I’ve mentioned this elsewhere but it feels relevant again in light of the most recent episode. Something that’s really fascinating to me about Orym’s grief in comparison to the rest of the hells’ grief is that his is the youngest/most fresh and because of that tends to be the most volatile when it is triggered (aside from FCG, who was two and obviously The Most volatile when triggered.)
As in: prior to the attack on Zephrah, Orym was leading a normal, happy, casual life! with family who loved him and still do! Grief was something that was inflicted upon him via Ludinus’ machinations, whereas with characters like Imogen or Ashton, grief has been the background tapestry of their entire lives. And I think that shows in how the rest of them are largely able to, if not see past completely (Imogen/Laudna/Chetney) then at least temper/direct their vitriol or grief (Ashton/Fearne/Chetney again) to where it is most effective. (There is a glaring reason, for example, that Imogen scolded Orym for the way he reacted to Liliana and not Ashton. Because Ashton’s anger was directed in a way that was ultimately protective of Imogen—most effective—and Orym’s was founded solely in his personal grief.)
He wants Imogen to have her mom and he wants Lilliana to be salvageable for Imogen because he loves Imogen. But his love for the people in his present actively and consistently tend to conflict with the love he has for the people in his past. They are in a constant battle and Orym—he cannot fathom losing either of them.
(Or, to that point, recognize that allowing empathy to take root in him for the enemy isn't losing one of them.)
It is deeply poignant, then, that Orym’s grief is symbolized by both a sword and shield. It is something he wields as a blade when he feels his philosophy being threatened by certain conversational threads (as he believes it is one of the only things he has left of Will and Derrig, and is therefore desperately clinging onto with both bloody hands even if it makes him, occasionally, a hypocrite), but also something he can use in defense of the people he presently loves—if that provocative, blade-grief side of him does not push them—or himself—away first.
(it won’t—he is as loved by the hells as he loves them. he just needs to—as laudna so beautifully said—say and hear it more often.)
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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
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Thinking about Earth 42 Rio literally breaks my heart everytime.
Imagine being left almost absolutely alone in the new cruel world that falls into pieces in synch with your life.
Imagine having a 15-year-old teenage son as the only courage to exist, to keep looking forward. The only family that remains.
Imagine seeing him silently going through a thunderstorm, seeing his inner spark slowly dying out in a spare of several hours — and understanding you can't do anything. Anything more that you're already doing.
Imagine being tired. Constantly tired, and yet having no thoughts about getting a rest because you're the reason this family still staying afloat.
Imagine having a free evening only few times a week, perhaps only one time. Imagine feeling time literally going through your fingers because 24 hours in a day is simply not enough.
Imagine understanding your kid is not actually feeling better. Because you're not feeling better either, because sometimes time doesn't heal.
Imagine understanding that you're both smiling and joking around with other even If it seems like you won't have any power to move the next second because this family moments are so special and you both want them to remain sincere.
Imagine saying that you're ready to talk about anything, anything that he'll say If he wants to share his problems. Imagine seeing him nod and then don't tell you nothing except for rants about "ComicsCon" and school grades.
Imagine being worried about your child to the point it literally hurst without having an opportunity to just let all his struggles away. When all you can do is working and repeating the same sentence over and over again — "You can always talk to me If something worries you" — because you're his mother. You're not gonna push on him, you don't want to make everything worse.
Imagine understanding his pain because it pains for you exactly the same. Because nothing is the same anymore and will never be.
Because sometimes time doesn't heal.
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The "fear" they're discussing here is As Nodt...but it's not, not really.
From the moment he adopted her, Rukia lived her life in fear of her brother. He'd elevated her to her new station in life, but from her perspective, he could take it away just as easily-- and she'd be left even worse off then before he ripped her away from her place in the academy, and her only friend in the world. And this never got any better, because Byakuya, either intentionally or because it's just his nature, kept a maximum of emotional distance from her. Until the worst of all possible fears was vindicated, and he was the arresting officer for her capital crime, facilitating her execution.
And then that changed. And as much as Byakuya rightly credits Ichigo for opening his eyes on the whole having-your-sister-killed thing, I think his feelings in Soul Society went beyond shame at having neglected his fraternal obligations. He saw in Rukia someone who bravely faced down an obviously unfair death sentence, who inspired Ichigo and Renji to fight Byakuya at his own elevated level.
And in the time since...he really has worked to be the brother that he wasn't in the past. He shared with her his most painful memories, he hosted her human friend in his home, he helped her (and his own lieutenant!) completely disobey the captain-general's orders, and he placed a priority on her safety whenever she's been in danger.
And now he asks her to defeat the enemy who last defeated him. Fear may be born from insecurity. But with Byakuya's confidence behind her...Rukia isn't insecure at all.
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OK AND ANOTHER THING
I have to give credit to Amen and Evthys’s enemies to lovers plot and Amen’s character. How many times have I read “it’s enemies to lovers” and it’s just two people who sorta hated each other but now it’s fine. How many times have I read “he’s brooding and bad and has done horrible things” but he also saves kittens from trees and helps orphans in his spare time?
Like she pulled no punches. Amen wants to kill Evthys, he thinks about it often. Evthys knows he will kill her, knows and loves him almost against her will anyway. They know what they are, they know they’re destined for tragedy but they can’t help themselves. That is what enemies to lovers should be.
And the follow through with Amen. She told us the man is a monster and the man is in fact a monster. He doesn’t have a heart of gold, he doesn’t secretly help orphans or donate money in his spare time. He is a hunter, a killer, and he does not pretend or act otherwise. He tortures and he kills and he isn’t kind about it even when she asks him to be. There’s no way to excuse his actions and there shouldn’t be. There should be no “but it’s ok because” — it’s not ok, it’s fucked, and that’s the point.
Their relationship is fucked, but it’s what enemies to lovers is supposed to be. He’s what a morally gray character is supposed to be. These are not supposed to be happy or kind things. In scn they’re not sugar coated in any way and that’s part of what makes it just so freaking good.
If you hate Amen, good you’re supposed to. If you love Amen anyway, good you’re supposed to. That’s the trap and tragedy of enemies to lovers—it’s a car crash you can’t look away from, because no matter how bad it gets you’re always hoping they survive. You’re always hoping that somehow all of this will end and they’ll be happy, no matter how unlikely that is.
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