Tracey Walker

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Well, why do we do this?
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Josh? Why do we do this? Why do we do this? No? No,
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why why why do we do this? Why do we
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do this? Why do we do this? Why do we stop?
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It?
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Stop?
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Welcome? Welcome, They have ladies and gents.
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We just had a we did a while back, a
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fantastic chat with Kim Clayton.
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Yeah, but I think tonight it might be better.
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It might be better. I think it's I feel like
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you're putting pressure on there. Well I know this. Our
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next guest is.
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Yeah, well she's not appreciating that sentiment. So I don't
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know what you're doing. But anyway, we are chatting. This
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is a podcast called why do we do this? Why
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do people participate in theater.
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And without getting the normal reimbursements of doing the amount
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of work that we do.
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We've got Tracy Walker.
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Tracy Walker is in the studio who's involved in so
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many things and does spend a lot of her time
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with amateur theater.
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Tracy, Welcome, Hello, and thank you for having me.
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You're very very welcome. We've been so excited to get
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you on.
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It's taken me a few many years to convince you
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to do this, so thank you for coming on.
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You just wom me down.
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The wine helps you, so maybe a lot, drink your grapes,
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you'll be fine.
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So where does it fit? How does it the theater
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find you?
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Well? I started. I did a bit of drama in
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high school, but not very much. So back when I
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went to high school, it wasn't a subject per se,
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so it was no, you couldn't do some of these
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fantastic things. Although I think it was a subject in
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year ten, but then past that it wasn't, so it
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was an elective.
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And where did you go to school?
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Doors Road high School?
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Okay, yeah, I have no idea what.
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It's called now. It went through Panorama Secondary School for
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a while.
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And were you popular in high school?
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I wasn't, but the people I hung with were.
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But I think that actually means that you were popular
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right by default by association.
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Is that important?
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I think it is at the time, isn't it. I mean,
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we know it's not important now it's no.
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But then there were other people that were more popular
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in different ways, So I mean, it's all it's all relative.
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I wasn't particularly sporty, so it clearly wasn't that.
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So that got at school?
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Yeah, I did a little bit at school.
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Do you remember the first show?
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No, I have no idea what it was. Oh, and
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we did one called something like the Five Women of
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Calais or something. It was just a little one act
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playing we did.
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Do you remember your drama teacher?
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Yes? And some people might know this person because he
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used to do a bit of stuff with the Blackwood Players.
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So it was Raj Dyal okay, yeah, and we passed. Now, yeah, Raja.
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The reason why I asked about the theater and the
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school and the impact that it had then was because
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your first show.
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Was in ninety I two. So it's like, was there
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a good gap?
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Absolutely after nothing after school for a long time, if
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I think about that. So that was ten years after
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So I finished high school year twelve and eighty two.
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Uh huh.
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And then it wasn't until I was married a couple
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of years and moved into moved up to the Hills.
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We were living up there. It was just before I
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had my kids and I wanted to get involved in
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the community more up in the Hills. So we were
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living in Sterling at that stuff beautiful, yeah and all
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go and oh lovely, it's just such a wonderful place,
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and so I answered an ad in the local the Courier,
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the career mail uh huh for people who wanted to
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help backstage with a theater production. I went along. It
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was wonderful. I met This is where I got my
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lifelong friendship with Vicky Barrett. So Vicky and Kevin Burrett
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were heavily involved in the Sterling Place for many many years,
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and really absolutely and so I became really they were
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just they became so much like family, and their family
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kind of with ours.
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It was such generous people.
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Oh, just wonderful.
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So what attracted you about the ad? What were you
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thinking you were going to walk into?
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Oh I didn't really know. Obviously I had very little
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experience in the theater. But it was just it was
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around helping our backstage, and I didn't know what that meant,
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but I was willing to do anything. I think I
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helped dress someone for the first show. You know, I
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ran off stage and bands down and put his pants
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on and off you go. It's back onto stage. So
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it was just whatever whatever they wanted. And I just
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then got the courage to audition for some things as
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time went on, and I was on the committee for
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quite some time as well, as was my husband for
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a little while.
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So I attracted you to continuing to be and stay
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with Silling players. Like there must have been something like
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the camaraderie or the family.
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It was the community and it was family, and it
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did become a lot of you know, a big part
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of my family out there, our family, but it was
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it was I mean the Hills. We didn't really know
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anyone in the Hills that lived up there, and it
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was about getting to know the community start with it.
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You don't play for the local footy.
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Class, exactly, you're not. Yeah, So we then we just
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got absolutely drawn into that world. And I absolutely fell
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in love with the theater. And I hadn't had an
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opportunity growing up to go and see theater at all.
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Do you remember your first show that you ever saw?
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No, No, I don't, and it was probably wasn't until
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I was watching shows at the Sterling at the Sterling
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Community Theater.
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Wow.
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Yeah. It was just not a part of my world
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growing up at all. But it was luck I found
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my place in my place amongst you know, amongst like
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minded people. It was really lovely.
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I think on your career of what I've seen you
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in You're a brilliant actor, actor or.
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Actress and started with dropping.
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That wasn't the acting part, and yeah it was, so how.
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Did you come naturally to you? Or did you learn?
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Does it.
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The way?
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And I watched people and I took direction. I had
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key moments of learning from all of the directors that
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I had.
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So what was that transition from helping out behind the
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stage to that decision to go, Okay, I'm gonna read
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the ball Well, I knew.
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I would have. I knew I watched it and I
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wanted to be part of that up there on stage.
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And you'll see that. The first one was a very
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just a narrator, a.
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Narrator, the giant piece.
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Yeah, one of the kids shows because Stirling Players used
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to put on a youth show in the middle of
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the year.
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So this wasn't the youth theater different, it.
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Was absolutely different. Yeah, So they used to do from
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memory again Memory serving the Well hopefully had two regular
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adult shows and then one children's show. I don't know
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how long that was going for when it actually stopped,
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but that's what And then I tried it and I
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did that and that was very It was nerve wracking
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and it was, but it was it was fun.
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As the narrator.
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Could you just read a book or you learn the
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lines or how did that?
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I can't even remember that. Yeah, I'm sure Vicky could remember,
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and she would probably tell me that I can't remember.
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I've worked with them a few times and they're They're fantastic.
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It's a great little theater. It's up on the hills.
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It's a big.
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Honest everyone does their job, they all know, they're all
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pitching and well this is That was my certainly my
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experience of working with them over the years, and I
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had quite a long association with them in the start,
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I think definitely, yeah, ten years or so, and then
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I came I maybe came back and did some other stuff.
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So a bit later with Haley and Corcu's Nest, but
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that was a bit later after I'd gone and worked
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with some other companies. But yeah, along and it was
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wonderful and I I think and one of the directors
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that I worked with a lot and was introduced to
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at Stirling was Jeff Britton, and he taught me so
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much about about acting and I you know, I really really,
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I really enjoyed working with Jeff I've never worked with him,
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what's he like, Well, my experience back then, so we're
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talking the nineties and kind of.
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New to it as well, like it was it, Yeah,
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I know it's what he wants.
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Absolutely like a vision and extremely creative and I just
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immersed myself in that and was really open to whatever
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direction he was giving, and he just really took a
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chance on me.
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I think what was some of the challenges that you
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were facing as you're trying to learn well the I think.
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Having that the first lead role, I think it's I
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think the first one was the prime of Miss Jane Brody,
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which is quite it was amazing.
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So Maggie, Yeah, I get in.
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There only after a few couple of years or a
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few years after.
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You did your first one in ninety eighty two, and
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then he went down into two thousand and one a
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massive role.
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Yeah. So I can't remember when Jeane Brody was.
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That was in oh that late You've got your file.
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Yeah you do, but just have him giving me that
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opportunity for that lead role. I got to do a
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Scottish accent, which I love doing accent, fine accent, and
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I just worked wonderful people and I swhere I met
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preuh then and I worked with Pete Davies. I think
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that might have been the first time I worked with
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Pete uh huh in Jean Brody and just it was
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just lovely. I just really enjoyed and Jeff really really
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I just took me under his wing and gave me
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a lot of opportunities, and he wasn't afraid to tell
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me what maybe I needed to tweat. He was the
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first person to tell me that. When I was delivering
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my lines, I clicked like like I have a little
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you know, a little. As I was delivering, I was like,
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I had no idea. So you know, that was about
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learning the craft, but it was also having the opportunity
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it is with Jeff and going along on that vision with.
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So your auditioned for the show, Yes, yes, did you
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think you were going to get it?
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No? You always hope, yes, but you never know for sure.
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And Sterling players, I don't know if they still do,
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but certainly it was a very much open audition stage,
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and you know, you're up against quite quite a few people,
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and as you know time goes by, you'll you'll know
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that the same kind of people are arriving and competing
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for the same roles that you are and when.
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You've got that part, that call that must have felt amazing,
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Oh did terrifying.
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Amazing and terrifying. And I had two young children at
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that stage, Wow, and really extraordinarily supportive husband and father
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and that had you know, that made it work, made
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it work for us. It was just it was wonderful
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and you know, nerves and all of that sort of
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stuff happens, but it was. It was lovely and I have,
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you know, wonderful memories of that time.
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It's an amazing film, but like it, it's also a
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great I've never seen the play, but you know, I
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think Vanessa Redgrave did that was making in the film.
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I think.
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Because it was first to stage played nineteen sixty six,
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I think.
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It's actually quite oh but surprising, Yes it is. That's yeah,
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it's amazing the film. I love the film too, with
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Makey Smith.
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But you've you've done some quite heavy roles.
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Actually I love them.
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Why do you like it?
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I loved the heavy drama and I love really getting
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into a character that has perhaps you know, experiencing trauma
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through the play or challenges or difficulties or has I
253
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was always drawn to the dramas in certainly early well
254
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quite for quite a few years. I just I love it.
255
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I love getting into that depth. And I always felt
256
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like I couldn't do comedy. It was always so hard,
257
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And do you feel I think I'm better at it now?
258
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Oly after having done some. I still haven't done a
259
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lot of comedies, but having done some, I've learned. I've
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learned the timing, which is also critical.
261
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Yes, and hard to do actually comedy. Yeah, well that's
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where it started.
263
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And I've had advice about you know, you're speaking the truth.
264
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You're not You're not delivering a punchline or anything.
265
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Delivering the truth.
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That's the hardest thing is it's like, yeah, when I'm
267
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trying to trying to educate a few students at the
268
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moment and how to act, which is interesting, and timing
269
00:13:40.399 --> 00:13:44.000
is an interesting thing to try and teach, because it's like, do.
270
00:13:43.960 --> 00:13:45.080
You think you can teach it? Though?
271
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Well, I think it's it's more like, well, if you're
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not going to go for the timing, go for the truth,
273
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don't go for the gag.
274
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And even better, go for both.
275
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Yeah, I mean, if it's if it's a gag, if
276
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you can't get the timing right, Go in, be as
277
00:14:00.639 --> 00:14:03.279
serious as possible, and then it'll be it'll actually be
278
00:14:03.279 --> 00:14:05.799
funny because you're trying to say it like a human being,
279
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which is where the timing comes in.
280
00:14:07.720 --> 00:14:09.759
So don't think about the timing. Try and just do
281
00:14:09.799 --> 00:14:12.440
it as a human That's been my advice with comedy.
282
00:14:12.519 --> 00:14:15.279
It's like play it as it's like the last player
283
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convincing my carts.
284
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Like it's a comedy.
285
00:14:17.720 --> 00:14:20.440
It's a comedy, Like this is a serious you're a murderer,
286
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you're a psychopath. I'm like, yeah, but it's so funny.
287
00:14:24.960 --> 00:14:27.559
Yeah, it's about I don't know, like you kind of
288
00:14:27.600 --> 00:14:29.320
try not to sell the gag, but you got to.
289
00:14:29.480 --> 00:14:29.879
I don't know.
