Michael Eustice

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And Josh, why did we do this? He I had
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a dream last night.
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Apparently I had a dream.
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About what I was speaking in a different language and
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woke me up. I don't know what language I was speaking,
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but I knew the entire play. Well play, I don't know. Hey, hey, Josh,
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why do we do this? Wait? Well, that's why we're here.
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We are doing another episode, and we have someone that
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is quite wise in the ways of why we're jumping
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straight into it? Do you want to talk about? What's
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the love? Your furniture looks good? All right, let's move on.
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All right, how's your boyfriend? He's great? Actually, okay, thank
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you very much. Thanks for chat.
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Is done, Peter, So we are going to jump I see.
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I just want to clarify last episode.
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It's another Peter. It's a different and we have the
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giggles from the lady doth protest too much. We have
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Michael Michael Studio, a director, actor, I want to see, president, producer, producer,
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would be fair, chairman of a scallywag, a general all
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around good black Yeah, I would say, yeah, a figure
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of Adelaide theater and a figure of amateur theater, which
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is what we're all about and I've known you since
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I have been eighteen years. It's yes, yes, they have.
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Was that Titus?
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Yeah?
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No, no, no, that was MC the Scottish Playes of course,
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Blue Suit? Yeah? Who did that show? The Guild. I
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had known Michael for a very long time. I would
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say formative. I was twenty eleven. Yeah. Are you good
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with dates? Ones that are important to me? Yeah?
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Yeah, Well let's go back to because all right, I
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just got to say this.
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Yeah, he beat out, He beat the Shakespeare boy out
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of me.
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Shakespeare boy, I remember Shakespeare?
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What does that mean? That was when I was well Brandon.
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I used to go and see a few of the
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shows of the Guild and we we.
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Gently and and then formally.
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Referred to Josh as Shakespeare boy because everything was.
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What I was doing. It still is, isn't it.
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Oh?
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Fuck?
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Remember when Josh came to audition for the show for
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the Scottish play. Yes, we told him that at the
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audition and asked him, I think you were doing the
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speech from Julius Julius Caesar.
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It was yeah, lend me not that I remember that
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moment at all.
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And I remember stopping Josh and saying and being really
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honest and the saying, we really like you and we
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think you've really got something special to offer, but we've
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got a crack through this crust.
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Will you play with us? And Josh instantly.
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Played and we worked with him in that audition and
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he delivered something that blew our socks off, and we
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cast him in.
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What part did you gain? I got Malcolm because Brant
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would have been I'm assuming he was.
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He was the one.
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He was the guy that got beheaded.
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One night, just after just after his dad.
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The cabbage, but I think Bran might have been a
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bit concussed from the sword facus he walked on.
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So it's just for the curtain call immediately it's a
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wonderful performance.
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The context of that is Michael was responsible for beating
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some of my bad habits out. Really, there was teaching,
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right teaching.
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We knew that it's a brave thing to do with
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someone in an audition who you worry that you might
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insult or hurt. But we saw something in Josh that
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we thought was pretty special and thought that it was
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worth the chance. And I'm glad.
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I'm glad we did well. You guys have worked together for.
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Many times now, almost a decade now. But you've got
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a great following of actors that follow you and I'm
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assuming you call them up and they just say yes, right.
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If generally, if they're available, and the part suits and
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they like, I mean, I love an actor who will
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say I'd love to but please please let me read
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and consider the text first. Yes, you want it to
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be a good thing for everyone, but yes, I'm I mean,
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I love the concept of troop. And for example, at
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Red Phoenix, that's what we have tried to create, is
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that we have a pool of actors with whom we
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work regularly and we build a journey of learning and
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discovery and creativity together and people moving in and out
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of that. But many of the people in our shows
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have performed in multiple shows of this.
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So what do you think about Red Phoenix that fosters that, Like,
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what do you guys do so differently that actually fosses
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that and makes that happen.
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Well, we embrace the concept of that family a family.
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We embrace the concept that everyone wants to be the
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very best they can possibly be, and the only way
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you can do that is by creating a supportive, collaborative,
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celebratory environment to work within. And then we enforce what
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we call the no dickhead policy.
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Uh huh, I like dickhead policy.
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It's something we enforced quite strongly. We will not tolerate divas,
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We will not tolerate unsupportive behavior, problem children. It doesn't
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matter if you're the greatest actor in the world. If
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you don't want to be part of the team journey,
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then we're not the right place for you. So have
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you had to say so, have you had to enforce
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the Yes, we have on a number of occasions done
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that that you're libby.
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It's generally generally me yeah.
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But it's not done in a horrible way. It's done
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in that very gentle conversation.
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Think that we're not yelling with the vibe that we're
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trying to achieve.
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So you've cast somebody and had to go through that
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difficult process.
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Of tech and creit cast.
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Yes, yeah, wow, Okay, because just as important, right, they
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can be just as damaging and just to that's.
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The other thing. We believe that everyone who's working on
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the production is as important as each other. We're all equal.
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We just have different tasks and joals to perform. And
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it's why one of the reasons when you come and
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see a red find show. When you look at the program,
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for example, you will see biographies for everyone in the
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tech team what's beautiful, and in the creative team as well,
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because we know that the person who's running the fallert spot.
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Is just as important as the person is well, if
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they don't do the follow spot, then doesn't happen. So
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where did theater and the passion start for you?
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Because you you just use passion and love and drive
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about theater. Where did it start for you in your
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younger days or was it when you're.
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A kid, or did start later on? I was just
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a kid. There are a couple of key trigger points.
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Uh huh.
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Tell me.
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The first was when my.
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Grandmother took me to see I'm at the Scott Theater,
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a Bunnet Children's Theater production of Peter Pan, and I
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saw D. D. James. I was eight years old. I
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saw DEDE. James, the wonderful Ladelaide actor D. D. James
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flies through the air as Peter Pan, and I said
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to Grandma, I want to do that.
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So two questions, One, how did they fly through the
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were there unlucky?
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Well in those days you could change anyway. Health and safety.
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As a ten year old boy, I was pulling the
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ropes in the fly gallery.
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Wow, now you have to have a mechanist license. And
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the second question is I've never heard of this.
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Bunyip Theater like bunyanp Children's rose during the late nineteen
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sixties into the seventies. It was a children's theater school
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and company.
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It was a.
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Predecessor of theater Bugs. For example, it was a big
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school I would go to every Saturday morning we would
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do dancing, voice and dance lessons, and every school holidays
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we would do productions, two shows of days for a fortnight.
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And was there one person who drove that like?
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There were two people my mentors and theatrical heroes, Tony
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Roberts and Marie Thomas Etti who started a Bunnet children's citter.
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They were extraordinary teachers. And I'm not alone amongst many
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people of my vintage and thereabouts who considered them heroes
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about craft.
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What was the big thing that they taught you how
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to do? What made them heroes?
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They gave you for a start was the challenge. The
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beginning challenge was you cannot succeed in theater as a
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performer unless you know how to do everything. So you
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might be able to do some things better than others,
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but you need to do everything. So my first job
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was selling programs in the foyer, Lucky programs twenty cents.
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I graduated to turning revolves on the Scott Theater stage.
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I then became a got to use the fall spot.
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I then became an assistant stage manager. I went through
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all these elements, so I learned to paint sets, I
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learned to stitch costs.
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Is that because the back of house more attracted you?
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Or no, you're bloody lucky to be on the bloody
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stage Marie Thomas. That he used to say. And they
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believed that you needed to learn these crafts to be
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a competent perfore.
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To appreciate what everyone else was doing.
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What all the elements are that enable a production to sing?
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That's what they brought to it.
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So how would you migrate over onto the stage?
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You would be invited?
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Oh, okay, you worked your way up.
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You worked your way up, and you went through the
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classes and they quickly identified the children who had the
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aptitude and the drive and the disciplines. But they made
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you earn it still by contributing to the whole production.
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So what they were really instilling in us is, which
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is the philosophy of thinter bugs as well, is it's
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about learning skills for life, things that are going to
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enhance your capability to succeed and enjoy life in all
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its aspects.
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And also be able to manage, you know, being uncomfortable
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at some point.
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Like absolutely, the resilience pieces are incredible. But going back
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to the point you made, and which is I'm going
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to sit back on it because simple circles into this
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about what those moment points were getting into theater. Not
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long after that, I started folk dancing, believe it or not,
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in Darwin, and you from Darwin I grew up in
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my first ten years basically were in Darwin.
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Oh wow.
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And I started some folk dancing and I had watch
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at the time felt like an honor and perhaps now
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might be considered a curse. I folk danced on stage
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in the Darwin Amphitheater in the Darwin Botanical Gardens with
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a certain three legged man named to Jake the Peg.
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Oh who is this person? Paris?
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And he was an absolute hero of mine at that time,
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and so I thought I.
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Was a coming out about it in a week I
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thought I was going to be a dancer, folk dancer. Well,
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how did you get into folk dancing?
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That's because when we after deciding I love theater, I
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wanted to do something creative and that's the only opportunity
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which existed, and then cyclone Tracy came.
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Along, yes, and we basically lost.
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We're back in it's a long time ago now, and
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we ended up in Adelaide and I said I want
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to do something I didn't know and I was a
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very hyperactive child that may surprise you. And my mum
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saw this little lad in the paper acting classes for
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children by Children's Theater.
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And where were you living at the Teacher Gully Teacher Gully, Okay.
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Was ten years old and every Saturday morning I'd hop
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hop on the bus and I'd go into the city
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and we'd go to classes which were in the Shultz
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Building at Adelaide University.
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Nine Philosophy floor.
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And all those many years later, when I did my
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BA in Educational Theater at Adelaide University, it was on
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the eighth ninety.
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I know exactly where you are. That would have been
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a really amazing moment where you kind of went, oh,
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it's kind of like It's done a full circle.
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Did Tony Roberts to Frank four? You never played the
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sport though, Yes, I did. I played a lot of sport.
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I I played a lot of hockey. I played a squash, cricket, judo.
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So you were active, active, you were. I was always
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someone who loved sports. I the sport I was best
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at was judo. But the sport that I loved most
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was cricket.
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So cricket. I what do you like about it? God's
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gifted's religit? Oh, God's move on? Got married? Yeah? Did
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you really? How did you get married?
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The second of February nineteen ninety one.
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Wow? Date, that was a good time.
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What was a woman? She had a fabulously beautiful dress
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and which won't surprise you. No, it was a thirty
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eight degree day and we sweated our way through.
