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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I think the best outcome would've been Sonic and Tom centric first movie (which we got), Knuckles and Maddie centric spinoff (which we did NOT get), and a Tails and Rachel centric second spinoff (which we could get but I heavily doubt it)
I feel like Sonic & Tom centric/Knuckles & Maddie centric is self explanatory, but I am going to talk about Tails & Rachel because I think they could have a great dynamic. I think they could have a little spinoff in the same vein as the Knuckles series, where her and Tails somehow get separated from the main cast. She teaches Tails how to be more firm and headstrong, Tails teaches her idk... Maybe how to think before acting or how to stop rushing into things. Maybe the plot could even be more local just because Tails is much younger than Sonic and Knuckles, and it would make sense to keep the 8 year old in close quarters. We would get more green hills world building, and we'd still see the main family a little bit while still being Tails centric.
Maybe the plot could've hinged around Jojo being bullied at school, and having Tails learn from it now that he's not the target, but instead a bystander.
Plus if the Knuckles series had ended up being Knuckles & Maddie centric we could've gotten a perfect set up for the Tails spinoff, where instead of a scene with Wade's family we got one with Maddie's !! It could've even been a very similar set up because Maddie and Rachel are sisters !!!
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Narrator During a Power Outage Headcanons (reverse hurt/comfort)
After escaping the parable, he’s got a lot of leftover trauma
Most of it doesn’t rise all the way to the surface, but he’s very clingy
He does his best to respect your boundaries, and not follow you to places you don’t want him to go
But deep down, he’s terrified
Of losing you, of going back, of being stuck in never ending offices and hallways
So when your local electric company is doing some maintenance, and the power goes out, he really doesn’t handle it well.
To you, it's nothing out of the ordinary. You roll your eyes because this happens every couple of months, and your neighbors usually gather around to complain about it while wondering how long the current outage is going to be.
To him, he’s suddenly plunged into a too familiar blackness, the kind that appears during a reset. He lets out something between a shout and a yelp and begins to hyperventilate.
You hear his muffled sounds coming from a nearby room, and wonder what’s gotten into him.
You follow the sounds he’s making until you two are sharing a space again.
“Narrator?” You call out, “Narrator, are you alright?”
He sucks in a breath through his teeth and you feel his presence winding around you tightly.
You were mildly confused, reaching out to pet the air without knowing what you were doing.
He seems stressed, so you decide to try and comfort him.
“It’s going to be okay, man. You’re safe.”
He continues to coil around you, and you can feel his panic on your skin.
“You’re still here!” he cries, relieved. “I thought you were- I thought I had-”
Something starts to click in your head, a slight suspicion. Instead of confronting him directly about it, you edge around the perceived problem.
“Yes, you’re still here, I’m still here. The both of us are still together, sharing the same space and time.” You bit your lip, trying to think of what else to say, trying to think of the best way to keep him grounded.
“Narrator? I’d like you to answer a few questions for me, if you can manage.” you said, still trying to feel the air where he might be. You weren’t sure if he was someone who needed to be touched while frightened, but you reached out anyway, wanting to provide what you could.
He takes a deep, steadying breath.
“Okay. What is it?”
“Where are you right now?”
“I-I’m in your living room.”
“Good. I know it's dark, but you can still see some shadows on the wall, right? Could you tell me what you see?”
“I- The couch, the table, the television, and you.”
You smiled.
“Good.” This next question was not going to be easy for you, emotionally, but you pressed on.
“Do you remember who I am to you?”
He scoffed. “Of course I do. You’re my dear listener.”
You grinned, not sure if he could see it in the dark. You loved it when he referred to you like that.
“Yes, I am.” You said, with no small amount of joy. “And I’m very glad we get to live our lives together. Now listen, I’m going to walk outside. Will you come with me?”
“You don’t have to ask.”
Eyes having adjusted to the lack of light, you found the door with relative ease.
Opening the door revealed the beautiful outside world. The sun was setting, and the remaining light shafted through the leaves in wonderful patterns.
Late night bird song trilled in the air, and you took a deep, grateful breath at being able to experience it all
His tension eased, and you were privately thankful. You’d never blame the narrator for being scared or having a bad day, but it was hard to think straight when his panic started to transfer to you, as it often did when his emotions were high.
He still curled around you protectively, but you didn’t mind that in the least. You felt the ghost of a hand in yours, and relaxed.
“See?” you said. “It’s all still here, waiting for us.”
After he was fully grounded, which took a while, you explained the concept of power outages, and you could almost sense an eye roll from him.
“How do humans manage a life where so much happens outside of their control?”
“It’s easier to get through when you have someone to share the chaos with.”
“Yes, well. I am a rather grand being to share it with, aren’t I?”
Heh. he was definitely back to normal now, but you decided to indulge him anyway.
“Yeah. You are. Wouldn’t want to live this life with someone else.”
He let out a pleasant sort of hum, and you failed at hiding a smile.
“Can we stay out here for a bit longer?” He asked.
“Take as much time as you need.”
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