WEBVTT
00:00:10.560 --> 00:00:13.759
Welcome to Up Close with Carlos Side.
00:00:14.000 --> 00:00:17.839
Celebrating art, entertainment, and the human spirit.
00:00:25.600 --> 00:00:28.879
Uh Nina Castles, thank you so much for joining us today.
00:00:29.120 --> 00:00:29.519
Thank you.
00:00:29.679 --> 00:00:30.960
Thanks for having me.
00:00:31.280 --> 00:00:43.039
Yes, um, I remember seeing shooting Head the Gabler at the Rose Theatre a few years ago, and was really intrigued that Jeff James and Nina Siegel were collaborating again and subverting another classic text.
00:00:43.119 --> 00:00:46.960
Um, what was your initial reaction to reading the script the first time?
00:00:47.359 --> 00:01:03.840
I think it's really this, I think this adaptation is really interesting because it breaks up the play and makes such direct comparisons to what is happening in our world today.
00:01:04.079 --> 00:01:07.920
It's incredibly confronting.
00:01:08.319 --> 00:01:24.159
Um and I think leaves the audience with no way of escaping, which I think is a really yeah interesting take on like a very well-known Greek tragedy.
00:01:24.879 --> 00:01:25.359
Exactly.
00:01:25.519 --> 00:01:30.959
I mean, Greek drama often feels very epic thematically and dramatically.
00:01:31.040 --> 00:01:36.719
So I was quite intrigued that it would be playing uh in the Minerva rather than the main festival stage.
00:01:36.799 --> 00:01:41.359
Um did you feel like the script read more intimately?
00:01:41.840 --> 00:02:00.000
Well, I think yeah, I think that's a really interesting point because when we think of Greek tragedy, we do think of these epic tales with you know huge emotional scale and such extreme tragic events.
00:02:00.239 --> 00:02:16.479
Um, but I think what this play is doing is reminding us that unfortunately in the world that we live in today, it's not actually that far from us, and there are people living in horrific circumstances.
00:02:16.639 --> 00:02:24.960
So I think actually bringing it into the smaller space reminds us that it's not how do I say this?
00:02:25.120 --> 00:02:39.280
Um this isn't just a show, it's a a comment on our world, and I think actually when it's done intimately, it relates better, that message comes through stronger.
00:02:39.599 --> 00:02:41.039
Does that make any sense?
00:02:41.360 --> 00:02:45.360
Yeah, the impact is more felt, um, it's felt more strong.
00:02:45.840 --> 00:03:01.280
Yeah, and I think as the audience, you can't really hide behind the fact that it's a show, and when the script, when the performance is touching on current events, you as the audience are right here.
00:03:01.439 --> 00:03:02.719
Do you see what I mean?
00:03:03.039 --> 00:03:04.240
Yeah, for sure.
00:03:04.479 --> 00:03:13.120
Um, I feel like at its core, you know, Antigone has always been about you know the clash between state law and divine or familial duty.
00:03:13.280 --> 00:03:15.759
Um in Antigone Exits.
00:03:15.919 --> 00:03:21.759
Um, do you see Antigone as being more of a political dissident or a grieving sister?
00:03:22.080 --> 00:03:31.280
Um, I think she just thinks of herself as a grieving sister doing what she believes is right.
00:03:31.520 --> 00:03:40.719
I don't think she's making these decisions thinking of herself as a martyr or a political activist.
00:03:41.199 --> 00:03:51.680
She's thinking my brother deserves to be buried and I can't live knowing that I haven't done everything in my power to try and make that happen.
00:03:52.000 --> 00:03:52.639
Absolutely.
00:03:52.879 --> 00:03:59.599
I mean, also I feel like Greek tragedy um traditionally, you know, it very much relies on the concept of a chorus.
00:03:59.759 --> 00:04:06.879
And I was wondering in a cast of seven of you, you know, how does that responsibility sort of shift amongst you?
00:04:07.520 --> 00:04:35.759
Yeah, it's interesting because also we're all on stage for the whole show, and it's interesting flicking between your character and the chorus, but it's a beautiful thing sharing the responsibility of a story and feeling held, even if it's a scene between two people, you've got five other active players, and I think it just makes I think it just makes it more exciting.
00:04:36.319 --> 00:04:37.279
Definitely.
00:04:37.519 --> 00:04:43.680
I feel like you know, when we talk about Greek stories as well, you know, we often talk about this idea of catharsis.
00:04:43.759 --> 00:04:52.319
I was wondering, you know, sort of in our modern high-speed doom scrolling world, do you think audiences experience catharsis the same way that the ancient Greeks did?
00:04:52.560 --> 00:05:04.800
I think it's tricky because we receive so much information all the time, so quickly, and we have so much more access to what's going on in the world.
00:05:04.959 --> 00:05:12.319
It's hard as one person to be able to hold all of that whilst living your own life.
00:05:12.639 --> 00:05:16.000
But I think that's kind of the beautiful thing about theatre.
00:05:16.160 --> 00:05:36.480
It allows you to focus on one thing for a certain amount of time, and you can go on that journey, see if it does or doesn't relate to your own life, and just have that sense of focus that I don't know if we get anymore, or like as much of.
00:05:36.879 --> 00:05:41.759
Because even when you're watching TV, you're you've got your phone, you're like scrolling.
00:05:42.720 --> 00:05:44.560
It is like one of those special things.
00:05:44.800 --> 00:05:49.519
Phones are off, everyone's silent, voom, we're just watching this one thing.
00:05:49.839 --> 00:05:53.759
Yeah, it's definitely um something that still feels very special for sure.
00:05:53.920 --> 00:06:03.519
I suppose, as well, you know, there's always been this long lineage of female rage in ancient drama, you know, when you consider figures like Antigone and Hecuba, Medea.
00:06:03.759 --> 00:06:07.600
Um, historically interesting, you know, these women have always been played by men.
00:06:07.839 --> 00:06:14.240
And I was wondering what does it feel like even to be a woman today playing these female characters?
00:06:14.639 --> 00:06:16.160
It's interesting, isn't it?
00:06:16.319 --> 00:06:31.680
Because there are, like you said, there are so many incredible female characters in Greek tragedy, which were all written by men as well, but they are so powerful and defiant and dedicated to their cause.
00:06:31.920 --> 00:06:46.240
I think it's always such a gift with these classical texts to have a chance to get inside the character, especially because these are tales that I grew up with.