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Oh wow? And where was the reception in the Bradman rooms.
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At the Adelaide Over?
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Oh my god. Okay, you're a cricket three, which.
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No longer exists. But because of the new standard. And
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throughout our wedding ceremony, which was under the Morton Bay
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figs at the northern end of the ground, there was
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a game on the number two at the number two
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ground behind the main stadium, and throughout our wedding occasionally
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here how.
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Would you would have loved?
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Indeed? Yeah, names on the scoreboard.
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Okay, So you've got this education, You've got a lot
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of mentors. How does that feed into how you mentor
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the young kids that you are currently in charge of? Yep?
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At theater? Bups?
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Okay, because what's your philosophy when you're running that? I
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believe that pretty much every success I've had in my
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life and my career, I've had a strange career journeys.
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I spent twenty years in corporate, in banking and insurance
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along the way, and everything I've ever done and been successful,
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and I believe I can track back to my time
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as a child studying theater. Oh, all those skills you
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learn that leadership skills, problem solving skills, project management skills,
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self discipline, team building, keep your communications skills, presentation skills
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that they're so they set you up for success?
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And how do you impart that onto the kids? Though?
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Yes, well that's if you train people using theater methodologies
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at acting, singing, dancing, using your brain to understand and
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interpret text to build character. You were automatically to be
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working on shows, to have the disciplines and the through
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line and perseverance to create and perform. Those skills are
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being built in a way that you will not find,
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I don't in the same holistic abundance that you'll find
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through nearly any other learning or creative or physical activity.
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And that discovery for me was when I first joined
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took a corporate job back in nineteen ninety six. I
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think it was zol and I it was a job
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on the telephone, so I was doing tech support for
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Optus Vision TV. And within six months I was in
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a leadership role, and within twelve months I was in
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a senior middle management role. And I was going to
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see your leadership roles. But when I joined the job
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on the phone in the course of contact center, because
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I believed I had no skills, what did I know?
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I only know stuff about theater. I don't know anything else.
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And very quickly I learned that actually I had a
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vast range of skills set me up for success in
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leadership and people development and learning and development roles, and
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that because I know that that's the way I work
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with my own team and my own teachers to understand
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that if we are effectively sharing the learning of these
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skills with our students, they will be developing and growing
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in a way which is going to set that up
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for success and happiness as well.
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Have you had any challenges along the way?
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What do you mean by challenges?
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So? I mean we theater bugs had to go through COVID.
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Yes, was terrible, It was a nightmare.
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How did you overcome that? How did you read?
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Because you only took over the bucks in twenty eighteen, right,
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so then COVID came in twenty nineteen, So you just
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bought this business.
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Well, yeah, fine, it was a little bit more distance
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than that. When look, I knew the business. I started
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working in the business in twenty seventeen, so I had
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a fairly good understanding of the business, and I knew
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what needed to be done to prepare the business so
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that if bad times came that we had a chance
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to proactively.
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And we didn't quite.
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Get there in terms of where I wanted to be,
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but we had done enough so that when COVID in
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essence shut us down, we quickly as space Cadet Marshall
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would like to say.
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Pivoted to some Miller.
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That pivoted to some video class work, So about twenty
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five percent of our classes went.
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On to Wow, well that's clever.
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Well, we had Vic Morgan working for us at the
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time and she was amazing in helping us set that
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up and and.
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What the perfect thing to do during COVID to keep
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the kids simulated.
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And so during the first shutdown that that worked and
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we were It stopped us from losing the business the
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second time when we were shut down, but the density
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restrictions were so strong that you could only have seven
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kids in the whole of the time, which means you
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were just going to lose money by operating. It was
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cheaper not to operate. By then, the kids had got
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so over online because of the that's what they're having
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to do school every day. Yeah, and so that was
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a disaster. Yeah, we were moments. We were very close
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to not having a theater bunch anymore. So I used
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to get very when I'd see people chips have been
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champagne in the backyard, and it's like, isn't great we
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don't even have to work and I was working.
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I feel the pain. I was the same.
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I worked all through but lucky that I was, but like, yeah,
355
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it was. The war was horrible anyway, it did the impact.
356
00:19:58.640 --> 00:20:01.480
Well, I'm kind of I want to unpack here because
357
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I feel like your passion for theater kept going. Yes,
358
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and it didn't really nothing hit that at all.
359
00:20:08.480 --> 00:20:10.720
No, no, no, there's only one choice to keep going.
360
00:20:10.759 --> 00:20:13.480
And in fact, we were the first Red Phoenix with
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the first theater company in South Australia to put up
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a show coming out of that first COVID lockdown. How
363
00:20:19.559 --> 00:20:22.880
I remember that it was a Penis spider. No, no, no,
364
00:20:22.640 --> 00:20:29.079
it was the promenade shorts. Oh, Penis spider. Yes, that's right.
365
00:20:29.160 --> 00:20:31.119
I know what you're saying about. For the people who
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don't know and who are listening, I know, I did
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a short about a spider that causes directions and here
368
00:20:38.480 --> 00:20:40.079
we are talking about Penis again.
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And it's a long story.
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I brought that one up. That was again.
371
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It was What happened was the density restrictions meant that
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we were at holding through the time. We could only
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get twenty people into the theater and we knew that
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you couldn't possibly survive and cover your costs with twenty people.
375
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And Oliby and I were miffed about this, and I
376
00:21:01.720 --> 00:21:04.039
remember once we're the way through a bottle of wine
377
00:21:04.079 --> 00:21:06.400
and we literally said to each other, let's stop winging
378
00:21:06.440 --> 00:21:07.480
about what we can't do?
379
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What can we do? Well, that's one point your problem
380
00:21:11.599 --> 00:21:15.559
solving ability to just be like, fuck it, it's got
381
00:21:15.599 --> 00:21:17.400
to be a way. What are we going to do? Then?
382
00:21:17.640 --> 00:21:21.000
And I really appreciate that because you bring like for
383
00:21:21.079 --> 00:21:22.759
the rest of us that we're like, how the fuck
384
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is this going to work? You're like, no, no, we
385
00:21:24.799 --> 00:21:25.440
figured it out.
386
00:21:26.559 --> 00:21:30.519
Let's go Yeah, that's right and just and it actually
387
00:21:32.000 --> 00:21:36.079
Liby and I right from you know, Liby my wife, Yes,
388
00:21:36.240 --> 00:21:40.880
right right from be when we first met, and we
389
00:21:40.920 --> 00:21:43.279
even had a sort of reading from We Need the
390
00:21:43.319 --> 00:21:46.359
Pooh added our wedding. It was always about how do
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00:21:46.400 --> 00:21:52.400
you turn moment's adversity into success? Yes, and that's one
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of our love philosophy.
393
00:21:53.359 --> 00:21:57.119
You've done that. I feel like you've even with Red Phoenix,
394
00:21:57.200 --> 00:22:01.000
like getting that off the ground and then working out,
395
00:22:01.039 --> 00:22:04.440
all right, we need a space and then pivoting from
396
00:22:05.000 --> 00:22:06.960
all right, the space isn't there anymore? What are we
397
00:22:06.960 --> 00:22:08.119
going to do? And then we're.
398
00:22:08.200 --> 00:22:11.200
Because Red Phoenix started in twenty sixteen.
399
00:22:11.279 --> 00:22:13.839
Yeah, Titus and donas was your first show? It was,
400
00:22:13.880 --> 00:22:17.880
but the idea was it came out of the Burnside Players, right.
401
00:22:18.039 --> 00:22:21.279
Yeah, Well Titus didn't, but Red Phoenix did.
402
00:22:22.359 --> 00:22:26.200
So tell us that story, which one how Red Phoenix started. Well.
403
00:22:26.319 --> 00:22:29.680
We Liby and I joined the board of Burnside Players
404
00:22:29.920 --> 00:22:32.359
very very late in its day too. We were asked
405
00:22:32.400 --> 00:22:34.559
if we could come along and help them because they
406
00:22:34.599 --> 00:22:38.559
were basically fading and dying. We did a production of
407
00:22:39.640 --> 00:22:44.240
Who's Afraid of Who? And Tracy Walker Barry Hill director, Yes,
408
00:22:44.680 --> 00:22:47.279
Darry Hill directed it. It was a very very good show.
409
00:22:48.200 --> 00:22:49.839
But out of the back of that, Libby and I
410
00:22:50.000 --> 00:22:53.480
realized that we did all the work to make the
411
00:22:53.519 --> 00:22:57.160
show happened and for the company to survive. With us
412
00:22:57.200 --> 00:22:58.759
doing the work, we would never get to do any
413
00:22:58.759 --> 00:23:01.559
creative work, would only be doing that part of it.
414
00:23:02.119 --> 00:23:04.640
And so we tried to enlist other people.
415
00:23:04.920 --> 00:23:07.640
Did they not have a committee that most.
416
00:23:07.440 --> 00:23:10.000
Of the committee had subsided? There was? It was. It
417
00:23:10.079 --> 00:23:13.519
was all but dead when we were invited along, and
418
00:23:13.640 --> 00:23:16.359
after a while we realized that without the other people
419
00:23:16.440 --> 00:23:19.920
we needed to make it survive, it wasn't going to work.
420
00:23:20.039 --> 00:23:22.799
So we basically mothballed it. There was there was some
421
00:23:22.839 --> 00:23:25.680
money in the bank, a lot, and we put it
422
00:23:25.680 --> 00:23:28.960
in the mothball ax and we put it aside. And
423
00:23:29.039 --> 00:23:31.279
so maybe someone will come along one day and say
424
00:23:31.599 --> 00:23:33.200
I'd like to start a hit the company, and we
425
00:23:33.200 --> 00:23:36.359
could say, look, here's one in a box. And then
426
00:23:37.240 --> 00:23:40.200
a couple of years to what do you mean by mothball, Well,
427
00:23:40.200 --> 00:23:44.119
the company with the company, the constitution, the company, everything
428
00:23:44.160 --> 00:23:44.839
stayed and stopped.
429
00:23:44.880 --> 00:23:48.519
The bank, accountside.
430
00:23:46.839 --> 00:23:52.599
Planes all just kept frozen, frozen, but not killed. Yes,
431
00:23:52.720 --> 00:23:56.559
so we didn't dissolve the company. We just kept it
432
00:23:56.559 --> 00:23:58.880
there because we figured that whilst we weren't the right
433
00:23:58.920 --> 00:24:01.039
people to do it this time, maybe at that time
434
00:24:01.119 --> 00:24:04.680
maybe someone else could come along. And then no one did.
