0:00

You

0:02

aren't

0:04

now

0:06

wishing

0:08

into it,

0:12

with a

0:15

spurs. A

0:18

full quarry,

0:22

a I'm

0:25

here with, and here's where

0:27

my pronunciation comes into it

0:29

guys, Aaron Vodavos. Yep, that's right. Is

0:32

that good? Annalene,

0:34

Annalice Beggipardin, Biancini.

0:36

Annalice Beggipardin, Beancini.

0:39

That's your middle name, Beggipar.

0:41

Welcome to the show, and

0:43

if you haven't noticed, these

0:46

guys are not for England. Nope.

0:48

We are British murders, but

0:50

we welcome all guests. Where are

0:52

you guys from? Thank you. I'm

0:55

from the States. I'm from New

0:57

York and Colorado. So how are

0:59

you from New York and Colorado first

1:01

of all Annalese? Well I don't

1:03

know what to pick. I grew up

1:06

in Colorado and then spent 10 years

1:08

in New York and so if I

1:10

had to call some place home it

1:13

would be New York. But I can't

1:15

say I was like born in New

1:17

York because that's you know, that's a

1:20

lie. And Aaron, you're from Holland or

1:22

the Netherlands as it's officially known. Well,

1:24

you don't start a fight here. Yes,

1:26

I am. I'm kind of like a

1:29

mutt. Born Holland, my parents are Russian,

1:31

I've traveled the world a bit, so...

1:33

Oh, wow. But I'm Dutch. But you

1:36

ended up in America, right?

1:38

No, I, well, I've visited

1:40

America, I've got family members

1:42

there, I just watched too

1:44

much TV, and that just

1:47

stuck. Really? Yeah, yeah. I mean,

1:49

yeah, I mean, kids just

1:51

absorb anything really and I

1:53

just watch too much TV.

1:55

Wow, that's interesting. So these

1:57

two are both actors, I guess.

2:00

Is that a fair way to describe

2:02

you guys primarily? Pretty sure, yeah, actors.

2:04

We were just chatting off here there

2:06

because Aaron was actually in Killing Eve,

2:08

which was a big show here. You've

2:10

been in other stuff. How did the

2:12

whole acting thing come about for the

2:14

period? Well, I guess for me I

2:16

just always had I was just always

2:18

interested and I wasn't enjoyed performing and

2:21

it's kind of cliche because most actors

2:23

will say the same thing but from

2:25

an I remember I used to because

2:27

I'm Russian I used to play my

2:29

parents made me play the violin since

2:31

I was three years old and there's

2:33

that one time for some reason they

2:35

made a commercial and they needed violin

2:37

players at the age of five and

2:39

they brought me on set and all

2:41

the others like. kid violin players. And

2:43

I just loved it. I just absolutely

2:46

fell in love with whatever was happening.

2:48

They were just really nice to me.

2:50

That was all that was. But from

2:52

that moment on, I was like, I

2:54

want to do stuff like this all

2:56

the time. And from there and it

2:58

just like stuck. And yeah, things as

3:00

a kid and it developed, the interest

3:02

developed and then came here to the

3:04

UK to study and kept on developing.

3:06

And here we are now producing a

3:09

play. Yeah. And so there was never

3:11

really, it was always a thing that

3:13

I was going to do. So yeah,

3:15

I went to performing arts high school

3:17

in Colorado and then went and studied

3:19

acting in New York for about 10

3:21

years because that's something that New York

3:23

can offer which they have so many

3:25

acting studios and acting classes and it's.

3:27

It's as normal as going to the

3:29

gym. There's no end to the studying

3:32

of acting. And then I came here

3:34

to the Royal Conservatoire of Scotland and

3:36

fell in love with England. I mean

3:38

that Scotland obviously, not Scotland's amazing. But

3:40

you're never going to hire a... You're

3:42

not going to start a fight now.

3:44

I think that one wins, Scotland is

3:46

amazing. Okay. But they're never going to

3:48

hire really an American there in Scotland.

