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thepriceofsurvival · 6 months

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I head your Jean-coded playlist Nora, and I love it, but I will also provide my own. Mostly just because of my own music taste.

A little rock, a little punk, a little grunge, a touch pop, even some indie. And of course, so very very sad.

A few of the songs as well as some of the lyrics, just to convince you:

In My Time of Dying - Led Zeppelin

In my time of dying, want nobody to mourn All I want for you to do is take my body home {...} Oh, Saint Peter at the gates of Heaven Won’t you let me in? {...} I never did no harm, I never did no wrong I must’ve did somebody some good Oh, I believe I did

Brand New City - Mitski

I think my fate is losing its patience I think the ground is pulling me down I think my life is losing momentum I think my ways are wearing me down But if I gave up on being pretty, I wouldn't know how to be alive I should move to a brand new city and teach myself how to die Honey, what'd you take? What'd you take? Honey, look at me Tell me what you took, what'd you take?

Sunlight - Hozier

I would shun the light, share in evening's cool and quiet Who would trade that hum of night? For sunlight, sunlight, sunlight But whose heart would not take flight? Betray the moon as acolyte On first and fierce affirming sight Of sunlight, sunlight, sunlight

You’d Be Paranoid Too (If Everyone Was Out to Get You) - Waterparks

I learned to live with these eyes in my closet Hands in my pockets Alone, but surrounded I'm breathing, I'm drowning I haven't slept in days, but who's counting?

Wires - The Neighbourhood

We talked about making it I'm sorry that you never made it And it pains me just to hear you have to say it You knew the game and played it It kills to know that you have been defeated I see the wires pulling while you're breathing You knew you had a reason {...} He told me I should take it in Listen to every word he's speaking The wires getting older I can hear the way they're creaking As they're holding him

16, 16, Six - The Drips

Tell me what you wanna know I gotta tell you that I miss your voice Cause everything else I hear is a violent noise And it's breaking through to my soul {...} Take comfort in familiar face Carried me all over the place Fell in love the only way we could No one understood and no one could

Fight or Flight - Conan Grey

Well, fight or flight, I'd rather die Than have to cry in front of you Fight or flight, I'd rather lie Than tell you I'm in love with you

Giver - K.Flay

I'm learning to live I'm trying to be better I'm learning to give But I don't know if I'm a giver {...} I got so much soul in my body But no one keeping me honest And whole days turn into holes in my mind

You Know You're Right - Nirvana

I will never follow you I will never bother you Never speak a word again I will crawl away for good I will move away from here You won't be afraid of fear No thought was put into this I always knew it would come to this Things have never been so swell I have never failed to fail

Exit Music (For A FIlm) - Radiohead

Wake from your sleep The drying of your tears Today we escape, we escape Pack and get dressed Before your father hears us Before all hell breaks loose Breathe, keep breathing Don't lose your nerve Breathe, keep breathing I can't do this alone

Hysteria - Muse

'Cause I want it now I want it now Give me your heart and your soul And I'm breaking out I'm breaking out Last chance to lose control

Aneurism - Nirvana

Come on over, do the twist, aha Overdo it and have a fit, aha Love you so much, it makes me sick, aha Come on over and do the twist, aha Beat me out of me (beat it, beat it) Beat me out of me (beat it, beat it) Beat me out of me (beat it, beat it) {...}

Lydia - Highly Suspect

I've seen better days So unafraid in my youth I can't breathe, much less believe You gave everything you had Every little thing you had A true love unrehearsed I've seen your best and worst And at your worst, you're still the best But at my best, I am the worst It's a curse

Devil In Me 22-20s

I don't live, I just breathe I don't give and I don't recieve And I'll never get the devil Outside of me, outside of me I don't get all the good things You said I'd see, you said I'd see And I don't see the light Surrounding me, surrounding me

Dream On - Aerosmith

Every time that I look in the mirror All these lines on my face getting clearer The past is gone Oh, it went by like dusk to dawn Isn't that the way?

