Interview with Matt from Spy Movie:The Play!

Me: Please introduce yourself and how you first get involved with Spy Movie?

Matt: Well, I am one of the writers of the show, so you could say I was involved from the very beginning, but I'm also a performer as well. So Jack and I met doing theatre. We worked together on a show and then we had written one show together for Trinity for their Christmas show called The New Musketeers, which was really good fun. We were working with a couple of other people as well. Jack and I were then doing another show together and someone that we'd worked with, because I have a background in sketch comedy and Jack has done sort of like written shows himself as well. And we both performed at the Hope Theatre in Islington. So the Hope Theatre messaged us because they needed a show because I had a plot to fill. And they said, have you got anything? And we said, well, we've been working on a piece. Originally, it was actually a TV pilot that was written about spies and it was about Section thirteen and it was all about spies that had kind of been rejected from MI6 and put in the back room of the building. And then we suddenly, as we were writing it, realized that we'd written Slow Horses, so we put that on the shelf. But this was before Slow Horses came out, so maybe they stole the idea from words, who knows? But anyway, we said, well, we've got this spy project. We love spies. We both enjoyed writing that kind of genre. And then we would have thought, well, this is a good opportunity to try and adapt that for the stage and, like, can we do something with that? And at that point, we then came up with the conceit of doing a Hollywood movie on the stage and making that Hollywood movie a spy movie. So, yeah, that's kind of how I've basically given the plotted history, haven't I?

Me: So I do want to talk about you as one of the writers for a second.

Matt: Sure.

Me: At the start of the Fringe I saw that your play text had been published.

Matt: Yes. Yes.

Me: How did that feel? Because that must have been quite a good feeling.

Matt: Yeah, it's great. I mean, it's funny because when I was younger, you'd always sort of be in the library looking at play texts and sort of reading through them and going, oh, look at those really amazing actors that have all got their name published in the original production of something and all that sort of thing. And yeah, I never really actually started writing. And then sort of came into writing a bit later in my career. And yeah, I would never really dreamed of actually having a play published. So it's really, it's an amazing. It's really great because it's sort of like so nice that you have like a tangible thing that's out there in the world for people to read and enjoy and you know, you can get it from all good book shops. Yeah. So no, it's really fantastic and it's actually really challenging in a way as well because when you publish something, especially with comedy that we're doing, like the theater that we're. The play, it does evolve so much over time. We first performed this in 2023 and it's now 2025. So during that time it's gone through a lot of changes. And when we were approached to publish to go along with this fringe run, we initially were like, well, okay, what version of the play do we want to put on paper? Because obviously there's been a one act version, there's been a two act version and then there's been a few things in between as well. So that was really interesting to actually think what the best version for publishing would be. And so some of the version that is out there has scenes that they obviously all appear in the Edinburgh version, but they're extended, they're adapted, they're scenes that people have never really seen before unless you saw the UK tour. So it's just a really cool thing to have out there because it means that if people buy it, then hopefully there's more in it than just the show that I've seen actually, which is quite fun.

Me: How would you describe Spy Movie: The Play! in one sentence? But as your character?

Matt: I mean, Albert would probably say it's the greatest spy movie ever made, but that's probably a bit too easy. So he'd say action, thrills, Sex, sex, sex. Suitable for the whole family.

Me: What was your Initial reaction when just after that very first performance that you ever did of spy movie. What was your emotions and feelings coming from that? Because obviously it's something that you just put it on stage for the first time.

Matt: Yeah, well, looking back, I mean it's quite interesting actually. So I wasn't actually in the original performance because I was doing a show. So Jack and I both had written up and then I got a job. Well, I was already in a job. And the whole period of like from writing it to putting it on, because we were. Like the original version was like a two month process. It was really quick. And in that time I was in quite a long term contract in the West End. So the original production had Jack in it and then was Theo who was great and then Emily and Joe who are also in this version. On the opening night I was actually on stage in another show. So in the interval I was like messaging people like, how's it going? How's it going? And then at the end of the show like waiting for updates. And yeah, the first time I ever thought was actually on a gopro they recorded it. But yeah, it was amazing. It felt like it got really, a really strong reception and everyone was really pleased. And obviously I'd watched rehearsals and kind of like I think I saw an open dress rehearsal as well. So you kind of knew that it was working. But yeah, it was. The first time I actually did it in front of an audience was really great though because that was at the welsh center and then the old Red lion in London. And we did two shows that were. Yeah, it was such a raucous feeling because you sort of got like the audience reaction is great and it's really strong. It gets like a laugh. And so it's really nice when you sort of put all the jokes down on paper to then actually see them kind of alive on stage and working. Because that's comedy. You know, if something's working because people laugh or they don't. And it's kind of as simple as that really.

Me: So speaking about that, this kind of segways very nicely into my next question. You're performing a show night after night after night or day after day after day. What have you found to be the most rewarding part for you in terms of performing the show?