435
00:24:05.079 --> 00:24:09.119
And then a few years later we thought we'd like
436
00:24:09.200 --> 00:24:10.880
to start a theater company. And we thought, well, wait
437
00:24:10.920 --> 00:24:13.000
a minute, we could do this. But by then all
438
00:24:13.039 --> 00:24:16.799
the ties with the Burnside Council and the venues had gone.
439
00:24:17.559 --> 00:24:20.839
There was no relationship with the area anymore. So we
440
00:24:20.880 --> 00:24:23.640
thought what can we do, and said, well, let's create
441
00:24:23.680 --> 00:24:28.759
our own theater company. But in recognition of it's where
442
00:24:28.799 --> 00:24:34.480
it came from, we will call it Phoenix. And as
443
00:24:34.799 --> 00:24:38.079
so the name of Red Phoenix is a reference to
444
00:24:38.359 --> 00:24:43.240
our history, although we're a completely different company. And then
445
00:24:43.279 --> 00:24:46.240
we literally just went through business consumer affairs and all
446
00:24:46.240 --> 00:24:49.599
the legal proceedings to change the name formally to Red
447
00:24:49.640 --> 00:24:51.839
Phoenix Theater and then we kicked it off. And with
448
00:24:51.920 --> 00:24:55.079
the production of Titus Andronicus, which I had been having
449
00:24:55.119 --> 00:24:59.559
a discussion with Roman Rushak about, yes, and that becas
450
00:24:59.640 --> 00:24:59.920
in it.
451
00:25:00.559 --> 00:25:03.440
I saw it, Josh, I don't remember you, I remember it, Yeah,
452
00:25:03.440 --> 00:25:06.519
I know you remember. And the two guys who got
453
00:25:06.519 --> 00:25:08.759
in the heads topped off they were great. The sons,
454
00:25:08.880 --> 00:25:12.319
yeah they were, Josh. I've not seen them since.
455
00:25:12.279 --> 00:25:14.400
Josh, yeah, yeah, I see them. A couple of josh
456
00:25:14.440 --> 00:25:16.119
is going to working with State Theater Company this year.
457
00:25:16.160 --> 00:25:16.519
Oh wow.
458
00:25:16.680 --> 00:25:20.839
Yeah. And with Titus, I started to do some research.
459
00:25:20.880 --> 00:25:22.920
I thought, wouldn't it be nice to in the program
460
00:25:23.160 --> 00:25:26.759
do some references to the history of Titus Andronicus in
461
00:25:26.799 --> 00:25:29.960
South Australia and I started to try and find productions
462
00:25:30.000 --> 00:25:33.039
and we quickly realized that in the four hundredth anniversary
463
00:25:33.119 --> 00:25:36.000
year of Shakespeare's death, but this was going to be
464
00:25:36.200 --> 00:25:41.920
the South Australian premiere of Titus Andronicus. Unbelievable really, yes,
465
00:25:42.279 --> 00:25:44.240
And that's where we know each other, then.
466
00:25:45.640 --> 00:25:49.559
No, we're not talking about anyway.
467
00:25:49.680 --> 00:25:54.799
That's where we came across our That's where we've got
468
00:25:54.799 --> 00:25:59.400
the idea that Red Phoenix would do Adelade premiers. That
469
00:25:59.440 --> 00:26:02.759
would be our niche yes, And we stumbled upon that
470
00:26:02.839 --> 00:26:06.759
really by accident and thought, well, a lot of companies
471
00:26:06.839 --> 00:26:09.440
struggle with putting on new work or work that hasn't
472
00:26:09.440 --> 00:26:13.279
been done. Why don't we think it's a reason people
473
00:26:13.400 --> 00:26:15.119
might not come. And we thought, well, why don't we
474
00:26:15.200 --> 00:26:16.680
flip it on its head and see if we can
475
00:26:16.720 --> 00:26:19.720
make it a reason for people to come. I think
476
00:26:19.759 --> 00:26:21.599
we've had success doing that.
477
00:26:21.880 --> 00:26:24.039
Was it hard to get the houses initially? Or people
478
00:26:24.039 --> 00:26:26.920
were interested? Because I think I would say that is
479
00:26:26.960 --> 00:26:30.960
a bit of an obscure show. We had people fainting,
480
00:26:32.160 --> 00:26:34.759
We had to stop the show. I remember that.
481
00:26:34.599 --> 00:26:36.359
The season sold out after two performance.
482
00:26:36.880 --> 00:26:37.240
Wow.
483
00:26:38.079 --> 00:26:39.359
Do you think that was Shakespeare?
484
00:26:39.599 --> 00:26:42.640
Yeah, yeah, yeah, I remember it being very It was.
485
00:26:42.559 --> 00:26:45.160
Four hundred years birthday of death, so he had to
486
00:26:45.160 --> 00:26:46.519
send along some audience for us.
487
00:26:46.680 --> 00:26:52.480
But Shakespeare, I remember like having to stop the show going, Sorry,
488
00:26:52.519 --> 00:26:56.039
someone's fainted, because it's just a marvelous moment. This young
489
00:26:56.119 --> 00:26:59.240
lad tell me about it. Well, there was blood everywhere.
490
00:26:59.359 --> 00:27:02.240
Many it walks up onto the stage and she's you know,
491
00:27:02.279 --> 00:27:05.799
she's been raped, She's got her hands have been cut off,
492
00:27:05.839 --> 00:27:10.400
she's got twigs and Marcia's house to tell the story.
493
00:27:10.440 --> 00:27:12.559
And she opens her mouth and blood pulls out of
494
00:27:12.559 --> 00:27:16.119
her mouth and the young lad in the second row fainted,
495
00:27:16.279 --> 00:27:18.599
Oh my lord, and we had to stop the show,
496
00:27:18.720 --> 00:27:20.960
and we were The show was stopped for ten to
497
00:27:21.000 --> 00:27:24.279
fifteen minutes, and in that time, the audience started spilling
498
00:27:24.319 --> 00:27:27.160
out of their seats, climbing up onto the drama blocks
499
00:27:27.200 --> 00:27:30.000
on the set and staring in rubbernecking at this young
500
00:27:30.079 --> 00:27:31.559
lag being treated on the floor.
501
00:27:31.960 --> 00:27:36.400
Oh my god, it was very tightus. That was performance
502
00:27:36.440 --> 00:27:38.680
I reckon. It was pretty early in the season.
503
00:27:39.119 --> 00:27:41.599
He wanted to come back in after interval, but the
504
00:27:41.640 --> 00:27:44.000
stage managers told him that perhaps this wasn't the right
505
00:27:44.039 --> 00:27:44.680
show for him.
506
00:27:44.920 --> 00:27:49.279
That was that Heather I remember her something similar.
507
00:27:49.440 --> 00:27:52.240
Fifteen murders, deaths, nine of them on stage.
508
00:27:52.799 --> 00:27:56.079
Wow. So why that was a heck of an opening
509
00:27:56.160 --> 00:27:59.359
to Red Phoenix. So wasn't it? Like? I just think
510
00:27:59.400 --> 00:28:01.279
about all the actors that were in that, like, it
511
00:28:01.400 --> 00:28:04.640
was just a beautiful cast and we're all in that
512
00:28:04.799 --> 00:28:05.519
dressing room.
513
00:28:05.680 --> 00:28:06.480
That's crazy.
514
00:28:06.720 --> 00:28:10.000
So that was the reason to choose that show or
515
00:28:10.240 --> 00:28:12.839
doing the show, and then out of that came things
516
00:28:12.839 --> 00:28:16.599
doing together. It was us wanting to start a theater company.
517
00:28:17.640 --> 00:28:25.079
It was Bromwin and her idea to produce Titus Andronicus
518
00:28:25.119 --> 00:28:25.880
in another.
519
00:28:25.640 --> 00:28:28.039
Forum, which didn't work, and we ended up.
520
00:28:27.920 --> 00:28:28.480
Taking that on.
521
00:28:29.400 --> 00:28:30.000
Was she in it?
522
00:28:30.079 --> 00:28:32.720
Was she in the show? No? No, she wasn't, but
523
00:28:32.799 --> 00:28:36.119
she's closely associated was closely associated with it. And a
524
00:28:36.119 --> 00:28:37.400
third thing that I can't remember.
525
00:28:40.079 --> 00:28:43.519
It was bloody and violent. Who does the posters for you?
526
00:28:43.720 --> 00:28:47.839
Because the posters are so really so good? Is he
527
00:28:47.920 --> 00:28:51.960
still doing that? Especially for that show? Doing my research,
528
00:28:52.039 --> 00:28:54.400
I just I love that. I've got that. I still
529
00:28:54.440 --> 00:28:55.519
have the poster of that.
530
00:28:56.039 --> 00:28:59.079
He's done everyone without on twenty two shows, and he
531
00:28:59.119 --> 00:29:01.000
has done twenty one of the poster designs.
532
00:29:01.079 --> 00:29:04.480
This is Nick, Yeah, because he's a crag during himself.
533
00:29:04.519 --> 00:29:07.359
Is he doing and he doesn't perform anymore? But you're
534
00:29:07.400 --> 00:29:09.559
writing is a marvelous performer and actor.
535
00:29:10.480 --> 00:29:13.880
I married a Russian girl to me, he did you
536
00:29:13.920 --> 00:29:15.000
bringing better? I don't know.
537
00:29:15.039 --> 00:29:17.200
I just it's cool.
538
00:29:19.799 --> 00:29:22.799
I remember it. I was like I love this.
539
00:29:22.839 --> 00:29:26.480
On Nick, and I would have marvelous times talking about
540
00:29:26.559 --> 00:29:29.880
the generation evolution of a poster design. And you know
541
00:29:30.160 --> 00:29:32.400
he's as a graphic designer, he's just he's as good
542
00:29:32.400 --> 00:29:35.799
as there is. And we had wonderful conversations which are
543
00:29:35.839 --> 00:29:40.880
great learning conversation for me about how a viewer's eyes
544
00:29:41.480 --> 00:29:44.880
drift across the poster. It's post design, and where you
545
00:29:44.960 --> 00:29:47.240
want the eyes to first be attracted, where you want
546
00:29:47.240 --> 00:29:48.680
them to move to, and where that you want them
547
00:29:48.720 --> 00:29:52.559
to finish. And it's an art form in its own right.
