Actress Hermione Gulliford is set to star in the Orange Tree Theatre's (OT) upcoming production of Poor Clare by Chiara Atik.

In a Q&A with Richmond Nub News, Gulliford discusses her role as Ortolana, Clare's mother, and what audiences can expect from this medieval story.

What first attracted you to the role of Ortolana in Poor Clare?

"Well, I was initially drawn the play as a whole, which I think is fantastic; it's so modern, so beautifully crafted, and incredibly funny and moving. And Ortolana is smart and funny while at the same time wonderfully human and flawed."

How would you describe Ortolana and Clare's relationship?

"We've thought about this a lot during rehearsals; they are without doubt, close; and there is definitely an immense love between them. But there is also a formality to their relationship. Ortolana we learn, has taken more than one long trip to the Holy Land, which would have taken a long time, so it's possible that the servants of the household, particularly Peppa, would have almost certainly spent more time bringing up the children. But Ortolana is a good mother who wants all the best things for her child - I think most mothers will relate."

The play blends modern language and humour with a medieval setting. How did you navigate that balance?

"The writing is absolutely brilliant - our job is to let the writing do its work, and the humour, hopefully… but sometimes getting all the words out in the right order, while navigating a Californian accent, is a little more challenging than perhaps I'd like to admit!"

What has it been like working under director Blanche McIntyre?

"Blanche is amazing to work with - she's so kind and generous, she's brilliant at asking the pertinent questions, most of which she already knows the answers to; but helping you to discover it for yourself. She's hugely open to trying lots of ideas, while having a keen sense of what she wants. It's liberating and a privilege to work with her."

Chiara Atik's script offers a contemporary lens on faith, privilege, and radical change. What themes resonate most today?

"Well, I think we've all been forced to look at our own attitudes to how we navigate life's inequalities, there are obvious connections to what is happening in the world today. There has never been as wide a gap between the rich and the poor. And thinking about what Francis and Clare did is very humbling - how many of us get anywhere near what they practised? It's so easy to be paralysed into doing nothing, rather than doing something to make a difference, and to feel it's either not down to the individual, or just too enormous to even know where to begin. Ortolana has a line about walking around feeling terrible and helpless all the time, and I think we can all relate."

Hermione Gulliford's theatre credits include 3 Winters, Hotel at National Theatre, Richard II at Arcola Theatre and To Have and To Hold at Hampstead Theatre (credit: Image supplied).

Ortolana is nobility, yet Clare rejects wealth and status. How did you approach this tension?

"As a parent, it's hard not to want your child to have a better life than yours, whether that be by way of work, stability or life choices - or all of these. And I think at first that Ortolana assumes Clare's being ungrateful. We know of course, that Ortolana eventually goes to join Clare in San Damiano, we don't see this in the play, but Clare is not only rejecting wealth and status, she's choosing to be cloistered, living a closed life away from her family. There's a beautiful scene towards the end of the play where we see Clare's sister, Beatrice, after Clare has left - it's very powerful and deftly imagined."

You've performed a wide range of roles from Shakespeare to modern drama. How does Poor Clare compare?

"I feel very lucky to have explored a wide range of plays and roles, and every time I work on a new play, I never want to do anything else; but the same goes for the classics, which offer such rich challenges and rewards. Poor Clare feels extremely insightful about our lives, and I think we're all feeling lucky to be working on it."

How do you keep your approach to new roles fresh and creatively fulfilling?

"To be honest, I mostly just feel lucky to still be working in theatre - it's where I started and ultimately, where I feel most creative. And with the current climate, our industry, like so many, has been struggling more than ever. I know several writers who don't want to write for theatre anymore as it's just too much of a challenge to get the best work produced for an audience. But every director has a different take on the process, and every company is different, so it always feels fresh."

The Orange Tree Theatre is known for its intimate, in-the-round space. How does this affect your performance?

"Well, we're about to find out! Seriously though, we're just trying to stay conscious about all four sides of the audience, as well as remembering the gallery upstairs, which adds that other dimension. I think it'll be fun, and interesting. It'll be lovely to be in an intimate space."

Finally, what do you hope audiences take away from Poor Clare and Ortolana's story?

"I think people won't fail to see the modern parallels with the story, about how we navigate the delicate and difficult reality of living in such a divided and unequal society. It's a great story, that feels utterly modern. It won't be like anything else you've seen before, with beautiful performances. It manages to be smart, funny and incredibly moving all in one evening. If I wasn't in it, I'd be buying a ticket."

To find out more about OT's upcoming production of Poor Clare, click here.

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