Mischief Makers Episode 6: Bryony Corrigan
[Upbeat music plays]
Host: Welcome to Mischief Makers, your one stop shop for all things Mischief. Join your host Dave Hearn, as he finds out what makes Mischief... well, Mischief!Dave Hearn: Hello, and welcome to Mischief Makers. My name is Dave Hearn, and with me I have the extremely talented, Miss Bryony Corrigan. Hello, Bri!Bryony Corrigan: Hello David!DH: Hello!BC: I got an extremely, that's exciting.DH: Yeah, you did. Sometimes I think...I couldn't work out which one to do for Harry Kershaw, I think he got like...BC: Outrageous?DH: I think he got the truly wonderful, it should have been outrageous shouldn't it? He is outrageous.BC: It should have been outrageous.DH: So, we had a little chat before this started, so you kind of get the idea of this...I don't know, is it a podcast? I don't know what this is.BC: Yeah!DH: Is that what you call it? A podcast?BC: Yeah, I'd refer to it as a podcast.DH: Yeah, a sort of recorded event.BC: Yeah. It certainly feels like an event at the moment with the way things are![BC & DH laughs]DH: Yeah. So the purpose of it is for people to kind of get to know people in Mischief, and I think everyone's very excited to get to know Bryony Corrigan. We got a lot of great questions through.BC: Excellent!DH: But we'll get to those questions from the web a bit later, but we'll start with the Getting to Know You section. So, obviously as you know, I haven't got any jingles, so I'm asking people to do jingles. So, could you give us your getting to know you jingle?[BC laughs]BC: All I can ever think of is that song [sings line of "Getting To Know You from The King And I][DH laughs]BC: Get get getting, get get getting to know you!DH: Nice! That was sort of like a UK garage vibe.BC: Yeah, that's what I'm all about.DH: [in similar style to Bryony] Getting to know you, Bryony Corrigan!BC: Yeah, exactly. Get get getting, get get getting to know you! That's my vibe.DH: OK, this is good, well, let's get to know you.BC: [laughs] OK.DH: So, the first question I've got here is...so you are from Newcastle, is that right? Originally?BC: Yeah. Yes, indeed.DH: I know there's a lot of rivalry amongst the kind of northern areas, which I don't know a lot about. You have to be quite specific, and you are specifically from Newcastle.BC: Yes, I am specifically from Newcastle. I grew up in Tynemouth, the main rivalry is Sunderland and Newcastle have a big rivalry, mainly because of football.DH: And do you guys have similar accents?BC: Yes, very similar.DH: Ok.BC: But the main one that I think of... Newcastle says like "school" and Sunderland are more like "skew".DH: A little more scouse?BC: Yeah, it's weird.DH: Yeah, ok. So, if I were to say to someone from Sunderland, you're a Geordie, that would be quite offensive?BC: Yeah, they'd be fuming, they would not enjoy that.DH: OK.BC: Yeah.DH: And I actually don't know this, where does Geordie come from? What is that?BC: I dunno!DH: That's just a word I've always known, I've never known that.BC: Yeah, I don't know. You mean why is it called Geordie?DH: Yeah, was it once called Geordie Castle?[DH laughs]BC: Shall we have a look? I honestly don't know why.DH: We can Google it.BC: Yeah.DH: Or, people who are listening to this, answers on a postcard.BC: Answers on a postcard. That would be great, let us know!DH: Via Twitter.BC: There you go. I should know more about my heritage, I suppose.DH: Well, the thing is, this kind of leads onto my next question, it's about having that sense of identity from where you come from. I don't really have that in the same way because I grew up in Essex, and I'm not like proud of where I come from, but also, I'm not, not proud. I'm kind of indifferent, it's just somewhere that I sort of grew up.BC: Yeah.DH: But I know a lot of people are very proud of where they come from.BC: Yeah.DH: And a few people that I've spoken to, especially people that have come down from the North or Newcastle, Manchester, places like that, and also even like Scotland as well, and to some degree, Irish people and definitely Welsh people. I wonder if you feel, I sometimes get a sense that sometimes the people that have moved and lived and work in London feel slightly guilty about it, and they want to make sure they stay connected to their Northern roots. Is that something you feel? Or that you would agree with?BC: Yeah, that's so interesting. I definitely do, there is just a sense of a pride, the fact that you grew up there and everything you learn is from that place and kind of rooted in those areas and in the region that you grew up in. So I suppose, coming to London, I loved coming to London, also I've got quite a connection to London because my mum is from London, so that's why I don't have like the strongest of accents anyway, so I've always had like a bit of that in me I suppose. But it's just, I don't know, you are drawn back to where you're from, and I really miss it, I think is