548
00:29:52.960 --> 00:29:53.559
I totally is.
549
00:29:53.559 --> 00:29:55.279
I mean, we do a lot of that stuff at work.
550
00:29:55.279 --> 00:29:56.880
There are lots of posters and it's kind of like,
551
00:29:57.279 --> 00:29:58.960
you know, it's fine for it to look pretty, but
552
00:29:59.000 --> 00:30:02.000
it needs the information, right, Like it needs to know yeah, yeah,
553
00:30:02.079 --> 00:30:04.480
the dates and how much and what the title is
554
00:30:04.480 --> 00:30:05.279
called and where it.
555
00:30:05.240 --> 00:30:06.440
Is that kind of stuff.
556
00:30:07.079 --> 00:30:10.480
Yeah, And so he still does your posters, yes, no, great?
557
00:30:10.599 --> 00:30:11.160
Oh wow?
558
00:30:11.519 --> 00:30:13.039
Is a wonderful, wonderful human.
559
00:30:13.519 --> 00:30:17.039
So what is the criteria apart from being not performed
560
00:30:17.079 --> 00:30:19.200
in South Australia before, what is the criteria in the
561
00:30:19.240 --> 00:30:21.519
shows that you do? Because I know that you've you
562
00:30:21.640 --> 00:30:24.400
seem to have and correct me if I'm wrong seasons
563
00:30:24.480 --> 00:30:27.799
that represent There was one whole season where every post
564
00:30:27.839 --> 00:30:28.799
involved a chair.
565
00:30:28.960 --> 00:30:33.599
And okay, that wasn't intentional, but it seemed to be
566
00:30:33.680 --> 00:30:38.279
like it was, however, wet. We did start with themes,
567
00:30:38.359 --> 00:30:42.839
or we've always I've always liked companies who and I've
568
00:30:42.880 --> 00:30:45.279
seen who will do a season of plays on a
569
00:30:45.279 --> 00:30:48.279
particular theme. Yes, And we wanted something that we could
570
00:30:48.319 --> 00:30:51.799
create a journey for and tell our new audiences a
571
00:30:51.839 --> 00:30:55.000
new company, that this is what you can expect if
572
00:30:55.039 --> 00:30:58.920
you come and see our shows. So we started on
573
00:30:59.000 --> 00:31:04.480
that concept of things you shouldn't talk about in polite company, politics, religion, money,
574
00:31:04.799 --> 00:31:07.920
and sex. And so each season we did a theme,
575
00:31:07.960 --> 00:31:10.200
one of those four themes, and that was our four years.
576
00:31:10.559 --> 00:31:13.720
So the plays had to be premieres. They had to
577
00:31:13.759 --> 00:31:16.359
fit the theme, yes, and then they had to fix
578
00:31:16.759 --> 00:31:21.319
fit our overall philosophy, which is that we want to
579
00:31:21.359 --> 00:31:27.640
do plays that engage audiences in conversations about relevant issues
580
00:31:27.720 --> 00:31:32.920
within our community and worlds and lives. And so that
581
00:31:33.000 --> 00:31:36.480
we loved doing a play that we know is it's
582
00:31:36.480 --> 00:31:40.720
not I don't mean provocative, but I do mean provokes conversation, yes,
583
00:31:40.960 --> 00:31:44.440
And so that our joy is making walking around an
584
00:31:44.480 --> 00:31:49.440
interval and listening to audiences discuss the topic of whether
585
00:31:49.440 --> 00:31:53.640
it be greedy families in inheritance or terrorism or.
586
00:31:55.079 --> 00:31:57.559
Hard is it to find a script like that? Do
587
00:31:57.680 --> 00:32:01.440
you read and read and read? Can read? You see lots?
588
00:32:01.599 --> 00:32:03.160
Do people recommend things?
589
00:32:03.279 --> 00:32:06.440
All of those three? We certainly read a lot. I'm
590
00:32:06.480 --> 00:32:10.079
constantly buying scripts, reading scripts. I have a collection of
591
00:32:10.599 --> 00:32:11.880
many thousands of players.
592
00:32:12.359 --> 00:32:13.920
And when you read them, is it coming it's in
593
00:32:13.960 --> 00:32:16.359
your head you can see it or I don't know.
594
00:32:16.519 --> 00:32:21.480
That's a interesting question because I don't visualize. I think
595
00:32:21.519 --> 00:32:26.759
feel here. So but in the same way as I
596
00:32:26.759 --> 00:32:30.559
imagine someone who visualizes as it's creating a sense of
597
00:32:30.640 --> 00:32:34.400
what the play is going to feel and sound like, Yes,
598
00:32:35.440 --> 00:32:39.480
and so that will either excite me or it won't
599
00:32:39.720 --> 00:32:41.599
from reading off the page, from reading off the pace.
600
00:32:41.920 --> 00:32:44.039
So take on what.
601
00:32:44.000 --> 00:32:47.400
I would call it an old, older script. Yes, national
602
00:32:48.720 --> 00:32:52.519
How do you approach that with your like? Do you
603
00:32:52.599 --> 00:32:54.880
let the actors try and work it out? Because you
604
00:32:54.920 --> 00:32:56.240
had a movement coach?
605
00:32:56.599 --> 00:32:59.640
Yeah, Lisa, Look, I had a very just because this
606
00:32:59.799 --> 00:33:02.640
is the play with Nationales very it depends on the play.
607
00:33:02.799 --> 00:33:04.960
But if we think about Nationale is a really interesting
608
00:33:05.000 --> 00:33:09.359
one because it's an expressionist place. And so I, whilst
609
00:33:09.440 --> 00:33:13.839
I love expressionism, studied it, worked with it going through university.
610
00:33:13.880 --> 00:33:15.799
I knew that most of the people I was working
611
00:33:15.839 --> 00:33:20.160
with wouldn't really have a familiarity with expressionism. So I
612
00:33:20.240 --> 00:33:22.640
literally went away in a caravan for a week and
613
00:33:22.680 --> 00:33:26.720
I wrote my directoral concept, which was thirty eight pages long.
614
00:33:26.960 --> 00:33:28.640
Oh my god, of.
615
00:33:28.640 --> 00:33:32.839
What you were So I had a very clear vision,
616
00:33:33.640 --> 00:33:37.200
in the sense of a plan of what the play
617
00:33:37.480 --> 00:33:41.720
could look, feel and sound like, expressed in a way
618
00:33:41.960 --> 00:33:44.759
which will help the people I was working with understand
619
00:33:45.119 --> 00:33:50.480
what I felt expressionism is in context with this play
620
00:33:50.880 --> 00:33:53.720
and how we would try and honor that through our
621
00:33:53.799 --> 00:33:54.839
creation of the play.
622
00:33:54.920 --> 00:33:58.960
Because German expressionism is a it's an interesting.
623
00:33:58.400 --> 00:34:01.880
It is the American express more into the realms of
624
00:34:01.880 --> 00:34:03.640
Eugene O'Neil and stuff like.
625
00:34:03.559 --> 00:34:07.079
That, because I think of Fritz Lang. Yeah, of course.
626
00:34:07.920 --> 00:34:10.760
And so I presented this to the team and I said,
627
00:34:11.320 --> 00:34:14.079
this is not to tell you what our play is
628
00:34:14.159 --> 00:34:18.079
going to be. It's to tell you how I think
629
00:34:18.119 --> 00:34:22.039
and feel about the play and the direction that we're
630
00:34:22.079 --> 00:34:23.360
going to start heading in.
631
00:34:23.719 --> 00:34:25.840
But you're the director, can you say this is what
632
00:34:25.880 --> 00:34:27.280
we were doing of course you can.
633
00:34:27.480 --> 00:34:29.519
Yeah, However, do you not work that way?
634
00:34:30.039 --> 00:34:31.599
Well? I believe that you.
635
00:34:31.599 --> 00:34:34.519
Need to set a target for the journey. In any
636
00:34:35.079 --> 00:34:39.639
performance production creation, you need to take a group of people.
637
00:34:39.679 --> 00:34:43.199
They have to know that there's something we're aiming for. Then,
638
00:34:43.239 --> 00:34:47.480
as a leader and creator in a directorial role, you
639
00:34:47.599 --> 00:34:51.320
need to have the courage to let go and for
640
00:34:51.440 --> 00:34:54.559
other people to bring their skills and their ideas to
641
00:34:54.800 --> 00:34:58.239
the journey, because ultimately what you end up will be
642
00:34:58.480 --> 00:35:01.679
far far better than all if all they did was
643
00:35:02.119 --> 00:35:05.599
what you said. Yes, yeah, So I use this in
644
00:35:05.639 --> 00:35:08.960
the creating a play. I use the same philosophy I
645
00:35:09.119 --> 00:35:11.000
used when I was working in the corporate world. The
646
00:35:11.039 --> 00:35:15.719
way to succeed is to surround yourself by creators, skilled
647
00:35:15.719 --> 00:35:19.000
people who are much much better at what they do.
648
00:35:19.119 --> 00:35:21.360
Then you could do it yourself and then let them loose.
649
00:35:22.159 --> 00:35:25.159
And do you find that Yeah, I'm thinking, like how
650
00:35:26.320 --> 00:35:28.000
that could be very scary?
651
00:35:28.159 --> 00:35:30.400
Yes, it is, of course it is, particularly if you
652
00:35:30.440 --> 00:35:34.559
have a very strong idea of vision of where you
653
00:35:34.679 --> 00:35:37.800
think you're going. But if you have that courage, you've
654
00:35:37.800 --> 00:35:41.719
still got to maintain the The ship has to be
655
00:35:41.760 --> 00:35:44.159
in good order. Everyone has to be disciplined to their
656
00:35:44.199 --> 00:35:46.320
role and doing what they meant to do for the
657
00:35:46.400 --> 00:35:49.480
right reasons. But if you're doing that, you're going to
658
00:35:49.599 --> 00:35:52.800
end up with something which is so much stronger than
659
00:35:52.840 --> 00:35:55.039
if you just tell people to go through tell do.
660
00:35:56.119 --> 00:35:59.039
So what do you do initially to set that up?
661
00:35:59.119 --> 00:36:03.320
Because you you use regular cast members, but you also
662
00:36:03.440 --> 00:36:06.320
always seem to it seems to me introduce new people
663
00:36:06.320 --> 00:36:07.000
into the fold.
664
00:36:07.320 --> 00:36:09.559
So how do you set up that? Like, how do
665
00:36:09.599 --> 00:36:11.079
you set that up? From word going?