3:50

So I came down to London which

3:52

is awesome and cosmopolitan and very much

3:55

like New York. And yeah, we've just

3:57

been grinding along trying to do the

3:59

acting thing. Yeah. So you two met in

4:01

London then? Kind of, yeah. I mean, yes,

4:03

we did. There was a time I

4:05

was planning on going to America before

4:07

COVID and it's one of those COVID

4:10

stories of just, you know, that happened

4:12

and all the all the plans went

4:14

at the window and. at the time

4:16

I remembered I needed some advice from

4:18

a real New Yorker to tell me

4:20

what it was going to be like

4:22

prepare me for the New York experience

4:25

and that's kind of how we got

4:27

connected through friends and we got in touch.

4:29

Yeah I was in Germany at the time

4:31

doing a play at the English Theatre of

4:33

Hamburg and we had a Skype call and

4:35

I told them all about New York but

4:37

then COVID happened so he didn't end up

4:40

going and we just got back together

4:42

in England. Yeah. I think Skype is

4:44

like the definition of pre-covered.

4:46

Yeah, yeah, yeah, such a

4:48

pre-covered thing. It's immediately accepted

4:51

in time. Everything's done on

4:53

Zoom. So you both well traveled.

4:55

I'm curious about this Russian thing. So

4:57

is it well known that Russians play

4:59

violin? It's not the, well, Annalese

5:01

is, by the way, nodding on

5:03

for those who can't see. But,

5:05

um... The known part is that

5:08

Russia loves its culture and loves

5:10

its music and classical music and

5:12

like acting and ballet and pretty

5:14

much you either learn piano or

5:16

violin and that's the two things

5:18

most Russian kids have kind of

5:20

like learned. And yeah, my mom

5:22

played the piano, my dad was

5:24

a ballet dancer and hence me

5:26

going down the same root of

5:28

learning the violin. I hated it.

5:30

I learned it for eight years.

5:32

I hated every moment. I never

5:34

passed that part where you start

5:37

to sound good, which I really

5:39

feel bad for my parents. But

5:41

yes, that's kind of like why

5:43

I learned violin to begin with.

5:45

Have you been to Russia? Once. Yeah,

5:47

I mean... surreal experience. I've

5:49

been there from drama school.

5:52

They took us there for

5:54

10 days as a like

5:56

student exchange program. It was

5:58

Moscow. It was real. It was

6:00

amazing. It was like I felt like

6:03

a part of me suddenly opened up

6:05

to me because you know I smell

6:07

food that my mom used to make

6:09

and I'm like wait what I hear

6:12

sounds and you know Russian because my

6:14

parents spoke Russian to me. I was

6:16

like this what you're not my parent.

6:18

It was very, very surreal, but very

6:21

interesting. It happened, it was just one

6:23

2014 happening, the whole Crimea thing kicked

6:25

off, and it was surreal, surreal on

6:27

many levels, but very enjoyable as a

6:30

young actor, meaning other young actors, seeing

6:32

their performances and stuff like that. Tell

6:34

me about, we will come onto the

6:36

play. We are here guys listening to

6:39

discuss the play that these two are,

6:41

are you commissioning in it? Are you

6:43

commissioning it? Are you commissioning it? Are

6:45

you commissioning it? Tell me about as

6:48

an actor. How do you secure a

6:50

role? I want to hear about audition

6:52

processes. I want to hear about tapes,

6:54

headshots. What do you go through from

6:57

seeing a role advertised, whether it's through

6:59

an agency, to securing the role? What

7:01

does that process look like? Well. It's

7:03

an agent's game in the UK, really.

7:06

So we get most of our, I

7:08

mean, 99.9% of our castings from agents.

7:10

They send us an email, they send

7:12

us a breakdown, they send us, you

7:14

know, when it's going to happen, what

7:17

the fee is. And we have the

7:19

sides, which is a little bit of

7:21

the script. And we practice those sides,

7:23

and mostly everything now is a self-tape.