00:06:46.480 --> 00:06:49.759
I've always been a fan of classical theatre.
00:06:50.079 --> 00:06:55.759
So yeah, it just feels exciting to get to have a go, basically.
00:06:56.160 --> 00:06:58.639
Yeah, I feel like um classical theatre.
00:06:58.720 --> 00:07:02.800
Um, I love the way that it's being like modernized a lot more as well in recent years.
00:07:02.879 --> 00:07:06.480
And does it still feel like classical theatre to you when you're doing it?
00:07:06.800 --> 00:07:08.480
That's interesting.
00:07:08.879 --> 00:07:09.839
Yeah, I don't know.
00:07:09.920 --> 00:07:21.839
I I feel like this adaptation of Antigone is using the foundations of classical theatre, but it is a real modern adaptation.
00:07:22.079 --> 00:07:37.519
The language is modern, the relationships between the chorus feel really contemporary, but still the size of the emotion and the subject matter that we're exploring feels very Greek.
00:07:38.319 --> 00:07:45.680
Yeah, I suppose in a lot of um Greek tragedy as well, you know, that sense of doom tends to feel quite inevitable as well.
00:07:45.839 --> 00:07:51.439
And um, Antigone is someone I think who knows that her choices will have fatal consequences.
00:07:51.759 --> 00:07:57.519
How challenging is it to keep these things feeling unpredictable and dangerous as well?
00:07:57.839 --> 00:08:05.920
Yeah, it's I think especially with Antigone, she comes to terms with her death very quickly.
00:08:06.160 --> 00:08:15.439
She makes a decision to bury her brother, she knows she's gonna die for it, and that happens within the first 20 minutes of the play.
00:08:15.680 --> 00:08:34.320
And I think actually the real tragedy for her is having to hold up her sister through this and having to watch the heartbreak that she's going through and the grief that she's already experiencing with the death of her brothers and their parents.
00:08:34.480 --> 00:08:36.879
And Antigone is now adding to that.
00:08:37.039 --> 00:08:43.600
I think for me, that is the relationship that feels the most turbulent.
00:08:43.759 --> 00:08:48.080
I think that's the relationship where she doesn't, she doesn't know what her sister's reaction is going to be like.
00:08:48.240 --> 00:08:50.159
She doesn't know how she's gonna take it.
00:08:50.320 --> 00:08:53.919
That's the uncertain thing, I think, in the story.
00:08:54.240 --> 00:08:58.720
I know that this is also going to be the first time that you'll be performing in Chichester as well.
00:08:58.960 --> 00:08:59.279
Yeah.
00:08:59.919 --> 00:09:06.399
I was wondering, um, had you visited the theatre before and wasn't an exciting prospect, you know, going to Chichester for a few months.
00:09:06.720 --> 00:09:14.879
My friend did a show years ago in the main house, but I've never visited the Minerva.
00:09:15.039 --> 00:09:16.799
I have no idea what it looks like.
00:09:16.960 --> 00:09:19.279
So that's always an exciting prospect.
00:09:19.679 --> 00:09:30.159
And it's nice to travel for jobs and to be able to commit fully and not be distracted by your own environment.
00:09:30.320 --> 00:09:33.519
I guess it's kind of similar to doing like fringe in a way.
00:09:33.600 --> 00:09:35.840
You are just there for that one thing.
00:09:36.159 --> 00:09:37.759
Yeah, it's certainly exciting.
00:09:37.919 --> 00:09:42.639
Um, I I first came across you in Yerma at Guildhall and Oh no way.
00:09:43.360 --> 00:09:48.000
Yeah, I feel like um I feel like that play also feels um very Greek in many ways.
00:09:48.159 --> 00:09:53.679
Um, did you come away from that experience wanting to play very specific characters and tell particular stories too?
00:09:54.000 --> 00:09:59.279
Yeah, Yerma was really special because obviously it was my first third-year show.
00:09:59.600 --> 00:10:06.000
But it was also really scary because I was playing a lead in a way that I hadn't before.
00:10:06.320 --> 00:10:14.480
And the story of Yerma, she is the central character, and you are following her journey throughout the whole entire play.
00:10:14.799 --> 00:10:22.799
But it did definitely continue my love for classical theatre and classical stories.
00:10:23.200 --> 00:10:39.679
And you know, after watching Billy Piper's Yerma, I was kind of obsessed with the play, and this was a more traditional adaptation, but it was yeah, it was it was it was an exciting experience.
00:10:39.840 --> 00:10:48.240
I it was scary, it was scary, but um, I feel very lucky to have been able to play her.
00:10:48.480 --> 00:10:55.440
Yeah, I mean, does it feel different um playing you know at drama school compared to playing other audiences?
00:10:55.519 --> 00:10:58.080
And has that experience felt different for you at all?
00:10:58.399 --> 00:11:14.480
I think it feels different because sometimes at drama school, because they want you to be able to explore all these really incredible texts, you are getting sometimes cast in parts that you wouldn't play, parts that are really like older, older than you.
00:11:14.720 --> 00:11:24.559
Whereas I feel like now, especially because you're auditioning, you kind of get roles that feel like they fit almost.
00:11:24.879 --> 00:11:31.600
But I think being in front of an audience is always nerve-wracking, like no matter the context.
00:11:31.759 --> 00:11:36.320
And to me, the pressure to do a good performance is still the same.
00:11:36.720 --> 00:11:37.840
Yeah, definitely.
00:11:38.000 --> 00:11:44.000
Um, I I also came across a CU in PlayFight not too long ago at Soho Theatre.
00:11:44.080 --> 00:11:51.840
Um, I was wondering what was it like working with Sophie Cox again on that production and you know, forming those like sisterly blob bonds as well in the show.
00:11:52.159 --> 00:11:54.320
Oh, I love play fight.
00:11:54.639 --> 00:12:03.519
I actually saw Sophie recently because the writer Julia has got another show on at Soho Theatre currently called You're So Special.
00:12:03.600 --> 00:12:05.919
So we both went to see that together.
00:12:06.159 --> 00:12:09.679
Um, that was such an amazing experience.
00:12:09.759 --> 00:12:30.320
It was so fun to work on new writing and to work on something that was genuinely so funny and heart-wrenching, and just really captured what it's like to be a teenager and discovering your bodies and pleasure and consent for the first time.