666
00:36:11.079 --> 00:36:13.000
What're you just by all telling them what I just
667
00:36:13.039 --> 00:36:16.760
told you. I have a very strong concept. I will
668
00:36:16.920 --> 00:36:18.679
tell people this is where we're going, this is why
669
00:36:18.679 --> 00:36:20.159
I want to achieve this is why I want to
670
00:36:20.199 --> 00:36:21.880
achieve it, this is how I think we can do it,
671
00:36:22.039 --> 00:36:25.079
do it together. But I need you to tell me
672
00:36:25.400 --> 00:36:27.519
what you want to do, how you feel, and what
673
00:36:27.559 --> 00:36:29.719
you can bring to the table on the journey, and
674
00:36:29.760 --> 00:36:31.360
between us will work out what's best.
675
00:36:31.559 --> 00:36:35.159
Yeah, because you don't also always direct either, so you
676
00:36:35.199 --> 00:36:38.320
also hand over the reins to other directors, which I
677
00:36:38.360 --> 00:36:39.400
think is.
678
00:36:39.360 --> 00:36:41.920
That harsh or You're going I want to direct that,
679
00:36:42.000 --> 00:36:42.719
but I've got to.
680
00:36:42.840 --> 00:36:44.599
Oh, yeah, well sometimes you do have to give up
681
00:36:44.599 --> 00:36:50.119
a baby, yes, But the but you get good directors.
682
00:36:50.280 --> 00:36:51.360
We do get good directors.
683
00:36:51.360 --> 00:36:55.199
And the thing is that we feel we have an
684
00:36:55.280 --> 00:36:57.760
obligation if we're going to create a theater family, which
685
00:36:58.119 --> 00:37:01.679
we really genuinely believe Red Phoenix there, is that we're
686
00:37:01.719 --> 00:37:05.039
providing opportunities for everyone to grow and be the best
687
00:37:05.039 --> 00:37:08.280
that they can. And the best way for an actor,
688
00:37:08.639 --> 00:37:11.679
for example, to become a better actor is to work
689
00:37:11.719 --> 00:37:14.840
with a range of different theater directors with different styles,
690
00:37:14.880 --> 00:37:19.440
different approaches. So if it's just me directing every play,
691
00:37:19.519 --> 00:37:22.559
for example, they're going to learn how to be good
692
00:37:22.599 --> 00:37:25.599
for me and with me, but they're not going to
693
00:37:25.639 --> 00:37:27.119
be the best they really could be.
694
00:37:27.559 --> 00:37:30.280
And I think it's also good for I'm assuming for
695
00:37:30.559 --> 00:37:34.440
the theater company as well to actually have different stamps,
696
00:37:34.440 --> 00:37:37.199
different creative like.
697
00:37:37.199 --> 00:37:41.320
You've got Bob kimberin and just getting to work with
698
00:37:41.400 --> 00:37:44.400
him was just a dream. Bob was.
699
00:37:46.480 --> 00:37:48.000
He's a very fine director.
700
00:37:48.679 --> 00:37:50.599
Well, he's an educator cat in his own.
701
00:37:50.559 --> 00:37:53.360
Arieties, but worked as a professional director as a professional actor.
702
00:37:54.119 --> 00:37:57.840
He headed up the drama department after Frank Ford retired,
703
00:37:58.199 --> 00:38:02.400
and he was my men all for many years. And
704
00:38:02.880 --> 00:38:07.400
I am a better director because of the times that
705
00:38:07.519 --> 00:38:11.280
Bob chose to invest in me, and.
706
00:38:12.760 --> 00:38:14.760
How did you create pass Cross with him?
707
00:38:15.119 --> 00:38:19.519
Well, we were going to do a production. I think
708
00:38:19.599 --> 00:38:24.000
we started off with Two Brothers, wasn't it? And then
709
00:38:24.039 --> 00:38:26.079
The Man from Earth? And we started with the Man
710
00:38:26.079 --> 00:38:28.440
from Earth first, as were the first conversations, so even
711
00:38:28.440 --> 00:38:31.199
though they weren't done in that order. And Bob is
712
00:38:32.800 --> 00:38:38.920
extremely good creating movement in static environments, so sets. In
713
00:38:38.920 --> 00:38:41.800
this case, we had a scene which was set pretty
714
00:38:41.840 --> 00:38:46.400
much in a room on a couch, boring as unless
715
00:38:46.400 --> 00:38:51.039
that's moving. So there are some directors who think physically
716
00:38:52.079 --> 00:38:55.519
in terms of blocking stage. So I knew that Bob
717
00:38:55.599 --> 00:38:59.000
was a great person for this play because he would
718
00:38:59.000 --> 00:39:06.159
get those people up and in justifiable, realistic and interesting
719
00:39:06.199 --> 00:39:10.360
ways whilst remaining true to the story. And so there
720
00:39:10.400 --> 00:39:11.920
he came along and worked on that, and he also
721
00:39:11.960 --> 00:39:15.760
worked on Two Brothers with us, where we were.
722
00:39:15.960 --> 00:39:17.000
On stage the whole time.
723
00:39:17.039 --> 00:39:18.960
We were Yeah, that was we work together on that
724
00:39:19.000 --> 00:39:25.400
and again a wonderful script. So I try to if
725
00:39:25.400 --> 00:39:27.360
we have a play and we need a director for it,
726
00:39:27.559 --> 00:39:31.159
or try and match the director to the plane. Those
727
00:39:31.199 --> 00:39:35.760
different directors have styles which they are better at because.
728
00:39:35.880 --> 00:39:38.639
You the creative director like you and Libby work together
729
00:39:38.679 --> 00:39:42.079
and choose the shows and then get the directors. And
730
00:39:42.440 --> 00:39:43.760
is that how that works?
731
00:39:44.079 --> 00:39:47.239
Yeah? Sometimes directors will come with suggestions for place, but
732
00:39:47.400 --> 00:39:51.840
every script, every play needs to have been read by
733
00:39:52.000 --> 00:39:55.239
myself and Libby and we both have to love it,
734
00:39:55.800 --> 00:39:57.639
and then you need a director who loves it every
735
00:39:57.679 --> 00:39:58.280
bit as much.
736
00:39:58.400 --> 00:39:59.599
But don't you have other shows?
737
00:39:59.639 --> 00:40:02.800
I know you you want to do new stuff, but
738
00:40:02.880 --> 00:40:05.079
isn't there shows that haven't been done in Adelaide?
739
00:40:05.119 --> 00:40:07.039
That aren't you that you go? I want to do that?
740
00:40:07.239 --> 00:40:08.920
Let me do it? And I could you put in
741
00:40:09.159 --> 00:40:10.760
theater company to be able to do that?
742
00:40:10.840 --> 00:40:12.840
So did you mean a play that's already been yes,
743
00:40:13.639 --> 00:40:16.800
that you love and there are many plays, Yeah, there's
744
00:40:16.960 --> 00:40:20.199
several absence, several Shakespeare's, several string birds.
745
00:40:20.239 --> 00:40:23.519
But you force yourself not to be able to do them.
746
00:40:23.559 --> 00:40:26.159
I guess yes, we've created necessarily.
747
00:40:26.239 --> 00:40:27.880
I mean you could direct, well, you can change your
748
00:40:27.880 --> 00:40:29.800
mind for it, yes, but we won't.
749
00:40:30.559 --> 00:40:31.159
We don't believe.
750
00:40:31.320 --> 00:40:34.320
We've had this susion a number of times. Yes, it does.
751
00:40:34.400 --> 00:40:38.079
It forces you, It prevents you from doing some things
752
00:40:38.119 --> 00:40:39.960
you would otherwise love to do.
753
00:40:40.039 --> 00:40:43.360
But ingenuity it comes through, doesn't it.
754
00:40:43.360 --> 00:40:45.239
It forces you to go search correct things that you
755
00:40:45.239 --> 00:40:48.960
would never have thought of, and you find magic in that.
756
00:40:49.079 --> 00:40:52.920
Okay, I have a really big question, what's the proudest
757
00:40:53.400 --> 00:40:57.440
you've been with a theater production. Oh, that's a hard question.
758
00:40:57.599 --> 00:41:00.079
It's massive. I just feel like you're basically saying what
759
00:41:00.119 --> 00:41:03.039
was your best show? No, I'm asking when did you
760
00:41:03.119 --> 00:41:06.039
feel like you got that hit of Like, we've done it,
761
00:41:06.119 --> 00:41:08.239
We've cracked it. You don't have to answer it. But
762
00:41:08.480 --> 00:41:09.960
look there are several shows.
763
00:41:10.039 --> 00:41:15.599
Yea, And sometimes I know it's a big question, but
764
00:41:15.679 --> 00:41:19.639
I think if you're going to run it mean, I'm very,
765
00:41:19.760 --> 00:41:21.800
very proud of what we just achieved with a machine ar.
766
00:41:21.960 --> 00:41:22.159
Yeah.
767
00:41:22.440 --> 00:41:24.920
I think that we were very true to the ism.
768
00:41:25.719 --> 00:41:29.039
We had great performers, we created great moments of theatricality,
769
00:41:29.679 --> 00:41:32.000
and it was a piece that I think worked on
770
00:41:32.480 --> 00:41:37.000
multiple levels and was risky, which I enjoyed the risk and.
771
00:41:37.079 --> 00:41:40.440
Just the talent, like even just the sound and lighting
772
00:41:40.480 --> 00:41:43.639
alone in that show amazing, like so good.
773
00:41:43.760 --> 00:41:45.800
Like Yeah, that goes back to what I said before.
774
00:41:45.800 --> 00:41:47.760
You surround by yourself by people are really good at
775
00:41:47.760 --> 00:41:50.920
what and you had sure Lisa doing the movement. Lisa
776
00:41:51.079 --> 00:41:54.639
was the choreography, Sean Parkill the lighting, and Sean Smith
777
00:41:54.880 --> 00:41:59.960
the sound sound. And I had a very very strong
778
00:42:00.199 --> 00:42:04.000
idea of what this piece sounded like, and.
779
00:42:04.280 --> 00:42:07.639
Shaved knows how to do it sound brilliant.
780
00:42:07.880 --> 00:42:10.440
He took, He took, and I said, because the play
781
00:42:10.480 --> 00:42:13.559
is basically about society being a machine, I said, the
782
00:42:13.599 --> 00:42:17.360
machine must always be present except when it isn't.