the other thing, it's nice to know I've always got it.DH: Yeah, because you've done quite a bit of work outside of Mischief that has been in Newcastle, is that right?BC: Yeah. So, I did two plays, both of which I think you came to see Dave! Well, maybe one, no maybe you did see one. I did two plays at Live Theatre, which is an amazing theatre in town, it's kind of got a Royal Court type vibe because it does a lot of new writing and supports new artists and particularly new writers, and does courses and all sorts, and it's really small, lovely intimate venue, so I did two plays there. I did a workshop for Sting's musical The Last Ship as well, I like going back there a lot.DH: And do you think it's a good place for young actors and artists, dancers and all that kind of stuff?BC: Yeah. The great thing about Newcastle is that it's a real cultural hub. There is loads, you've got the Theatre Royal Northern stage, Live Theatre, and loads of little ones on the way up as well, there's loads of stuff going on. And then you've got a whole dance scene, I danced a lot when I was younger, went to Dance City, there's loads going on. But I would say, I think it probably is a bit different now, but when I was growing up, I think it was harder because of the slight disconnect from London, I didn't really know a lot about the training, or my teachers weren't aware of drama schools and those sorts of vocations much.DH: Yeah.BC: I was lucky that my mum had been a dancer, and knew about that and could sort of go, I know about some schools that you would want to apply to. Whereas, you know, nobody really knew how to direct me in terms of drama school or whatever.DH: Yeah. Do you think you might not have gone to drama school had it not been for your mum?BC: Yeah, probably not. My parents are brilliant, and I'm very fortunate because they used to take me to lot of theatre and dance and stuff. My mum was a ballerina when she was younger, so there's a bit of a creative streak on that side. Yeah, I guess if I hadn't been encouraged...I love dancing and performing and stuff, but I think if I hadn't been encouraged, then I probably wouldn't have known yet about drama schools and stuff at all.DH: So, what kind of advice would you give to some young Geordie actors listening to this?BC: Basically...I think they've got more opportunity now, because as I say, there's a lot of like new theatres in Newcastle on the up, like Alphabetti, which is the one in town. Just join as many different clubs and stuff as you can I think, especially if you can do them for free, do them, definitely. It's all about having experience isn't it?DH: Yeah, just trying to get as much practice, good and bad, under your belt.BC: Yeah. And now as well you've got so much more access online. And I think it as well is easier now, because you couldn't go on Twitter and find out a bit more about the drama schools, the drama schools literally now tweet, this is where we're holding auditions, it's so much easier. There's nothing to lose, go for it.DH: Yeah, just learn as much as you can.BC: Yeah. Easy. [laughs]DH: So, we've sort of touched on it briefly, that you've done a lot of work outside Mischief. What was your favourite thing that you've done that's not a Mischief show?[00:10:21] Difficult, difficult, very difficult! Well, I really enjoyed the little tiny bit of filming that I did on Good Omens last year or the year before, whenever that was. That was fun because it felt like quite a big project, even though I was quite a small part and to be on such a cool set was very exciting.DH: Yeah.BC: But I also loved doing one of the plays in Newcastle, My Romantic History, that was such a nice one. Hello, David?oh, have you gone?DH: Hello?BC: Oh sorry, I thought you'd gone!DH: No, I'm still here. I was attentively listening.BC: Oh good![DH & BC laugh]BC: My Romantic History was really fun because it was probably one of the biggest parts I've ever had. It's a three hander play, so that was probably the most I've had to learn since drama school in terms of text wise, it was a lot of monologuing and scenes and stuff between the three of us, so that was fun, I liked that a lot.DH: She loves a good monologue does Bryony Corrigan. Are you sure your favourite thing wasn't your brief appearance in Holby City?BC: Oh mate! Mate![DH & BC laugh]BC: It was really fun. But yeah, as you know, my character, La Terrorista, that was my fight name, I played a cage fighter, bang on perfect casting for me.DH: Didn't they do something to your hair and give you crazy makeup?BC: Yeah, I had proper cornrows and I had to go for a fake tan twice for it.DH: Wow.BC: Yeah, I had to have new tanned skin. Apparently, these female cage fighters, that's the look, and then I had this bright pink Lycra. It was a look.DH: That's crazy. I think I've got a photo of it somewhere. I sort of rediscover it about every six months and then tweet it to the Mischief group. So it might be time for a resurgence.BC: It's so good.DH: It's the face you're pulling as well is very funny.BC: Yeah, because the story line was the best thing, because I got put in the hospital for an ingrown toenail and then they found out through an involuntary wink that I had, that I had maybe a brain tumor. So, it was very dramatic.DH: How did you find playing the involuntary wink?BC: It was actually really difficult.