7:26

Unless it's theater. It's really all self-taped

7:28

first and sometimes you get a recall

7:30

and you then you go into the

7:32

room and meet the casting directors and

7:35

sometimes the directors as well. So we

7:37

just set up our little self-tape set

7:39

up with like a backdrop and our

7:41

tripod and our camera and we do

7:44

the scene and I think you know

7:46

now with self-tapes there's a lot of

7:48

self-directing as well because you can go

7:50

around and see what your performance was

7:53

like and be like I want to

7:55

adjust this, this isn't coming through. bigger,

7:57

whatever, and then you do it again.

7:59

I think it was really really interesting

8:01

casting this show down the road because

8:03

we were on the other side at

8:06

the table, so to speak. And when

8:08

the actors came in, it was amazing

8:10

to see their choices and to see

8:12

what they were doing and what they

8:14

brought to it. You know, they only

8:16

had about four days to work on

8:18

the two sections that we gave them

8:20

to bring into the room. That's not

8:22

that long. You have to make some

8:25

bold swings, I guess. you just have

8:27

to try things. And that was incredibly

8:29

inspiring for me as an actor to

8:31

see these really, really brave and

8:33

talented guys come in and like

8:35

just inhabit this character right off the

8:37

bat. By the way, the character is

8:39

a for a serial killer. Yeah, it

8:42

was a serial killer character. So it

8:44

was terrifying. Yeah, it was very scary.

8:46

There was that I think I mentioned

8:48

this to you when we spoke on

8:50

the phone. There was that moment where

8:52

the person who we we've cast in

8:54

the end. Joshua Collins, he came in

8:56

and his first question as he came

8:58

in, he was the first one in

9:00

the day, he was like, so can

9:02

I have a table? And that's great,

9:04

like, if there are any actors out

9:06

there, like that's brilliant, you should always

9:08

ask for something that you need. Like

9:10

always ask for a chair, always ask

9:13

for a table. If you want to

9:15

take your shoes off, take your shoes

9:17

off. And it'll pay off because this

9:19

guy, he came in and he was

9:22

like, can I, can I, can I,

9:24

can I get a table? And because

9:26

his guy, he came in and he

9:28

was like, can I, can I get

9:31

a table? five minutes in, he suddenly

9:33

like, out of nowhere, slams his fists

9:35

on the table and starts laughing out

9:37

loud. All of us. All of us.

9:40

Like the two of us and the

9:42

director completely jumped out of our skins.

9:44

And then in my mind, I'm like,

9:46

you mother pucker, you knew that was

9:48

what you were gonna do from the

9:50

get go. And he got us so

9:52

well. Yeah. So that was really good.