290
00:14:30.440 --> 00:14:32.799
That's the thing I think when people, when actors realize
291
00:14:32.799 --> 00:14:33.919
they're being funny.
292
00:14:33.639 --> 00:14:36.240
That becomes such a dangerous thing.
293
00:14:36.320 --> 00:14:37.840
And I think that's why I found it so hard.
294
00:14:38.039 --> 00:14:40.799
It is a tightrope really to walk.
295
00:14:41.279 --> 00:14:43.840
So when you took on that lead role, is does
296
00:14:43.919 --> 00:14:48.159
Jeff work in a way where he's very prescriptive that
297
00:14:48.200 --> 00:14:51.440
you felt safe or certainly.
298
00:14:51.080 --> 00:14:55.559
Not with me. I didn't find that, But remembering at
299
00:14:55.639 --> 00:15:00.120
that stage I was still kind of developing my skills anyway,
300
00:15:00.440 --> 00:15:04.080
and I wasn't feeling you know, I wanted more direction,
301
00:15:04.159 --> 00:15:06.879
I wanted to feel more. But then there was one
302
00:15:06.960 --> 00:15:09.960
play that I did with Jeff after a few which
303
00:15:10.080 --> 00:15:12.559
was called two, which was a two hander with me
304
00:15:12.720 --> 00:15:18.200
and Page Davies. Yes, and we played a landlord landlady
305
00:15:18.240 --> 00:15:20.799
in a pub, in an English pub, and we played
306
00:15:20.840 --> 00:15:23.440
all of the characters that came into the pub as
307
00:15:23.480 --> 00:15:26.960
world and that I felt really challenged me. And that
308
00:15:27.080 --> 00:15:30.879
was that was just absolutely incredible for credible from that perspective.
309
00:15:31.080 --> 00:15:33.200
But it was also the first time I felt that
310
00:15:33.279 --> 00:15:38.879
I found my voice in speaking up and contributing more like,
311
00:15:38.919 --> 00:15:42.279
in really really collaborating. I mean, I've probably did little
312
00:15:42.320 --> 00:15:46.600
bits of it up until then, but but it was
313
00:15:46.639 --> 00:15:48.159
at that point I kind of thought, oh, you know,
314
00:15:48.440 --> 00:15:51.320
I probably do have more to say about it.
315
00:15:52.200 --> 00:15:52.879
Confidence was.
316
00:15:55.080 --> 00:15:58.440
Yeah, that's also that's also a credit to Jeff because
317
00:15:58.600 --> 00:16:00.679
it brought me along on that journey as well.
318
00:16:00.720 --> 00:16:04.159
And he'd be open to that discussion too. Yeah.
319
00:16:04.200 --> 00:16:06.799
I haven't worked with him for a while, but certainly
320
00:16:06.840 --> 00:16:09.240
that was absolutely Mike Jeff.
321
00:16:09.679 --> 00:16:13.720
But it was very very supportive actually, yes, yeah.
322
00:16:13.639 --> 00:16:16.279
Challenging and terrifying too, right, Like it's a two handed
323
00:16:16.399 --> 00:16:19.559
like you've gone from it was just the two of you. Yeah,
324
00:16:19.840 --> 00:16:22.240
but is it better like if he's just lying on
325
00:16:22.240 --> 00:16:24.559
the two of you and it's just you're not I don't.
326
00:16:24.360 --> 00:16:27.919
Know if one thing's better than another. They're all experiences
327
00:16:27.960 --> 00:16:29.279
and they have better.
328
00:16:29.399 --> 00:16:31.200
Did you have a good crew? I think if it's
329
00:16:31.240 --> 00:16:32.879
a too handy, you're going to have a good crew.
330
00:16:34.039 --> 00:16:37.200
Often is well as far as he does a lot.
331
00:16:37.639 --> 00:16:40.679
I think even at that stage, sound and lighting had
332
00:16:40.679 --> 00:16:44.559
a lot of input. But that one was with Blackwood
333
00:16:44.759 --> 00:16:49.440
Players too. It was very minimal set to. It was
334
00:16:49.600 --> 00:16:52.919
that it was in the Tower Art Center, which was
335
00:16:53.000 --> 00:16:58.000
my old high school drama. So that was really interesting.
336
00:16:58.039 --> 00:16:59.879
Full circle, full circle.
337
00:17:00.000 --> 00:17:03.440
Actually Blackwood Players did some great stuff, like that's how
338
00:17:03.480 --> 00:17:07.559
I started in Blackwood Players, like ye after high school
339
00:17:07.559 --> 00:17:11.599
and stuff, and we mentioned in last episode Jeff Haskewell
340
00:17:12.039 --> 00:17:15.119
got me involved and really kind of really fought for
341
00:17:15.200 --> 00:17:17.359
me for some parts, and yeah, it just kind of
342
00:17:17.359 --> 00:17:18.720
happened there and then you.
343
00:17:18.680 --> 00:17:24.160
Know it's gone through transformations because you kind of went back.
344
00:17:24.759 --> 00:17:27.079
I'm thinking back when they try to sort of resurrect,
345
00:17:27.279 --> 00:17:28.440
I'm like, what am I thinking of?
346
00:17:28.799 --> 00:17:30.119
No, I'm thinking when you.
347
00:17:30.079 --> 00:17:37.559
Did Richard Burton, Oh, Virginia Burnside play, Yeah, that's right, Yeah,
348
00:17:37.599 --> 00:17:38.119
we got there.
349
00:17:39.559 --> 00:17:42.400
Sorry, I'm thinking a different thing because you've tried to
350
00:17:42.599 --> 00:17:44.000
get involved with them as well.
351
00:17:44.039 --> 00:17:47.160
And Burnside Oh well, I just want to be honest.
352
00:17:47.680 --> 00:17:52.240
Following the roles at that stage, well, well you know
353
00:17:52.599 --> 00:17:57.480
that stage and I had also, Yeah, following the roles
354
00:17:57.599 --> 00:18:00.960
what I really wanted to do obviously, Martha Virginia Wolf
355
00:18:01.039 --> 00:18:04.519
is the role to die for, and well it becomes
356
00:18:04.559 --> 00:18:07.880
over time as you learn and you meet people and
357
00:18:07.920 --> 00:18:10.039
you know who you want to work with and who
358
00:18:10.079 --> 00:18:14.319
maybe you don't necessarily work so well with. But I
359
00:18:14.400 --> 00:18:18.039
was probably still exploring at that stage and sort of
360
00:18:18.160 --> 00:18:20.039
and trying to find.
361
00:18:20.160 --> 00:18:25.079
But when you say exploring, yeah, it's like big roles, right,
362
00:18:25.200 --> 00:18:25.440
like you.
363
00:18:25.880 --> 00:18:30.960
Got massive three, like you're jumping into leeds and I
364
00:18:30.960 --> 00:18:31.960
don't think you've stopped.
365
00:18:32.000 --> 00:18:32.279
Really.
366
00:18:32.960 --> 00:18:37.440
There was absolutely like my shift, my focus and my shift.
367
00:18:37.559 --> 00:18:40.240
But I think you'll see it really has a more
368
00:18:40.519 --> 00:18:45.000
more and you know that's life, life and work and
369
00:18:45.119 --> 00:18:49.200
other things going on where doing the big roles are
370
00:18:49.279 --> 00:18:55.000
much more difficult. Difficult from a logistic yes, definitely, yeah,
371
00:18:55.960 --> 00:18:58.920
And so yeah, it was just a shift I had
372
00:18:58.960 --> 00:19:01.039
that there was a period of my life when yeah,
373
00:19:01.079 --> 00:19:01.640
of course I.
374
00:19:01.839 --> 00:19:06.480
Was start coming on after Jean Brody.
375
00:19:06.559 --> 00:19:09.759
Yes and no, I don't you know that history there
376
00:19:09.799 --> 00:19:16.240
were like roles and stuff for yes, I would say yes, yeah, offered,
377
00:19:16.440 --> 00:19:19.440
offered roles, but then auditioned for many as well. There
378
00:19:19.519 --> 00:19:23.839
was still very very many auditions.
379
00:19:22.680 --> 00:19:25.519
So the Barbers and that's I'm assuming that the same
380
00:19:25.640 --> 00:19:28.039
nuts what a great role.
381
00:19:28.319 --> 00:19:29.799
It's a great film.
382
00:19:29.839 --> 00:19:33.160
Is first, I don't know if it was a playfirst.
383
00:19:33.160 --> 00:19:35.119
I'm going to say yes, but I've got no idea.
384
00:19:35.279 --> 00:19:37.160
I think so, I think it would have been a playfirst.
385
00:19:37.160 --> 00:19:39.799
It does because it's a courtroom drama and a stage
386
00:19:39.880 --> 00:19:43.240
like a courtroom drama. And that was that was amazing.
387
00:19:43.319 --> 00:19:46.640
Again that was Jeff Britton and you know, and the
388
00:19:46.720 --> 00:19:49.960
other really heavy one extremity extremities.
389
00:19:49.319 --> 00:19:51.680
Uh huh, which what's that.
390
00:19:51.640 --> 00:19:53.559
Was a movie A Farrah Force it was in that
391
00:19:54.160 --> 00:19:57.559
that was an attempted rape. I was there was an
392
00:19:57.559 --> 00:20:02.240
attempted rape of me and I over power my attacker
393
00:20:02.359 --> 00:20:05.359
and lock him. It was Anthony Vorser, who can be
394
00:20:06.279 --> 00:20:07.559
very menacing.
395
00:20:07.359 --> 00:20:12.400
Yes not great in life, one of.
396
00:20:12.400 --> 00:20:14.599
The kindest people you could ever make. And then he
397
00:20:14.680 --> 00:20:17.480
gets overpowered and locked in a kind of a fireplace
398
00:20:17.759 --> 00:20:20.279
situation for the rest of the place. So that was
399
00:20:20.319 --> 00:20:22.640
really interesting as well. And yes, Nuts is a great
400
00:20:22.720 --> 00:20:25.799
drama and a great courtroom drama. So yes, I was.
401
00:20:26.000 --> 00:20:29.359
I've had some fabulous roles. It's been been very fortunate,
402
00:20:29.400 --> 00:20:30.880
and that's really really great.
403
00:20:31.079 --> 00:20:35.319
Mixed Salad starts up pretty well after that. Were you
404
00:20:35.400 --> 00:20:37.559
on the ground level or you were just.
405
00:20:37.559 --> 00:20:41.000
Oh no, no, not at all. No, Mixed out had
406
00:20:41.119 --> 00:20:45.279
been going for a while before I auditioned for them
407
00:20:45.599 --> 00:20:47.799
The Rabbit Hole, and you know, I started me on
408
00:20:47.880 --> 00:20:53.920
a lifelong, lifelong journey and history with Dave Simms, which
409
00:20:53.960 --> 00:20:57.640
has been just incredible, just been incredible working with him,
410
00:20:58.119 --> 00:21:00.759
and it was wonderful to meet him, and I feel
411
00:21:00.799 --> 00:21:03.559
so fortunate to have to have met him and worked
412
00:21:03.559 --> 00:21:06.319
along and I worked alongside him. He played my husband.
413
00:21:07.960 --> 00:21:09.440
Yes, so that.
414
00:21:11.000 --> 00:21:14.119
It was a film by Nicole Kimmen, which apparently after
415
00:21:14.160 --> 00:21:17.240
that after Yeah, which you know, wasn't well received by
416
00:21:17.319 --> 00:21:18.079
Dave all yourself.
417
00:21:18.079 --> 00:21:19.200
From from what I hear.
418
00:21:20.440 --> 00:21:23.480
I think it was you getting into well.
419
00:21:23.359 --> 00:21:27.200
I think adaptation, but I think a lot.
420
00:21:27.039 --> 00:21:31.519
Of it was focused on that lead character that yes,
421
00:21:31.680 --> 00:21:33.559
rather than the totality.