00:12:30.559 --> 00:12:57.600
And me and Sophie were in we were in third year together at school, and it's it's really funny because we weren't particularly close whilst we were at Guild Hall together and then happened to get our first job out of drama school together, and we lived together whilst we were in Edinburgh, and then we went on tour, we also lived together, so it's really special to have got such a lovely friendship from that, and we always talk about how much we'd love to do that play again and how much we miss it.
00:12:57.759 --> 00:13:01.840
It was so, so fun, such a rewarding experience.
00:13:02.080 --> 00:13:02.480
Yeah.
00:13:02.799 --> 00:13:10.240
Did that casting happen by chance or um was it quite intentional that you wanted to find something to do together?
00:13:10.480 --> 00:13:11.600
No, no, no, no.
00:13:11.759 --> 00:13:22.399
We both taped, and then funnily enough, we were sat backstage when we were teching our final show, and she was like, Oh, what are you doing tomorrow?
00:13:22.559 --> 00:13:25.679
And I was like, Oh, I've got this like chemistry read for this play.
00:13:25.840 --> 00:13:27.360
She was like, Oh, same.
00:13:27.519 --> 00:13:29.279
Um I'm just gonna be in Shepherd's Bush.
00:13:29.360 --> 00:13:33.759
I was like, Oh, my chemistry reads in Shepherd's Bush, and then she was like, It's not a play fight, is it?
00:13:34.080 --> 00:13:40.159
And then there it was, and we were both in the same chemistry read the next day, and yeah, we just had no idea.
00:13:40.240 --> 00:13:47.759
And then she found out she got the part, I think a week before I did, and didn't tell me.
00:13:47.840 --> 00:13:59.759
And then I found out I got the part, but neither of us knew if the other person had, so there was just this like weird period of time where we both knew we were doing it, but like neither one of us wanted to break the news just in case.
00:14:00.000 --> 00:14:03.200
But yeah, it was really, really exciting, really fun.
00:14:03.519 --> 00:14:12.320
Yeah, um, I saw Sophie recently doing Helena in Midsummer Night's Dream, and um I saw you doing Hermia in the bridge production of that as well.
00:14:12.480 --> 00:14:14.720
Um, did you talk to each other about that as well?
00:14:14.799 --> 00:14:18.080
And of course you know Romeo was playing Hermia in that production too.
00:14:18.159 --> 00:14:20.559
So, did you like talk about doing this play at all as well?
00:14:20.639 --> 00:14:22.320
Did you share like experiences?
00:14:22.799 --> 00:14:24.080
Um, it's interesting.
00:14:24.320 --> 00:14:25.440
It's so funny actually.
00:14:25.600 --> 00:14:32.240
At that time when I was playing Hermia, I've had like two friends since do a version of Midsummer.
00:14:32.320 --> 00:14:35.840
Um, so I feel like I've got loads of friends that have played the lovers.
00:14:36.480 --> 00:14:45.200
But every single production is so different, and the brilliant thing about Shakespeare is it gives you the permission to make it your own.
00:14:45.519 --> 00:15:04.320
So I I guess we would talk about our experiences doing the production, but never too much detail about the characters because it kind of feels separate, even though it obviously is the same part, the same play, it still is like your own.
00:15:04.559 --> 00:15:20.480
And I think that's really important, especially because I mean the version that I did was immersive and you know, had people in silks and like yeah, it was brilliant.
00:15:20.559 --> 00:15:38.080
It was bonkers, even the song bonkers was in it, and then my friend did one at The Globe that was really focusing on the darker aspects of Midsummer, you know, the the lovers being torn apart and there being a king that is ruling over this land as dictator.
00:15:38.559 --> 00:15:42.240
Um, yeah, it was like a really interesting adaptation that I'd never seen before.
00:15:42.320 --> 00:15:49.120
So obviously, we were coming to the characters really differently because our aims were to give the audience a completely different experience.
00:15:49.360 --> 00:15:54.559
And then with Sophie's, hers had like a lot of song and music in it, and she was singing in it.
00:15:54.799 --> 00:16:05.519
I guess it's just a really great example of how one show can be adapted and seen in so many different ways.
00:16:05.840 --> 00:16:07.039
Yeah, definitely.
00:16:07.200 --> 00:16:14.480
I was curious as well with Midsummer and with Ballet Shoes, um, the fact that those two productions had like previous lives as well.
00:16:14.799 --> 00:16:17.360
Um, what was like stepping into those worlds?
00:16:17.440 --> 00:16:22.320
And did you feel like you still had a lot of freedom to create your characters and to create something fresh?
00:16:22.399 --> 00:16:27.600
Or did you feel like you were stepping into something that had been existing prior to that?
00:16:28.000 --> 00:16:37.919
Yeah, I think I think with both of them, I I felt like I was stepping into something that had already had a previous life.
00:16:38.159 --> 00:16:46.879
But I was quite lucky that I actually hadn't seen either production, so I was able to just come at it with fresh eyes.
00:16:47.200 --> 00:16:52.320
And with both productions as well, there was only a couple people that had done it twice.
00:16:52.480 --> 00:17:08.079
So there was a lot of new people coming in at it with a fresh energy, new ideas, and the directors championed that, I think, because it's not every day that you get to have a second go at putting on a show.
00:17:08.319 --> 00:17:20.319
Um, so it's a chance for them to be able to work through all of the things that maybe they thought could be better, and then it's a chance for other people to get to explore those characters.
00:17:20.720 --> 00:17:21.680
Yeah, absolutely.
00:17:21.839 --> 00:17:25.599
I mean, um Ballet Issues is such a beloved book.
00:17:25.680 --> 00:17:28.160
Uh, it was completely brand new to me personally.
00:17:28.240 --> 00:17:34.319
Um, but were you fairly familiar with the Phosophor Sisters and like with the story as well yourself before going into it too?
00:17:34.559 --> 00:17:40.559
I'd watched the film years ago, but I hadn't quite put two and two together.
00:17:40.720 --> 00:17:49.599
And I read the book once I got the job, but it wasn't, yeah, it wasn't like a story that I'd grown up with in the way that so many other people have.
00:17:49.920 --> 00:17:50.160
Yeah.
00:17:50.319 --> 00:17:54.880
What was it about um your character that you felt like you were able to connect with as well?
00:17:55.359 --> 00:17:57.359
Oh my god, so much.
00:17:57.519 --> 00:18:02.079
I mean, Pauline Fossil is a young girl that wants to be an actor.
