INTERVIEW: West End and Matilda star Sebastien Torkia on playing the mysterious shoemaker in the RSC’s Red Shoes

West End and Matilda The Musical star Sebastien Torkia tells Gill Sutherland about playing the mysterious magic-maker Sylvestor the Shoemaker in the RSC’s Red Shoes.

How is it being at the RSC in Stratford – having worked for the company in Matilda?

I was on tour for 18 months with Matilda and then went to London, but this is my first time in Stratford at the heart of the RSC. This is a box ticked for me. As an actor, you never really know where you’re going to be next. And you’re constantly auditioning. I’ve been very lucky because I’ve seen lots of the world through work, which is always a bonus. I love exploring new places. But the RSC, I mean, in the home of Shakespeare! And such a far-reaching, international, reputable organisation, I’m pretty sure it’s on most actors’ list of places to work.I feel really, really lucky to come and work here. And I think especially for me, considering my sort of background in the industry, I always considered myself an actor, but I started off as a dancer.

Was there a point in your childhood when you thought ‘I could do this’?

I grew up in the age where there were still only three channels on TV, and they showed old movies all the time – Hollywood musicals starring Gene Kelly, Fred Astaire and Cyd Charisse, and all those wonderful dancers who were fantastic actors as well. West Side Story made such an impression on me. It’s one of the best musicals, the music is incredible.I was about eight years old when I suddenly got this idea, ‘Right, I’m going to be an actor.’

How was family life? Where did you live?

I grew up in Bedford. I spent most of my childhood there, although I lived in Paris when I was very small, because my mum is from Paris.

A glam mum?

Yes, she’s quite Parisian. She’s lived most of her life in this country, but she’s still got her French accent, which everyone falls in love with. I spent a lot of my childhood in Paris, I used to spend school holidays there – my grandparents would pick me up.I feel quite close to France, and my dad’s Italian, although he’s lived here since he was ten.We spoke English at home but I grew up bilingual, especially as my mother couldn’t speak that much English when I was born. My first words were in French, but the common language was English.I was an only child. Both my parents have been incredibly supportive.

Tell us about your route into performing.

I’d put West Side Story on and pretend I was in it. Just in the living room. My mother saw something that I really enjoyed and said if I wanted to do it properly, I needed to train. So when I was about 13, I started taking ballet lessons after school.It was like one night a week. And then within a few years, I was at the dance school sort of four nights a week doing every class that was available. There were three of us boys that did it, so not Billy Elliot!By age 16 when my school friends had Saturday jobs I’d be getting a train to London every Saturday with Tim and Jed to go to the Central School of Ballet to train with Christopher Gable, who was a big name at the time. Sadly he’s no longer with us.And then at 18, Central School of Ballet wanted me to go there as a full-time student because they felt that they could develop me into a good, employable ballet dancer. But it’s not what I wanted to do. I wanted to learn to act, so I trained at London Studio Centre.

Did drama school live up to expectations?

It was a school that offered everything: dancing, singing, acting.I grew up watching Fame, the TV series, religiously – and it was very much like that! It was a fantastic environment. I was doing what I wanted to do from morning until night.I remember that the school canteen was in the basement. And there would literally be people bursting into song or rap; and people walking around in their leotards and leg warmers. I could have considered going to audition for RADA – but I had to continue my dancing because I knew I was good and it would get me work.

The triple threat! And what were your first working roles on the professional stage?

I was terrified of singing, so I wasn’t quite a triple threat, but I guess I became one.My first job was Grease and I was in the ensemble that covered Sonny. Then my second role was Singin’ in the Rain and I understudied Paul Nicholas, who was playing the lead/Gene Kelly part. So that was already quite a big step for me. Then I was about 25 when I got a principal role in a show in London and that was Martin Guerre by the writers of Les Mis that Cameron Macintosh put on.

Before we move on to Red Shoes, you’ve been on all these fabulous shows, what stands out for you? And who has been an influence?

