Georgia Ivy Pemberton is a seventeen-year-old actress who has starred in a number of West End productions. Her roles include young Eponine in Les Miserables (2012), the title role of Matilda in Matilda the Musical (2013-14), and more recently the off-West-End roles of Blousey Brown in Bugsy Malone (2016) and Pandora in Adrian Mole the Musical (2017). Today, she answered some questions through an email interview about how the arts have been affected by the coronavirus pandemic.

 

1. What was it like for you as a performer during lockdown (ie: how did you practise, and what barriers were there)?

Just before lockdown, I had been training at a full-time ballet school (Young Dancers Academy) so for me, it was crucial to keep up all of my flexibility and technique. I had Zoom ballet lessons online, but unfortunately, with limited space, it was very difficult to keep up my stamina and to practise travelling steps. For example, I have now had to work extra hard, now that I am allowed back in a studio, to get back up to the standard (and improve) that I was at before.

2. What was it like during lockdown for the arts in general?

The arts have been hugely impacted by the lockdown, it has forced us to be creative. For example, taking free dance/singing/acting classes from industry professionals has been a real joy. You feel a real sense of community, as we are all in the same boat. It also gives people the opportunity to create new relationships with people who may also be alone during lockdown.

3. What did you think about the suggestion reported in the news that people in the arts should consider re-training?

I have spoken to a lot of people regarding this subject; they feel dismissed and undervalued. Musicians, actors and others in the arts have been working in other jobs for years - as baristas, roadies, bartenders or waiters, to fill in the time between gigs. So to be told that after 40 years in this profession (for some long term actors), that we need to ‘retrain’ is hurtful. I myself have been training for 10 years and do not plan on stopping this “hobby” of mine.

4. Are you scared about the future of the arts, and what can the government do to help?

In short, yes, I, along with other young performers in training, am concerned about what the future holds. With limited funding, there is an even smaller chance of booking a job, which was already difficult even before lockdown, with the amount of talent and people out of work. Without theatre, London as we know it will no longer have the same energy and sense of community. The audiences use the local restaurants, bars and shops as well the performers and all backstage crew - all of this has an effect on the greater economy. To help us, the Government needs to provide more funding to help theatres get back on their feet and put in place a COVID-safe way of people coming back into auditoriums.

 

By Rebecca Nelmes, St Catherine's School, Twickenham