Malta-born actress Marama Corlett discusses the different nuances between theatre and big screen and upcoming projects with Ramona Depares.

Maltese-born actress Marama Corlett was recently the talk of top film websites as The Guardians of the Galaxy director James Gunn revealed an on-set photo of the actress in the role of pit boss.

Showing Corlett standing next to Dave Bautista, who played Drax in the film, pretending to be annoyed, the photo immediately went viral in film circles.

“She was amazing,” Gunn said, “learning all her lines in a foreign language we created. Although you can still see her, her part was drastically cut down because of pacing. But her character didn’t die, so who knows where the pit boss could show up again?”

The news set the grapevine buzzing – cinemablend.com even suggested that if the character got scrapped in the sequel, there was still a good chance that it could be recycled to another film. After all, the website reasoned, if it can happen to Johnny Storm, it can happen to this pit boss too.

In reality, Corlett need not worry overmuch about whether her appearance in the second Guardians film becomes reality or not. As it is, her career is already set to hit overdrive as she is currently taking part in Yaël Farber’s production of The Crucible at London’s West End.

She is also fresh from an appearance at the Venice Film Festival last week for the premiere of indie production The Goob.

The film will also be showing at the British Film Festival and the Dinard Film Festival.

Oh, and then there is her role on Desert Dancer, also set for release this year.

Looks like Corlett’s year is looking pretty packed.

In the meantime, for those who would like to see Corlett in action on stage, The Crucible has been filmed and will be available for online streaming on Digital Theatre soon.

http://digitaltheatre.com

You switched abruptly from professional ballet to acting. How did that happen?

It sort of happened by chance, really. A Maltese casting director asked me to audition for a film that was being shot in Malta. I was lucky and got my foot in the door. Ballet was my first love. The whole acting world was all just an idea for a while, but when the opportunity came about I took it seriously and decided to go with it.

Which was your first acting role and how has your approach changed since then?

My first acting job was a small role in The Devil’s Double. I didn’t quite know how it all worked at the time but I have definitely learned so much from so many actors and directors on the job. Everyone seems to have their own personal approach to their work. There doesn’t seem to be a right or wrong, it’s whatever works for you, really.

There is absolutely no way the role of Betty would be physically possible for me to do without my previous ballet training

Your next feature film role is in The Goob, which will premiere in Venice. Can you describe your experience on set?

This project is definitely one closest to my heart and I am very proud to be part of it.

So many art house and independent films find it difficult to get made and then continue to struggle to get picked up or noticed, so we are all extremely excited and happy that the film has been selected for Venice Days.

I got to work with a wonderful British director called Guy Myhill and first-time actor Liam Springs, who plays the Goob.

It is a coming-of-age film set in Norfolk, contemporary England, and entirely filmed in Norfolk. It’s a raw, fresh depiction of a young boy’s life and story.

A marked difference from your role on Desert Dancer, which is also set for release this year ...

Yes, Desert Dancer is set in Iran and tells a true story of a young, self-taught dancer, Afshin Ghaffarian and his friends, who risked their lives to pursue their dream of becoming dancers despite a nationwide dancing ban. The film is set during the politically-charged climate of the 2009 protests and was shot in Casablanca, Morocco.

In the meantime, The Crucible has been playing to rave reviews at the West End. What can you tell us about your role in the production?

We have been so happy and humbled by the reviews. Yaël Farber’s direction and Arthur Miller’s genius, timeless writing have together created a very beautiful visceral piece. The Old Vic’s stage is currently round-shaped, which naturally pulls the audience in and leaves no place to hide.

What can you tell us about your role?

I play Betty Parris, whose character is based on a real young girl who lived in Salem and who was involved in the Salem witch trials of 1692.

Betty is joined by a group of other girls who accuse innocent people of witchcraft in their own village. It’s a dark but powerful story essentially about what humans are truly capable of doing to one another.

Would you say that your background in ballet has helped make your character’s portrayal more effective, particularly in the possession scenes?

My role as Betty is extremely physically demanding. I must contort and shake my body as Betty experiences her fits and possessed episodes on the bed. These haunting movements certainly make it all look somewhat unnatural and disturbing. It’s all got to be precise and controlled. There is absolutely no way the role of Betty would be physically possible for me to do without my previous ballet training.

With roles in UK productions and on Hollywood films like Guardians of the Galaxy, your profession entails a certain amount of moving about. How do you cope?

I love meeting new people and travelling. Change is a big part of the job and I have no problem with it. Working as an actress has given me such special experiences and has brought so many wonderful interesting people into my life.

How different is the approach to theatre, film and TV? Which do you prefer?

I feel very blessed to have worked on all three. Film and TV are wonderful media, and I absolutely love the whole process and the teamwork that comes with it.

I have found working in theatre definitely the most challenging so far; it requires a unique amount of stamina. So far we have done around 70 shows and we continually strive to hit those personal notes with each performance.

Truly feeling and connecting with a live audience each time can be extremely challenging, but also very rewarding.

The repetition can feel rigorous and unnatural at times, but theatre is definitely the best way to strengthen your craft.