Okay Little Women is one of those "childhood books you read and reread and love" for me. And hot take, Amy has always been one of my favorites and she gets a bad rap. And hotter take, even though Florence Pugh was way too old to play a convincing 12 year old, I really think the 2019 version was absolutely right not to cast a child (aka the 90s version of the film and Kirsten Dunst) in the role.
Because like. The novel spans a decade or so, counting both parts. And when it starts, Amy, while the youngest of the sisters… is 12. Jo is 15. Meg, the eldest, is 16. (Beth is 13.) Amy is the youngest, but not drastically. In the 90s version, Kirstin Dunst did a good job and all, but she's a child surrounded by adult actors. This makes Amy in turn seem even younger, and especially since Amy spends much of the second half of the book a) away from the rest of her family and b) marrying Laurie, having her be a literal child for half the film is… weird. Right? She's only 3 years younger than Jo. And yeah, there is a huge difference between a preteen and an older teen… but when you cast, as in the 94 version, an 11 year old and a 23 year old to play sisters three years apart, and, as the "childhood" part of the story only spans about a year of time before jumping 3 years to Meg's wedding (and then hanging out in Concord for another few years before Amy and Jo take off to pursue their careers/Art, which movies universally skip because they're pretty boring chapters of Meg Being A Newlywed and Look How Great Amy Is)… my point is, it's actually kind of nuts to insist that Amy and Amy alone gets a "child" actor and an "adult" actor, since she's supposed to be basically the same age as her siblings (only a year younger than Beth, who doesn't get a child actor!), and for most of the novel she's in her late teens anyway. The 2019 adaption did it right, fight me.
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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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OK VERY VERY UNPOPULAR OPINION
Look, I LOVE KOKO (from the Ninjago movie) I REALLY DO
but I feel like Misako haters who in the same breath adore Koko forget the fact that Koko literally dated and LAYED THE evil warlord that destroys everything and harms innocent lives - all while you know, being Lady Iron Dragon….a warrior who’s supposed to protect the innocent and what not….
AND THEN when she’s raising Lloyd, according to her, she would always tell him to not be ashamed of who his father is…..?
LIKE GIRL LMAO IM SORRY BUT THIS WOMANS MORALS WENT ALL THE WAY OUT THE WINDOW 😭😭😭😭 LIKE WDYM YOU FELL IN LOVE AND DID THE DEVILS TANGO W THE MAN WHO DECIMATES CIVILIZATION AND DESTROYS FAMILIES?!() SHE REALLY THOUGHT SHE COULD FIX HIM?!?) GIRL WHERE ARE YOUR MORLAS THIS MAN IS EVIIILLL😭😭😭 AND THEENNN WHEN THIS MAN CINTINUES TO BE A TERRIBLE FATHER AND CONTINUES TO TERRORIZE AND DESTROY THE CITY- ACTIVELY PUTTING HER AND LLOYD IN DANGER- SHE STILL TELLS LLOYD TO NOT BE ASHAMED?!??
KOKO. YOU CANNOT BE FR RN 😭😭😭😭 WHY TF WOULD SHE WANT HIM TO NOT BE ASHAMED OF HIS AWFUL FATHER- JUST TELL HIM “YEAH YOUR DAD SUCKS NEVER BE LIKE HIM-“ LIKE LMAOO
And where I’m going w this is that yall despise misako for leaving Lloyd at Darkleys and paint her as a terrible mother and what not - but then turn around and praise and adore Koko like yalll Koko is NOT perfect either 😭 this woman also did awful mistakes and acted dumb by tellling Lloyd to not be ashamed of who his EVIL FUCKING father is 😭😭😭
And Ik like maybe shes saying that to comfort him and make him feel like Garmadon being evil isn’t his fault, cuz if you say “YOU SHOULD BE ASHAMED OF WHO YOUR FATHER IS” sounds very harsh and makes it sound like Lloyd has fault in that. But the way Koko phrases it sounds like she spent her life trying to convince Lloyd to not hate his father or smth and only then snapped at Garmadon when he took over the city. Like if my husband is some evil warlord taht constantly puts my city and friends in danger I wouldn’t try to convince my son to not hate his father bruh 😭 I will not defend that man just because he’s my sons dad 💀 a bad person is a bad person Koko you should have been mad from the start bruh 😭😭
So again- my point is- I love both missko and Koko but the amount of hate misako gets compared to Koko is super annoying and I feel like I need to remind yall that Koko isn’t the perfect angel yall act like she is 😨
so stop contradicting yourselves!!!
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kumiko is SO FUNNY. she sees her ex after 30 years, she’s like okay, let me read to him extremely emotional and beautiful letters of his dead sensei to help him find his strength and courage back and after that, let me call that guy who almost killed us both that one time because hey, water under the bridge, i think it would be good for them to punch each other in the face. AND SHE WAS RIGHT!
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