422
00:21:33.839 --> 00:21:36.799
So when you audition that role and you got the role,
423
00:21:37.440 --> 00:21:40.240
Big Sally were amazing to work for. And Sally Putnam
424
00:21:40.279 --> 00:21:40.759
directed that.
425
00:21:41.400 --> 00:21:46.839
It's wonderful. She was just a beautiful director. And you
426
00:21:46.880 --> 00:21:49.319
know that again this collaborative style, but she had a
427
00:21:49.400 --> 00:21:52.519
vision and she knew what she was looking for. The
428
00:21:52.680 --> 00:21:53.559
style that she.
429
00:21:53.640 --> 00:21:56.079
Gave that Calico wasn't it.
430
00:21:56.079 --> 00:21:58.559
It was all calico backing. It was all these lovely
431
00:21:58.599 --> 00:22:02.640
little mutuals, you know, kind of like belying the trauma
432
00:22:02.680 --> 00:22:07.680
that was underneath that family. Yes, and it holds straight.
433
00:22:07.880 --> 00:22:09.279
I was at a Holden Street.
434
00:22:09.119 --> 00:22:11.440
Which is a great theater to performing. It's very intimate.
435
00:22:12.119 --> 00:22:13.119
And who played your mom?
436
00:22:13.799 --> 00:22:20.400
Oh, Julie Quick, Yes, I know, so it was and
437
00:22:20.400 --> 00:22:23.359
that was my first meeting of Julie as well. So
438
00:22:24.440 --> 00:22:27.279
I don't know. I just the amount of people that
439
00:22:27.440 --> 00:22:32.480
I've met along this acting journey just you know, it's
440
00:22:32.519 --> 00:22:36.519
really it's made for some wonderful times and wonderful memories.
441
00:22:36.559 --> 00:22:41.279
And so you have a very busy job and that
442
00:22:41.400 --> 00:22:45.599
keeps you extremely busy. So and that's ebbed and flow
443
00:22:45.640 --> 00:22:47.920
because you've also gone away and studied and then you've
444
00:22:48.000 --> 00:22:50.519
you've come back to theater and then kind of working
445
00:22:50.680 --> 00:22:53.240
full time and stuff. How do you balanced that currently
446
00:22:53.240 --> 00:22:55.440
at the moment, are you still doing those lead roles?
447
00:22:55.480 --> 00:22:56.920
Are you still? No?
448
00:22:57.039 --> 00:22:59.960
I just can't. And then you have other kind of
449
00:23:00.079 --> 00:23:01.839
family commitments as you know.
450
00:23:02.160 --> 00:23:06.319
Yes, yeah, with just balance, you.
451
00:23:06.359 --> 00:23:09.119
Have to balance or something that's going to go wrong.
452
00:23:09.279 --> 00:23:13.799
So I have to balance. I did nothing for an
453
00:23:13.920 --> 00:23:17.160
entire year. That might have been last year. I didn't
454
00:23:17.200 --> 00:23:21.960
do any acting, nothing on stage. But I'm always Yeah,
455
00:23:22.000 --> 00:23:24.160
I like to get involved, but then I can I
456
00:23:24.200 --> 00:23:30.359
can determine the level of input and my commitment. But yes,
457
00:23:30.400 --> 00:23:32.880
as time has gone on and my work has become
458
00:23:32.960 --> 00:23:35.039
more challenging and more time consuming.
459
00:23:36.200 --> 00:23:38.799
Yes, So how do you keep involved in that theater space?
460
00:23:38.839 --> 00:23:41.599
Then you're going to see stuff? Do you volunteer?
461
00:23:41.839 --> 00:23:42.039
Do you?
462
00:23:42.359 --> 00:23:46.680
I see? I see as much as I can. I
463
00:23:46.680 --> 00:23:48.119
think that's really important.
464
00:23:48.400 --> 00:23:50.799
And I remember you telling me off because I didn't
465
00:23:50.799 --> 00:23:51.440
see enough.
466
00:23:54.519 --> 00:23:58.039
A lot I still do. I mean I can't get
467
00:23:58.079 --> 00:23:59.720
to everything, and there's a lot of things that kind
468
00:23:59.759 --> 00:24:02.640
of laps sometimes, or there are some other commitments that
469
00:24:02.680 --> 00:24:05.319
are on that you can't can't shift. But I do that. Yeah,
470
00:24:05.319 --> 00:24:08.519
I keep involved with you by seeing it and by
471
00:24:08.680 --> 00:24:11.839
being involved where I can, where I have the energy
472
00:24:12.000 --> 00:24:14.559
to do that with everything else, because you know, I'm
473
00:24:14.559 --> 00:24:17.519
by my children are adults. Now, I'm just thirties, but
474
00:24:17.640 --> 00:24:21.319
it's you know, it's still part of my life doing that.
475
00:24:21.359 --> 00:24:23.480
And I've just got a new puppy, and I know
476
00:24:23.880 --> 00:24:26.119
it's the first evening away from her.
477
00:24:26.200 --> 00:24:28.160
But anyway, tell me about the puppies.
478
00:24:29.039 --> 00:24:33.759
Multiple pillows, exactly, all the electrical cords.
479
00:24:33.839 --> 00:24:34.920
What kind of dog is she?
480
00:24:34.920 --> 00:24:35.759
She's a kavoodle.
481
00:24:35.839 --> 00:24:36.440
And what's her name?
482
00:24:36.519 --> 00:24:37.440
Her name is Elsie?
483
00:24:37.480 --> 00:24:38.359
And how old is she?
484
00:24:38.359 --> 00:24:39.839
She is eleven weeks old.
485
00:24:40.319 --> 00:24:41.640
And how are you struggling with that?
486
00:24:42.359 --> 00:24:45.240
She's sleeping through the night, which is lovely, fantastic, but
487
00:24:45.359 --> 00:24:48.480
it's the chewing and the destruction that's getting made.
488
00:24:49.039 --> 00:24:51.240
I'm picturing what you're going to come home to. That's
489
00:24:51.279 --> 00:24:52.079
going to be fun for you.
490
00:24:52.160 --> 00:24:55.279
I mostly work from home, so that's really it's.
491
00:24:55.160 --> 00:24:59.279
An opportunity to yea yeah, but that's I reckon. I
492
00:24:59.319 --> 00:25:01.480
had post names pressure when I got Layer, like I
493
00:25:01.480 --> 00:25:03.400
think I kind of got this dog, and I was like,
494
00:25:04.279 --> 00:25:07.799
you're qualified to say that, but I can't cope with
495
00:25:07.799 --> 00:25:09.400
this thing. What have I got? I don't know what
496
00:25:09.440 --> 00:25:10.720
to do? I don't know where to put her.
497
00:25:10.920 --> 00:25:13.720
She just won't stop crying. It was just awful.
498
00:25:14.720 --> 00:25:17.079
You don't have someone that's there in the house as
499
00:25:17.119 --> 00:25:19.599
well to kind of pick up the slack when you're
500
00:25:19.920 --> 00:25:23.039
calling by yourself, and you just said I did.
501
00:25:22.960 --> 00:25:25.480
Call for everyone. I was like, you need to come over.
502
00:25:25.519 --> 00:25:30.319
I can't deal with her. I can't deal with that. Yes,
503
00:25:30.960 --> 00:25:33.839
So there you go, Josh, he doesn't have a dog.
504
00:25:34.079 --> 00:25:37.519
I have my parents' dogs and they love me. All right,
505
00:25:38.799 --> 00:25:39.440
we're talking.
506
00:25:39.240 --> 00:25:43.319
About we're talking about balance.
507
00:25:42.400 --> 00:25:46.559
Yeah, because I mean, you're heavily involved in Blue Sky,
508
00:25:46.640 --> 00:25:49.799
which I noticed the amount of work you put into that,
509
00:25:49.920 --> 00:25:52.319
and I can see the stress on your face during
510
00:25:52.359 --> 00:26:01.559
a production week or everybody is very stressed, like you're
511
00:26:01.599 --> 00:26:02.720
putting a lot in there.
512
00:26:03.119 --> 00:26:07.720
But I also modify like that because I'm not heavily
513
00:26:07.759 --> 00:26:11.799
involved during well most of the reversal period anyway. So
514
00:26:11.839 --> 00:26:14.960
there's a big chunk of time where Blue is active
515
00:26:15.480 --> 00:26:18.559
and they're rehearsing. But I kind of come in towards
516
00:26:18.559 --> 00:26:20.079
the later end of that around it.
517
00:26:20.039 --> 00:26:21.920
Didn't have to deal with the humans and the.
518
00:26:21.960 --> 00:26:25.160
Humans and so when customer experience.
519
00:26:25.079 --> 00:26:28.039
You would on the stage for a long period of
520
00:26:28.039 --> 00:26:33.519
time and loved it and great reviews. Very very hard working,
521
00:26:34.079 --> 00:26:37.480
very amazing stage presence. I saw you in one flew
522
00:26:37.519 --> 00:26:39.279
over the Cuokoo's nest, and I was just like, oh
523
00:26:39.279 --> 00:26:41.359
my god. And I think that was the first time
524
00:26:41.400 --> 00:26:44.400
I was ever I was I first kind of saw.
525
00:26:44.279 --> 00:26:46.359
You and still talk about your role. It's amazing.
526
00:26:46.359 --> 00:26:50.160
I think I knew you then, No, no, all so
527
00:26:50.799 --> 00:26:53.079
and you're so impressive, so good, Like as soon as
528
00:26:53.079 --> 00:26:54.480
you walks on the stage, you can take my eyes
529
00:26:54.519 --> 00:26:55.039
off of you.
530
00:26:55.680 --> 00:27:00.559
So how did you start transitioning over to doing some
531
00:27:00.599 --> 00:27:02.960
of the back of house stuff, because most people want
532
00:27:03.000 --> 00:27:05.039
to just be on stage, right, Like, especially as someone
533
00:27:05.039 --> 00:27:07.559
who's challenges you, you could just keep going on and
534
00:27:07.559 --> 00:27:09.759
doing the big roles, Like why would you move over to.
535
00:27:10.279 --> 00:27:12.000
Behind the scenes and doing any of that stuff?
536
00:27:12.000 --> 00:27:14.359
Well, you can't really keep on, guy, because you know
537
00:27:14.599 --> 00:27:18.720
me well, because cously, as a woman, those roles get
538
00:27:18.759 --> 00:27:22.720
a little bit different over time as you get older
539
00:27:22.920 --> 00:27:25.759
as well. I mean, there are still obviously some really
540
00:27:25.799 --> 00:27:29.480
lovely roles for women as they get to my age,
541
00:27:29.880 --> 00:27:34.759
but it's not they're not as many and I'm not
542
00:27:34.839 --> 00:27:40.920
looking for them anyway, these big roles, it's just a
543
00:27:41.000 --> 00:27:43.519
natural progression. I like helping out with that stuff, So
544
00:27:43.599 --> 00:27:47.079
I really do. I like that kind of administration stuff
545
00:27:47.160 --> 00:27:50.599
or behind the scenes working things out, or I'm not.
546
00:27:50.880 --> 00:27:53.240
I've never been one of those people that have only
547
00:27:53.279 --> 00:27:57.960
said I only ever want to do the roles on stage. Yeah, stage,
548
00:27:58.119 --> 00:28:00.160
Oh yeah. Of course, if I'm auditioning for something, I'm
549
00:28:00.200 --> 00:28:06.839
not necessarily ticking that box that says no, not necessarily.
550
00:28:07.359 --> 00:28:11.319
But if I want when I want to keep involved.
551
00:28:11.119 --> 00:28:15.240
Yes, but exactly because you it's the people that you've
552
00:28:15.759 --> 00:28:16.359
connected with.
553
00:28:16.559 --> 00:28:20.640
Because if I think, you know, you talk about Kevin.