783
00:42:17.519 --> 00:42:20.679
The same Sean that works for Gallian? Yes, yeah, okay.
784
00:42:21.119 --> 00:42:23.920
And so basically we had two and a half hours
785
00:42:23.960 --> 00:42:30.400
of soundscape and I brain dumped Sean. I had eight
786
00:42:30.440 --> 00:42:34.360
pages notes for him about what it felt like.
787
00:42:34.800 --> 00:42:37.599
And we had your week away. Right, it's a dump.
788
00:42:39.360 --> 00:42:42.159
But again the premise is, Sean, this is just what
789
00:42:42.239 --> 00:42:44.960
I'm thinking and feeling. It's not where we end up.
790
00:42:45.199 --> 00:42:50.440
But it's your guide. I hear it is interpret and
791
00:42:50.480 --> 00:42:52.679
he's so brilliant what he does. Or have you heard it?
792
00:42:52.840 --> 00:42:56.800
What would you like to achieve going forward? Are you?
793
00:42:56.960 --> 00:42:59.960
I mean you're obviously having meetings about where Red Fini
794
00:43:00.239 --> 00:43:03.360
is going to go. What's your ideas or do you
795
00:43:03.400 --> 00:43:04.119
not want to share that?
796
00:43:04.400 --> 00:43:09.880
Well, look, we don't have this, I'm already anyone. Look,
797
00:43:10.400 --> 00:43:13.519
Red Fenix is a love project. You know, we don't
798
00:43:13.519 --> 00:43:16.400
make any money out of it. We but we get
799
00:43:16.440 --> 00:43:20.559
to do what we really want to do, and that
800
00:43:20.599 --> 00:43:23.400
will be the evolution of it is as we want
801
00:43:23.440 --> 00:43:25.719
to do something new, that's what we will do.
802
00:43:25.760 --> 00:43:27.880
You get to control the playground exactly.
803
00:43:27.920 --> 00:43:29.880
And that's why one of the key reasons why we
804
00:43:29.880 --> 00:43:33.960
started with Phoenix, because we have been pitching scripts to
805
00:43:34.039 --> 00:43:37.519
other companies and they wouldn't want to do them because
806
00:43:37.559 --> 00:43:41.519
that didn't suit their world. Fair enough, that's their company,
807
00:43:41.880 --> 00:43:44.559
but I didn't want to direct the things that were
808
00:43:44.559 --> 00:43:47.719
being off to me. So Liby and I said, well,
809
00:43:47.760 --> 00:43:50.840
that's why we need to take burnside players out of
810
00:43:50.840 --> 00:43:52.800
moss Ball so that we can do what we want
811
00:43:52.840 --> 00:43:55.639
to do. That's our plan, is to do what we
812
00:43:55.679 --> 00:43:56.199
want to do.
813
00:43:56.559 --> 00:44:05.920
But do you have a working committee or something that like, Okay.
814
00:44:04.039 --> 00:44:08.159
We have people on our board and they will bring
815
00:44:08.320 --> 00:44:10.760
different skills and knowledge to the table.
816
00:44:10.920 --> 00:44:12.880
Good because I'm thinking, oh god, there's a lot of
817
00:44:12.880 --> 00:44:14.000
work feed just the two of you.
818
00:44:14.079 --> 00:44:17.239
It is fair. It is still to be fair. Michael
819
00:44:17.280 --> 00:44:21.159
and Libby put in a ship ton of work.
820
00:44:21.679 --> 00:44:24.039
I can't believe how much work you put into it.
821
00:44:24.119 --> 00:44:28.480
Sometimes we do drive most of it. But again, having
822
00:44:28.519 --> 00:44:32.159
those other people on the board who take different roles
823
00:44:33.360 --> 00:44:40.519
and bring their ideas and intelligence to what we do
824
00:44:40.639 --> 00:44:42.639
and how we do it as critical to success.
825
00:44:42.800 --> 00:44:44.679
Well, I've got a couple of questions before we get
826
00:44:44.679 --> 00:44:47.599
onto the pivot question. And this is always what happens.
827
00:44:47.639 --> 00:44:49.119
We just go through it and go, oh my god.
828
00:44:49.119 --> 00:44:52.079
I got so many questions to ask you. But I've
829
00:44:52.239 --> 00:44:54.119
heard and I've not had the privilege of working with
830
00:44:54.159 --> 00:44:55.760
you yet, but I have heard that.
831
00:44:55.960 --> 00:44:58.599
Really yes, just because he keeps saying no whenever I
832
00:44:58.639 --> 00:45:02.760
am it's always but so. But apparently you're doing the
833
00:45:02.800 --> 00:45:05.599
show with Red Phoenix in May or October next year.
834
00:45:06.119 --> 00:45:07.199
You just got to let me know.
835
00:45:07.360 --> 00:45:10.800
And seriously, I've so wanted to work and I've always
836
00:45:10.800 --> 00:45:11.800
said to Michael's.
837
00:45:11.440 --> 00:45:13.199
Like, I just want to work with you, like I
838
00:45:13.199 --> 00:45:15.719
don't want to say I know, I know, tell me
839
00:45:15.719 --> 00:45:16.159
about it.
840
00:45:16.440 --> 00:45:21.599
But I've heard with you directing, you are very against me,
841
00:45:22.199 --> 00:45:27.880
and I so talk to you about Okay, we go actors,
842
00:45:28.000 --> 00:45:28.679
tell me about this.
843
00:45:29.079 --> 00:45:32.320
I'm like, what do you mean? I am a pronounce
844
00:45:33.519 --> 00:45:33.880
I am.
845
00:45:34.719 --> 00:45:40.079
I am obsessed with the obliteration of personal programs because
846
00:45:40.480 --> 00:45:40.920
I know.
847
00:45:40.920 --> 00:45:42.880
This because I've been grilled.
848
00:45:43.719 --> 00:45:47.400
I will I get very annoying about it because I.
849
00:45:47.320 --> 00:45:48.639
Think about it every time.
850
00:45:48.719 --> 00:45:52.559
Now good, It's like when I'm doing a show, I
851
00:45:52.639 --> 00:45:54.679
genuinely have your voice in my head going.
852
00:45:54.440 --> 00:45:55.719
So give me an sence.
853
00:45:55.760 --> 00:45:58.000
Could be I want to go down to the shop
854
00:45:58.079 --> 00:46:01.400
to buy some ice cream for my friends.
855
00:46:02.400 --> 00:46:03.519
I want to go to.
856
00:46:03.559 --> 00:46:07.880
The shops to buy some ice cream for our friends.
857
00:46:08.119 --> 00:46:11.559
Yes, because they need it for us.
858
00:46:12.440 --> 00:46:15.599
Now, I have a theory on this, have a theory
859
00:46:15.639 --> 00:46:18.400
on most things, but that what happens is when an
860
00:46:18.440 --> 00:46:21.760
actor comes to a text, they're trying to identify and
861
00:46:21.880 --> 00:46:25.440
understand who that character is. So you look to eye me,
862
00:46:25.880 --> 00:46:29.920
are us they then and that thinks I and me,
863
00:46:30.039 --> 00:46:33.360
that must be the character. And then they become the words,
864
00:46:33.400 --> 00:46:36.039
which gets emphasized in the delivery of the text. But
865
00:46:36.079 --> 00:46:41.159
they are virtually always, not always, but virtually always not
866
00:46:41.320 --> 00:46:44.480
what's important in the sentence, the important words of the
867
00:46:44.480 --> 00:46:47.880
adjectives that the story words are describing words. Yes, so
868
00:46:48.079 --> 00:46:52.079
I went to the shops to buy ice cream is
869
00:46:52.280 --> 00:46:56.159
ore the most important things and often when you go
870
00:46:56.320 --> 00:47:00.920
and whilst an audience might not notice it themselves when
871
00:47:00.920 --> 00:47:03.920
they're watching it on the stage, it does impact the
872
00:47:03.920 --> 00:47:05.320
effectiveness of the story.
873
00:47:05.559 --> 00:47:10.000
Yes, yeah, it's those because you're hearing about me.
874
00:47:10.000 --> 00:47:13.639
And that they're the things that are really telling the story.
875
00:47:13.719 --> 00:47:16.079
But the personal pronouns get in the way of that,
876
00:47:16.639 --> 00:47:22.199
and it will never sound realistic and natural and truthful
877
00:47:22.480 --> 00:47:25.920
in delivery of speech on a stage when you are
878
00:47:26.559 --> 00:47:27.840
focused on the pronouns.
879
00:47:27.960 --> 00:47:31.639
Yes, okay, well this is like this guy has taught
880
00:47:31.679 --> 00:47:33.920
me most of the things that I use and I
881
00:47:34.800 --> 00:47:37.480
genuinely Michael have your voice in the back of my head.
882
00:47:37.719 --> 00:47:40.840
Well, I'm going to practice that once once.
883
00:47:41.159 --> 00:47:45.719
Once you latch into this, you lost the text. Its
884
00:47:45.760 --> 00:47:47.880
actually can destroy your love of theater because when you
885
00:47:47.880 --> 00:47:50.039
go see shows, all you hear is their personal.
886
00:47:52.360 --> 00:47:55.360
Watch the show. But there would be times where that
887
00:47:55.519 --> 00:47:56.480
is appropriate, right.
888
00:47:57.000 --> 00:48:01.119
Sometimes absolutely, there's sometimes when when the personal pronoun is
889
00:48:01.119 --> 00:48:05.599
is critical. But what I will say to a performer is,
890
00:48:06.280 --> 00:48:10.639
never emphasize the personal pronoun more than the storytelling word
891
00:48:11.039 --> 00:48:13.119
unless you've decided it's necessary.
892
00:48:13.400 --> 00:48:16.039
And when do you step in and give that advice.
893
00:48:16.199 --> 00:48:18.599
Do you let you to just do their thing and
894
00:48:18.599 --> 00:48:20.159
then go okay, or it's.
895
00:48:20.000 --> 00:48:25.000
One of those things normally almost in the moment, because
896
00:48:25.480 --> 00:48:28.440
just with any learning, you need to be able to
897
00:48:28.480 --> 00:48:31.719
recognize yourself when it's happening, and so it's hard to
898
00:48:31.760 --> 00:48:33.679
reflect back to a sentence you said.
899
00:48:34.039 --> 00:48:34.519
Definitely go.
