Australian-born actress Bonnie Poynder is carving out a distinct path in the UK’s independent film scene. In this interview with Close-Up Culture’s James Prestridge, she opens up about appearing on Neighbours, mastering the raw instincts of the Meisner technique, and her ambitions to dive into indie horror.
James: You played Viv Young in Neighbours before moving into independent films and other screen projects. What did that experience teach you about acting on camera, particularly when working at the pace of television production?
Bonnie: It was a huge learning experience because it was my first job ever, and I’d only been out of university for about three months.
It was quite an intimidating set to walk onto. They’d been making the show for 25 years, there were hundreds of people there, and I didn’t know any of the set terminology. All these words and phrases were being thrown around that I had no idea about. It was a massive learning curve, and afterwards I made sure to go home and learn the lingo.
But the biggest difference from what I’d been learning at university was the pace. We’d do one walkthrough of the blocking, one rehearsal, and then they’d say, “We’ve got it. Cut.”
I remember thinking, “Oh my God, I’m not even ready!” But they were moving on, and I had to keep up.
The main thing I learned was to treat every single moment as though it could be the take. You have no control over which take they use, so you have to be ready the second you step onto set.
There’s no time to get comfortable with the blocking or run through a scene several times, particularly if you’re a day player rather than a lead.
It was a fantastic experience, though. I loved everyone at Neighbours, and I was incredibly lucky to have it as my first job.
James: Your short film credits include Comfort and Last Night on Chapel. What attracts you to a role when you’re reading a script, and what makes you feel there’s something worth exploring in a character?
Bonnie: That’s a really good question. At this stage of your career, you’re not necessarily in a position to pick and choose exactly what you want to do. If it’s a paid role, you’re probably going to take it, particularly when you’re still building your experience.
With independent films and short films, you have more of a say because they’re often unpaid and you’re doing them out of passion.
I’m a big reader, so when I read a script a few times, I can usually tell whether I can picture myself in it. Sometimes there’s a character I really resonate with, or a particular part of the story that excites me. I can feel that passion building as I read.
If I don’t immediately connect with something, that doesn’t necessarily mean I won’t. Perhaps the challenge is what makes it exciting.
But if it’s something I’ve done ten times before, and there’s nothing in the writing or direction that makes it feel different or challenging, then I might question what it would add to my experience.
That said, at this stage, all experience is good experience. It’s rare that I’ll read something and immediately say no. There’s usually a way to find something interesting in a role and make it your own.
I feel like I can learn from every experience at this point.
James: You’re currently studying the Meisner technique. Has it changed the way you approach scenes, particularly when it comes to listening and reacting naturally rather than planning your performances?
Bonnie: I think that’s something that’s really hard to shake when you’ve studied acting at university. You learn about all these different practitioners and methods, and there’s a lot of bookwork. It can become quite intellectual and internal.
But acting is really about reacting to the person opposite you and to your surroundings. It’s about having instincts that feel natural.
Of course, it’s not technically a natural instinct if you’ve done it ten times, but you want your reactions to feel genuine. You want the lines to come out of you because of what the other person has said, rather than because you decided last week how you were going to deliver a particular line.
That’s something Meisner really helps with. It’s quite wild, actually. You literally say the first thing that comes to mind, and you’re not allowed to think. That’s the basis of it.
The other huge thing it helps with is becoming comfortable with your insecurities. You need to have a tough skin as an actor anyway, but Meisner really pushes you in that respect.
The person opposite you looks at you and tells you what they see. They might say, “You have big ears,” “You seem shy,” or “You give off this vibe.” It’s incredibly confronting.
When I first started, I’d go red every time and think, “Oh my God, this is awful.”
But as an actor, you’re kind of a brand and a product, and you need to understand how people perceive you. Do they see you as the girl next door? Do you look quite mean when you have your resting face? What age do they think you are? What roles do they see you playing?
It’s genuinely useful to know how other people see you, and that’s not something you can usually get. No one’s ever that honest with you in real life.
James: You trained in both acting and musical theatre. Do those disciplines influence each other in your work, or do you approach screen acting differently from performing on stage?
Bonnie: I think this was quite difficult for me because, at university, it was relatively rare to do a double degree covering both disciplines.
The second I graduated, I was like, “It’s film for me. It’s not musical theatre. I don’t know what I was thinking!”
It was almost like I was in a trance. Then I graduated and thought, “Oh, no.”
The practical differences between the two are quite obvious. On stage, you need to make bigger expressions and movements so the person at the back of the theatre can see you.
With film and television, the camera can be right here, so you can’t be too big or you’ll look a bit crazy.
Adjusting to the different mediums is really important.
But the core acting training in musical theatre is quite similar. You learn the same practitioners and methods, so there’s a lot of crossover.
The stamina required for theatre versus film is also something that shouldn’t be undervalued. Theatre actors are doing eight shows a week, every week, and it’s exhausting.
With film, sometimes you’re sitting around for ten hours, go on for your 15-minute scene, and then go home. They’re very different in their own ways.
I enjoy them both, but with musical theatre, you need to be an incredible dancer or singer who can also act. Acting was my strongest of the three, and I remember thinking, “Oh, I don’t think this is going to work.”
James: As an Australian actor building a career in the UK, you’re working with different accents and casting expectations. Has that challenged the way you think about your identity as a performer and the kinds of roles you see yourself playing?
Bonnie: I don’t really audition in my Australian accent, and I often don’t do classes in it either. I’ll usually use an English or American accent unless I’m told otherwise.
I don’t want to be pigeonholed as an Australian actor. I don’t want to be cast as the person who comes in and says, “Hi, I love surfing. My name’s Amanda.” You know what I mean? The classic Australian character. That’s obviously not what I’m working towards.
That said, being Australian is part of my identity. It’s lovely when people find it interesting.
James: Is there a particular kind of character or story you haven’t had a chance to tell yet that would really push you as an actor?
Bonnie: I was thinking about this the other day because I was talking to someone about how much I love horror films and how good they’ve been lately.
A lot of the horror films, particularly independent horror, that have come out over the past couple of years have been so exciting. It feels like we’re entering a new era.
Then I realised I’ve never done any horror. I’ve never done a thriller, despite it being one of my favourite genres.
I’d absolutely love to do one, although I know it would be challenging because I’ve never done it before.
The stakes are so much higher than in a rom-com where you’re sitting across from someone in a café. The emotional depth can be extreme, and then there’s the physical aspect, the special effects and everything else.
I’d love to do something like that because I know it would challenge me.
I’m very Type A. I love a role where I have to learn a new skill or overcome a fear. I love that.
It feels like a free excuse to learn something, so I’d really love to do a horror.
James: You mentioned to me that you’re a big musical theatre fan. What are some of your favourites?
Bonnie: Oh, this is my least favourite question because there are so many!
I think my original favourite was The Phantom of the Opera. My mum was a massive Phantom nerd, and I became really hyperfixated on it as a child. I was about five, and I was obsessed with it.
I always have to mention that one.
The Last Five Years and Next to Normal have probably made it into my top three.
I also just saw Jesus Christ Superstar last week at the Theatre Royal Drury Lane, and it was phenomenal. I’ll throw that in because I just saw it, and it was so good.
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