554
00:28:20.400 --> 00:28:23.640
And Vicki and yeah and Dave like yeah, I think
555
00:28:24.400 --> 00:28:27.720
I don't know, it's getting involved because I've said it
556
00:28:27.960 --> 00:28:29.960
numerous times. If day rings up, you go, what do
557
00:28:30.000 --> 00:28:30.680
you what do you need?
558
00:28:30.839 --> 00:28:33.519
Like, yeah, it is. It absolutely is the people and
559
00:28:33.559 --> 00:28:37.160
some I have met some of my best friends through
560
00:28:37.279 --> 00:28:41.759
this community, and I want to stay connected to the community,
561
00:28:41.839 --> 00:28:44.359
and that's it's important to But it's a common it's
562
00:28:44.359 --> 00:28:47.799
a commonality between us all and we just and it's
563
00:28:47.799 --> 00:28:49.400
lovely to sit down and have a natterer and you're
564
00:28:49.480 --> 00:28:54.680
you're talking with people that yeah, or have an interest
565
00:28:54.720 --> 00:28:54.960
in it.
566
00:28:55.480 --> 00:28:58.160
What Jerry do you like about the theater experience when
567
00:28:58.160 --> 00:29:01.160
you go and see something, I mean, why just watch
568
00:29:01.200 --> 00:29:03.559
a film? Like what what's the difference for you? Like,
569
00:29:03.599 --> 00:29:04.160
what do.
570
00:29:04.079 --> 00:29:07.160
You Well, there's a different art form, it's.
571
00:29:06.960 --> 00:29:08.680
A totally different art form, and.
572
00:29:08.599 --> 00:29:11.319
It's you know, it's appreciating the art form for what
573
00:29:11.519 --> 00:29:15.200
it is. And it's that immediacy and often you can
574
00:29:15.640 --> 00:29:18.039
you can feel a closer connection to what you're seeing
575
00:29:18.160 --> 00:29:21.160
on the stage. And well, if you're getting a good
576
00:29:21.640 --> 00:29:23.359
you know, there's a it's a good production, and you
577
00:29:23.400 --> 00:29:26.720
can feel that you're drawn into the story more immediately,
578
00:29:27.400 --> 00:29:30.319
feel more present. You know, I don't have to pause.
579
00:29:30.319 --> 00:29:34.319
It's not I'm not just pausing the movie and to
580
00:29:34.400 --> 00:29:36.279
go and make a cup of tea or something. And
581
00:29:36.920 --> 00:29:38.880
you're in there, and you're in there with other people,
582
00:29:39.000 --> 00:29:42.640
mostly people that you know, people, people on stage that
583
00:29:42.680 --> 00:29:45.240
you might know, people that you're sitting there with. It's
584
00:29:45.279 --> 00:29:48.640
an it's part, it's an experience. It's beyond just a
585
00:29:48.720 --> 00:29:53.359
visual story. And that's you know, that's important to me.
586
00:29:53.519 --> 00:29:54.440
To doesn't mean.
587
00:29:55.319 --> 00:29:58.599
I'm interested in theater, which I kind of it baffles
588
00:29:58.640 --> 00:30:00.880
me because I love it so much and men, you know,
589
00:30:01.000 --> 00:30:03.440
like having to I'm not interested in rugby.
590
00:30:03.799 --> 00:30:07.519
Yeah, well true, there's tens of thousands of people that watch.
591
00:30:07.599 --> 00:30:10.880
That's it's what you're interested in, and it's the connection
592
00:30:11.000 --> 00:30:13.799
with people who have similar interests. I think that's the
593
00:30:13.839 --> 00:30:16.680
other thing too, Like there's a there's a feedback loop
594
00:30:16.839 --> 00:30:19.920
and feeling the audience to the performer, and whether you're
595
00:30:19.920 --> 00:30:22.640
performing or watching it, you're you're all in there together.
596
00:30:23.519 --> 00:30:26.920
And even as an audience member, you're just talked about,
597
00:30:26.960 --> 00:30:30.799
you know, when you're when you're an actor, you can energy.
598
00:30:31.119 --> 00:30:33.839
Even as an audience member, you can feel the energy
599
00:30:33.880 --> 00:30:37.240
of those around you, and you can understand what they're
600
00:30:37.279 --> 00:30:39.359
feeling and appreciating.
601
00:30:40.079 --> 00:30:42.240
If the show is ship you can really just be.
602
00:30:42.720 --> 00:30:43.640
You can feel that too.
603
00:30:44.720 --> 00:30:46.640
So does it take you a little while to kind
604
00:30:46.640 --> 00:30:50.279
of when you get on stage to go, oh, I'm
605
00:30:50.279 --> 00:30:53.519
feeling the energy and it's happening, or are you one
606
00:30:53.519 --> 00:30:55.599
of those people that you walk on stage and you
607
00:30:55.839 --> 00:30:56.920
it's bang, it's happening.
608
00:30:57.359 --> 00:30:57.920
To earn it.
609
00:31:00.119 --> 00:31:02.039
It is usually a co period of time where I'm
610
00:31:02.079 --> 00:31:04.720
on stage and I'm actually be quite conscious, and it
611
00:31:04.720 --> 00:31:06.839
can take a little while for me to go, Okay,
612
00:31:06.880 --> 00:31:08.720
I'm out of my own headspace now I know where
613
00:31:08.720 --> 00:31:12.279
I'm I'm in the show. I'm doing it, you know.
614
00:31:12.279 --> 00:31:13.519
I mean, do you?
615
00:31:13.640 --> 00:31:17.519
Are you a very process be aware of who you
616
00:31:17.559 --> 00:31:20.160
are and what you're doing when you're on the stage, or.
617
00:31:20.079 --> 00:31:22.799
Is it I like to think that I'm in it
618
00:31:22.960 --> 00:31:25.559
from the moment I'm out there, but I don't think
619
00:31:25.599 --> 00:31:30.000
in reality I am. But I don't think it takes
620
00:31:30.079 --> 00:31:35.000
me long to get into what I'm supposed to be
621
00:31:35.079 --> 00:31:36.720
a part of and be delivering.
622
00:31:36.960 --> 00:31:40.480
Yes, but you're quite professional with your rehearsal, so you
623
00:31:42.599 --> 00:31:45.599
I'm just talking from experience of working with you. You rehearse
624
00:31:45.720 --> 00:31:47.279
to the point when you know what you're going to do.
625
00:31:47.400 --> 00:31:50.720
Oh. Absolutely, I'm very big on that muscle memory and
626
00:31:50.759 --> 00:31:54.839
that and that getting something to the subconscious so you're
627
00:31:54.960 --> 00:31:58.640
free to be able to be part of it and
628
00:31:59.079 --> 00:32:01.519
you know, and not have to be searching for a
629
00:32:01.559 --> 00:32:04.880
line and you can be you're listening to the story,
630
00:32:04.880 --> 00:32:08.519
you're listening to your fellow actors. You're actually immersed in that.
631
00:32:08.920 --> 00:32:11.319
I'm not saying that that's constant and that I don't
632
00:32:11.440 --> 00:32:15.400
have blits, and yeah, sometimes that happens.
633
00:32:15.440 --> 00:32:17.279
That's normal because I'm just trying to figure out you
634
00:32:17.359 --> 00:32:20.440
the one who wants to rehearse a lot, go through
635
00:32:20.480 --> 00:32:22.440
that process a lot to its muscle memory, and you're
636
00:32:22.480 --> 00:32:25.000
kind of going not through the motions is the wrong word, but.
637
00:32:24.960 --> 00:32:26.880
You know what I mean. Like it's kind of like.
638
00:32:27.240 --> 00:32:29.440
I like to rehearse a lot too, and I like
639
00:32:29.599 --> 00:32:32.480
to go, yeah, go over and over things. It's a
640
00:32:32.559 --> 00:32:35.559
muscle memory, and it is embedding it into the subconscious
641
00:32:35.599 --> 00:32:38.160
so that I don't necessarily that I'm not searching that
642
00:32:38.480 --> 00:32:40.720
that it's part of me. And it's also about the
643
00:32:40.799 --> 00:32:43.359
character and understand you don't know. If I don't understand
644
00:32:43.359 --> 00:32:46.559
the character, I am lost. I'm absolutely lost. So it's
645
00:32:46.599 --> 00:32:51.440
also really delving into my character and what is going
646
00:32:51.480 --> 00:32:55.480
on with my character and those characters that I'm interacting.
647
00:32:55.039 --> 00:32:58.200
As if something goes wrong, you can kind of you know,
648
00:32:58.359 --> 00:32:59.720
you've got the plane in your head.
649
00:33:00.400 --> 00:33:03.079
Yeah, you can steer around you you can.
650
00:33:03.559 --> 00:33:05.599
So what's the part that you felt like you didn't
651
00:33:05.640 --> 00:33:07.839
get or it took you a while to get into,
652
00:33:08.079 --> 00:33:11.079
like in you struggling in that rehearsal period to kind
653
00:33:11.119 --> 00:33:13.880
of understand its most challenging.
654
00:33:15.480 --> 00:33:18.559
The paper in my paper, I had trouble.
655
00:33:19.640 --> 00:33:20.319
We'll not trouble.
656
00:33:20.359 --> 00:33:22.759
I think we've all been there where we're kind of going, okay,
657
00:33:22.759 --> 00:33:25.200
this is a part that I really We've all had
658
00:33:25.240 --> 00:33:26.799
one where like, well, I don't know what I'm I've
659
00:33:26.799 --> 00:33:28.960
had a couple where I've just gone, I don't I
660
00:33:29.039 --> 00:33:31.519
just do not get it, Like, I don't. I don't
661
00:33:31.519 --> 00:33:33.240
think I'm any good in this. I don't think you know,
662
00:33:33.319 --> 00:33:35.400
like and you just kind of searching and.
663
00:33:35.599 --> 00:33:38.160
When you come up with a funny voice and you go, well,
664
00:33:38.200 --> 00:33:39.079
just do a funny voice.
665
00:33:39.440 --> 00:33:40.640
Yeah, but you still want to have this.
666
00:33:42.119 --> 00:33:45.920
Yeah, Well, in the early stages, I see, that's it.
667
00:33:46.039 --> 00:33:48.880
When I was in the early stages and I was
668
00:33:49.200 --> 00:33:53.000
learning and perhaps didn't speak up enough and didn't ask
669
00:33:53.160 --> 00:33:56.160
enough questions, that's when I felt a bit lost. I
670
00:33:56.160 --> 00:34:01.000
would say, yeah, now, if I don't understand what's going
671
00:34:01.000 --> 00:34:03.000
on and I don't understand my character or the play,
672
00:34:03.039 --> 00:34:06.359
I will ask, and I'll ask and find some way
673
00:34:06.400 --> 00:34:07.240
to understand.
674
00:34:07.640 --> 00:34:09.920
I won't why am I doing this exactly?
675
00:34:10.000 --> 00:34:12.920
I won't leave it as this is confusing, I don't
676
00:34:12.920 --> 00:34:13.679
know what's going on?
677
00:34:13.800 --> 00:34:16.400
Yeah, but why not ask the director straight away?
678
00:34:16.440 --> 00:34:17.960
What do you think? Held your back fear.
679
00:34:17.719 --> 00:34:20.519
That they they know what they're doing and I'm new
680
00:34:20.559 --> 00:34:22.519
to this and I don't know how much I am
681
00:34:23.519 --> 00:34:25.760
allowed to kind of contribute it. That's all it was.
682
00:34:26.119 --> 00:34:27.639
And it's finding that confidence.
683
00:34:28.079 --> 00:34:30.360
See, we were talking to Georgia and she was saying
684
00:34:30.360 --> 00:34:32.760
that she would never go to a director and say, well,
685
00:34:32.800 --> 00:34:34.880
I'm thinking this, and I'm thinking, what do you mean,
686
00:34:35.079 --> 00:34:37.719
like if you disagree with or you think maybe you
687
00:34:37.760 --> 00:34:39.360
could do it better or a different way.
688
00:34:39.440 --> 00:34:40.519
She was like, no, no, no.