Don't Matter - Kings of Leon

You're not a man everybody says But it don't matter to me Dirty feet on my seat But it don't matter to me Break my heart, tear me apart It don't matter to me no, no I put a shine in your eye It don't matter to me 'Cause it's always the same And I'm always the same

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tyttetardis · 3 months

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Macbeth Q&A 18th Jan 2024 Part 1

Was lucky enough to get a ticket for the Member's Event at the Donmar Warehouse that took place on the 18th...with the price of the patronages I sure never thought I'd have gotten the chance, but luckily, they also let in some non-members 🥹❤️

The brilliant performance of Macbeth was followed by a very quick cleaning of the stage - thought for sure it would've taken them longer to remove the blood than like 5 minutes - followed by a lovely, little Q&A session.

The Q&A was led by Craig Gilbert (Literary manager) who talked to Annie Grace and Alasdair Macrae (Musicians and part of the acting ensemble) as well as Cush Jumbo and David Tennant.

Anyway, just gonna write down some of the stuff they talked about :) sorry if it's a bit messy! Might be spoilery if haven't seen it yet but is going to!

To begin with Craig remarked that he didn't think he'd ever seen that many people staying behind for a Q&A before (While I was just wondering why some people even left!? Stressful!).

David introduced himself with "My real name is David "Thane of Paisely" Tennant - while Cush introduced herself with "I´m Cush Jumbo - there's only one of me".

First question was Craig asking them what it was that brought them to the Donmar to do Macbeth - to which David pretty much just replied that 1. It's the Donmar! 2. It's Macbeth! One of the greatest plays of all time in an amazingly intimate space - and that the theatre is famous for its quality of work. So he found it quite hard to think of a reason not to do it!

Cush said she'd worked there before and loves the theatre, how it's so intimate but also a great workspace. Followed by her saying she said yes because David asked her. She talked about how important it was for this play to do it together with the right actor playing opposite you.

David says Max Webster asked him about a year ago if he wanted to do the play - he gave him the dates - and since there weren't any obstacles in the way, David didn't have any excuse not to do it.

He then said that he had slightly avoided Macbeth - there sorta being the assumption that if you're Scottish and has done some Shakespeare plays before you have to do Macbeth. Which he joked was a bit odd since it's not like every Italian has to play Romeo. Then he mentioned that Macbeth is probably a bit more of a jock than he is - that it seemed more like a part for big, burly actors.

Max had laid out his initial ideas to David, a lot of which are in the final production, and David thought he seemed lovely, bright and clever and inventive plus it being the Donmar Warehouse! To which joked that he had last worked there 20 years ago - when he was 8 years old! "It's just one of those spaces" - friendly and epic at the same time where it's such a pleasure to be on the stage.

When Craig asked his next question concerning the sound of the play someone asked him to speak louder as she couldn't hear them - to which David joked that they've gotten so used to whispering. But also said sorry, and that they would!

Alasdair explained a bit about the process of the binaural sound - bit I find it a bit difficult to decipher it all correctly, sorry. He did say that a interesting part of it is that it allows them a controlled environment where they can put all the musicians (and even the bagpipes!) behind the soundproof box so "Poor David and Cush" doesn't have to shout over all the racket.

Craig asked David and Cush what their reaction was when they heard about the concept of the binaural soundscape - to which David replied that it didn't quite exist when they first came onboard - Cush joking they were tricked into it. Then she talked about her and David going on a workshop with Max to get a feeling of how it would all work - and get a sense of how it would sound to the audience, as this was one of the few times, they got to hear that side of it. Their experience of the play being completely different to the experience the audience has.

Cush said they can hear some of the sound - like she can hear some of the animal sounds and David can hear some of the stuff from the glass box - but most of their cues and information comes from timing with each other. She said they won't be able to ever hear what the audience hears - to which David joked "We're busy".