[DH & BC laugh]BC: It was hard to strike a balance between a wink that was too big on camera and a wink you couldn't see.DH: Sure.BC: So, the director was trying to get the perfect wink and that's fairly hard.DH: Were you ever given many notes on the wink?BC: Yeah!DH: Like a lot?BC: We had to reshoot the wink a couple of times.[DH & BC laugh]BC: Sometimes it looked like I was genuinely doing a sexy wink, which that's not what they wanted at all. I had to make it smaller but it's quite hard to do that, try doing a small wink!DH: I think I can do one quite good with my left eye. But my right, my whole face moves.BC: Yeah, there you go, exactly.DH: So, you'd have to get...I can only do the left, but that's not on my CV though.[BC laughs]BC: You could get it on your CV, you never know Holby City might be looking for new victims.DH: Involuntary winkers. Subtle left eye winker, that's what I'll be. A little winker!
So from your various jobs in theatre and TV and stuff, and working outside of Mischief, because we'll get onto Mischief in a bit, have you learnt from other actors about a really good thing to do in rehearsal or have you learned from other actors the worst thing that you could do in rehearsal?BC: Oh God, that's interesting.DH: Obviously you don't have to name any names, if you don't want to.BC: I did another play up in Newcastle called Clear White Light, and I was very, very, very excited to do that one because I got to work with two North East actors that I had admired for a long time, one called Charlie Hardwick and one called Joe Caffrey. Being in the room with them was amazing, just to see how they work and the detail, basically just the amount of questions they ask and constantly questioning their character in the script and why they were doing certain things, they're just so investigative, is that the right word?DH: Yeah, they were like curious about it?BC: Yeah, so curious. I think that's pretty amazing, it really showed me just how deep you can dip... it sounds a bit...wanky I suppose...wait, a bit winky![DH laughs]BC: How deep you can dig into a character, how important that can be to find out as much as you can about them, even if it's a small part.DH: Yeah.BC: But yeah, I don't know. What else? What else? What else? I don't know, the important thing to learn is how important being a team player is. Being able to be a nice person in the room, because as soon as you're not, or as soon as you're with someone that's not, they just stick out like a sore thumb.DH: Yeah.BC: I think all the companies I've been in; people have been very lovely. But, yeah, you know immediately if there's a bad egg. [she laughs]DH: Yeah, I think we have that definitely. We get quite a lot of questions come in about audition technique and stuff like that, and some people ask about any do's and don'ts, and it's weird that I'm often just like, oh yeah, one of my main don'ts or do's is just come in and be a nice person.BC: Yeah.DH: Because you'd be really surprised the amount of people that come in and try and make an impact, and they just come across in completely the wrong way. And they're probably not like that at all, they're just nervous or they're trying to do something, but I think if you're surrounded by, or you're in a rehearsal where there's lots of nice people, or really comfortable people to work with, and you're seeing auditions with lots of really lovely, bright, open people and then one person comes in, it really shines quite a bright light on it if they're a bit of a knob.BC: Oh, yeah completely. It's interesting, sometimes we've obviously sat on a panel of some Mischief stuff or I've just had to read in or whatever, and it is amazing how quickly you can tell if someone's in the mood or not, you know.DH: YeahBC: Or whether they've learnt or had a go at learning it. It's amazing the energy that you get immediately when someone walks in the room is quite astounding.DH: Yeah, it's like a weird sixth sense you develop, especially halfway through a day when you've already seen like 30 people.BC: Yeah, yeah.DH: And you get quite good at knowing. I remember we had one guy came in and he was really, really nice guy and... I think it's fine if people haven't seen the play or haven't read the play, it's better if you have but sometimes people get auditions very last minute. But this guy came in and was just like, Yeah, all right, how you doing? And I was like, yeah, yeah great, so let's just chat, have you had a chance to read the play, and he was like, no. And I said, ok, have you seen it at