From that point on, Wilson became prized as the obliviously uncouth party girl, at once cuddly and abrasive, who says what no one else would dare – the ball of fun with a core of steel. With that brief, startling appearance a career was born. “I saw my size as being an advantage,” she said, “whereas so many women see it as a disadvantage.” Her evident ease with her larger-than-average size was also an undoubted part of the charm.
The otherworldly inflections of her accent, best described as sedated English, combined with the character’s brazenness, left viewers reeling slightly from shock. Another newcomer might have been daunted by the prospect of appearing alongside talents such as Kristen Wiig and Melissa McCarthy but Wilson made this small, odd role her own. She first came to the attention of international audiences in the 2011 hit Bridesmaids, in which she played the mildly unhinged sister of Matt Lucas.
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Working on an Australian TV sketch show, for instance, she was the only person who made sure she owned the rights to all her characters. Her legal background stood her in good stead for negotiating contracts and protecting her business assets. Wilson, who was born in Sydney and trained as a lawyer, carved out a successful comedy career for herself on Australian television. She’s one of those people whom you know is absolutely in the right job.” Then once she gets in front of the camera – well, she lights up like a flipping candle. She knows herself very well and has lots of ideas. “It’s not easy to come on to a set at the end of a shoot where everyone already knows one another. Mandie Fletcher, who directed Ab Fab, was immediately impressed by Wilson. Then she popped up in two British comedies: Sacha Baron Cohen’s dismal spy caper Grimsby, in which she was wasted in a tiny role, and Absolutely Fabulous: The Movie, where she had heaps more fun as a budget airline flight attendant who squares up to the indomitable Patsy (Joanna Lumley).
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She was very winning within her natural habitat – the female-oriented buddy-movie – in How to Be Single, where she brought the odd moment of rage to her over-sharing, cheerfully disinhibited shtick. It has been hard to escape her this year. ‘She’s amazingly perceptive’ … Rebel Wilson in Guys and Dolls. She’s that interesting creature who always knows what’s happening in every corner of the room.” Rebel is very smart and strategic about the work she does and you can see instantly that she connects with the audience in the way the young Bette Midler did.
I needed someone who would bring a fresh, young, vital energy to the show. “But I wanted to recapture the danger and the racy tone that it had in 1950, when the language and the sheer exposure of flesh made it pretty bold. “These days it seems quaint,” he explains. The director Gordon Greenberg cast her as a way of returning the show to its audacious origins. But she also makes it clear that Adelaide is missing important protective layers. One of the show’s highlights comes during the song Sue Me when she mimes choking him to death, dragging out the crime to ridiculous lengths. She looks as if she could tear her fiance, Nathan Detroit (Simon Lipkin), limb from limb as easily as she plucks the petals from the dancers’ costumes in a game of he-loves-me, he-loves-me-not. She has perfected the distinctive nasal squawk required to play Adelaide, who has a permanent cold, which it is suggested is caused by having been engaged for 14 years without any sign of a wedding. That quality converts easily to the stage. The 36-year-old Australian actor’s emotional openness on screen, in hits such as Bridesmaids and the two Pitch Perfect movies, has always been simultaneously monstrous and moving, terrifying and tender.
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