It felt like mixing medias - as it all went quite against their natural stagecraft instinct - but Cush found that in the long run it made things very interesting - like they don't have to worry about getting something whispered to each other - as the audience will hear it anyway.

David said the odd thing is that they don't really know what the experience truly is like. He mentioned that to the sides of the stage there's a speaker for them where they will get any cues that they need to hear. Like they can hear the witches - but they can't hear where they are "positioned" - so they have to learn how to place themselves to fit with what the audience hears. They don't hear everything, though. And the audio they hear is quite quiet, so it doesn't disturb what comes through the headphones.

He thinks it's been exciting - that it's a bit like a mix between film and theatre. It's happening live - but it's also like post-production is happening between them and the audience as it's going on. They just have to trust that the audience is hearing what they are supposed to for it all to make sense.

Cush said she thinks in 10 - 20 years, as these technologies has developed, doing theatre like this will feel a lot more normal - not that they will do it ALL the time, but that they will be doing it - whereas now it's still like an experiment. What Cush really like about the concept is that if was done in a much bigger theatre - then people in the cheapest seats would be able to have an experience much more similar to those in the most expensive seats - they'd be a lot more immersed into the action.

David then talks about how it feels extremely counterintuitive to not go on stage and speak loud enough that the people in the back row can also hear you. And usually, if they can't hear you, you aren't doing your job right! But then it felt very liberating. He loves it.

Cush then talked about how it felt odd waiting in the wings for a cue you can't hear - where you traditionally wait backstage and you can hear your cues, you can hear the rythm and know when it's your turn - so it was quite disconcerting to hear silence. So it's basically down to them now knowing the show and each other's timings - like if David is standing at a certain point, she knows how long she has before she needs to say/do something. So you have to watch each other more closely and really focus on what the others are doing.

David asked the musicians if they can hear everything inside the box, to which Annie replied that they get everything except some extra bits in the soundscape. But they can hear the actors on stage. Annie said it's actually a bit of a mystery to all of them what the audience actually experiences - how the big pictures actually look like - they just have to trust that it's there "Is it there?!".

Someone asked if they had had any adverse reactions from audiences to having to wear the headphones. Quite a bit of laughter all around :P then David said "There's the odd person" and something about if someone hadn't gotten the memo before turning up...but not sure how he ended the line. Then once again says that yes, there's the odd person who doesn't like it and that's fair enough.

The same audience member then said he could see the advantage of it in a big theatre where the distance is big, but not in a small place like the Donmar - to which David very quickly, rather passionately replied that it's not about projection, it's about being able to do things you wouldn't normally be able to do live - where they can speak so quietly that they can't even hear each other when standing next to each other. So even in such a small place, people wouldn't be able to hear that. It's about creating a different play - which isn't to everyone's taste and that's fair enough. But for a play that's been done a hundred and seven million times he thinks it's very valid to try and find a new way into the play - even if it's not for everyone.

Part 2

#David Tennant #Macbeth #Donmar warehouse #Cush Jumbo #I messed up this recording sooooo bad #I didn't see people pull out their phones to record it so I didn't dare do that either...#and man did I get a shitty recording out of it :(#and the audio ain't great either...Craig was sitting the furthest from me and didn't have a mic so can be a bit difficult to hear at times #Cush was sitting the closest to me (not that close - I was still in second row!) and David was sitting next to her #while I didn't have a perfect frontal view - the angle I was at did mean that I still got a perfect view of David's adorable smiles <3 #and all his other lovely facial expressions as he often looked to Cush when she was talking and replied to her...#which made it FEEL like he was looking in my direction *sigh*#and he looked so good with his comfy cardigan - skin tight jeans - and his glasses!#You know I have seen David quite a few times by now - but I'm pretty sure this was the first time I saw him wearing his own glasses!#I desperately wish I had managed to capture some pictures or a video---because OMG! He was so lovely <3 #Oh didn't know there was a text limit...or that I had written this much...guess I'm continuing in a part 2

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