I’ve had so many amazing experiences. Martin Guerre wasn’t a hugely well-received show, although lots of people absolutely loved it and it was a thrill for me and a huge challenge. Working with Declan Donnellan, the fantastic Cheek By Jowl director, was incredible because he’s like a guru. The way he runs his rehearsal, he kind of made me feel like I could do anything. It’s a wonderful feeling to have. It’s very empowering, I thought I could do anything. I played the lead in Saturday Night Fever, and I was lucky enough to do that in Germany and in Italy. That was very exciting because it’s such an iconic role.But I have to also mention Matilda. And I’m not saying it because I’m working at the RSC now, but Mr Wormwood is a role close to my heart. There’s nothing like playing the villain, they’re such fun parts to play. And what’s wonderful about Mr Wormwood is that there is a very brief moment of redemption at the end. So there’s great character and depth. And of course, with my dance background, I could bring all the physicality to it. It’s heightened. He’s got his slapstick comedy moments. He’s got his angry moments... his frustrating moments. There are so many emotions there.It was just a wonderful experience. You could bring so much to it.There’s so much to explore. Of course, you’re working with children, there are four Matildas and every six months there’s a new one. So it’s changing all the time because every girl was different and had their own version. So you’re on your toes. You’re alive, which is what's wonderful about doing live theatre. You’re living it sort of every day and no two performances are the same. That really was an experience that I'm sure will cherish forever. Guys and Dolls was another amazing production with a fantastic cast: Ewan McGregor, Jane Krakowski and then Patrick Swayze.

Wow what was Patrick like?

We got really close actually. We used to go for dinner with our wives and things like that. It was amazing time and experience. And the choreography was incredible.So I was devastated to hear that hhad become ill [Swayze died in 2009].

So Red Shoes, tell us about your character, and is it different from the fairy tale or the Powell and Pressburger film?

This is a new take on it. I think Nancy Harris has written an incredible script that’s very rich and there are so many incredible elements that don’t really exist in the original story and neither in the film.It's sweird and wonderful in a surreal in a way. The shoemaker is an ambiguous character. I don’t want to give too much away – there’s a mystery, ‘is he or isn't he?’ type thing. He’s not quite what he seems or he is what he seems. He’s a magician, and I also play the priest in the piece.I think there needs to be some ambiguity about the show. The shoemake is a tempter, a manipulator. He sort of instigates everything that happens.Am I saying too much now? He is the instigator of most of what happens in the story.

He’s the cheeky instigator fire starter?

Yes, the fire starter!

Give us the gist of the show.

Obviously there’s an element of dance and movement in it. There’s that element of the classic story of the Red Shoes – she has a passion for dance, and the shoes make her. So dance is an incredibly important element of the show and the performance.It’s a story about somebody who has a passion for dance. It’s visually striking and impactful for families – perfect for the Christmas show.It’s wonderful to see such a level of beautiful choreography in a play. And Nikki [Cheung who plays lead Karen] is a truly wonderful dancer. And of course there’s music, which is vital and evokes feelings and emotions, which the audience and adds to.I think young people are going to see the dancing and think, oh wow. You know, it just adds to it. And the music obviously is crucial and Mark Teitler’s compositions are stunning.For me the music vital for me because some of what I do is rhythmic and to music... Because I suppose I am a fantastical... character.

Are there displays of magic?

Oh, there are. .I don’t want to give too much away, but Mr Nugent is one of the characters and he has a passion for magic and he does card tricks, and that is incredible. We’ve had the magic advisor of the industry working with us and there's been some mind-blowing stuff.

What do you think audiences are going to get from it when they come and see it? Is it scary?

Well, I think they're going to get an absolute visual treat. Because what Colin Richmond’s design is fantastic.

Kimberley [director Rampersad] has injected the whole show with a lot of humour and fun, while not avoiding the dark sides of the story. It’s very much a festive show. It is thrilling rather than scary. Bad things do happen in the world, and this story doesn’t shy away from that. What we’ve had to do is find that balance between the light and the darkness, especially for the children in the audience.

Red Shoes at the Swan Theatre until 19th January.