versatility is the proud claim of just about everyone involved, he's still exceptional, and full of surprises. Acclaimed by fans as the definitive Javert in world hit musical Les Miserables - he's played the psychotic policeman in Sydney and London, his musical credentials range from the weird (The Hunting of the Snark) to the Wonderful (as George Seurat in Sondheim's Sunday in the Park with George at the RNT).

But he has never been a performer to take the easy route of a musical career alone: he was Janet McTeer's love interest in the latest series of The Governor on ITV, and is now in Stratford doing sterling work with the RSC which keeps him on stage eight shows a week - The White Devil (Lodovico), Macbeth (Banquo) and Troilus and Cressida (Achilles) which he describes as 'interesting and important roles, even if they are not leads.'

Based in England now, he divides his time between England and Australia, work and family, and just happens, he adds n passing, to be working on two books, contracted. One, a novel, the other a collection of short stories about life on his school bus. 'Sounds unusual, but I'm a country kid, from Tamworth in Australia, and life on our school bus was rich and varied - all life was there, and that I want to show.'

And another thing, which he describes as 'the love of my life.' That's Playschool, the Australian version, which he has presented for 15 years now, and never tires of. As the devoted dad of three tinies all conceived in this country, two born here, he's committed to children's education, and the role of TV in it. 'There's nothing more important than educating the young, and I hate the way children's TV gets put down. It's going to nothing in this country - have you seen Blue Peter these days? Ugh! - but in Australia Playschool is still supreme and is my delight.'

In this country, however, he's more likely to be playing the worst sort of villain in view of his strong stage presence, good looks and mellifluous singing and speaking voice. Offstage he's relaxed, sharp and perceptive, complex but uncomplicated, the Aussie accent easy and unselfconscious. 'I do play a lot of villains, wife beaters and general arseholes,' agrees Philip Quast, completely unperturbed by the thought. Why? 'I suppose because I'm of the opinion it's too easy to play a villain just for villainy. I like to find some heart to a monster; otherwise he becomes bland, lacking human characteristics and colour. Also, and I know this might sound odd, I'm also happiest acting without words sometimes when I don't have to speak at all, the business of keeping the thought processes of the character working, making the character have a language that is mute, and physical without upstaging anyone else. 'That's often why I can be quite slow in rehearsal; I get absorbed in that inner language of the character. Also in Australia the rehearsal process is very different, very open, expressing thoughts and feelings without being critical. Here in England, in rehearsal as in life, thoughts, feelings, progress, is much more covert.'

Philip Quast is probably Australia's most versatile and experienced actor. At home he's done everything from the Wakefield Mystery Plays to Carmen via Pericles and Pygmalion. With a background, that includes such Aussie soaps as Young Doctors, A Country Practice and Sons and Daughters, he's relieved to admit the 'soap star jokes have worn off at last' even though the ones about Gallipoli and Anzacs remain: he says he's probably heard every Australian joke going, but he's survived them!

With a Scottish, German and Welsh background and a wife he describes as Irish Scouse, he says he now considers himself as much English as Australian, and came all the way around the world to prove himself as a performer. It would be too easy, he reckons, to be content with a career 'just in musicals alone.' Not ambitious for it's own sake, he still admits to not having taken a holiday for seven years: the constant variety of work is what appeals that and a determination to prove himself as a legitimate actor in this country, not as just someone who sings.

'My Jean Valjean, Colm Wilkinson, rang me up the other week to ask whatever was I doing going to the RSC in Stratford when I could be in Les Miserables all the time, or touring in musical shows? But I don't want that, Les Miserables has been a big part of my life, but I've tried to be shrewd about it, not stay in it too long at any one time. I'm very conscious how easy it is to get trapped in the musical world, especially if you are a success. One thing leads to another, being caught at the top of a pyramid with very few places to go. Actors always have a strange relationship with musicals, and I get really self-conscious about this singing thing. It can destroy a career as an actor. And any actor wants to be taken seriously.

That's why I wanted to come to Stratford - I felt it was my last chance, if you like, to come to school, to play the classics in the nurturing atmosphere engendered by Cis Berry and everyone here, to try and establish myself as a serious actor to be taken seriously.'

Despite the fact that only a singer who is also a very fine actor could carry a role like Javert, or Seurat for that matter, it says much for the individual insight of Philip Quast that there are still things to prove.

'Being able to sing means it is so easy to start down the path of being a personality rather than an actor. I don't think of myself as an actor that sings, or a singer that acts - I just like to do as much as I can, climbing to the top, if you like, but not through taking any easy choices. I came to this country because I felt I was missing chances of all sorts, not just classical ones. I love it here and am very happy to be based here, and I like the challenges.

Doing the Governor for example, was great fun because it gave me a chance to play the sort of role women usually play the love interest to the central character. Not much to do but take your shirt off, look good and try to make a personality within very narrow confines. Interesting! By the same token it was wonderful to open in Stratford with "The White Devil" directed by a female who also h happens to be an Australian, Gale Edwards. But why does every article written about her have to include the word Australian and female? The most important thing is that as a director she is simply one of the best--and that's all that matters.'

Macbeth, on the other hand, has been slated wholesale. How does an actor cope with that? 'By trying to be positive, doing your best. But it can be destructive when the criticism is so destructive - what people forget is that the actors still have to keep on doing the show, and doing it well, even when the director has gone. Sometimes criticism can be just too harsh. But you get past it and go on.'

Before coming to the RSC he had been singing in the new musical The Secret Garden in Australian, flew over for the 10th anniversary celebration concert of Les Miserables at the Royal Albert Hall (just out on video) and went straight into rehearsal for the three play season after that.

However, none of this goes to the head of the impish and very nice Philip Quast. So ask him the best thing about coming to Stratford, and the answer is simple: 'it's a great place for my kids to live.'