900
00:48:34.639 --> 00:48:36.239
But if I can, if you can reflect on that
901
00:48:36.280 --> 00:48:39.800
sentence in the moment, then you can hear what you said,
902
00:48:40.559 --> 00:48:43.480
and then hopefully the next time you say it there
903
00:48:43.519 --> 00:48:47.480
will be a recognition. And normally with most actors it'll
904
00:48:47.480 --> 00:48:52.360
only take a two, three, four rehearsals of pointing it
905
00:48:52.519 --> 00:48:54.599
till that then they will start hearing it themselves.
906
00:48:54.639 --> 00:48:57.519
And then the problem comes back to the idea of like,
907
00:48:57.559 --> 00:49:02.960
you're just saying it as a person. Yeah, and how
908
00:49:02.960 --> 00:49:06.280
did you meet Libby? Ah, it's a long story.
909
00:49:06.480 --> 00:49:08.840
Oh, we got a date. I met her on the
910
00:49:08.920 --> 00:49:17.039
nineteenth of July nineteen eighty five, Beautiful. I played Faustest
911
00:49:17.679 --> 00:49:21.079
in Marlow's Faustest when I was eighteen years old. That's
912
00:49:21.119 --> 00:49:25.280
a great part at Alijuni, directed by the marvelous Jim Villa,
913
00:49:25.320 --> 00:49:30.039
who sadly died this year, and libby sister Robbie was
914
00:49:30.079 --> 00:49:32.719
working on the show. So Libby came and she saw
915
00:49:32.800 --> 00:49:37.119
me playing Fastest. I didn't know that. Two years later
916
00:49:37.239 --> 00:49:40.400
we happened to be working in the same office and
917
00:49:40.480 --> 00:49:45.239
we had a big work party and Libby came up
918
00:49:45.280 --> 00:49:49.320
and said, I think Robbie said I like him, and
919
00:49:49.360 --> 00:49:52.280
she said, you know who that is? That's fastest. And
920
00:49:52.280 --> 00:49:55.000
then Libby came across the room and she said to me,
921
00:49:55.760 --> 00:49:59.079
I know you're faustest. And of course, like any actor,
922
00:49:59.519 --> 00:50:01.039
the subject focusing on me.
923
00:50:05.239 --> 00:50:11.400
And there we are. Was it being banged straight away.
924
00:50:11.199 --> 00:50:13.920
Or well, I'm not going to necessarily go with the
925
00:50:13.920 --> 00:50:20.239
automatic payer, but but yes, it was from that moment
926
00:50:20.559 --> 00:50:23.280
we started going out straight away and we have been
927
00:50:23.320 --> 00:50:24.360
best friends ever since.
928
00:50:24.800 --> 00:50:26.920
Oh wow, it's amazing. That is amazing.
929
00:50:27.039 --> 00:50:29.199
A lot of on and offer was in between there,
930
00:50:29.199 --> 00:50:32.480
but you know, I think that's that's.
931
00:50:32.599 --> 00:50:34.800
That's ups and downs on life, you know, like, yeah,
932
00:50:35.000 --> 00:50:37.079
she's she's she's a very elegant.
933
00:50:36.719 --> 00:50:41.000
Beautiful woman. Yeah I agree, Yes, yeah, all right, let's
934
00:50:41.000 --> 00:50:45.480
do it. Pivot via James Lipton. Michael usis what is
935
00:50:45.480 --> 00:50:46.280
your favorite word?
936
00:50:46.519 --> 00:50:50.719
Friendship? That is lovely. That's why I love it so much.
937
00:50:52.559 --> 00:50:54.519
What it is about this is a big mate from it,
938
00:50:54.840 --> 00:50:57.880
it's friendship with a project. I think that's the key thing.
939
00:50:58.039 --> 00:51:00.199
Some of my best friends of friends I met when
940
00:51:00.199 --> 00:51:02.039
I was in Bunnet George when I was ten.
941
00:51:02.719 --> 00:51:04.480
It is one of those things that we've been doing
942
00:51:04.480 --> 00:51:08.400
this for a long time and the resounding theme that
943
00:51:08.480 --> 00:51:13.400
keeps coming back is friendship and closeness and yeah, it's beautiful,
944
00:51:13.440 --> 00:51:13.840
I mean.
945
00:51:13.800 --> 00:51:15.679
Yeah, but it's also a group of people that want
946
00:51:15.679 --> 00:51:19.199
to achieve something. Absolutely, that's I for the bonds of
947
00:51:19.199 --> 00:51:21.920
the yeah, and then the trust and everything else. So
948
00:51:21.960 --> 00:51:23.960
what is your least favorite word?
949
00:51:24.159 --> 00:51:31.199
No, you know, having known Michael for a very long time,
950
00:51:31.280 --> 00:51:32.840
I know he does not like that word.
951
00:51:36.760 --> 00:51:40.239
What turns you on creatively, spiritually or emotionally.
952
00:51:40.519 --> 00:51:42.440
I had to think about this when you said you're
953
00:51:42.440 --> 00:51:45.599
going to ask me, and the answer, I'm pretty confident
954
00:51:45.800 --> 00:51:47.760
is not knowing the answer to something.
955
00:51:48.159 --> 00:51:50.440
Oh, because you're a problem solver realist.
956
00:51:50.719 --> 00:51:53.079
At the end of the day, I met my happiest
957
00:51:53.320 --> 00:51:57.159
when things are broken. Yeah, because then I haven't I can.
958
00:51:57.159 --> 00:52:00.800
See that because I just don't find that stressful. It's
959
00:52:02.639 --> 00:52:06.719
Michael's career. It's problem solving every single time. But I
960
00:52:06.719 --> 00:52:07.199
think that's a.
961
00:52:07.159 --> 00:52:10.119
Management that's directing. That's what excites me about a play.
962
00:52:10.719 --> 00:52:13.679
I like a play that when I look at it
963
00:52:13.679 --> 00:52:16.760
on the page, I think I don't know how to
964
00:52:16.840 --> 00:52:17.239
do this.
965
00:52:18.039 --> 00:52:20.719
That's a great starting point Okay, Kate Blanchet over here,
966
00:52:21.239 --> 00:52:22.119
what's going to scare me?
967
00:52:22.199 --> 00:52:25.559
That's great, that's creativity, that's everything.
968
00:52:25.719 --> 00:52:28.199
Do you look at somebody and go, I'm not the
969
00:52:28.239 --> 00:52:30.280
right persons cither you do to direct this.
970
00:52:30.320 --> 00:52:30.639
Or do this?
971
00:52:30.920 --> 00:52:33.800
Because some plays I'll read and I like it, but
972
00:52:33.840 --> 00:52:36.760
I know I'm not the right person for it because
973
00:52:37.719 --> 00:52:41.840
it's a theatrical style or convention that doesn't appeal to me,
974
00:52:43.079 --> 00:52:45.159
or I know isn't my playing to my strength.
975
00:52:45.239 --> 00:52:47.639
So what is the perfect show for you in your
976
00:52:47.679 --> 00:52:50.599
director and style? I like directing.
977
00:52:52.000 --> 00:52:58.119
I like big theatrical epic pieces that delve into is.
978
00:53:00.360 --> 00:53:03.199
Is. Yeah, we've got to do a breage at some point.
979
00:53:03.400 --> 00:53:04.719
Yes, I've got a couple of mind.
980
00:53:04.800 --> 00:53:08.320
Yeah, going to tell you right now, No, I're gonna
981
00:53:08.360 --> 00:53:08.639
do it.
982
00:53:10.079 --> 00:53:12.880
What turns you off mediocrity?
983
00:53:13.840 --> 00:53:19.119
Yeah? Fair enough. What is your favorite curse word?
984
00:53:20.079 --> 00:53:26.400
Fuck? Knuckle knuckle? My absolutely, it's someone who's I've never
985
00:53:26.480 --> 00:53:32.400
heard that, someone who is superiorly stupid or not. Because
986
00:53:32.440 --> 00:53:35.119
you know that guy who tail gates you, m he
987
00:53:35.199 --> 00:53:36.079
drives past.
988
00:53:38.559 --> 00:53:45.039
And then has a crash and you go, what sound
989
00:53:45.039 --> 00:53:46.039
of noise you love?
990
00:53:48.599 --> 00:53:52.719
I sound of an appreciative audience appreciativeything, appreciating something that
991
00:53:52.760 --> 00:53:53.960
you've created for them.
992
00:53:54.159 --> 00:53:55.159
It comes up a lot.
993
00:53:56.239 --> 00:53:56.400
Well.
994
00:53:56.440 --> 00:53:58.400
I think it is one of those emotional things where
995
00:53:58.719 --> 00:54:02.760
it's like I'm I'm seen like you. But it is
996
00:54:02.800 --> 00:54:06.800
a beautiful, blessed thing to be in a theater or
997
00:54:06.880 --> 00:54:12.079
in enclosed space that is dark, that you have You've
998
00:54:12.079 --> 00:54:16.320
got that communication and that and in some instances power
999
00:54:16.840 --> 00:54:19.679
where you've got them in your hand, or as a
1000
00:54:19.719 --> 00:54:22.320
director because you've directed it perfectly, or an actor who's
1001
00:54:22.360 --> 00:54:23.559
executing it perfectly.
1002
00:54:24.159 --> 00:54:27.719
That is a beautiful, wondrous close thinking to do.
1003
00:54:28.000 --> 00:54:32.280
Back in I Recognizing eighty About eighty, I was in
1004
00:54:32.360 --> 00:54:36.079
a show with Terry Mouth Stevens in the Arts Theater
1005
00:54:36.199 --> 00:54:38.880
and we're doing a bron thrill play. Couldn't see a
1006
00:54:38.920 --> 00:54:43.320
thing in the audience, but we went through those moments
1007
00:54:43.320 --> 00:54:46.159
where one moment we could hear the audience laugh and
1008
00:54:46.239 --> 00:54:49.000
the next moment we could hear members in the audience crying.
1009
00:54:49.800 --> 00:54:53.960
And it was the most extraordinary feeling to know that
1010
00:54:54.760 --> 00:55:00.679
you were affecting the way someone felt and cared that.
1011
00:55:00.679 --> 00:55:02.719
That was a magical moment for me.
1012
00:55:03.320 --> 00:55:05.079
People. It is a moment, isn't when you walk.
1013
00:55:05.039 --> 00:55:07.280
On stage in a moment and you kind of go
1014
00:55:08.559 --> 00:55:11.559
like it's like you you ease into an audience, ease
1015
00:55:11.599 --> 00:55:13.639
in into it with you, and they get it.