00:18:02.319 --> 00:18:20.240
Um, and I remember this specific moment where Katie Rudd, our director, after I do a scene where I've shot a film for the first time, she said, I want you to look out into the audience and just feel like you've made it.
00:18:20.559 --> 00:18:27.200
I was just thinking, my dream as a kid was to perform on the Olivier stage.
00:18:27.519 --> 00:18:31.440
That was my goal since I was a little girl.
00:18:31.680 --> 00:18:36.960
And now I have to look out on the Olivier stage at this audience.
00:18:37.119 --> 00:18:41.279
It was the first time we did it, it was such a crazy experience.
00:18:41.599 --> 00:18:43.119
No acting required.
00:18:43.279 --> 00:18:48.319
It was like I can't be more grateful to have got that opportunity.
00:18:48.480 --> 00:19:00.880
It was amazing and just crazy to look back on like you as a little kid in the audience seeing these performers on stage, and then suddenly you're that performer.
00:19:01.119 --> 00:19:01.519
Yeah.
00:19:01.839 --> 00:19:04.880
So long story short, I could really relate to Pauline.
00:19:05.200 --> 00:19:05.599
Yeah.
00:19:06.000 --> 00:19:06.160
Yeah.
00:19:06.240 --> 00:19:08.240
I mean, it was a beautiful, beautiful show.
00:19:08.319 --> 00:19:11.119
Um, it really took me aback in how much I enjoyed it.
00:19:11.279 --> 00:19:18.720
I was wondering as well, you know, given that it was also a sort of feminist piece as well, did it feel quite natural going from play fight into battle issues as well?
00:19:18.799 --> 00:19:21.920
Did you feel like you were sort of channeling the same sort of energies?
00:19:22.240 --> 00:19:30.960
Yeah, it's it's interesting because I think they are both feminist pieces, but play fight is so contemporary.
00:19:31.519 --> 00:19:33.359
And I don't know.
00:19:33.440 --> 00:19:37.680
I just I don't I don't know if I've ever connected the two in that way.
00:19:37.839 --> 00:19:41.440
They both feel like such different pieces.
00:19:42.000 --> 00:19:46.960
And arguably, whenever you have female leads, it's a feminist piece.
00:19:47.519 --> 00:19:58.400
I think ballet shoes is brilliant because you've got these three girls who have been championed to pursue the things that they're passionate about.
00:19:59.200 --> 00:20:07.200
Whereas I think play fight is more about teenage girls exploring their sexuality.
00:20:07.680 --> 00:20:16.079
Um of course, both hugely feminist pieces, but I think it's hitting uh women at different points in their lives.
00:20:16.880 --> 00:20:21.680
But also I think I've been quite lucky with all the characters that I've got to play.
00:20:22.160 --> 00:20:37.200
Um they've all been incredibly headstrong and defiant and able to fight for what they believe in, which is always really nice.
00:20:37.839 --> 00:20:38.960
Yeah, definitely.
00:20:39.119 --> 00:20:50.480
I guess coming back to uh Antigone exits now, would you also consider that to similarly be a feminist piece and um and also similarly like a defiant character too?
00:20:51.119 --> 00:20:55.119
Oh my god, yeah, Antigone is she's a force.
00:20:55.519 --> 00:21:10.160
And also she is, you know, fighting against the king, her uncle, especially because she couldn't be in line for the throne because she's a woman, even though in our day and age she would be the obvious choice.
00:21:10.400 --> 00:21:24.480
And we watch her uh stand in her power, you know, she doesn't back down when she's confronted by Creon, which I think is amazing to watch, but also amazing when you think of how long ago it was that this was written.
00:21:24.559 --> 00:21:32.480
Yeah, that a character like this, a female character like this, could have been written so so long ago.
00:21:33.440 --> 00:21:41.279
Yeah, I think it's just a great reminder of how important it is to have uh powerful, angry women on stage.
00:21:41.759 --> 00:21:42.960
Because also that's the other thing.
00:21:43.039 --> 00:22:07.920
She's not she doesn't care about being likable, she's enraged by what's happened, and she's also incredibly self-righteous and sees the world in a very black and white way, and I think it's really important to be able to have characters that have flaws as well as characters that you can believe in.
00:22:08.720 --> 00:22:18.480
I suppose um it's interesting as well, you know, given that it it was written so long ago, you know, there's been thousands of productions of Antigone since it was first written.
00:22:18.799 --> 00:22:27.680
Why do you think it's still shocking to audiences and why do you think the story keeps on being retold um you know down the millennia?
00:22:29.359 --> 00:22:41.599
I think it's because throughout time there's always been a separation uh from the people in power and uh the society that they're governing.
00:22:42.319 --> 00:22:53.920
And it is kind of heartbreaking in a way when there are stories that have been written thousands of years ago and they're still relevant today, and you think, Jesus, have we uh really not moved on from this?
00:22:54.559 --> 00:23:04.720
But also it is just so inspiring to see a woman so dedicated to her family and really fighting for what she believes in.
00:23:05.279 --> 00:23:13.920
And also this question of uh divine law, I think is also always uh really, really interesting.
00:23:14.559 --> 00:23:20.799
And I think there are endless possibilities when you get a text that is exploring that.
00:23:21.599 --> 00:23:26.400
Yeah, I think it's definitely always exciting when these um shows come back.
00:23:26.480 --> 00:23:28.880
Um, I'm definitely looking forward to it.
00:23:29.039 --> 00:23:34.880
Um I guess just as a last question, um, what are you most looking forward to about being in Chichester?
00:23:36.640 --> 00:23:42.480
I think it's always really, really nice working in a theatre where there are multiple productions happening at the same time.
00:23:42.559 --> 00:23:43.920
I think it's so exciting.
00:23:44.240 --> 00:23:53.839
Feels like you're back at school again and you get to see like the other classes show, and then afterwards the pub, you're chatting about it.
00:23:54.160 --> 00:24:00.319
I think this is gonna be really fun, and actually, Midsummer is being put on at the same time as Antigone Exit's being put on.
00:24:00.400 --> 00:24:06.000
So I'm gonna see Midsummer for the third time this year, which I think is a new record.
00:24:06.319 --> 00:24:13.119
Um, but yeah, I think like one of the best parts of the job is just meeting new people and seeing new places.
00:24:13.519 --> 00:24:16.960
Um, so that's probably what I'm most looking forward to.
00:24:17.200 --> 00:24:20.160
Uh Nina Castles, thank you so much for talking to us today.
00:24:20.480 --> 00:24:21.440
No problem.