Matt: I guess there's two Elements of it. One is, as an actor, I really love performing, I love theater and comedy. And I love the reactions to an audience when you feel like you're connecting with them and kind of like inviting them in to laugh at what you're doing. Basically. It's a really nice connection that you can feel and you can kind of. I suppose in the same way that you might have that with. Well, like any great piece of theatre, you know, you always have that connection with the audience. And if you've got that, it's the same as in comedy as it is in. During Hamlet. You need to have that kind of feeling when you're in the room of like, this is alive and this is kind of a dialogue between the two parties. And you really get that very differently in comedy. And I love that because you can kind of play so much and, you know, the different jokes and things like that, like how they land one night can be different to another. So that's always just such an amazing thing to do. And then, you know, from a writing perspective, I think it's just really great when people do connect with the material and they sort of. They'll come up to you afterwards and talk to you about the jokes and things they liked about it. And because we do a lot of parody as well, and satire. And it's really nice when people recognize the kind of satire that we've added to various elements of this kind of like the material that we're carried in. So, yeah, it's kind of too double edged because I'm performer and writer, so it's a bit of a weird sense.

Me: Speaking of an actor, you do a lot of slapstick comedy in the show. So what was the most unexpected and challenging thing to perform?

Matt: Yeah, I think it's interesting because, like, trying to make that work really well takes a lot of engineering. Basically. It looks, you know, it has the energy and the excitement of something happening in a really. Well, in a slapstick way. But it takes a lot of, you know, choreography, really, I would say. And so to set up the slapstick and the timing behind that and knowing the kind of like, build towards a specific moment is really important. I think the key really is working with the cast. Like, the cast is what is amazing kind of all gelling together and be able to like, really be in sync with each other. And obviously part of that is doing over and over again. But it's also just really being aware of the writing and the performance and that all getting into one. So I'd say the most. I guess the most technically challenging. One of the most technically challenging moments probably there's a certain fight sequence at the end of the show which takes place in air quote on a submarine. And that was a lot of kind of like slapstick and choreography. And the two act version of that, even more so because it was quite an extended frequent. So obviously one of the things in Edinburgh you have to cut your show down to an hour. So you know a lot of scenes the challenge was like, how do we abridge these and still make them work on stage? So I thought that was quite fun. And also I love the train sequence. That's like a really great different kind of like a movement piece. And it has different elements of. It really integrates the three things in our show. The kind of the wordplay, the slapstick and also the attempt to make a movie on stage. Like those two things are really like in play in that scene. And I really like that. Yeah, it's good fun. And always have to be careful with the tunnel because, you know, if there is a high risk I might actually decapitate someone with a piece of scenery.

Me: Speaking of being careful about not smacking someone with scenery. I'm guessing there has probably been some onstage mishaps. Would you care to share one of them? I can't think of.

Matt: Well, I can give you quite a fun story. We took the show to Poland last year, or this year rather. And the set was slightly different to the one that we'd used before. And I think it was our second performance. And as we were doing the big finale sequence at the end of the show, we basically have a frame. So it's like a theatre curtain setup and the curtains hang across this scaffold frame. And as we were doing that sequence, I think we had the moment where one of my characters comes in to not give away too many spoilers, hugs another character to death. And as that was happening, the entire set fell on top of all four actors. So we basically were underneath. It was like, if you remember, as a kid, played that parachute game where you like go underneath the big parachute or like being in a tent. So we were suddenly on stage performing the full house underneath the curtains and no one really knew what to do and I was sort of shouting carry on, carry on. It was just quite funny watching Jane Blonde trying to carry on her lines with the curtain completely draped over the top of her. But thankfully no one got hurt and luckily I don't think we've had any major flip up. Yeah. Because we do, believe it or not, try and do everything as safely as we can. But that was quite an experience when it just kind of collapsed on top of us. That was really funny.

Me: But you have like a certain line that you can get away with that.

Matt: It actually works quite well for sure. But I think the thing, you know, there's always room for maneuver in that sense because we say that, you know, there's no sort of theater that is as big as a Hollywood movie. So you know, it doesn't matter kind of what happens. It's never going to be like, you know, a full Hollywood millions, millions of pound / dollars movie. So yeah, you do have so much scope to get away with that. And that's quite fun really because you know, it keeps us on our toes as well.

Me: Do you have any particular like pre show rituals or anything that you do? I always like to ask actors because some actors have some really interesting ones that they do.

Matt: I wouldn't say I have any particular superstitions per say but I do have a very particular warm up that I do which is to have six whiskies and a cigarette before every shake. No, I basically I do have a warm up as I like to do but also at the fringe I think because you're so... the get in and get out so quick there's really like not much time to do anything. So you have to really like contain what it is that you do and we try to come together if we can as a cast before the show like after we put everything up. We've got so many props to come with us so we don't have much time. But particular superstitions. I'm unfortunately a bit boring in that sense. Although I won't say the Scottish play. I am actually one of those actors that really does not like to say that unless I'm on stage then it's fine. But if someone says that backstage, I'm like, right, get out, turn around three times, sit, and then you can come back in.