1016
00:55:13.679 --> 00:55:17.039
Just speaks to human connections. We want to be connected,
1017
00:55:17.280 --> 00:55:19.280
and then if you can do it in a way
1018
00:55:20.000 --> 00:55:22.760
that an entire crowd of people are connected with you,
1019
00:55:23.159 --> 00:55:24.639
it's just it's such a safe thing.
1020
00:55:24.639 --> 00:55:26.559
And I think that's a skill set too sometimes, isn't
1021
00:55:26.559 --> 00:55:29.800
it Like you've got to when you're in like a moment,
1022
00:55:29.840 --> 00:55:32.480
you've got to allow the audience to settle into the show,
1023
00:55:32.519 --> 00:55:34.280
to laugh, to know that they can.
1024
00:55:34.239 --> 00:55:35.440
Laugh all those things.
1025
00:55:35.800 --> 00:55:38.679
There's so many elements a relationship.
1026
00:55:38.760 --> 00:55:41.440
Yes, yeah, what sound do you hate?
1027
00:55:43.039 --> 00:55:47.079
Fuck knuckles yelling into their mobile phones on public trunk?
1028
00:55:47.239 --> 00:55:50.760
Oh my god, speaker, I hate that when they're walking
1029
00:55:50.800 --> 00:55:52.559
around like on speaker you're.
1030
00:55:52.480 --> 00:55:54.320
Going, what are you too important to? I don't know,
1031
00:55:54.320 --> 00:56:00.159
hold on the train when people are just like we
1032
00:56:00.320 --> 00:56:10.000
care bug Michael, what what profession other than your own?
1033
00:56:10.400 --> 00:56:13.360
Would you like to attempt? Cricket commentator?
1034
00:56:13.440 --> 00:56:13.679
Yeah?
1035
00:56:13.760 --> 00:56:17.760
I can see that that would be a dream career.
1036
00:56:18.559 --> 00:56:21.599
Like Skull, I don't think I could be that funny.
1037
00:56:22.480 --> 00:56:27.400
He makes me Skull, he's a legendary Australian cricket. Right,
1038
00:56:27.599 --> 00:56:30.400
that's all you need to know.
1039
00:56:30.519 --> 00:56:38.159
He tells a joke about a frog. Yes, anyway, FG
1040
00:56:38.199 --> 00:56:43.159
goes into that still makes me laugh. What profession would
1041
00:56:43.199 --> 00:56:44.039
you not like to do?
1042
00:56:44.320 --> 00:56:44.800
Plumber?
1043
00:56:45.920 --> 00:56:50.440
It would be an awful but you'd make a lot
1044
00:56:50.480 --> 00:56:51.480
of money. I did.
1045
00:56:51.920 --> 00:56:55.400
I thought about different professions that it wouldn't want to be.
1046
00:56:56.119 --> 00:57:00.480
There was chicken sexon chicken sex good ones.
1047
00:57:00.920 --> 00:57:05.639
They're basicallying sex with chicken girl. Boy, that's all I do.
1048
00:57:05.960 --> 00:57:09.599
That would be so just that will destroy your soul,
1049
00:57:09.679 --> 00:57:11.639
like you're just killing animals.
1050
00:57:11.320 --> 00:57:16.280
And you know there's a you don't kill them like
1051
00:57:16.800 --> 00:57:17.679
they go in the garbage.
1052
00:57:18.800 --> 00:57:22.360
They don't think you incubate them at certain temperatures anyway.
1053
00:57:22.679 --> 00:57:25.400
And are we talking about boy girl? Boy girl?
1054
00:57:25.480 --> 00:57:27.360
And you just basically they pick up the little chick
1055
00:57:27.360 --> 00:57:30.159
lit after it's still three days old. They squeeze it
1056
00:57:30.519 --> 00:57:34.320
and excreets and they just get just enough look to
1057
00:57:34.360 --> 00:57:36.440
be able to tell whether it's a boy or girl.
1058
00:57:37.480 --> 00:57:39.440
Hundreds of them an hour with a ninety eight percent
1059
00:57:39.519 --> 00:57:42.159
success rate. The good ones, it's you like to popcorn
1060
00:57:42.280 --> 00:57:43.000
chicken qualifire.
1061
00:57:43.960 --> 00:57:51.719
I don't eat that anymore. Taking I think plumb is
1062
00:57:51.760 --> 00:57:52.159
even worse.
1063
00:57:52.559 --> 00:57:55.599
But can I just say one thing that does make
1064
00:57:55.960 --> 00:57:58.960
it just baffles my brain. I just want to explode,
1065
00:57:59.280 --> 00:58:01.199
is that you can go to some we're like McDonald's
1066
00:58:01.239 --> 00:58:03.960
or anything like that, right, and they're charging more for
1067
00:58:04.039 --> 00:58:06.800
something that you mix water with a powder for an
1068
00:58:06.840 --> 00:58:09.079
ice cream than they are for an animal that died
1069
00:58:09.119 --> 00:58:09.440
for that.
1070
00:58:09.719 --> 00:58:13.840
Like, I just it makes me Your podcasts for that don't.
1071
00:58:13.760 --> 00:58:17.079
But if we can, we can talk about Delta.
1072
00:58:17.079 --> 00:58:19.880
That don't make me feel better? Do you want to
1073
00:58:19.920 --> 00:58:21.960
talk about Eurovision? Delta is so good?
1074
00:58:22.000 --> 00:58:22.320
Okay?
1075
00:58:22.440 --> 00:58:25.800
Yeah, she did all right, she did amazing. Anyways, We've
1076
00:58:25.840 --> 00:58:30.000
got one last question, which I knowing your philosophy, I
1077
00:58:30.079 --> 00:58:31.360
know this is going to be interesting.
1078
00:58:31.639 --> 00:58:38.679
Okay, so if heaven exists, all right, yeah, what do
1079
00:58:38.719 --> 00:58:41.119
you want to hear God say when you arrive at
1080
00:58:41.119 --> 00:58:41.920
the Pearly gates?
1081
00:58:43.239 --> 00:58:46.199
Don't worry. No one here knows what you did in
1082
00:58:46.239 --> 00:58:50.159
twenty teen?
1083
00:58:50.360 --> 00:58:57.400
Hang on, I was around then happened in twenty ten? Well,
1084
00:58:57.639 --> 00:59:02.159
I'm going to leave that to God. O when did
1085
00:59:02.239 --> 00:59:05.360
we do Macbeth, I'm.
1086
00:59:05.239 --> 00:59:09.199
Going to whenever we say, he's not going to tell us.
1087
00:59:09.360 --> 00:59:13.400
And the big one, the big question, Michael, is why
1088
00:59:13.400 --> 00:59:14.079
do you do this?
1089
00:59:15.280 --> 00:59:21.360
Well, I am at heart an idealist, and I still
1090
00:59:21.360 --> 00:59:25.760
believe that theater has an important role to play in
1091
00:59:26.119 --> 00:59:30.360
helping us engage people in important conversations about the world
1092
00:59:30.440 --> 00:59:31.000
we live in.
1093
00:59:31.440 --> 00:59:35.199
Amen, it's the way I speak. Thank you very much
1094
00:59:35.320 --> 00:59:39.159
for your time, Michael Lee, and I really appreciate it.
1095
00:59:39.199 --> 00:59:43.199
And I like the way you speak. Philosophy that you've
1096
00:59:43.239 --> 00:59:46.360
carried through is brilliant, and I love working with you.
1097
00:59:46.480 --> 00:59:49.960
So it's I love having you in here. And yeah,
1098
00:59:50.119 --> 00:59:52.920
I'm quite tough that you decided to come in.
1099
00:59:53.039 --> 00:59:55.400
And more importantly, you are just a really good human being.
1100
00:59:55.679 --> 00:59:58.159
So it's so great being in your presence. And I know,
1101
00:59:58.480 --> 00:59:59.679
thank you so much for coming on.
1102
01:00:00.159 --> 01:00:02.440
Yeah, we love the guys always is with you too.
1103
01:00:02.679 --> 01:00:06.719
Yeah, well, I hope it was pretty They may even
1104
01:00:06.800 --> 01:00:07.760
choose to work with me.
1105
01:00:07.920 --> 01:00:12.920
I will, I will, I promise, he says that tell
1106
01:00:12.960 --> 01:00:15.159
me what you want to do.
1107
01:00:15.719 --> 01:00:17.599
Man for all says and now we can't do that.
1108
01:00:18.480 --> 01:00:21.119
You know that one nowadays it's a man, a man
1109
01:00:21.119 --> 01:00:22.239
who was in every season.
1110
01:00:22.360 --> 01:00:25.159
Yeah you sent me that.
1111
01:00:25.599 --> 01:00:31.079
No, that was okay, Yeah, all right, let's let's get
1112
01:00:31.159 --> 01:00:35.559
Michael out. Oh, it was about it was the guy. No,
1113
01:00:35.719 --> 01:00:38.159
it's about the king and the priest. It's a really
1114
01:00:38.159 --> 01:00:43.800
famous thing. No one was going to direct it. Beckett, Beckett,
1115
01:00:43.800 --> 01:00:46.719
that's it.
1116
01:00:45.960 --> 01:00:50.440
I just want to wear a crown. Okay. Lee wants
1117
01:00:50.440 --> 01:00:52.880
to be a king. Well, instead, he's going to be
1118
01:00:52.880 --> 01:00:57.440
a one note. You can't see what we're going to queen. Okay,
1119
01:00:57.519 --> 01:01:00.840
we're gonna rub this up, Josh. It's been a pleasure, Michael,
1120
01:01:00.880 --> 01:01:03.360
it's been a plea. Thank you so much, and we
1121
01:01:03.400 --> 01:01:07.440
will be back. Thank you to Stepney Studios for having
1122
01:01:07.519 --> 01:01:10.519
us once again, and the team, thank you. Yeah, very
1123
01:01:10.679 --> 01:01:15.719
good compfines salubrious as usual and yeah, chook us all.
1124
01:01:15.920 --> 01:01:19.480
I hope whatever theatrical pursuit you pursue goes.
1125
01:01:19.280 --> 01:01:22.880
Well, break your leg, good night, goodbye, good day, cheers,
1126
01:01:22.960 --> 01:01:24.320
thanks bye, bye.
1127
01:01:24.239 --> 01:01:44.480
Bye, have the last word always. Are we done? Yeah, okay,