00:00:10.560 --> 00:00:13.759
Welcome to Up Close with Carlos Side.
00:00:14.000 --> 00:00:17.839
Celebrating art, entertainment, and the human spirit.
00:00:25.600 --> 00:00:28.879
Uh Nina Castles, thank you so much for joining us today.
00:00:29.120 --> 00:00:29.519
Thank you.
00:00:29.679 --> 00:00:30.960
Thanks for having me.
00:00:31.280 --> 00:00:43.039
Yes, um, I remember seeing shooting Head the Gabler at the Rose Theatre a few years ago, and was really intrigued that Jeff James and Nina Siegel were collaborating again and subverting another classic text.
00:00:43.119 --> 00:00:46.960
Um, what was your initial reaction to reading the script the first time?
00:00:47.359 --> 00:01:03.840
I think it's really this, I think this adaptation is really interesting because it breaks up the play and makes such direct comparisons to what is happening in our world today.
00:01:04.079 --> 00:01:07.920
It's incredibly confronting.
00:01:08.319 --> 00:01:24.159
Um and I think leaves the audience with no way of escaping, which I think is a really yeah interesting take on like a very well-known Greek tragedy.
00:01:24.879 --> 00:01:25.359
Exactly.
00:01:25.519 --> 00:01:30.959
I mean, Greek drama often feels very epic thematically and dramatically.
00:01:31.040 --> 00:01:36.719
So I was quite intrigued that it would be playing uh in the Minerva rather than the main festival stage.
00:01:36.799 --> 00:01:41.359
Um did you feel like the script read more intimately?
00:01:41.840 --> 00:02:00.000
Well, I think yeah, I think that's a really interesting point because when we think of Greek tragedy, we do think of these epic tales with you know huge emotional scale and such extreme tragic events.
00:02:00.239 --> 00:02:16.479
Um, but I think what this play is doing is reminding us that unfortunately in the world that we live in today, it's not actually that far from us, and there are people living in horrific circumstances.
00:02:16.639 --> 00:02:24.960
So I think actually bringing it into the smaller space reminds us that it's not how do I say this?
00:02:25.120 --> 00:02:39.280
Um this isn't just a show, it's a a comment on our world, and I think actually when it's done intimately, it relates better, that message comes through stronger.
00:02:39.599 --> 00:02:41.039
Does that make any sense?
00:02:41.360 --> 00:02:45.360
Yeah, the impact is more felt, um, it's felt more strong.
00:02:45.840 --> 00:03:01.280
Yeah, and I think as the audience, you can't really hide behind the fact that it's a show, and when the script, when the performance is touching on current events, you as the audience are right here.
00:03:01.439 --> 00:03:02.719
Do you see what I mean?
00:03:03.039 --> 00:03:04.240
Yeah, for sure.
00:03:04.479 --> 00:03:13.120
Um, I feel like at its core, you know, Antigone has always been about you know the clash between state law and divine or familial duty.
00:03:13.280 --> 00:03:15.759
Um in Antigone Exits.
00:03:15.919 --> 00:03:21.759
Um, do you see Antigone as being more of a political dissident or a grieving sister?
00:03:22.080 --> 00:03:31.280
Um, I think she just thinks of herself as a grieving sister doing what she believes is right.
00:03:31.520 --> 00:03:40.719
I don't think she's making these decisions thinking of herself as a martyr or a political activist.
00:03:41.199 --> 00:03:51.680
She's thinking my brother deserves to be buried and I can't live knowing that I haven't done everything in my power to try and make that happen.
00:03:52.000 --> 00:03:52.639
Absolutely.
00:03:52.879 --> 00:03:59.599
I mean, also I feel like Greek tragedy um traditionally, you know, it very much relies on the concept of a chorus.
00:03:59.759 --> 00:04:06.879
And I was wondering in a cast of seven of you, you know, how does that responsibility sort of shift amongst you?
00:04:07.520 --> 00:04:35.759
Yeah, it's interesting because also we're all on stage for the whole show, and it's interesting flicking between your character and the chorus, but it's a beautiful thing sharing the responsibility of a story and feeling held, even if it's a scene between two people, you've got five other active players, and I think it just makes I think it just makes it more exciting.
00:04:36.319 --> 00:04:37.279
Definitely.
00:04:37.519 --> 00:04:43.680
I feel like you know, when we talk about Greek stories as well, you know, we often talk about this idea of catharsis.
00:04:43.759 --> 00:04:52.319
I was wondering, you know, sort of in our modern high-speed doom scrolling world, do you think audiences experience catharsis the same way that the ancient Greeks did?
00:04:52.560 --> 00:05:04.800
I think it's tricky because we receive so much information all the time, so quickly, and we have so much more access to what's going on in the world.
00:05:04.959 --> 00:05:12.319
It's hard as one person to be able to hold all of that whilst living your own life.
00:05:12.639 --> 00:05:16.000
But I think that's kind of the beautiful thing about theatre.
00:05:16.160 --> 00:05:36.480
It allows you to focus on one thing for a certain amount of time, and you can go on that journey, see if it does or doesn't relate to your own life, and just have that sense of focus that I don't know if we get anymore, or like as much of.
00:05:36.879 --> 00:05:41.759
Because even when you're watching TV, you're you've got your phone, you're like scrolling.
00:05:42.720 --> 00:05:44.560
It is like one of those special things.
00:05:44.800 --> 00:05:49.519
Phones are off, everyone's silent, voom, we're just watching this one thing.
00:05:49.839 --> 00:05:53.759
Yeah, it's definitely um something that still feels very special for sure.
00:05:53.920 --> 00:06:03.519
I suppose, as well, you know, there's always been this long lineage of female rage in ancient drama, you know, when you consider figures like Antigone and Hecuba, Medea.
00:06:03.759 --> 00:06:07.600
Um, historically interesting, you know, these women have always been played by men.
00:06:07.839 --> 00:06:14.240
And I was wondering what does it feel like even to be a woman today playing these female characters?
00:06:14.639 --> 00:06:16.160
It's interesting, isn't it?
00:06:16.319 --> 00:06:31.680
Because there are, like you said, there are so many incredible female characters in Greek tragedy, which were all written by men as well, but they are so powerful and defiant and dedicated to their cause.
00:06:31.920 --> 00:06:46.240
I think it's always such a gift with these classical texts to have a chance to get inside the character, especially because these are tales that I grew up with.