Me: Yep, fair enough. Obviously, you're performing this day after day after day after day, and you've just come off the back of a UK tour. How do you have the energy for a show like this?

Matt: Well, it's interesting, really, because there's two things when you're doing a long run, because I've done runs like this where, you know, you sort of just get into a routine, and Edinburgh in particular, you're sort of fueled by the knowledge that, you know, you kind of, like, you just get into a rhythm of it because you don't have understudies. So, again, to coin a really cheesy phrase, the show must go on, you know, And I think that the adrenaline that you get from being at the Fringe really gives you, like, a boost when you're touring. It's a bit different because you're basically waiting all day for the show to happen. So I think it's quite. You have to kind of, like, be a bit more careful to kind of, you know, make sure you get rest and make sure you kind of take enough time to recreate and everything. When you get the adrenaline from being on stage, you might feel really tired before the show and thinking, oh, God, I've got to do a show now and then, often really tired. But when you're doing the show, there is like, that adrenaline kind of takes over and it can get you through so much. But I think what you have to be careful of as an actor doing a show like this, and any show, really. I mean, any show that does a long run is really tiring. So just making sure you just eat well, relax and enjoy yourself as well. Have fun. Have fun when you're doing it. You know.

Me: What does it feel like to be back at the Edinburgh Fringe?

Matt: Yer, it's great really. It's really lovely because we really, you know, and to do the show at the Pleasance. Which is such a lovely place to do the show, it's kind of just, you know, they're such a supportive company. And so to do the show last year and to have that initial. Because last year we were kind of like rabbits in headlights, you know, it was new. It was the first time a lot of us had done a full run at the Fringe and we were sort of really excited and that kind of like drove us through. And this year come back, it's, like really exciting again, for different reasons, because we're sort of in that bigger venue. We've got audiences that are kind of returning and new audiences as well. So, yeah, it's just really. It's quite a privilege to be able to do that because especially when it's a show that you've written yourself, with Jack, I should say, because, you know, it's just great that there's people that are coming to see it and people that are, yeah, supporting us and hopefully our journey with the show and we'd love to, you know, we'd love to keep. Keep building it and just keep seeing where it can take us and. Yeah. And what the future is, who knows?

Me: Obviously, as you've written it, what do you hope audiences sort of go away feeling? What do you hope they take away from the play?

Matt: Well, I think we always set out to create something that was a bit different. You know, we wanted to, because our background and our love for comedy comes from the deep roots that it has in British society, basically. But we're also hugely interrupted by American comedy. So, you know, we love the kind of work of, like, Mel Brooks and those sort of eighties comedies like Airplane and Naked Gun, which is having a revival. And I think when we came up with the idea, we wanted to try to find, like, a vehicle for that style of comedy that we have that people haven't quite seen before. So to be able to do that whilst retaining that love of, Yeah, it's quite nice. The last one, he was man hour longer version of the play. So what is there at a certain point where, like, audiences had more of a reaction than you thought it would get? Of slapstick and fase and parody to bring that all together. I just hope people enjoy the show, have a great laugh and have seen something that they haven't quite seen in, you know, done before.

Me: Yeah, it's quite nice. The last one, he was what surprised you the most about how audience reacted, I felt more about the Fringe, but also on tour as well, because that was like an hour longer version of the play. So was there a certain point where, audiences had more of a reaction than you thought it would get?

Matt: Okay, yeah. I think I'm always surprised, we had a scene on the tour that we didn't include in this version because we just couldn't fit it in. But that was just kind of like based on a dead drop, you know, where they sort of spy is dropping off a suitcase, but there's a mistaken identity and two men in hats and suits. And that was really fun because it was a little bit different in terms of the pace, but it really built really nicely and always landed really well with the conclusion of another character being introduced, mister Huggs, into that scene. So it's quite a nice way of setting up the whole conceit, which is really fun. And I always love the reaction that audiences have when we actually get a live helicopter on stage. That always excites me. It doesn't always work, but I think that could go very wrong but that's why risk assessments are there. But yeah, that's always a really fun moment and I always love seeing how different audiences react to that. And that's the thing about doing the tour as well, because you go all over the UK and in different audience reactions depending on where you go. It can be very different as well. But you might have, you know, Winchester is very different to Litchfield, for example. So, yeah, it's always something fun. But those are the two moments I look forward to also, because I get to fly the helicopter, so that's always fun for me.

Me: Well, Matt, thank you very much for taking the time to talk to me today. As you said, you are an actor and co writer of Spy Movie: The Play which you can currently see at the Edinburgh Fringe at the Pleasance Courtyard in Above at 12:55 every day. It has been such a joy. You've had so many five star reviews. You can read my five star review at the bottom of the interview. So, thank you so much for taking the time to talk to me today. And I hope that this show goes much, much further.

Matt: No problem. It's a lovely review. And thank you to everyone else that has come to see the show and supported us so far. And, yeah, amazing stuff.

Read review here: https://www.thetheatrereviewer.com/post/spy-movie