Sophie Melville gives one of the most electrifying performances of the year in Iphigenia in Splott, Gary Owen's timely adaptation of the Greek myth in which the wronged Effie realizes sacrificing herself for the greater good might be her only chance at redemption. All feral moves and fierce stares, Melville moves across the stage like a wounded panther ready to attack anyone who challenges her, and yet at the center of the performance lies an immense heart and a knack for instinctual cleverness that's truly exhilarating to watch. The play directed by Rachel O'Riordan is part of 59E59's Brits Off Broadway series. We spoke to Melville about taking on the part of Effie and how she delivers her tremendous performance night after night. 

You've been doing the show for 2 years, how do you keep it fresh? How do you find new layers in Effie?

It helps that it's so relevant to our society, be that the US or the UK or anywhere else. It is an important message that needs to be heard. You have to treat every show like it's the first time you've said it and the first time anyone has heard your story. I feel so passionately about representing those with no voice that a desperation to tells the story drives me every night.

What were the biggest changes the play underwent in going from Fringe to the National Theatre?

We thought it would change a lot to adapt to each audience but in actual fact nothing has changed except Effie (myself) is older. The story is universal as we all know someone like Effie and a place like Splott. That's what makes it such an incredible play, it speaks to everyone.

You are alone onstage, did you ever have to imagine the backstories of the other characters or what do they look like?

Yes, I need to know everything about the people and places I talk about. To keep me feeling as safe and secure as possible on stage I know what all those characters look like and what they do etc. That would be the case when undertaking any role but especially in this one with nothing much to fall back on I made sure I could totally become that character.

You were aware of Gary Owen's work before meeting him, what was the initial meeting like? Did you ask him a million questions about Ghost City?

He was one of the main reasons I wanted to become an actress. On reading his work I realized that some plays represent people like me and places where I have been brought up and that was a game changer for me because as much as I love most aspects of theatre the plays that talk about the working class are my favorites as that's what I can relate mostly too.

You trained as a dancer and Effie loves clubbing, was her love of dance an easy way to get under her skin?

She's an extremely physical woman and uses her body to her advantage all the time. She doesn't trust how intelligent she is and also doesn't want to have a fully functioning brain as it would cause her to question her life a lot more. So her body is her biggest tool. It definitely helped to have trained as a dancer because I knew how to tap into that character straight away and also the director Rachel O'Riordan took a very physical approach to the text so we both worked very well together.

How do you unwind after delivering the powerful last scene? I get shivers every time I remember it!

A little stretch in the dressing room, a nice shower, a walk home and a big night’s sleep ready for the show the next day.  It takes a lot out of you and is quite hard to shake it off at the end but it is important to leave it in the theatre as sometimes I haven't managed to and it really affects your mood outside of work.

The show feels as if it was written for America today. Were you expecting it to be so relevant in the US?

It has been relevant everywhere we take it. The story is universal, which is what makes it so special to perform every night. Obviously there are some things Americans don't get and the accent takes some time to get used to but everyone I've spoken to has said it's felt like it was written for them. Effie reflects not just a person but a whole part of society that is neglected.

Do you have any memorizing pointers you'd like to share with our readers?

I imagine it all like a storyboard, that's how I start off with, know exactly what's going on and where it leads on to, then learn the words. If it is a well written piece it shouldn't take you long. It took me two weeks to learn Iphigenia.

What iconic theatre monologues would you like to undertake at some point?

I'd like to steer clear from just monologues at the moment if possible, I am really looking forward to being in a company with other actors, but anything that represents strong women I would like to play. I have a background in martial arts so anything with a lot of fighting in I would love. I'm really excited by physical theatre and stuff with a lot of energy but maybe a comedy would be nice after this.

For more on Iphigenia in Splott click here.