all? No. Do you know much about it? Or should I fill you in? He's like, um, yeah, I don't know anything about it. And then I gave him some information and then I went, I think he was reading in for Dennis or something, and he was like, yeah, have you got the scene to hand?BC: Oh, god.DH: And I was like yeah, absolutely, handed him the scene and then he just stood there and read it and it just became so clear that he hadn't even looked at it. And you're like, that's just crazy.BC: Yeah. Well I mean, there's no point you going in if you're going to be like that. I find it quite baffling if someone hasn't read the play actually, sometimes.DH: It's hard isn't it, because I think if you get stuff, I think I've had a couple of auditions where they've come through in the morning and I've said to my agent or been lucky enough to speak directly to the casting director, and just been like, I've not read the play, there's no way I'm going to read it by this afternoon.BC: Yeah.
DH: And they're just like, no, no, no, that's fine. But yeah, I think other than a kind of extreme circumstance, it's so beneficial just to know what you're walking into.BC: God yeah. Yeah, totally.DH: Well that's some valuable lessons for all you youngsters out there.BC: [singing] Valuable lessons. There's another jingle.DH: An extra jingle.BC: Yep!DH: Well, that brings us to the end of the Getting to Know You section. So, do you want to do your getting to know you jingle?BC: Oh, God. What was it? Get get getting, get get getting to know you! I can't remember what it was![DH & BC laugh]DH: I love how you bailed out right at the end.[DH & BC laugh]DH: Just [loudly] get get getting, get get getting to know [goes quieter] you.[DH & BC laughs]BC: It's so pathetic! Never tail off at the end of a sentence!DH: I liked it a lot. You got another one, you've got another chance now. all right? So we're going into Questions From The Web, all right?BC: Ok.DH: So this section is called Questions For The Web, unless you've got a better title? I haven't thought of a better one.BC: I like it.DH: Give us a Questions From The Web jingle.BC: OK, and it's going to be totally different. [singing operatically] Questions From The Web. Opera.DH: That was lovely, that was really nice.BC: Yeah, I went really RP with Questions. I quite liked.DH: Questions. I forget you can sing Bry, I really do. Because I always remember when we did improv stuff that you were quite nervous.BC: Very nervous.DH: Nervous about singing, but you have a lovely, lovely voice, you should sing more.BC: Hmm.DH: Oh, that's actually something I forgot to ask. So let's rewind very briefly and get back to getting to know you, because some people ask, this is a kind of crossover question, because some people asked this from the web, but also I think it's something that is also getting to know you. So, you're not an original member of Mischief, but how did you come about to be in Mischief?BC: OK. So, Mischief was formed many years ago and had a show, of course, called Lights, Camera, Improvise, which you guys did in Edinburgh every year. And I did the foundation course at LAMDA, which a lot of other people did, and I was up in Edinburgh in 2011 I think it was, doing another improv show called This is Soap, which was a soap opera improv show and a play called Shakespeare for Breakfast, which was take a Shakespeare play and change it up and make it funny. And I was very bad, but you guys came to see it and then I was kind of offered an audition and had to go in and sort of improvise with some other people that you'd asked to audition. We did some improv and then I didn't hear for a while, and then I remember it got to, I think it was New Year, and I got a phone call from Henry Lewis being like, in the New Year we would like you to come in and improvise with us, would you like to come and be a part of it? And so I did. And we started out at The Hen and Chickens.DH: Yeah, the dream factory.BC: Yeah. I think that was mainly one of my first things. I think I got thrown into the Hen and Chickens gig actually before that phone call because you were a couple of people down.DH: Yeah.BC: I think that was the one where I ate the binoculars. I think that was my very, very first ever show.DH: Yes, I do remember that.BC: I thought he was passing me a sandwich and I ate it.DH: That was very funny.BC: Yeah, that was my first. I want to say, a horror set in a funfair.DH: Oh wow, that's a good memory.BC: Yeah, and we did the Edinburgh's and everything, and then I was still at LAMDA when you guys started The Play That Goes Wrong and it just went from there really.DH: Once you're in, you can never get out. That's the problem. Youu could try, but you can't.BC: Yeah, I've been jammy, I've dug my way further in.DH: Yeah, like a tick, really entrench yourself in.BC: Yeah, exactly. Like horrid lice, I'm a louse.DH: Well, I'm glad, I'm glad for your louse.BC: Thanks mate.DH: It's a fine addition. I think