689
00:34:40.360 --> 00:34:42.679
I think, well that's a different thing compared to I
690
00:34:42.719 --> 00:34:44.440
don't actually understand why.
691
00:34:44.480 --> 00:34:46.159
I think it's the same thing, isn't it Like you're
692
00:34:46.199 --> 00:34:48.360
kind of talking about motivation, you're talking about character.
693
00:34:48.440 --> 00:34:50.239
You're talking about interpretation.
694
00:34:50.800 --> 00:34:54.320
That's about more and maybe making suggestions for your character.
695
00:34:54.480 --> 00:34:59.599
And again much will depend on the director you're working with,
696
00:35:00.320 --> 00:35:03.280
whether you understand where it's coming from. I actually don't
697
00:35:03.360 --> 00:35:07.639
mind suggesting or speaking, but never in front of anyone else.
698
00:35:07.679 --> 00:35:09.920
And it would only be something that I would offer
699
00:35:09.960 --> 00:35:13.639
as a suggestion. And I still know I still respect
700
00:35:13.760 --> 00:35:16.559
the directors. I like to be able to give something
701
00:35:16.599 --> 00:35:18.800
a try. How about I give this a try, but
702
00:35:18.800 --> 00:35:20.920
I'll still respect the directors.
703
00:35:21.440 --> 00:35:24.320
Oh, I just want it interesting because for me, I
704
00:35:24.360 --> 00:35:26.400
would it's just natural for me to go oh, can
705
00:35:26.440 --> 00:35:27.679
I try it this way? Or I'm going to do
706
00:35:27.679 --> 00:35:30.840
it this way, and then asking different people like that.
707
00:35:30.880 --> 00:35:34.039
There seems to be this level of going, oh, you
708
00:35:34.119 --> 00:35:37.079
can't do that with some people, or others are going oh,
709
00:35:37.079 --> 00:35:38.599
I would never tell the director wants to do I'm like,
710
00:35:38.639 --> 00:35:39.079
well you're not.
711
00:35:39.199 --> 00:35:40.800
You're just saying can I try it this way? Or
712
00:35:40.840 --> 00:35:41.679
can I do it this way?
713
00:35:41.760 --> 00:35:44.440
Or I always thinking the scene was going to go
714
00:35:44.480 --> 00:35:47.559
this way or the interpretation would be And you know,
715
00:35:47.599 --> 00:35:49.519
I'll always do what the director asked me to do.
716
00:35:49.679 --> 00:35:51.679
Like if he goes no, no, no, or she goes
717
00:35:52.280 --> 00:35:54.199
this way, I whant it done. I'm like, okay, great,
718
00:35:54.320 --> 00:35:57.639
no worries, but I want that collaborative kind of interaction.
719
00:35:57.800 --> 00:36:00.559
And I think that also that comes down to your
720
00:36:00.599 --> 00:36:05.679
own directorial style. And I think a director probably is
721
00:36:05.719 --> 00:36:08.519
going to get more out of someone, more out of
722
00:36:08.679 --> 00:36:12.119
their cast if they understand the different needs of their cast.
723
00:36:12.159 --> 00:36:16.920
So some somebody's needs might be some very prescriptive direction.
724
00:36:17.480 --> 00:36:20.559
Other people might need to try some things different ways.
725
00:36:20.599 --> 00:36:24.840
Other people would like a different approach to to being directed.
726
00:36:24.960 --> 00:36:27.679
So you know, I think I think good directors can
727
00:36:27.920 --> 00:36:31.159
kind of understand everyone else's.
728
00:36:31.119 --> 00:36:34.880
There people that you guide, they know what they want,
729
00:36:34.880 --> 00:36:35.960
but they're going to get you there.
730
00:36:36.239 --> 00:36:38.880
Yeah, not necessarily in a forceful way.
731
00:36:39.000 --> 00:36:39.599
Yeah, that's wrong.
732
00:36:39.679 --> 00:36:39.920
Don't.
733
00:36:39.960 --> 00:36:42.320
Sometimes you want like do it this way.
734
00:36:42.599 --> 00:36:43.239
I crave that.
735
00:36:43.280 --> 00:36:46.079
Sometimes I'm like, clearly I'm doing it wrong and I'm
736
00:36:46.119 --> 00:36:48.599
not giving you what you want. Actually, just tell me
737
00:36:48.599 --> 00:36:49.599
how you want me to do it.
738
00:36:50.159 --> 00:36:52.159
That's fine.
739
00:36:52.559 --> 00:36:55.880
Sometimes if I'm doing gags like comedy bits and they're like,
740
00:36:56.239 --> 00:36:58.199
you know that bit, do it like this? Oh?
741
00:36:58.239 --> 00:36:59.000
Yeah, I know what you want.
742
00:36:59.159 --> 00:37:02.239
Yeah, I bear in mind watching they're not and they're
743
00:37:02.280 --> 00:37:05.880
not watching just you. They're watching or interacting with other
744
00:37:06.000 --> 00:37:09.360
saw house And so ultimately if a director does say
745
00:37:09.480 --> 00:37:15.079
like okay, no, of course. Absolutely So.
746
00:37:15.199 --> 00:37:18.280
Moving from being an actor and then then starting to
747
00:37:18.320 --> 00:37:21.199
get into the directing sphere with assistant directing and stuff
748
00:37:21.239 --> 00:37:24.880
like that, how do you think you're being an actor
749
00:37:24.920 --> 00:37:27.039
and your experience of being an actor has influenced the
750
00:37:27.119 --> 00:37:28.480
way that you've assistant.
751
00:37:28.119 --> 00:37:29.360
Directed and directed people.
752
00:37:29.840 --> 00:37:33.159
Well, a lot of it has to do with having
753
00:37:33.239 --> 00:37:40.360
personally experienced so many different directorials styles, working with so
754
00:37:40.400 --> 00:37:44.079
many different directors, you can you pick up on what
755
00:37:44.440 --> 00:37:47.559
is a good way to go and what is what
756
00:37:47.679 --> 00:37:50.960
is going to work, how people are going to work together.
757
00:37:51.480 --> 00:37:54.960
I and I think I think maybe spoken we've spoken
758
00:37:55.000 --> 00:37:57.960
about this before, they've I've never really had the urge
759
00:37:58.000 --> 00:38:01.880
to completely direct something because my what I like to
760
00:38:01.960 --> 00:38:08.000
focus on is around the stagecraft, or is around the
761
00:38:08.519 --> 00:38:10.159
what's the meaning of the script, what's the meaning of
762
00:38:10.159 --> 00:38:14.480
this particular dialogue, Where's where where's that coming from. I'm
763
00:38:14.480 --> 00:38:17.559
not I'm not great at the whole kind of complete vision,
764
00:38:17.679 --> 00:38:22.239
you know that whole this is what I want this production.
765
00:38:22.360 --> 00:38:26.960
To the intia of the character and the motivations the people.
766
00:38:27.119 --> 00:38:31.039
But absolutely, and so I know that that's what my
767
00:38:31.159 --> 00:38:34.039
particular interest in, So I know I know kind of
768
00:38:34.079 --> 00:38:37.039
what my lane is in that in that respect, So
769
00:38:37.119 --> 00:38:39.400
there are yeah, that's kind of And it's also having
770
00:38:39.480 --> 00:38:41.440
people who will trust you to take you on that
771
00:38:41.559 --> 00:38:44.480
journey as well. So I think another kind of key
772
00:38:45.159 --> 00:38:49.679
moment in my theatrical journey, if you will, was doing
773
00:38:49.760 --> 00:38:53.840
Virginia Walf because I met the Eustace brothers there and
774
00:38:54.039 --> 00:38:57.480
Libby Drake of course, and did you meet them there?
775
00:38:57.719 --> 00:38:58.280
Yeah?
776
00:38:58.360 --> 00:39:04.960
Wow, yeah, Okay, Barry Hill was directing that, but Michael
777
00:39:05.480 --> 00:39:09.280
was on the Burnside players committee, Oh wow, And then
778
00:39:09.320 --> 00:39:12.480
Brandt played opposite me, but he wasn't originally in the play,
779
00:39:12.519 --> 00:39:16.320
but then that person dropped out and Brandt came in
780
00:39:16.719 --> 00:39:18.719
and I met them, and that was this other kind
781
00:39:18.760 --> 00:39:23.559
of new journey and experiencing new directors. And then I
782
00:39:23.639 --> 00:39:26.719
was just really grateful that brand trusted me enough to
783
00:39:26.800 --> 00:39:29.920
kind of assistant direct on Laramie Project, which of its
784
00:39:30.079 --> 00:39:34.360
itself was just incredible and incredible experience and incredible play.
785
00:39:34.679 --> 00:39:38.639
But yeah, it's also about being trusted to do that.
786
00:39:39.239 --> 00:39:42.159
So how do you think your directing style is.
787
00:39:42.599 --> 00:39:47.519
I'm pretty collaborative, I would guess, I would guess, but
788
00:39:47.639 --> 00:39:51.039
I think sometimes because I focus on language, yes, and
789
00:39:51.239 --> 00:39:55.599
maybe accent. That's kind of like there's kind of like
790
00:39:55.679 --> 00:39:58.360
a skill thing there, so you're kind of focusing on
791
00:39:58.400 --> 00:40:02.119
the skill and the correctness of the particular skill. But
792
00:40:02.519 --> 00:40:04.679
I also think it's collaborative. You can't you can't not
793
00:40:04.719 --> 00:40:05.519
be collaborative or.
794
00:40:05.480 --> 00:40:07.360
It's not going to work.
795
00:40:06.559 --> 00:40:08.000
I just don't.
796
00:40:08.800 --> 00:40:11.119
Do you read a scene first and go, okay, right,
797
00:40:11.199 --> 00:40:12.760
this is what I need to get out of it,
798
00:40:12.800 --> 00:40:15.960
and this is my vision of how I'm going to
799
00:40:16.079 --> 00:40:20.679
get it executed, or do you walk in completely collaborative in.
800
00:40:20.800 --> 00:40:22.679
Like this kind of assistant directing.
801
00:40:23.719 --> 00:40:25.920
Yeah, it's just well both Actually, let's start with the
802
00:40:25.960 --> 00:40:27.440
assistant directing stuff, because we're wrong.
803
00:40:28.159 --> 00:40:29.840
You have it. You always have a view of what
804
00:40:30.039 --> 00:40:32.519
something means and what it you know, what it's trying,
805
00:40:33.000 --> 00:40:35.760
what's the message it's trying to get across. But that
806
00:40:35.800 --> 00:40:38.360
doesn't you don't. You can't be so fixed in your
807
00:40:38.440 --> 00:40:42.400
version of that. So you have to be open to
808
00:40:42.519 --> 00:40:46.719
what others might say, you might see or might experience.
809
00:40:46.760 --> 00:40:48.719
I might have thought about before you have.
810
00:40:49.320 --> 00:40:53.440
If you've got three people with different perspectives on one line.
811
00:40:53.599 --> 00:40:55.599
But do you think that's more so? I don't know,
812
00:40:55.679 --> 00:40:56.440
Because do you think.
813
00:40:56.320 --> 00:40:59.400
That's more so? You've got to be more free with.
814
00:40:59.440 --> 00:41:02.679
That as an actor rather than a director. Like a director,
815
00:41:03.280 --> 00:41:05.280
good directors from my experience, and know what they want.
816
00:41:05.360 --> 00:41:07.599
They want. They're very prescriptive.
817
00:41:07.679 --> 00:41:09.679
Yes, there's room to play, but at the end of
818
00:41:09.719 --> 00:41:12.519
the day, they kind of know what they're getting. And
819
00:41:12.679 --> 00:41:14.559
I found that with you, Like I know that we
820
00:41:14.599 --> 00:41:16.960
had blocked a few scenes with angels and Americans stuff,
821
00:41:16.960 --> 00:41:20.000
and you know the power that you had over those
822
00:41:20.000 --> 00:41:23.880
scenes and how you collaborative did work with us, But
823
00:41:23.960 --> 00:41:26.199
you were very like, very clear about this is what
824
00:41:26.239 --> 00:41:28.199
the text is saying, and this is what.
