Helena Wilson is currently making a memorable Broadway debut in Jez Butterworth's hauntingly crafted family drama The Hills of California, which opened in September at the Broadhurst Theatre.

Oxford graduate Wilson is reprising the role of Jill that she played in the drama's West End engagement last year, joined by several of her London co-stars, including Olivier winner and Tony nominee Laura Donnelly as Joan and Veronica, Leanne Best as Gloria, and Ophelia Lovibond as Ruby. The actors play the embattled (and musical) Webb sisters, reuniting as their mother approaches death up several flights of winding stairs. The foursome, joined by their younger counterparts, are offering some of the most heartfelt performances currently on Broadway.

Beautifully directed by Sam Mendes, with a striking set by Rob Howell, Hills of California will linger in your mind for days, weeks, and, perhaps, months afterwards. The limited engagement is currently scheduled through December 22.

Wilson, who made her stage debut as Ophelia in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead at the Old Vic, has also been seen in Linck and Mülhahn at the Hampstead Theatre, Jack Absolute Flies Again at the National Theatre, White Noise at the Bridge Theatre, The Deep Blue Sea at the Chichester Festival Theatre, and Measure for Measure, The Lady From the Sea, and The Prime of Miss Jean Brodie, all at the Donmar Warehouse.

In the interview below for the Playbill series How Did I Get Here—spotlighting not only actors, but directors, designers, musicians, and others who work on and off the stage to create the magic that is live theatre—Wilson explains how the revised third act of Hills of California has enhanced the show, and how Broadway and London audiences are both different and similar.

Where did you train/study?
Helena Wilson: I don't have any formal drama training, but I studied English Literature at Oxford University and spent a lot of time there doing student productions! I also learned a lot from my time with the National Youth Theatre of Great Britain when I was a teenager.

Was there a teacher who was particularly impactful/helpful? What made this instructor stand out?
I did Saturday drama classes in my hometown from 11 to 18, and there was a teacher there called Tamsin who was a formidable, brilliant woman, a RADA-trained actor who demanded the best of us even though we were kids! We all thought she was magical. I think what was special about Tamsin was that she treated us like young professionals. She brought integrity and passion to every project, and she made us feel like we were onstage at Carnegie Hall when we were, in fact, in a bright blue school gymnasium. She absolutely understood why we were so earnest at such a young age, and she never ever made acting feel like a silly side hobby—she talked about it like art and like a serious option for what you could do with your life. I'll never forget her.

The third act of Hills of California has changed since the London run. What was it like stepping into the role of Jill again but with a different ending for the sisters?
It's been a whirlwind really because we read and rehearsed the new third act in 10 days, before flying to New York and going straight into tech! I think we were all very proud of what we made in London, but this new third act really takes the play to another level; it lights a fire under the relationships between the sisters themselves, and between the sisters and their mother, with explosive consequences. The challenge of learning a new act in a relatively short space of time is asking your body to forget the 160-odd performances we did in London, the muscle memory of Jill's former journey—instead trying to create a blank space internally on which you can write new paths through the scenes. So it's been hard work but also a total joy to step back into the role of Jill and write her a different ending. 

Personally, I find the new third act contains more catharsis and resolution for Jill and her sisters, so I feel lighter coming off stage here in New York than I did in London, when Jill was left with a lot of knotty, painful, unresolved questions.

What does it mean to you to be making your Broadway debut with this play? Can you describe the feeling performing on a Broadway stage for the first time?
So my little brother is a very talented pianist, and when we were younger, he would be practicing some piece or other, and I would always barge in with my older sister energy and force him to accompany me singing show tunes (embarrassing but true)—and we must have done "Broadway Baby" from Follies hundreds of times over! All to say that it honestly is a dream come true to be in a play on Broadway, and to be making my debut in this role and in this play, which is so close to my heart, is a gift for which I am immeasurably grateful. 

I'll never forget the adrenaline of that opening night, the excitement in the auditorium, and the way audiences have been getting so invested in our story every night since—it's magical.

Do you notice any difference in audience reaction between London and Broadway?
Lots of people are interested to know the answer to this, and I do think there are some differences, but it's hard to know whether it's the audience or the play because we have changed the third act so much! I think, if I had to speak generally, I'd say audiences on Broadway are perhaps more vocal, although by the time the play is in its final stages and the screws have been turned so much on every character onstage, really the quality of attention is very similar. You can hear a pin drop. That's been really gratifying because, although our play is set in such a specific time and place, it feels like the themes and questions it asks are universal.

Do you have a dream stage role or roles?
It's funny because when I was younger I think I dreamed of a very classical career, Shakespeare, Chekhov, etc.—and I still would absolutely love to get my teeth into some of those roles—but actually the way my career has turned out, I've mostly originated roles in new plays, which has been even more exciting than I ever could have imagined! I'm grateful for every opportunity and always seeking variety in the work that I do, so I've abandoned the list of dream roles in favor of an open-hearted curiosity about whatever might be next...

Tell me about a time you almost gave up but didn’t.
Like lots of actors who mostly work in theatre, the pandemic was challenging in so many ways but obviously work-wise—the theatre closures were really sad and difficult. I definitely considered retraining but then was lucky to start working again, and all my love for the job flooded back, so I'm even more grateful for every opportunity now.

What is the most memorable day job you ever had?
I took reservations for a very smart restaurant for a while—that was an education!

Is there a person or people you most respect in your field and why?
I just adore the British actor Lesley Manville. I think she's a magician, and I so admire the way she's built a stellar career across theatre, film, and TV. It would be a dream to work with her one day!

What is your proudest achievement as an actor?
An obvious answer, but it's got to be this current project—opening a new Jez Butterworth play on Broadway is pretty dreamy!

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Photos: Opening Night of Hills of California

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