as well, in the early days where we were doing Lights, Camera Improvise we were quite young, so we took ourselves very seriously, which I think was a good thing at the time, because, you know, we did comparatively quite well, I think. But also, when we were getting new people in, I think we tried to use the Showstoppers as a bit of a model for how we should kind of train people up. But they're obviously older than us, they have much more experience and they have a completely different show. And actually, I think we found that it wasn't helping us, because we were kind of, it's probably why you didn't get a call till the New Year because we were sort of mulling over really seriously who we should get in. When in actual fact, the best way to see if someone's any good is just to get them in a show and see what they do under pressure, rather than keeping them offstage for months on end, because then there's so much pressure on that like one event.BC: Yeah. I was dreadful at the beginning, and I remember feeling like, oh god all of you think that I'm just so awful and I should never have been brought in.[DH & BC laugh]BC: Especially improv, some people ask about joining an already established group. I looked up to everybody, I was like, oh my God I'm part of this group now, and I've got to be really good and really funny and I just put way too much pressure on myself. Now I try not to do that.DH: Yeah, That's definitely true.BC: I was like, oh my God, I've got to perform an improv show tonight, someone kill me.[BC laughs]DH: Yeah, it's quite a scary thing to put yourself through, because I think there has to be a certain arrogance about it as well doesn't there? You're going in front of an audience, asking them to pay money for something you haven't prepared.BC: Yes.DH: And you're just like, don't worry, it's going to be great.[DH laughs]BC: Yeah. And then sometimes it just isn't. [she laughs]DH: Sometimes it just isn't, and those are my favourite shows.BC: Yes. There's been some stinkers. [she laughs]DH: Some absolute clangors. Can you remember a particularly bad one?BC: I remember us doing that tour of like, oh God, I can't remember where, Bristol and Bath and places.DH: Oh, God, yeah, that was bad.BC: I can't remember where we were. Burton? Buxton!DH: Buxton. The Buxton Water, yeah.BC: I remember Buxton being really bad, and again I was doing a horror set in a theatre, maybe?DH: Yeah. Was this the famous one with Jono? [Sayer].BC: Yeah. I think that's the favourite one. He came on playing a rat or something.DH: No, he'd been in the chair, he'd been playing Oscar, the director role for quite a while. And he I think we chatted about this in our podcast that I had with him, that he came on and basically broke so many not improv rules, but improv staples. He called me by my name, so he came in and you went, Dave?BC: Yeah.DH: He then asked me a question rather than making a statement. He just said, what are you doing here? Then before even letting me answer, said, get out.[DH & BC laugh]DH: And then, so one of the things Adam Magedo taught us really early on, and he's our improv consultant, and he said if somebody tells you to leave the stage, then just do it.BC: You must.DH: Because they'll either be left on their own and have to bring you back on, or they have an idea and you're kind of moving it on. And so, I did, I just left the stage, but then that meant John was left on his own, so he looked at the audience and just went....Yesssss! and then left.[DH & BC laughs]DH: And that was the opening scene of the horror. Dave, what you doing in the pit? Get out. Dave exits. John says yeah and leaves.[BC laughs]DH: It was bad.BC: I particularly remember that. You know it's bad when there's just coughing, no one's laughing and it's really dark. [she laughs]DH: Yeah. I think we had a massive argument didn't we? As a group.BC: Probably.DH: We started to fall apart after that one, because it was such a tough experience. But we got through it.BC: We did yeah.DH: We're stronger for it now.BC: No, definitely.DH: OK. We've been waylaid by terrible improv. So let's go back to the questions from the web. And this first question is from Susie Donald, and she asks who is your comedy heroine?BC: Yeah. Yeah. Yeah, there's many, but my all-time go to is Julie Walters, always. And also, I mean I would say this, but I adore Green Wing, it was the thing that made me want to sitcoms or comedy.DH: Yeah, it is great.BC: And that is filled with comedy women. You've got Tamsin Greig, Michelle Gomez and Olivia Colman, the greats. So, they're my favs, those four.DH: Who was in Smack The Pony?BC: Don't know?DH: That was Sally....BC: Yes, Sally... Oh, my God, not Sally Field.DH: Not the famous Broadway star.BC: Fantastic....Blonde...DH: Sally Phillips.BC: Phillips!DH: That's it. Yep. Well, she's absolutely hysterical.BC: Yeah, hysterical.DH: And I used to watch a lot of Ab Fab as well.BC: Yeah, I love Ab Fab.DH: I enjoyed that a lot. and my parents loved that.BC: Yeah.DH: So, you have many a comedy heroine?BC: Yeah, many, many.DH: But I also don't know if this question means like what is your comedy heroine? As in the drug?BC: Like comedy crack?DH: Yeah, what are you addicted to, comedy-wise?