Brian Beacom

JASON Donovan grins as it's pointed out he's currently giving a hugely convincing performance as a not very good actor.

"I guess that's one way of looking at it," he says. "And my character was certainly not a great actor.

"But I haven't really thought about it too much. What I do know is that I've found a rhythm with this piece."

The former Neighbours star who moved to Britain and became a pop star, and a musical theatre success story is currently starring in theatre play The King's Speech.

Jason plays Lionel Logue, the charismatic Aussie speech therapist who helps the future George VI to overcome his stammer.

Logue had helped First World War soldiers get over their disabilities through speech therapy but really wanted to be an actor and came to England to try his luck on the stage.

He failed to convince he could become other characters - but convinced the King he could speak without a stammer.

It's a great role, (the Stage magazine wrote 'Donovan revels in the role') but given it's been performed so powerfully by Geoffrey Rush in the 2010 movie, was there any element of trepidation in Jason accepting the role?

"Not really, in the sense he's an Australian, but I guess I didn't anticipate the depth of the character. But then there was a bit of a light bulb moment going off for me in the rehearsal process which let me know how to play him."

What was the light bulb moment that let him in?

"I think it's the persistence of Lionel Logue, the fact he could feel relaxed around someone who was so well thought of and so famous at the time.

"He says in the play 'We must be equals'. And what we have to remember is he's a failed actor.

"So perhaps he's acting the role of Confident Therapist. Perhaps he's using some psychology, his mental skills to make him seem confident in that role.

"And perhaps other doctors, other therapists, would have been star struck in the role and bowed down to the King. But Lionel just said 'Look, if you want to do it this way, great. But if not, I'm not interested in treating you,."

Jason, who stars opposite Mr Selfridge's Raymond Coulthard as Prince Albert, adds; "I also bring some physicality to the part; he has a bit of a walk. He also used his hands a lot."

He adds, grinning; "I think the problem with Lionel is he's a bit too expressive. He over-acts. And maybe that's why he was a failed actor."

The play is a really clever piece of theatre.

"There is a lot of tension, there is the politics which the film doesn't deal with. And it's not just about history, it's about friendship, it's about people, it's about fear."

Does it resonate with the fearful person in all of us? Or the performer who feels the fear before going on stage?

"I think it reveals that that public figures are expected to get up there and be perform and be perfect. But all too often they're not.

"And yes, it resonates with me. When I get up there on stage. I don't just walk on there every night. My body is my instrument but I'm not finely tuned every day.

"I may be feeling tired, or there are problems with the kids or I've got a headache. I'm human. And I've got to deal with it."

The 46 year-old loved the movie, and Geoffrey Rush's performance.

"I loved the film, I thought it was great," he says. "It's a wonderful English story, but there are a lot of Australian aspects to it, with the cast and producers."

And it took an irreverent Australian in Logue to break down the stuffiness of the British class system.

"That's exactly right," he says. "That's probably the backbone of the whole story. You needed this type of man to be successful.

"Australia is a meritocracy. When the captains and the convicts went to live there they had to get on because they were living on an island. Australia was born from that idealism. That attitude of getting on with people persists."

Jason adds, laughing; "It wouldn't have worked if he had been South African. Put it that way."

And added delight of working in this straight play is that it allows for respite from musical theatre.

"Yes, in musical theatre you are constantly worried about the state of your voice. There is the movement and dancing to be worked on and to be honest it's blinking (not actual word used) exhausting."

He adds; "Don't get me wrong; the King's Speech is virtually a two-hander play, and there are anxieties that come with that.

"But there is nothing within the play I feel I can't reach even on a bad day."

Jason adds, grinning; "I'm just happy not to be singing, mate."

€¢ The King's Speech, March 16-21, The Theatre Royal.