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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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ganondoodle · 11 months

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this isnt as long as before but i just cannot stop thinking about this, why i dislike story and lore boils down to these main point

--the ending feels unsatisfying as hell even if i ignore everything i dont like about how the game treated zelda and ganondorf, the ending itself just feels, despite being presented as super epic an touching, incredibly empty to me and part of it is that it feels like an unearned return to status quo of course i didnt think zelda would stay a dragon and i actually wanted to help her, which is why i kept trying to hunt down impa since she said shes gonna search for a way for us to help zelda, bc i wanted to!! i was eager to help her!

i fully hoped and kinda expected that thered either be some kind of dragon dungeon (think, the water dragon from okami) tho that would be difficult since you can get items from her so i ended up thinking before going into the end thered be a mission with impa (or at least given to you from her) where she found answers in ancient scripts (that she told you she would look through) and that you need to find a special lil thing that will help zelda undragonfy, like some sort of ultra secret forbidden enigma stone able to reverse dragon transformations kinda deal (golden opportunity to make you go and talk to the yiga bc they might know or even own some ancient texts) that youd keep in your inventory until the very end and after you kill dragondorf (pretty mortal for becoming an immortal dragon huh) you take it out and use it, undragonfying zelda and ending in a similar epic falling and paralel to the beginning way

... and instead impa stays in the house and only has a few repeating dialog boxes and does nothing and you cant do anything bc in the end you just get randomly teleported (and stripped of your clothing AGAIN) into some weird ethereal plane somehow?? with the ghost of long ass dead sonia and apparently not as gone as i thought rauru (seriously i felt sad when he went poof at the end of the tutorial but i guess i shouldnt have) awkwardly blasting dragon zelda with some magic tm and its all reversed no problem (heck me for caring i guess) turns out helping her was killing an evil guy we never really knew and mineru just kinda says lol its bc time and light magic i guess lol as an explanation

like i really wanted to go and help zelda! i was motivated to do it and spent HOURS trying to find impa again but i wasnt allowed to do anything bc zelda gets saved by some deus ex machina bs in the end anyway, what a fool i was, of course killing the evil guy is the solution to everything >:( (and no i dont care if its meant as in uwu sonia and rauru wanted to help one last time uwu bc it doesnt change how unsatisfying it was to watch it all just kinda happen)

--point two is just how much totk feels like its trying to REPLACE botw instead of being a sequel, its not building on anything of it its ripping out the fundation and building its own thing in its place, like i was so excited to see what happened to the titans, and all the sheikah tech what they mabe had done in all that time now that theres a tech enthusiastic girl as the head of the monarchy, maybe even find out more about them and instead its just all ... gone with not explanation? theres isnt even a LAME explanation, its just gone?? you never find out what the ancient energy actually was, and why there were concentrations of it in the regions with the ancient furnace (well heck it didnt even have anything to do with ganondorf actualyl bc that would have been too interesting) bc that was so intrigueing?? like yeah where DID it come from and why is it there ?? and oh suddendly hey look theres an even MORE ancient and even MORE advanced civilization thats way COOLER and BETTER than the ancient sheikah now, they also built stuff everywhere and have been here ALL ALONG cant you see its everywhere!! and its the only thing everyone cares about all of the sudden, all evdidence of the ancient sheikah tech was scraped of the earth so there literally only being some guardian parts on top of the hateno lab feels like an oversight now bc everything lese was to thourohgly wiped of the map- for no reason even?? like im totalls fine with it being useless and not working anymore but .... why remove it like it was wiped from history?? and then they have the gall to mention the happenings of botw like, twice in the entire game but still just give you the most basic summary of it mentioned on a sidenote with again not even a hint what happened to all of it

wouldnt there have been the golden opportunity to use it to access the new parts and map points that changed?? like a shrine thats fallen into the underground, an access to caves and the underground in the broken and collapsed elevator tube of a sheikah srhine?? maybe even a broken interior of an old shrine, like the room you get put into with the puzzle and where the monk once were broken and half overgrown in the udnerground? some left over construction site where you can see oh thats how the ancient sheikah got all that tech underground, bc they all had access to it and built it there to then rise up when its needed? maybe even making use of the old sonau sites since they frequnetly built their srhines within those ruins?? that the ancient sheikah found em and put the ruins to use? to research it and built their own stuff from it? it wouldnt have to have any focus, literally just part of the enviroment even

really everything totk does is like -forget botw ever happend, look how much cooler and better i am, who cares about sheikah stuff sonau are the new cool guys that came out of nowhere but now apparently have been everywhere all along actually-

i LOVE botw and with it feeling much more like its attempting to replace botw instead of building its story and world further every reference to botw i found felt like a slap in the face instead, oh look where the shrine of life used to be isnt even a hint left of sheikah tech somehow, and also right under it is the lake of healing filled with sonau structure bc ACTUALLY they were here FIRST bc they are so cool omg you guys

dare i say it feel a little like they wanted to make an entirely different version of botw basically, but wanted to reuse the map and models so they just said yeah uhhhh its totally a sequel yeah yeha that makes sense, its not erasing botw and doing essentiall the same thing again but bigger cooler and better (tm) its just uuh a ...sequel ye.

#ganondoodles talks #totk spoilers #totk #sorry i got longer again #also what was calamtiy ganon then #if it was ganondorf trying to resurrect himself outside of the seal then ... wouldnt he ... mention it or something or anyoone no?#also dont like how all the teasers made it seem like there was soem great mystery as to how gan got down there-#.. actually how DID he get down there thats a pretty weird place to go to war too #-aynway and WHO did this to him omg he looks in pain maybe theres more to it alll omg #and then its just ... yeah cool guy tm sealed him #oh ... ok #why would you tease us with a good time then bring stale chips and an empty beer can you have brought with you three times before already #like i get we love to read more into stuff that isnt there #but they were oh so vageu with the teasers and stuff we got to see when its all just #the same schlok but even more tasteless than before

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