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
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this is in response to the anon who said pudding should join the buggy pirates. This is a really cute idea and I love both of them so ofc they should be allies.
maybe after she's saved by sanji from BB pirates she's too overwhelmed/embarrassed to stay so she runs away and runs into crossguild who give her sanctuary after she tells them she can read poneglyphs? Because why would she go back to her family after they didnt even come for her? If mama is dead this a perfect chance to be free.
Croc would for sure be interested and Buggy would be one again awestruck at his luck for failing upwards bcus now an extremely useful ally falls into his lap?? Plus her 3rd eye is really flashy and if he just gave her a makeover she could be a main attraction in his circus hehehe
So real and true. In fact, you know why would she be a main attraction in his circus? Not because she has a third eye and people demonize her about it, but because everybody would find her extremely gorgeous. I would love something like that. Buggy seeing her third eye and loving it but also realizing she looks like the prettiest princess he's ever seen. She wouldn't like the idea of being exposed like that after hiding for so long. She's always been marginalized and laughed at for her third eye... Of course, she is rightfully scared of doing what Buggy says. But he keeps saying the circus is exactly for that. For outcasts that amaze people with their beauty and extraordinary traits. She could cook for them and also show up with him, not as an attraction, really, but as his star. She could even host the whole thing some nights if he's busy with Cross Guild stuff. And everyone finds her beautiful. Gorgeous. Perfect. Everybody loves her there and they're captivated by her. It's the first time people see her this way (second time. She kind of misses Sanji, but every time she mentions the strawhats Buggy gets irrationally emotional so she doesn't say anything). She isn't really a part of the Cross Guild, at least not officially. But she goes to most meetings and she's the one helping them out when it comes to history and poneglyphs. She ends up joining them more often because Mihawk and Crocodile grow fond of her. She's cute, but feral. She doesn't hesitate to make cruel plans and smart moves. She is actually really helpful and has good taste in music and wine, so those two end up taking care of her too. Imagine Pudding as their princess. She's like their daughter, more or less. They protect her to a worrisome extent. A lot of men come in there to ask her for her hand, and they, uh, never usually go back home in one piece. Buggy and her talk shit about Shanks and Sanji, but it's obvious they're still in love and never really over them. It's a sweet bond, really, the one she has with these three. Buggy makes people build her a whole, giant kitchen on the island only for her and she always makes the sweetest and most perfect of dishes ever. They adore her and she actually ends up loving them back a lot!
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I just want to say you were my first introduction to slay the princess so I partially blame you for my current hyperfixation/j thank you I am deranged over eldritch horror princess and Just Some Guy eldritch horror bird (they are everything to me)
OH I will ask: who is your favourite princess/voice and why? Mine is voice of the contrarian bc he just like me fr, and thorn bc 🫶🫶
WOO glad you're into it! Definitely up there with my favorite games of all time
god I'm gonna have to give you a list. this was a much much longer answer because I have several paragraphs to say for Many Of My Favorites but I'll spare this blog the vomit for now until I can structure parts of it better
fave princesses: Witch and all its routes, Specter and all its routes, Nightmare and all its routes
Fave voices: Stubborn, Skeptic, Smitten. special shout-out to Opportunist for consistently having the best dialogue in the game tho, he sucks and I love him so much
Favorite routes: Razor, Thorn, Damsel
LEGITIMATELY it's so hard to pick but for the sake of giving Some explanation, the razor has to be my favorite for how it exists as the purest subversion of both the story the game is telling (which is itself a subversion of classic monsterslaying fairy tales) and it sort of has to get kind of meta, but it leans into it SO joyously. you as the protagonist being constantly split because the story plot twisted itself so fucking hard that it just. Broke Everything
and the result is absurd and horrifying and slips away from any kind of growth or cogency until both protagonists are stripped completely bare, and it's weird and it's hilarious and no one is having a good time except for the very AGENT of shifting perspectives, no longer constrained by any world or singular force that matters!
and also. How could I not pick the route that gave us The Look™.
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