00:06:46.480 --> 00:06:49.759
I've always been a fan of classical theatre.
00:06:50.079 --> 00:06:55.759
So yeah, it just feels exciting to get to have a go, basically.
00:06:56.160 --> 00:06:58.639
Yeah, I feel like um classical theatre.
00:06:58.720 --> 00:07:02.800
Um, I love the way that it's being like modernized a lot more as well in recent years.
00:07:02.879 --> 00:07:06.480
And does it still feel like classical theatre to you when you're doing it?
00:07:06.800 --> 00:07:08.480
That's interesting.
00:07:08.879 --> 00:07:09.839
Yeah, I don't know.
00:07:09.920 --> 00:07:21.839
I I feel like this adaptation of Antigone is using the foundations of classical theatre, but it is a real modern adaptation.
00:07:22.079 --> 00:07:37.519
The language is modern, the relationships between the chorus feel really contemporary, but still the size of the emotion and the subject matter that we're exploring feels very Greek.
00:07:38.319 --> 00:07:45.680
Yeah, I suppose in a lot of um Greek tragedy as well, you know, that sense of doom tends to feel quite inevitable as well.
00:07:45.839 --> 00:07:51.439
And um, Antigone is someone I think who knows that her choices will have fatal consequences.
00:07:51.759 --> 00:07:57.519
How challenging is it to keep these things feeling unpredictable and dangerous as well?
00:07:57.839 --> 00:08:05.920
Yeah, it's I think especially with Antigone, she comes to terms with her death very quickly.
00:08:06.160 --> 00:08:15.439
She makes a decision to bury her brother, she knows she's gonna die for it, and that happens within the first 20 minutes of the play.
00:08:15.680 --> 00:08:34.320
And I think actually the real tragedy for her is having to hold up her sister through this and having to watch the heartbreak that she's going through and the grief that she's already experiencing with the death of her brothers and their parents.
00:08:34.480 --> 00:08:36.879
And Antigone is now adding to that.
00:08:37.039 --> 00:08:43.600
I think for me, that is the relationship that feels the most turbulent.
00:08:43.759 --> 00:08:48.080
I think that's the relationship where she doesn't, she doesn't know what her sister's reaction is going to be like.
00:08:48.240 --> 00:08:50.159
She doesn't know how she's gonna take it.
00:08:50.320 --> 00:08:53.919
That's the uncertain thing, I think, in the story.
00:08:54.240 --> 00:08:58.720
I know that this is also going to be the first time that you'll be performing in Chichester as well.
00:08:58.960 --> 00:08:59.279
Yeah.
00:08:59.919 --> 00:09:06.399
I was wondering, um, had you visited the theatre before and wasn't an exciting prospect, you know, going to Chichester for a few months.
00:09:06.720 --> 00:09:14.879
My friend did a show years ago in the main house, but I've never visited the Minerva.
00:09:15.039 --> 00:09:16.799
I have no idea what it looks like.
00:09:16.960 --> 00:09:19.279
So that's always an exciting prospect.
00:09:19.679 --> 00:09:30.159
And it's nice to travel for jobs and to be able to commit fully and not be distracted by your own environment.
00:09:30.320 --> 00:09:33.519
I guess it's kind of similar to doing like fringe in a way.
00:09:33.600 --> 00:09:35.840
You are just there for that one thing.
00:09:36.159 --> 00:09:37.759
Yeah, it's certainly exciting.
00:09:37.919 --> 00:09:42.639
Um, I I first came across you in Yerma at Guildhall and Oh no way.
00:09:43.360 --> 00:09:48.000
Yeah, I feel like um I feel like that play also feels um very Greek in many ways.
00:09:48.159 --> 00:09:53.679
Um, did you come away from that experience wanting to play very specific characters and tell particular stories too?
00:09:54.000 --> 00:09:59.279
Yeah, Yerma was really special because obviously it was my first third-year show.
00:09:59.600 --> 00:10:06.000
But it was also really scary because I was playing a lead in a way that I hadn't before.
00:10:06.320 --> 00:10:14.480
And the story of Yerma, she is the central character, and you are following her journey throughout the whole entire play.
00:10:14.799 --> 00:10:22.799
But it did definitely continue my love for classical theatre and classical stories.
00:10:23.200 --> 00:10:39.679
And you know, after watching Billy Piper's Yerma, I was kind of obsessed with the play, and this was a more traditional adaptation, but it was yeah, it was it was it was an exciting experience.
00:10:39.840 --> 00:10:48.240
I it was scary, it was scary, but um, I feel very lucky to have been able to play her.
00:10:48.480 --> 00:10:55.440
Yeah, I mean, does it feel different um playing you know at drama school compared to playing other audiences?
00:10:55.519 --> 00:10:58.080
And has that experience felt different for you at all?
00:10:58.399 --> 00:11:14.480
I think it feels different because sometimes at drama school, because they want you to be able to explore all these really incredible texts, you are getting sometimes cast in parts that you wouldn't play, parts that are really like older, older than you.
00:11:14.720 --> 00:11:24.559
Whereas I feel like now, especially because you're auditioning, you kind of get roles that feel like they fit almost.
00:11:24.879 --> 00:11:31.600
But I think being in front of an audience is always nerve-wracking, like no matter the context.
00:11:31.759 --> 00:11:36.320
And to me, the pressure to do a good performance is still the same.
00:11:36.720 --> 00:11:37.840
Yeah, definitely.
00:11:38.000 --> 00:11:44.000
Um, I I also came across a CU in PlayFight not too long ago at Soho Theatre.
00:11:44.080 --> 00:11:51.840
Um, I was wondering what was it like working with Sophie Cox again on that production and you know, forming those like sisterly blob bonds as well in the show.
00:11:52.159 --> 00:11:54.320
Oh, I love play fight.
00:11:54.639 --> 00:12:03.519
I actually saw Sophie recently because the writer Julia has got another show on at Soho Theatre currently called You're So Special.
00:12:03.600 --> 00:12:05.919
So we both went to see that together.
00:12:06.159 --> 00:12:09.679
Um, that was such an amazing experience.
00:12:09.759 --> 00:12:30.320
It was so fun to work on new writing and to work on something that was genuinely so funny and heart-wrenching, and just really captured what it's like to be a teenager and discovering your bodies and pleasure and consent for the first time.