[BC laughs]DH: What's your comedy addiction?BC: Everyone always says that in improv, I'm always the one full of smut, I come out with smut.DH: You've got a lot of to smutting about.BC: Yeah, that's what I was referred to, the one that's smutting about.DH: But only really in improv, occasionally in life.BC: Nah. But what is my comedy crack? Don't know.DH: Are you watching Schitt's Creek at the moment?BC: Yes, but not the new series. Is it on Netflix yet, the new series?DH: I think so, Charlie watches it. I've not seen it, but what I have seen...she's watching Brooklyn Nine-Nine at the moment.BC: Oh, lovely. Yeah, we've been watching...what comedy have we been watching? We went back to watch Modern Family.DH: Great.BC: We haven't watched it in years, we found it on Now TV or something. It's so good.DH: It's very good.BC: I've watched all of Schitt's Creek, it's fantastic.DH: A good recommendation. Now, this is from Ryan Pollard, he says, what has working with Mischief come to mean to you now at this point in time? And do you have any particular favourite/ special moments that stick with you to this day?BC: Oh, wow, they're big questions!DH: Sort of two questions in one, cheeky Ryan!BC: Yeah, what does it mean? Ok, well I can remember a special moment, as I was saying before, and we've talked a lot about it, but we're going to talk about it again, but as I said, I was quite bad for a while. I remember there being a sort of, everybody saying like, don't worry, don't worry, one day you'll have your show that makes you feel like something's clicked and you've suddenly got it or whatever. And it was in Edinburgh, can't remember if it was the first or second, I hope it was the first year, that would make it much more like I wasn't so bad for so long, but we did an improv show that was a Roman epic and I ended up being the protagonist, which I always tried to avoid because I don't enjoy playing the protagonist, but I did, and I ended up being the king's daughter who rose up and then became like a Joan of Arc. I remember everybody saying at the end of it, it was the first time I'd taken the lead in the company and in the improv, and I came offstage, and everybody was like, that was your show, that was the one! Welcome, kind of thing, and I got my proper welcome into the company, which was lovely, so that was a special moment.DH: That's really cool.BC: Yeah! Oh my God, there's been so many special moments, like being on Broadway, that's not a moment, that's like a whole saga.DH: Yeah, it's a sort of lifestyle choice for six months.BC: That was so good, just amazing. And going to the Tony’s, going to the Oliviers, all these things have happened, these dreams, because of the company.DH: It's weird, most people have what seems like a smaller moment. Because Nance [Zamit], Henry [Lewis] and John [Sayer] particularly had moments like the first time we got a show to Pleasance for example, rather than even winning an Olivier or going to Broadway or doing all these really cool things. It's always a smaller moment early on that kind of sticks with you.BC: Yeah. Well that one of being accepted in is my main one. I even have memories of us...I've got a picture somewhere, my Dad's got one as well, of us all on mattresses at John's house, and sleeping in a line in his conservatory or something because we couldn't afford any accommodation. So, we stayed at John's and had to travel in, and we're all just on the floor in sleeping bags in a big line and that's a lovely moment. Those kinds of ones that make you feel, ah yeah, my family, you know. So, what does it mean to me? I suppose that, John says it all the time, that it is a family and it is. And it means that I always have this group of friends that I can be creative with, or just stupid with, and properly be myself around, which is pretty cool. I don't feel like I ever have to be something else around that group of people, I can totally be myself, which is pretty awesome and so it means a lot, it means a lot lot to be in it.DH: Yeah, I think I'd agree with that actually. There's that creative outlet...I feel like, maybe, maybe you can attest to this actually because I haven't really done much work outside of Mischief, but it feels like you don't necessarily get to engage with work in the same way that you do when you're doing a Mischief show.BC: Well you just have nowhere near as much creative input or a stamp of I helped make that thing in the same way, you know. Because often you've been cast by someone, which is true of Mischief to be fair, you know, I've been cast in things and not created some characters, but then you've got the ability to play around and always have your own