825
00:41:28.079 --> 00:41:29.119
The scene needs to tell.
826
00:41:29.199 --> 00:41:31.920
And Jermaine like you obviously had done your research and
827
00:41:31.960 --> 00:41:33.639
read that scene and gone, okay, this is what we
828
00:41:33.679 --> 00:41:36.079
need to do because I mean, I think the work
829
00:41:36.119 --> 00:41:38.679
that we did on that show and it was amazing,
830
00:41:38.800 --> 00:41:41.119
like you were very good, and they're very intimate scenes
831
00:41:41.199 --> 00:41:42.400
like very.
832
00:41:42.239 --> 00:41:46.079
But you have to have parameters too. Yes, she can't
833
00:41:46.119 --> 00:41:48.599
just it's not a free for all, so you do
834
00:41:48.760 --> 00:41:52.840
have to kind of have it as an ultimate end product.
835
00:41:52.960 --> 00:41:55.320
It's got to have it's got to be tied.
836
00:41:55.440 --> 00:41:55.639
You know.
837
00:41:57.239 --> 00:41:59.639
Sure you play along with it, but you're still in.
838
00:41:59.679 --> 00:42:01.840
The Yeah, it's going to have to deliver a product.
839
00:42:02.360 --> 00:42:04.159
It's like people are going to pay tickets.
840
00:42:04.199 --> 00:42:04.880
Well that's right.
841
00:42:05.239 --> 00:42:07.719
Well, I think we're a bit more granular than that
842
00:42:07.719 --> 00:42:09.920
because we're talking about a scene like it. You know,
843
00:42:09.960 --> 00:42:12.360
like you've got to I guess break it down from
844
00:42:12.519 --> 00:42:15.199
from each of those things and what you're trying to
845
00:42:15.199 --> 00:42:18.079
achieve out of that, either one scene or one I
846
00:42:18.119 --> 00:42:21.599
guess sentence, whatever, what are you trying to try to do?
847
00:42:22.199 --> 00:42:24.079
So as an actor though, then do you break the
848
00:42:24.159 --> 00:42:26.400
scenes down differently, like do you look at the play
849
00:42:26.440 --> 00:42:28.519
as the whole one and go, Okay, this is where
850
00:42:28.519 --> 00:42:30.760
I need to get to and then just feel it
851
00:42:31.000 --> 00:42:32.360
or do you plot it?
852
00:42:32.599 --> 00:42:35.239
As an actor well, as an actor, we get the
853
00:42:35.239 --> 00:42:40.480
script and we in on our characters and our character's lines.
854
00:42:41.159 --> 00:42:45.199
Because Lee always reads the entire play.
855
00:42:47.159 --> 00:42:49.400
Eventually, what happens.
856
00:42:49.519 --> 00:42:51.760
It's only when I'm pushed for time and I'll be like, ok,
857
00:42:52.679 --> 00:42:55.119
realize that it's only because I'm a very cold reader
858
00:42:55.159 --> 00:42:57.639
and I just need to make okay whatever, anyway, we're
859
00:42:57.639 --> 00:42:58.559
here to talk about Tracy.
860
00:42:58.719 --> 00:42:59.039
Okay.
861
00:42:59.039 --> 00:43:01.559
But I'll always you know, you know, you always do that,
862
00:43:01.639 --> 00:43:03.480
and I know that that's what I do. I hone
863
00:43:03.519 --> 00:43:06.800
in on what my character has to say. I'll probably
864
00:43:06.800 --> 00:43:08.679
do that a couple of times, and then I'll read
865
00:43:08.719 --> 00:43:11.639
the entire script and I'll probably read the entire script
866
00:43:11.679 --> 00:43:13.920
three four times before the first read through.
867
00:43:14.079 --> 00:43:15.760
Yeah wow, okay, Yeah.
868
00:43:15.920 --> 00:43:20.679
Just it's because you're not working in isolation. Your character
869
00:43:20.760 --> 00:43:24.039
is not in isolation. Everything that goes on around you
870
00:43:24.119 --> 00:43:27.840
has an impact on how your character is going to
871
00:43:27.920 --> 00:43:30.079
work through their own journey through the play.
872
00:43:30.280 --> 00:43:33.039
Yes, what is the biggest thing that scares you about
873
00:43:33.039 --> 00:43:36.320
the theater? Do you get scared ever? Walking on stage.
874
00:43:36.400 --> 00:43:40.719
Yeah, sure, we've never seen stronger nervous.
875
00:43:40.760 --> 00:43:43.800
I guess not scared, Yeah, yeah, scared strong always.
876
00:43:44.119 --> 00:43:46.719
I feel you've got to have nerves. And do you
877
00:43:46.800 --> 00:43:49.599
get nervous of course, yeah, yeah.
878
00:43:49.360 --> 00:43:50.079
You don't show it.
879
00:43:50.599 --> 00:43:55.719
Well, you know you're actually you're nervous coming in here.
880
00:43:56.039 --> 00:43:58.320
I was more nervous coming and I've ever been going
881
00:43:58.360 --> 00:44:01.840
on stage. Yeah, yeah, I get nervous. And I think,
882
00:44:01.880 --> 00:44:03.199
you know, you've got to get that little bit of
883
00:44:03.199 --> 00:44:05.239
adrenaline going anyway.
884
00:44:05.440 --> 00:44:08.119
Otherwise I don't hone yourself. You're not. If you're not
885
00:44:08.159 --> 00:44:10.400
afraid of what you're about to do, then you're going
886
00:44:10.480 --> 00:44:11.840
to be shit at it. Really.
887
00:44:12.039 --> 00:44:12.280
Yeah.
888
00:44:12.639 --> 00:44:15.280
It means I care, Yeah, I care.
889
00:44:15.159 --> 00:44:18.039
About It means you're thinking about every single line that
890
00:44:18.039 --> 00:44:18.920
you're about to present.
891
00:44:19.079 --> 00:44:21.519
Everyone I'm working with. I care about the whole thing.
892
00:44:21.760 --> 00:44:23.039
It is a massive beast, isn't it.
893
00:44:23.039 --> 00:44:26.000
When you're kind of and for you being exposed to
894
00:44:26.599 --> 00:44:29.239
doing assist interacting, you've done front of house, like you've
895
00:44:29.239 --> 00:44:31.639
been on stage, like you've done so social many things
896
00:44:31.639 --> 00:44:34.119
like it is it is a village, isn't it. It's
897
00:44:34.159 --> 00:44:37.880
not just individual kind of I just yeah, and that's
898
00:44:38.079 --> 00:44:40.480
the one thing that kind of makes me just feel
899
00:44:40.519 --> 00:44:44.960
like we are in such a loved, beloved, caring kind
900
00:44:44.960 --> 00:44:51.400
of I don't want to say village again, but community exactly,
901
00:44:51.679 --> 00:44:55.039
because you can't do any of this stuff just isolated
902
00:44:55.079 --> 00:44:56.599
and just learn your lines on your crup.
903
00:44:56.719 --> 00:44:59.800
Like you know, people don't end up wanting to work
904
00:44:59.800 --> 00:45:02.360
with you, and you don't get the work in the
905
00:45:02.360 --> 00:45:08.239
people that talk individualism is it's not going to work.
906
00:45:09.000 --> 00:45:11.079
I would like to think, So, what are you talking about?
907
00:45:11.719 --> 00:45:12.719
I'm asking you question.
908
00:45:13.400 --> 00:45:15.800
I would like I would like to think I am.
909
00:45:16.440 --> 00:45:17.039
I think you are?
910
00:45:17.480 --> 00:45:23.440
Yeah, yeah, interesting and so into my style once. I
911
00:45:23.559 --> 00:45:27.400
believe Libby Drake might have mentioned this to me. I
912
00:45:28.039 --> 00:45:30.960
sometimes don't even get there until the last two weeks
913
00:45:31.199 --> 00:45:34.800
or yeah, Like the whole journey for me is kind
914
00:45:34.800 --> 00:45:39.000
of learning and trying to pull it together and reasoning
915
00:45:39.440 --> 00:45:42.840
and factoring and everything and making and it's kind of
916
00:45:42.960 --> 00:45:45.559
just snap in the last, you know, a couple of
917
00:45:45.599 --> 00:45:50.159
weeks maybe before performance. Where it what she's observed in
918
00:45:51.079 --> 00:45:52.400
watching me being director?
919
00:45:52.599 --> 00:45:54.639
What does that mean though? Like you're you're holding back
920
00:45:54.719 --> 00:45:55.800
until that time.
921
00:45:55.840 --> 00:45:58.800
I don't know you're you're working it all out.
922
00:45:58.880 --> 00:46:01.559
I'm working it all out, but you know, I'm sure
923
00:46:01.960 --> 00:46:04.960
maybe some maybe that makes some directors feel a bit
924
00:46:04.960 --> 00:46:07.599
nervous with.
925
00:46:07.599 --> 00:46:09.400
People that you're like, how is this going to go
926
00:46:09.480 --> 00:46:11.039
with this guy? And then all of a sudden you're like,
927
00:46:11.079 --> 00:46:13.039
oh my god, now I get why he's in that role.
928
00:46:13.079 --> 00:46:14.599
Now, yeah, that's.
929
00:46:14.480 --> 00:46:16.199
Right, and it kind of just all comes together.
930
00:46:16.320 --> 00:46:19.480
Maybe collaborating process though, like what just means you're thinking
931
00:46:19.480 --> 00:46:19.880
about it?
932
00:46:20.000 --> 00:46:22.920
Yeah? Yeah, and maybe that's it, Like I do take
933
00:46:23.000 --> 00:46:23.639
some time.
934
00:46:23.679 --> 00:46:27.320
Just studying feel rather than I feel like it's like
935
00:46:27.480 --> 00:46:30.599
I just I go back to studying physics and cam
936
00:46:30.639 --> 00:46:31.960
and it sucks.
937
00:46:31.960 --> 00:46:33.800
It sucks, it sucks, it sucks. And then all of
938
00:46:33.800 --> 00:46:36.239
a sudden you're like, oh wait, I can see everything now.
939
00:46:36.239 --> 00:46:36.639
Got it?
940
00:46:36.800 --> 00:46:39.800
Yeah? You know, and I think a lot of some
941
00:46:39.920 --> 00:46:42.559
of the plays that we do, you're like, what are
942
00:46:42.559 --> 00:46:44.960
we doing? This sucks? This sucks, it sucks. Wait, this
943
00:46:45.079 --> 00:46:45.559
is awesome.
944
00:46:46.480 --> 00:46:49.039
You're just talking to yourself though, like how is that
945
00:46:49.079 --> 00:46:51.719
affecting everybody else around you? Because if you're going through
946
00:46:51.719 --> 00:46:54.639
that process, they maybe.
947
00:46:54.400 --> 00:46:57.599
But maybe like I see where you're coming from. I
948
00:46:57.639 --> 00:47:01.079
get that some roles you just like you're just slogging
949
00:47:01.159 --> 00:47:02.679
away and then all of a sudden you're like, no,
950
00:47:03.000 --> 00:47:05.239
got it now? And I think a long was that
951
00:47:05.239 --> 00:47:06.760
I'm complaining about a lot of it.
952
00:47:06.800 --> 00:47:10.800
Then comes down to the trust that companies will have
953
00:47:11.079 --> 00:47:14.119
in us. Yeah, that we will get there like it
954
00:47:14.280 --> 00:47:15.960
just it might take it.
955
00:47:15.960 --> 00:47:18.760
Might well you wouldn't have been cast in that role work,
956
00:47:18.880 --> 00:47:20.079
but we will get there.
957
00:47:19.960 --> 00:47:20.960
If they didn't trust you.