00:12:30.559 --> 00:12:57.600
And me and Sophie were in we were in third year together at school, and it's it's really funny because we weren't particularly close whilst we were at Guild Hall together and then happened to get our first job out of drama school together, and we lived together whilst we were in Edinburgh, and then we went on tour, we also lived together, so it's really special to have got such a lovely friendship from that, and we always talk about how much we'd love to do that play again and how much we miss it.
00:12:57.759 --> 00:13:01.840
It was so, so fun, such a rewarding experience.
00:13:02.080 --> 00:13:02.480
Yeah.
00:13:02.799 --> 00:13:10.240
Did that casting happen by chance or um was it quite intentional that you wanted to find something to do together?
00:13:10.480 --> 00:13:11.600
No, no, no, no.
00:13:11.759 --> 00:13:22.399
We both taped, and then funnily enough, we were sat backstage when we were teching our final show, and she was like, Oh, what are you doing tomorrow?
00:13:22.559 --> 00:13:25.679
And I was like, Oh, I've got this like chemistry read for this play.
00:13:25.840 --> 00:13:27.360
She was like, Oh, same.
00:13:27.519 --> 00:13:29.279
Um I'm just gonna be in Shepherd's Bush.
00:13:29.360 --> 00:13:33.759
I was like, Oh, my chemistry reads in Shepherd's Bush, and then she was like, It's not a play fight, is it?
00:13:34.080 --> 00:13:40.159
And then there it was, and we were both in the same chemistry read the next day, and yeah, we just had no idea.
00:13:40.240 --> 00:13:47.759
And then she found out she got the part, I think a week before I did, and didn't tell me.
00:13:47.840 --> 00:13:59.759
And then I found out I got the part, but neither of us knew if the other person had, so there was just this like weird period of time where we both knew we were doing it, but like neither one of us wanted to break the news just in case.
00:14:00.000 --> 00:14:03.200
But yeah, it was really, really exciting, really fun.
00:14:03.519 --> 00:14:12.320
Yeah, um, I saw Sophie recently doing Helena in Midsummer Night's Dream, and um I saw you doing Hermia in the bridge production of that as well.
00:14:12.480 --> 00:14:14.720
Um, did you talk to each other about that as well?
00:14:14.799 --> 00:14:18.080
And of course you know Romeo was playing Hermia in that production too.
00:14:18.159 --> 00:14:20.559
So, did you like talk about doing this play at all as well?
00:14:20.639 --> 00:14:22.320
Did you share like experiences?
00:14:22.799 --> 00:14:24.080
Um, it's interesting.
00:14:24.320 --> 00:14:25.440
It's so funny actually.
00:14:25.600 --> 00:14:32.240
At that time when I was playing Hermia, I've had like two friends since do a version of Midsummer.
00:14:32.320 --> 00:14:35.840
Um, so I feel like I've got loads of friends that have played the lovers.
00:14:36.480 --> 00:14:45.200
But every single production is so different, and the brilliant thing about Shakespeare is it gives you the permission to make it your own.
00:14:45.519 --> 00:15:04.320
So I I guess we would talk about our experiences doing the production, but never too much detail about the characters because it kind of feels separate, even though it obviously is the same part, the same play, it still is like your own.
00:15:04.559 --> 00:15:20.480
And I think that's really important, especially because I mean the version that I did was immersive and you know, had people in silks and like yeah, it was brilliant.
00:15:20.559 --> 00:15:38.080
It was bonkers, even the song bonkers was in it, and then my friend did one at The Globe that was really focusing on the darker aspects of Midsummer, you know, the the lovers being torn apart and there being a king that is ruling over this land as dictator.
00:15:38.559 --> 00:15:42.240
Um, yeah, it was like a really interesting adaptation that I'd never seen before.
00:15:42.320 --> 00:15:49.120
So obviously, we were coming to the characters really differently because our aims were to give the audience a completely different experience.
00:15:49.360 --> 00:15:54.559
And then with Sophie's, hers had like a lot of song and music in it, and she was singing in it.
00:15:54.799 --> 00:16:05.519
I guess it's just a really great example of how one show can be adapted and seen in so many different ways.
00:16:05.840 --> 00:16:07.039
Yeah, definitely.
00:16:07.200 --> 00:16:14.480
I was curious as well with Midsummer and with Ballet Shoes, um, the fact that those two productions had like previous lives as well.
00:16:14.799 --> 00:16:17.360
Um, what was like stepping into those worlds?
00:16:17.440 --> 00:16:22.320
And did you feel like you still had a lot of freedom to create your characters and to create something fresh?
00:16:22.399 --> 00:16:27.600
Or did you feel like you were stepping into something that had been existing prior to that?
00:16:28.000 --> 00:16:37.919
Yeah, I think I think with both of them, I I felt like I was stepping into something that had already had a previous life.
00:16:38.159 --> 00:16:46.879
But I was quite lucky that I actually hadn't seen either production, so I was able to just come at it with fresh eyes.
00:16:47.200 --> 00:16:52.320
And with both productions as well, there was only a couple people that had done it twice.
00:16:52.480 --> 00:17:08.079
So there was a lot of new people coming in at it with a fresh energy, new ideas, and the directors championed that, I think, because it's not every day that you get to have a second go at putting on a show.
00:17:08.319 --> 00:17:20.319
Um, so it's a chance for them to be able to work through all of the things that maybe they thought could be better, and then it's a chance for other people to get to explore those characters.
00:17:20.720 --> 00:17:21.680
Yeah, absolutely.
00:17:21.839 --> 00:17:25.599
I mean, um Ballet Issues is such a beloved book.
00:17:25.680 --> 00:17:28.160
Uh, it was completely brand new to me personally.
00:17:28.240 --> 00:17:34.319
Um, but were you fairly familiar with the Phosophor Sisters and like with the story as well yourself before going into it too?
00:17:34.559 --> 00:17:40.559
I'd watched the film years ago, but I hadn't quite put two and two together.
00:17:40.720 --> 00:17:49.599
And I read the book once I got the job, but it wasn't, yeah, it wasn't like a story that I'd grown up with in the way that so many other people have.
00:17:49.920 --> 00:17:50.160
Yeah.
00:17:50.319 --> 00:17:54.880
What was it about um your character that you felt like you were able to connect with as well?
00:17:55.359 --> 00:17:57.359
Oh my god, so much.
00:17:57.519 --> 00:18:02.079
I mean, Pauline Fossil is a young girl that wants to be an actor.
00:18:02.319 --> 00:18:20.240
Um, and I remember this specific moment where Katie Rudd, our director, after I do a scene where I've shot a film for the first time, she said, I want you to look out into the audience and just feel like you've made it.