input. I don't know how to describe it, it's just slightly different than being in other companies.DH: Well, there you go Ryan Pollard, both of your questions answered, for a cheeky double question. I think you may have already answered this one, this is from Joe Cotterill, I hope I'm saying that right, she said, what was it like joining an ensemble that was already so well established? I think you did answer that already.BC: Yeah.DH: You can give a short recap.BC: Short recap is, just an interesting experience, quite difficult in that the group was already so strong and knew each other so, so, so well, and I was quite shy and nervous. So, it was strange coming in, but then to be very readily accepted and actually pushed, I think that's the main thing, I think if you guys hadn't all been so...like you get on stage and you do it, like that's how you learn, then I wouldn't have done it, you know?DH: Sure.BC: So much to thank for everybody just coming together and being like, well you can do it, you just get on stage and you join in and that's how you will learn. And it's terrifying.DH: That's the fun bit.BC: Yeah, it's bloody scary, but thank god!DH: Well there you go, Jo, double answer for you again. This one again, I hope I'm pronouncing this right, it's from Marie Christie, and she says, my 10-year-old son Andrew would love to know how sore it was being hit in the face so much during the pilot episode?BC: Do you know, well honestly, it wasn't very sore.[DH & BC laugh]BC: Because, the magic of it I suppose is that you don't actually really got hit in the face. I'd love to say I was very injured, and I took one for the team, but actually it's all a lie.DH: Very skillful. But this is a question quite a lot of people have asked, particularly about the physical gags and stuff. And I think I know the answer to this, but I think it's interesting for people to know is, are the physical gags written in for you? Or are they added afterwards?
BC: They're usually written in. I'm trying to think...I think most feel written in, maybe there's a couple that were added. I can't remember if...you know the one where the...in the trial episode, it's not really a hit but where the courtroom set suddenly stops and l fly out the front of it and swing around and fall back again?DH: Yes, yes.BC: I can't remember if that was written in, or if at the time we went, oh it might be quite funny if this happened, I can't really remember. They're mainly written in, what do you think Dave?DH: I think it's probably a bit of both. Often what happens is, either one of two things happens, so either the boys when they're writing just go, oh, we haven't had a joke for a while, let's have someone fall off a chair, and sometimes it's completely arbitrary where we haven't had a joke for three pages, let's just get someone hit by something.BC: Right in the face, yeah.DH: So the thing with Trevor hitting you with the door, and the blackboard and stuff like that. But then they're developed by you, it might not be word for word what's done in the script, it's the idea that, whoever is then performing this stunt goes, oh ok actually, if you put a line here, I can get myself into this position, and I need a reason to go and stand here and I've got no reason to do this at the moment, it just feels like I'm moving somewhere to get hit in the face. So it's kind of finessed by the actors.BC: Yeah, totally. And often we just find ones, I think in that same episode, in the pilot, where Charlie salutes and hits me in the face, I think that one was added in later just because we were like, well we're stood next to each other, maybe that's a good point to just get another hit in. You only sometimes find when you start to stage things that you're stood by someone and actually there's a good opportunity for a hit or whatever.DH: Yeah, when they present themselves, they seem quite obvious, when you're doing it and blocking it out.BC: Yeah, you're like, oh I could slip...or you know when we found out that the Harper's Locket indoor bit had that step, like loads of stuff came out of that. You and Hen going up and down the step just came out of there being a step, and Charlie tripping over the step.DH: Yeah. Yeah, yeah.BC: Or like Hen tripping over the croquet loops and stuff. That all just came out of there suddenly being a prop and going, oh I could probably use this for some comedy.DH: Yeah, give us an inch, we'll give you a mile of comedy!BC: A mile. Exactly.DH: And not all of it will be good, but you know, take what you need. Ok, this is the final question from questions from the web, and probably my favourite, I think it might be my favourite question so far ever.BC: I can't wait.DH: So it's from Ian Moore, and he says, if you were a WWE wrestler, what would your entrance music be and what would your finishing move be called?