958
00:47:21.199 --> 00:47:24.039
I think it's so different on the role too, Like
959
00:47:24.119 --> 00:47:26.840
some roles you just know straight away, like you can go, yep,
960
00:47:26.880 --> 00:47:29.239
I've got this, I own stand out, I know the process.
961
00:47:29.239 --> 00:47:31.159
But that can also be bad for you too, because
962
00:47:31.239 --> 00:47:34.679
then you get you don't want to be doing the
963
00:47:34.679 --> 00:47:37.199
same stuff and you don't you want to be challenged
964
00:47:37.199 --> 00:47:39.960
and pushed. But you know, there's sometimes where you're going,
965
00:47:40.039 --> 00:47:41.719
I have no idea what I'm doing here, and you
966
00:47:41.760 --> 00:47:43.800
feel like a complete fraud and it's just it's not
967
00:47:43.840 --> 00:47:45.320
going to happen, like you're just going.
968
00:47:45.920 --> 00:47:48.320
Oh, there's parts of been where you just go, I
969
00:47:48.360 --> 00:47:48.719
hate it.
970
00:47:48.760 --> 00:47:51.199
I don't want to be doing this, like I'd just
971
00:47:51.280 --> 00:47:53.599
rather be doing something else that you're just fighting. You're
972
00:47:53.639 --> 00:47:56.639
trying to find some sort of nugget of inspiration because
973
00:47:56.760 --> 00:47:58.920
you just want to, you know, get it finished.
974
00:47:59.079 --> 00:48:02.280
Yeah, I think I feel really thankful because I don't
975
00:48:02.320 --> 00:48:03.960
think I've ever had that experience.
976
00:48:05.119 --> 00:48:07.840
Trace has got a pretty lucky wrap sheet here.
977
00:48:08.760 --> 00:48:10.639
Well, I think it's because you've been very selective in
978
00:48:10.679 --> 00:48:12.519
your roles. Would that be fair to say?
979
00:48:12.840 --> 00:48:17.639
Like, yeah, maybe getting you know, even more selective now
980
00:48:18.039 --> 00:48:21.800
just with with time and time make time and other commitments.
981
00:48:21.840 --> 00:48:24.000
But also it's going to be good. It's going to
982
00:48:24.079 --> 00:48:25.880
be fun. I mean I used.
983
00:48:25.760 --> 00:48:30.679
To and maybe as actors we get a lot of
984
00:48:30.719 --> 00:48:36.159
self validation out of the theater and maybe just doing
985
00:48:36.199 --> 00:48:39.039
a lot of plays again and again as I used
986
00:48:39.119 --> 00:48:44.400
to do constantly. Was admitted about that, about getting that,
987
00:48:45.960 --> 00:48:50.400
I don't necessarily feel i'd need to strive for that anymore.
988
00:48:50.480 --> 00:48:52.880
So yes, I will be Do you think it's changed
989
00:48:52.920 --> 00:48:53.239
as well?
990
00:48:53.280 --> 00:48:55.800
Like before you wanted to lead roles and now you
991
00:48:55.840 --> 00:48:58.440
just want the really juicy, beautiful character parts. We don't
992
00:48:58.440 --> 00:49:00.000
have to learn as many lines, and you're not as
993
00:49:00.039 --> 00:49:01.679
boring because.
994
00:49:02.119 --> 00:49:04.199
At disappoints where I met at the.
995
00:49:04.159 --> 00:49:07.559
Moment a point in time for me. Yes, I don't know.
996
00:49:07.599 --> 00:49:11.320
That might change, Yeah, and it may well change. I
997
00:49:11.360 --> 00:49:13.280
still love it, Like once I get in there and
998
00:49:13.280 --> 00:49:17.280
I'm doing it, I just just absolutely love. I love
999
00:49:17.360 --> 00:49:18.239
being part of it.
1000
00:49:18.480 --> 00:49:21.480
But you mentioned before like are the parts as good
1001
00:49:22.000 --> 00:49:22.679
now are they?
1002
00:49:22.960 --> 00:49:27.880
Oh? Maybe that was a bit flippant of me. I
1003
00:49:27.960 --> 00:49:30.360
you know some of those. It was because some of
1004
00:49:30.360 --> 00:49:38.480
those really kind of fabulous roles for females. The majority
1005
00:49:38.599 --> 00:49:41.199
of them are going to be in a certain age range.
1006
00:49:41.239 --> 00:49:42.440
That's just the way it is.
1007
00:49:42.679 --> 00:49:44.440
Well, the reason why I asked that is because there's
1008
00:49:44.480 --> 00:49:47.320
also been like what five six shows that you've played
1009
00:49:47.519 --> 00:49:48.920
male roles, right, like.
1010
00:49:53.880 --> 00:49:58.599
A female that had originally been written as a male
1011
00:49:59.679 --> 00:50:06.039
in the original text. Yes, so in Shakespeare as well,
1012
00:50:06.639 --> 00:50:12.280
Caligular and Titus. And the first one was very early
1013
00:50:12.480 --> 00:50:16.519
in my stage career, dr Rants in the Joe Orton
1014
00:50:17.280 --> 00:50:21.800
What the but Saw? And en Richard. The second, yes,
1015
00:50:21.840 --> 00:50:25.360
I played the Bishop. And then something more recently, and
1016
00:50:25.400 --> 00:50:28.360
I can't even remember what it was. It doesn't matter.
1017
00:50:30.000 --> 00:50:33.760
Look, I think that Do you think it can you?
1018
00:50:34.719 --> 00:50:36.320
Of course that was the most recent one. I knew
1019
00:50:36.360 --> 00:50:37.079
it was more recently.
1020
00:50:38.000 --> 00:50:41.000
In do you think you can slot in simply a
1021
00:50:41.000 --> 00:50:43.360
femaleole into a male written role?
1022
00:50:43.800 --> 00:50:45.960
Not always? I just think no, No, I don't think
1023
00:50:46.000 --> 00:50:50.280
you always can. Doesn't mean you know you can't question it?
1024
00:50:50.519 --> 00:50:53.760
You think maybe I can, but I don't know. Maybe
1025
00:50:53.760 --> 00:50:59.199
it was availability. You know, I am quite tall. I
1026
00:50:59.239 --> 00:51:03.400
don't necessarily have the most feminine aura, So.
1027
00:51:05.599 --> 00:51:06.039
I don't know.
1028
00:51:06.159 --> 00:51:09.000
There's probably a lot of things. And also it might
1029
00:51:09.039 --> 00:51:11.039
be people saying, we really want to have you in
1030
00:51:11.079 --> 00:51:14.960
this way, and you know, this is what we have.
1031
00:51:16.199 --> 00:51:18.920
I don't know. For whatever reason, I've been still been
1032
00:51:18.960 --> 00:51:21.960
grateful for having those roles and I've enjoyed every one
1033
00:51:22.000 --> 00:51:24.760
of them. Yeah, I don't know.
1034
00:51:25.360 --> 00:51:29.280
And watching and we work with you Blue Sky. You
1035
00:51:29.320 --> 00:51:34.559
look after you've been president of that committee as well,
1036
00:51:34.760 --> 00:51:37.760
You've taken on lots of other different roles. Do you
1037
00:51:37.840 --> 00:51:41.280
and how have you found that process working from that
1038
00:51:41.360 --> 00:51:45.719
kind of organization integral parts of getting the show done,
1039
00:51:45.880 --> 00:51:47.800
Like it's not just doing this.
1040
00:51:48.320 --> 00:51:51.480
Have I found it? Yeah, Well, it's it's part of
1041
00:51:51.960 --> 00:51:57.719
wanting wanting that company to be successful and contributing to
1042
00:51:57.960 --> 00:52:01.480
a part of that. And we're with those wonderful people
1043
00:52:01.519 --> 00:52:04.840
that we work with and working on how that's going
1044
00:52:04.920 --> 00:52:08.920
to grow and how that's going to you know, to
1045
00:52:09.440 --> 00:52:14.039
sustain each year. And well, so that's it's an extension.
1046
00:52:14.119 --> 00:52:17.159
It's an extension doing this, it's part of being part
1047
00:52:17.159 --> 00:52:20.360
of the community, and some people don't like being on committees.
1048
00:52:20.679 --> 00:52:24.960
And I've had my time thinking exactly the same thing.
1049
00:52:25.000 --> 00:52:27.639
Oh yes, I've been on a committee and I don't
1050
00:52:27.719 --> 00:52:30.880
really want to do that again. But this is different,
1051
00:52:30.960 --> 00:52:33.199
I think for Blue Sky it feels.
1052
00:52:33.159 --> 00:52:33.559
Well, I think.
1053
00:52:33.760 --> 00:52:37.239
But you're also integrator, integral to the committee as well,
1054
00:52:37.280 --> 00:52:39.360
because I mean the expertise that you bring from your
1055
00:52:39.400 --> 00:52:41.639
job and just the person you are and the experience,
1056
00:52:41.679 --> 00:52:45.360
I mean, the advice and everything. I mean, you're just
1057
00:52:45.440 --> 00:52:46.119
very talented.
1058
00:52:46.320 --> 00:52:48.719
No appreciate, I think, but I feel like, you know,
1059
00:52:49.320 --> 00:52:53.440
you also as a committee member for not just a
1060
00:52:53.480 --> 00:52:57.039
theater company and a committee member, you step up, you know,
1061
00:52:57.199 --> 00:53:00.000
that's what you do there for you have a purpose.
1062
00:53:00.519 --> 00:53:03.440
Wow, there you go. Thank you speaking of purpose.
1063
00:53:03.559 --> 00:53:03.760
Yeah.
1064
00:53:04.119 --> 00:53:07.119
Oh, we're onto the PVO. We're onto the pivot. Okay,
1065
00:53:07.280 --> 00:53:08.880
let's do it, Tracy Walker.
1066
00:53:09.000 --> 00:53:11.239
No game changing antswer is here. I'm going to tell you.
1067
00:53:11.280 --> 00:53:13.159
I'm going to be right.
1068
00:53:14.159 --> 00:53:15.599
What is your favorite word?
1069
00:53:16.039 --> 00:53:18.559
So we're onto the PV So I was just going
1070
00:53:18.599 --> 00:53:20.039
to cut out the cut the cough.
1071
00:53:20.159 --> 00:53:29.440
That's okay. We're on to the pivot. Ladies and gents,
1072
00:53:30.639 --> 00:53:32.480
Tracy Walker, what is your favorite word?
1073
00:53:32.960 --> 00:53:35.360
It tends to change, but at the moment melifluous.
1074
00:53:35.920 --> 00:53:38.840
Oh what does that mean? It's in like a smooth voice.
1075
00:53:39.119 --> 00:53:43.239
Yeah, something that sounds smooth, And I think it has
1076
00:53:43.320 --> 00:53:49.320
some kind of derivation from sounding like honey or somethingis.
1077
00:53:49.400 --> 00:53:50.360
I love that as a word.
1078
00:53:50.519 --> 00:53:54.440
That's a beautiful word. What is your Yeah, it's a
1079
00:53:54.440 --> 00:53:57.159
great word. Actually, what is your least favorite word?
1080
00:53:57.519 --> 00:54:00.440
Oh see, I'm going to be really petty.
1081
00:54:00.519 --> 00:54:01.480
Go for it.
1082
00:54:01.519 --> 00:54:04.559
And it depends on the context in which it's used,
1083
00:54:05.039 --> 00:54:07.800
and it's more often it grates on me when it's
1084
00:54:07.880 --> 00:54:11.280
used incorrectly written and the word.
1085
00:54:11.119 --> 00:54:13.519
Is of interesting.