00:18:20.559 --> 00:18:27.200
I was just thinking, my dream as a kid was to perform on the Olivier stage.
00:18:27.519 --> 00:18:31.440
That was my goal since I was a little girl.
00:18:31.680 --> 00:18:36.960
And now I have to look out on the Olivier stage at this audience.
00:18:37.119 --> 00:18:41.279
It was the first time we did it, it was such a crazy experience.
00:18:41.599 --> 00:18:43.119
No acting required.
00:18:43.279 --> 00:18:48.319
It was like I can't be more grateful to have got that opportunity.
00:18:48.480 --> 00:19:00.880
It was amazing and just crazy to look back on like you as a little kid in the audience seeing these performers on stage, and then suddenly you're that performer.
00:19:01.119 --> 00:19:01.519
Yeah.
00:19:01.839 --> 00:19:04.880
So long story short, I could really relate to Pauline.
00:19:05.200 --> 00:19:05.599
Yeah.
00:19:06.000 --> 00:19:06.160
Yeah.
00:19:06.240 --> 00:19:08.240
I mean, it was a beautiful, beautiful show.
00:19:08.319 --> 00:19:11.119
Um, it really took me aback in how much I enjoyed it.
00:19:11.279 --> 00:19:18.720
I was wondering as well, you know, given that it was also a sort of feminist piece as well, did it feel quite natural going from play fight into battle issues as well?
00:19:18.799 --> 00:19:21.920
Did you feel like you were sort of channeling the same sort of energies?
00:19:22.240 --> 00:19:30.960
Yeah, it's it's interesting because I think they are both feminist pieces, but play fight is so contemporary.
00:19:31.519 --> 00:19:33.359
And I don't know.
00:19:33.440 --> 00:19:37.680
I just I don't I don't know if I've ever connected the two in that way.
00:19:37.839 --> 00:19:41.440
They both feel like such different pieces.
00:19:42.000 --> 00:19:46.960
And arguably, whenever you have female leads, it's a feminist piece.
00:19:47.519 --> 00:19:58.400
I think ballet shoes is brilliant because you've got these three girls who have been championed to pursue the things that they're passionate about.
00:19:59.200 --> 00:20:07.200
Whereas I think play fight is more about teenage girls exploring their sexuality.
00:20:07.680 --> 00:20:16.079
Um of course, both hugely feminist pieces, but I think it's hitting uh women at different points in their lives.
00:20:16.880 --> 00:20:21.680
But also I think I've been quite lucky with all the characters that I've got to play.
00:20:22.160 --> 00:20:37.200
Um they've all been incredibly headstrong and defiant and able to fight for what they believe in, which is always really nice.
00:20:37.839 --> 00:20:38.960
Yeah, definitely.
00:20:39.119 --> 00:20:50.480
I guess coming back to uh Antigone exits now, would you also consider that to similarly be a feminist piece and um and also similarly like a defiant character too?
00:20:51.119 --> 00:20:55.119
Oh my god, yeah, Antigone is she's a force.
00:20:55.519 --> 00:21:10.160
And also she is, you know, fighting against the king, her uncle, especially because she couldn't be in line for the throne because she's a woman, even though in our day and age she would be the obvious choice.
00:21:10.400 --> 00:21:24.480
And we watch her uh stand in her power, you know, she doesn't back down when she's confronted by Creon, which I think is amazing to watch, but also amazing when you think of how long ago it was that this was written.
00:21:24.559 --> 00:21:32.480
Yeah, that a character like this, a female character like this, could have been written so so long ago.
00:21:33.440 --> 00:21:41.279
Yeah, I think it's just a great reminder of how important it is to have uh powerful, angry women on stage.
00:21:41.759 --> 00:21:42.960
Because also that's the other thing.
00:21:43.039 --> 00:22:07.920
She's not she doesn't care about being likable, she's enraged by what's happened, and she's also incredibly self-righteous and sees the world in a very black and white way, and I think it's really important to be able to have characters that have flaws as well as characters that you can believe in.
00:22:08.720 --> 00:22:18.480
I suppose um it's interesting as well, you know, given that it it was written so long ago, you know, there's been thousands of productions of Antigone since it was first written.
00:22:18.799 --> 00:22:27.680
Why do you think it's still shocking to audiences and why do you think the story keeps on being retold um you know down the millennia?
00:22:29.359 --> 00:22:41.599
I think it's because throughout time there's always been a separation uh from the people in power and uh the society that they're governing.
00:22:42.319 --> 00:22:53.920
And it is kind of heartbreaking in a way when there are stories that have been written thousands of years ago and they're still relevant today, and you think, Jesus, have we uh really not moved on from this?
00:22:54.559 --> 00:23:04.720
But also it is just so inspiring to see a woman so dedicated to her family and really fighting for what she believes in.
00:23:05.279 --> 00:23:13.920
And also this question of uh divine law, I think is also always uh really, really interesting.
00:23:14.559 --> 00:23:20.799
And I think there are endless possibilities when you get a text that is exploring that.
00:23:21.599 --> 00:23:26.400
Yeah, I think it's definitely always exciting when these um shows come back.
00:23:26.480 --> 00:23:28.880
Um, I'm definitely looking forward to it.
00:23:29.039 --> 00:23:34.880
Um I guess just as a last question, um, what are you most looking forward to about being in Chichester?
00:23:36.640 --> 00:23:42.480
I think it's always really, really nice working in a theatre where there are multiple productions happening at the same time.
00:23:42.559 --> 00:23:43.920
I think it's so exciting.
00:23:44.240 --> 00:23:53.839
Feels like you're back at school again and you get to see like the other classes show, and then afterwards the pub, you're chatting about it.
00:23:54.160 --> 00:24:00.319
I think this is gonna be really fun, and actually, Midsummer is being put on at the same time as Antigone Exit's being put on.
00:24:00.400 --> 00:24:06.000
So I'm gonna see Midsummer for the third time this year, which I think is a new record.
00:24:06.319 --> 00:24:13.119
Um, but yeah, I think like one of the best parts of the job is just meeting new people and seeing new places.
00:24:13.519 --> 00:24:16.960
Um, so that's probably what I'm most looking forward to.
00:24:17.200 --> 00:24:20.160
Uh Nina Castles, thank you so much for talking to us today.
00:24:20.480 --> 00:24:21.440
No problem.