[BC laughs]BC: Oh, love it! Oh my God, what would my entrance music be?DH: That is a hard question, actually.BC: Because now, I can't think of any songs now.DH: What was La Terrorista's music?BC: I don't think she had any music, but I think it would be pretty epic. You'd need it to be epic, wouldn't you?DH: Yeah.BC: Oh God! I can't think of any songs, all I can think of is Eye of the Tiger, and that's so boring.DH: Eye of The Tiger? No, that's great, that's really good.BC: It's great music, obviously, epic. But I feel like a lot of people would choose that, you know?DH: Would you go for something more like Wu-Tang Clan? Gravel Pit?BC: Yeah.DH: Or a Sparks & Kie? Like a garage.BC: What was the song that we danced to? Oh, my God. I love that song, what's that song that we danced to round that table at John's stag? I can't remember what we danced to.DH: Oh. Was that Can't Hold Us Down?BC: The roof one, where it's like, [starts singing] we go back, this is the moment, tonight is the night.DH: Yeah. That's a great song.BC: [singing] So we put our hands up, cause the ceiling can't hold us. That one. I'd have that, I love that song.DH: That is called, Can't Hold Us by Macklemore and Ryan Lewis.BC: Yeah, there you go. That would get the blood pumping wouldn't it?DH: And then what would your finishing move be?BC: My finishing move would be, well, you see in Holby City I had a line, which was, roundhouse kick with a 360 spin. I don't even know what that is, but it would be that, just in honour of Holby.DH: I always thought a roundhouse kick involved you spinning anyway, because it's a round house. So presumably, you do the kick and then you just spin? So an arbitrary spin?BC: Well, I guess I'm doing a double spin then, and I'm doing the roundhouse and then a 360 spin.DH: Just to show off, bit of showboating at the end.BC: Yeah, just a pirouette.DH: Yeah ok, so a roundhouse with the 360 spin. It doesn't roll off the tongue, but I do like it.[DH laughs]BC: There you go.DH: OK, so we're actually running a little bit over, but this is good, this is fine. So, what I'm going to do is, we're going to jump forward to the quickfire round. And it is just this, quick fire. So very quickly, give us a quick-fire jingle.BC: Ok. Quacaaaa, Quacaaaa , quick fire![DH & BC laugh]BC: I think I've stolen that from Justin Timberlake.DH: It sounded like you were strangling a duck. Did you even say quick fire?BC: I don't think even think I said quick fire! I think I said quack-fire. There it is.[DH & BC laugh]DH: That was very good. It is out there. It's copyrighted, you can't have it. So you obviously get the idea of quack fire. I just ask you loads of questions, and just answer them as fast as you can.BC: Okie dokie.DH: Ok, ready?BC: Yeah.DH: What is your favourite colour?BC: Green.DH: What's your favourite Goes Wrong episode?BC: The Pilot (Not The Pilot)DH: What's your spirit animal?BC: Cat.DH: Who is the bossiest member of Mischief?BC: Nancy.DH: Very good. Who's the most likely to corpse on stage?BC: Charlie.DH: Is a Jaffa cake, a cake or a biscuit?BC: Cake.DH: What's your favourite film?BC: Mary Poppins.DH: North, South, East or West?BC: North East.DH: Very good. And finally, who would be the best person in Mischief to be trapped on a desert island with?BC: Yeah, hard one, oh God! Probably you.DH: You don't have to say me, just because I'm here, if I wasn't here.BC: Or, I think Harry Kershaw just for the lols We would definitely die, we would die, but it would be funny.DH: Yeah, you'd die quickly but you'd enjoy it.BC: Yeah, exactly. It would be fun, but we would die. We'd perish.DH: If you wanted survival, you'd go Mike Bodie, I think.BC: Yeah, maybe.DH: Mike Bodes for survival.BC: Yeah, because you would, because he'd go straight to building a raft. He'd be making them out of eggshells and be like, we've got to find those eggs man, and then we can make a raft.DH: It's true. He would come up with a crazy scheme.BC: Yeah.DH: I feel like Harry would try and drink seawater.BC: Yeah, probably.DH: I think he'd be like, look at all this delicious water.[DH & BC laugh]BC: Yeah, just salt cocktails. Chris Leask would be great too.DH: Nah, he'd run out of cigarettes and then get really grumpy.BC: Yeah, that's a good point. That is a good point.DH: Well Bry, thanks very much for giving us your time today.BC: Thank you! It's lovely to have something to do. [she laughs]DH: Yeah, it is nice to have a kind of plan for a bit. But actually, because I enjoyed it so much, just to close, could you give us the quick-fire jingle again?BC: Yes. Ok. Quacaaaa, Quacaaaa , quick fire![DH & BC laugh]DH: It was clearer that time! That was good.BC: [singing] Quacaaaak fire![DH & BC laugh]DH: I enjoyed that a lot.BC: I miss you!DH: Thank you so much! And ladies and gentlemen, thank you very much for listening. I've been Dave Hearn, and this has been Bryony Corrigan. Do keep an eye out for our next episode and follow us on Twitter and all the social stuff, just look for Mischief, we come up and thanks for listening and keep making Mischief!BC: Bye!