1086
00:54:13.920 --> 00:54:17.559
Please, I know, I'm sorry, and this is going to
1087
00:54:17.599 --> 00:54:20.440
make me make me it's going to make me sound
1088
00:54:20.480 --> 00:54:24.440
really petty when people use of instead of have as
1089
00:54:24.480 --> 00:54:29.760
in would of, should of And I know that's petty
1090
00:54:29.760 --> 00:54:34.679
and it's but for me, it's the one thing that
1091
00:54:35.000 --> 00:54:39.039
makes me cringe and WinCE when that's used. And I've
1092
00:54:39.280 --> 00:54:42.679
I've had to curb my own criticism of it because
1093
00:54:43.000 --> 00:54:44.199
I used to it's.
1094
00:54:44.119 --> 00:54:45.480
A very Australian thing to do.
1095
00:54:45.519 --> 00:54:47.280
It's a very Australian thing to do, and I know
1096
00:54:47.320 --> 00:54:50.840
it's silly, but that is all that is a word it's.
1097
00:54:50.760 --> 00:54:51.800
A very American thing too.
1098
00:54:52.320 --> 00:54:54.280
I accept your challenge. Please remind me.
1099
00:54:55.559 --> 00:54:59.880
I do that. You can tell me what turns you
1100
00:55:00.039 --> 00:55:02.760
one creatively, spiritually or emotionally.
1101
00:55:03.000 --> 00:55:05.960
Really any of the arts done well, like any of
1102
00:55:06.000 --> 00:55:08.280
the arts. I yes, of course I love theater. But
1103
00:55:09.159 --> 00:55:15.280
I if I see a painting done well, or here
1104
00:55:15.480 --> 00:55:21.320
music or his sculpture, any of the art dance, if
1105
00:55:21.360 --> 00:55:26.159
it's done well, that's really you know, sometimes to the
1106
00:55:26.199 --> 00:55:29.480
point of tears that it can bring me just because
1107
00:55:30.199 --> 00:55:32.280
it is so so good.
1108
00:55:32.320 --> 00:55:33.840
And so what was the last thing you saw that
1109
00:55:33.880 --> 00:55:34.159
made you.
1110
00:55:34.159 --> 00:55:34.679
For that way.
1111
00:55:35.760 --> 00:55:40.639
I was in Italy, I saw the birth of Venus
1112
00:55:41.559 --> 00:55:45.039
and I yeah, I was in tears.
1113
00:55:44.800 --> 00:55:48.719
Then, oh wow, yeah, just you know, saying I remember
1114
00:55:48.760 --> 00:55:51.960
seeing the Sistine Chapel and just falling down, going, oh
1115
00:55:52.000 --> 00:55:52.880
my god, just.
1116
00:55:52.800 --> 00:55:54.199
When you see these things.
1117
00:55:54.480 --> 00:55:59.840
Absolutely it was Van Gov's sunflowers gone oh yeah, yeah,
1118
00:56:01.199 --> 00:56:02.599
oh I'd rather Venus.
1119
00:56:02.639 --> 00:56:03.119
I think.
1120
00:56:05.800 --> 00:56:09.000
You bompi as well. So again, but then you know,
1121
00:56:09.239 --> 00:56:10.280
necessarily artistic.
1122
00:56:10.320 --> 00:56:15.559
But more about the disaster. What turns you off.
1123
00:56:17.519 --> 00:56:21.880
Ignorance that is based on fear. So you know, any
1124
00:56:21.920 --> 00:56:26.519
of the phobias that we hear about the ignorance based
1125
00:56:26.559 --> 00:56:27.719
on fear.
1126
00:56:28.280 --> 00:56:34.559
Is like xenophobia that right, Yes, you know.
1127
00:56:34.559 --> 00:56:37.599
The whole the whole dam that that is. Yeah, that
1128
00:56:37.840 --> 00:56:38.800
turns me off.
1129
00:56:38.679 --> 00:56:42.360
Because I think the fear prevents the education exactly right.
1130
00:56:42.639 --> 00:56:46.440
That's the that's the terrifying part of jerking and the
1131
00:56:46.480 --> 00:56:48.239
dog whistling and people.
1132
00:56:48.039 --> 00:56:51.679
Not just taking that time to learn more and just
1133
00:56:51.800 --> 00:56:53.360
understand more. Fair.
1134
00:56:54.960 --> 00:56:57.159
What is your do you want to take that again?
1135
00:56:58.119 --> 00:57:02.519
Calm down? What is your? What is your favorite curse word?
1136
00:57:02.679 --> 00:57:03.559
I've got to be fuck.
1137
00:57:03.880 --> 00:57:04.119
Yeah.
1138
00:57:05.000 --> 00:57:07.800
You probably hear me say it quite a few times.
1139
00:57:08.239 --> 00:57:09.199
I'm free with you.
1140
00:57:09.320 --> 00:57:15.480
Usually when you're dealing with punters, yeah, not to your face,
1141
00:57:15.559 --> 00:57:16.679
but when you come back on.
1142
00:57:19.679 --> 00:57:22.559
What sounded noise do you love? Oh?
1143
00:57:22.639 --> 00:57:25.440
Look, I'm going to be so classic here. It's the
1144
00:57:25.800 --> 00:57:26.360
rain on.
1145
00:57:26.280 --> 00:57:30.280
It rain, I get you.
1146
00:57:30.360 --> 00:57:39.880
Yeah, give me baby, laughing baby, crying baby, but give
1147
00:57:39.920 --> 00:57:41.760
me rain on the roof anything.
1148
00:57:43.440 --> 00:57:46.360
It's so simple things, isn't It's kind of like the
1149
00:57:46.440 --> 00:57:49.079
smell of grass and after it's rained and.
1150
00:57:49.239 --> 00:57:51.239
It's birds singing in the morning.
1151
00:57:51.280 --> 00:57:54.480
Yes, all right, What sounded noise do you hate?
1152
00:57:55.159 --> 00:57:59.480
Again? Classic? And it's going to share my age fingers on.
1153
00:57:59.400 --> 00:58:07.360
A chalk but starophone.
1154
00:58:07.360 --> 00:58:12.599
That's not as bad as the fingers please makes me nails.
1155
00:58:12.599 --> 00:58:13.840
I've got to say the fingernails.
1156
00:58:14.320 --> 00:58:18.360
God, Yeah, that's making my hands feel weird. I hate
1157
00:58:18.400 --> 00:58:22.639
that so much. Well, yeah, fully agree with that one.
1158
00:58:23.159 --> 00:58:25.920
What profession other than your own would you like to attempt?
1159
00:58:26.159 --> 00:58:29.599
Not as one that I would have started or done
1160
00:58:29.639 --> 00:58:32.960
earlier in as a career or anything, but now kind
1161
00:58:33.000 --> 00:58:34.800
of at this stage, I would actually love to be
1162
00:58:34.840 --> 00:58:40.159
a theater manager. I would. I just you know, there's
1163
00:58:40.199 --> 00:58:45.119
not many opportunities that experience. Yeah, I do love I
1164
00:58:45.159 --> 00:58:45.679
love that.
1165
00:58:45.599 --> 00:58:48.840
But you manage the outdoor theater and that's like that
1166
00:58:49.000 --> 00:58:50.320
doesn't even have four walls.
1167
00:58:50.400 --> 00:58:52.480
No, that's true, and you get a lot of help
1168
00:58:52.519 --> 00:58:55.480
as you would anyway. But I just I would love. Yeah,
1169
00:58:55.480 --> 00:58:56.320
I'd love to do that.
1170
00:58:56.599 --> 00:58:58.320
What profession would you not like to do?
1171
00:58:58.800 --> 00:59:00.199
Cold calls? Telephon?
1172
00:59:00.559 --> 00:59:01.679
That was the awful, wouldn't it?
1173
00:59:01.920 --> 00:59:04.400
Absolutely? I do not have have you done that?
1174
00:59:04.400 --> 00:59:04.559
That?
1175
00:59:04.639 --> 00:59:08.920
Never? Never? I just couldn't deal with that, you know,
1176
00:59:09.239 --> 00:59:10.440
it's I.
1177
00:59:10.360 --> 00:59:12.039
Think it was just as bad as like knocking on
1178
00:59:12.119 --> 00:59:18.119
doors and going existential question. You can take this however
1179
00:59:18.159 --> 00:59:18.400
you want.
1180
00:59:19.360 --> 00:59:21.880
If heaven exists, what would you like to hear God
1181
00:59:21.960 --> 00:59:23.840
say when you arrive at the Pearly Gates.
1182
00:59:24.199 --> 00:59:30.760
Well, if heaven exists, and I do doubt that my
1183
00:59:30.960 --> 00:59:37.400
kind of heaven wouldn't have an old white guy lording
1184
00:59:37.559 --> 00:59:41.079
it over everybody else. But in the spirit of the
1185
00:59:41.159 --> 00:59:47.039
question and the theme, welcome to the show.
1186
00:59:47.760 --> 00:59:52.840
Yeah, perfect, nice.
1187
00:59:52.480 --> 00:59:53.559
Linger on the God of Wrath.
1188
00:59:54.599 --> 00:59:56.840
Yeah, Tracy will go.
1189
00:59:57.079 --> 00:59:57.559
Thank you.
1190
00:59:58.320 --> 01:00:03.239
We have one last question one we need to ask you.
1191
01:00:03.360 --> 01:00:05.239
Why do you do this.
1192
01:00:06.559 --> 01:00:07.920
Community and connection?
1193
01:00:08.519 --> 01:00:13.679
Yeah? Mm hmm. It is a family we are discovering.
1194
01:00:13.159 --> 01:00:17.719
As it is. And yeah, that as many other participants
1195
01:00:17.760 --> 01:00:20.400
in this podcast, and thank you guys, I have said,
1196
01:00:20.719 --> 01:00:23.400
that's what it is. It really is. It's so important,
1197
01:00:23.920 --> 01:00:28.320
it's become my life and couldn't do without it.
1198
01:00:29.039 --> 01:00:30.400
Well we can do without you.
1199
01:00:30.639 --> 01:00:33.679
And because of theater and because it's your life, and
1200
01:00:33.719 --> 01:00:36.199
because I just happened to stumble across it, and so
1201
01:00:36.280 --> 01:00:39.519
did Josh. You happen to be one of our dearest friends.
1202
01:00:39.559 --> 01:00:41.639
And I thank you so much for coming on.
1203
01:00:43.159 --> 01:00:43.960
Absolutely doa.
1204
01:00:44.000 --> 01:00:48.239
I think you're a beautiful, kind, gorgeous, brave person and
1205
01:00:48.920 --> 01:00:52.079
a really good fucking friend. And I just think you're
1206
01:00:52.079 --> 01:00:55.760
beautiful and I just yeah, I just.
1207
01:00:55.840 --> 01:00:57.360
Don't think you're all right. As well.
1208
01:00:57.960 --> 01:01:01.719
Josh appreciate it so thanks for coming on.
1209
01:01:02.519 --> 01:01:03.360
Thank you.
1210
01:01:04.320 --> 01:01:06.840
I think you're a K two. Thanks to so much so.
1211
01:01:07.000 --> 01:01:09.400
I might come back Neck as an episode. Yeah what
1212
01:01:09.440 --> 01:01:11.800
do you think? All right, Yes, we'll be back.
1213
01:01:12.199 --> 01:01:16.039
Thank you, Tracy, and thank you to Stepney Studios again
1214
01:01:16.360 --> 01:01:17.920
for having us in there.
1215
01:01:18.119 --> 01:01:22.000
Really fantastic. Stilly's here, it's amazing. Yeah, yeah, really good.
1216
01:01:22.800 --> 01:01:25.239
Thank you Lee, Thank you Josh, and to all of
1217
01:01:25.280 --> 01:01:26.159
you listening out there.
1218
01:01:26.280 --> 01:01:29.239
I hope whatever show you're involved with or are going
1219
01:01:29.280 --> 01:01:30.360
to see goes well.
1220
01:01:31.000 --> 01:01:33.639
Chook us to all and remember the reason why we
1221
01:01:33.719 --> 01:01:34.719
do this is the community.
1222
01:01:35.239 --> 01:01:41.880
Enjoy cheers. Thanks, bye bye