9:54

But what am I thinking for, for casting

9:56

just to kind of add, I feel

9:59

like it really. depends what kind of

10:01

role you're going for because it

10:03

can be, it can be an

10:05

immediate. offer for a role if

10:07

you just self-taped. You just did

10:09

the work that I least mentioned

10:11

at home. You record yourself, send

10:13

it off, and then they're like,

10:15

okay, great, you got it. And

10:17

that's usually for like the small

10:19

parts, but then the bigger the

10:21

role is, the more rounds, the

10:23

more rounds, the more rounds you

10:25

have to go through, whether that's,

10:27

you know, the first recall to

10:29

meet the producers. And then again,

10:31

maybe to meet like the executive

10:33

producer and make the executive producer

10:35

and make sure they all, like,

10:37

But something else we realized while

10:39

we were casting for our play

10:41

was that even if you've made

10:43

it to the audition, you've made

10:45

it past already so many other

10:47

actors. I mean, we had a

10:49

lot of, we were lucky and

10:51

we got a lot of submissions

10:53

and we picked like six people

10:55

to come in. So we were

10:57

ourselves, we were like, wow, that's,

10:59

that's amazing. Yeah. There are so

11:01

many great options out there and

11:03

we thought these six people had

11:05

a great chance. So, you know,

11:07

if you've got an audition, it

11:09

means you've got a good chance

11:11

of getting it. The casting directors

11:13

or the people who are behind

11:15

the table, they see some potential

11:17

in you for the part. I

11:19

have another question on that, but

11:21

I feel for my audience, I

11:23

need to explain what the hell

11:25

we're talking about. the play you

11:27

guys are producing. This is directed

11:29

by Tracy Mathewson. That's right. And

11:31

it's the UK's revival, I'm just

11:33

reading off the website here, since

11:35

2003 from award-winning playwright Lee Blessin,

11:37

who has been called America's most

11:39

imaginative playwright on public issues by

11:41

Time Magazine. Not bad. So the

11:43

premise of this story, a true

11:45

blue journalist couple which is played

11:48

by YouTube. Yes, right. The interview

11:50

Bill Reach, a young sadistic serial

11:52

killer for his tell-all book, with

11:54

dreams of starting their own family

11:56

in hopes of this being their

11:58

big break, Iris and Dan are

12:00

drawn closer into... reaches chilling yet

12:02

alluring orbit and unwittingly take their

12:04

work home with them. It's all very

12:06

intriguing. I like it. Coming back

12:08

to my question about the audition.

12:10

So you've got the guy there that

12:12

bangs on the table. The first is

12:14

a short one. Did you keep, if he

12:17

was the first audition of the day,

12:19

did you keep the table there or did

12:21

you think, let's see if I know one else

12:23

asks? Ah, no, we kept the table. Okay,

12:25

fair enough. It's a good point though, I mean

12:27

we should have done that. I was thinking, yeah,

12:29

you could say, who else has got the initiative

12:31

to ask for it? Yeah. The other thing is

12:34

about being memorable. There's a bit

12:36

of a cliche thing saying, when you

12:38

go for an interview, walking backwards so

12:40

they remember you're a member of your

12:42

life. Have you not heard that? Maybe

12:44

I'm making it up. It's a good

12:46

one though, isn't it? I think this

12:48

is a two-part answer. That's the idea

12:50

that walks him backwards. He was usually

12:52

in the interview. He'll never get the

12:54

job, but he walked him backwards. Right,

12:56

right. They would remember, yeah. How

12:58

important is it? Because I imagine a

13:00

lot of people are good actors

13:02

and they can portray the role. What

13:05

things are you looking for? Are

13:07

you looking for certain quirks in

13:09

their mannerisms? Are you looking for

13:11

something memorable? What differentiates

13:13

the applicants? On the one

13:15

hand, everyone's memorable I guess, but

13:18

on the one hand, for someone

13:20

to get the role, they're bringing

13:22

their essence to the role, and

13:24

there's no competition with somebody's essence,

13:26

like you are this, this is

13:28

who you are, nobody can be

13:30

that, only you. On the other

13:32

hand, the other part of this

13:35

is that... Are you present? Are

13:37

you in the moment? Are you

13:39

making bold choices? Are you going

13:41

for it? Are you committed? Are

13:43

you engaged with the material? Are

13:45

you engaged with the actors? I

13:48

guess an example I would give is

13:50

that this same, you know, actor

13:52

Joshua, when he was there, aside from

13:54

the big kind of like, you

13:56

know, slamming against the table, the first

13:59

scene is a... about him reading something

14:01

the serial killer has written towards one

14:03

of his fans. He has all these

14:05

fan girls and he's writing love letters

14:07

to them. Yeah and he's reading it

14:09

out to Iris the journalist and then

14:11

he offers it to her and then

14:13

you know in the audition process and

14:15

at least takes it away from him

14:17

but he kept it in his hand

14:19

and suddenly there's attention and suddenly like

14:21

and at least expected to just take

14:23

it on and he'll release it and

14:25

he didn't. And that's like a tiny

14:28

playful thing to do with expectation. Now

14:30

none of the other auditionees did that.

14:32

None of the other, they're just like

14:34

in the script that says he passes

14:36

on the paper to Iris and they

14:38

pass it on. Nobody used that moment

14:40

to hold on and make a connection

14:42

and use it as an influence. And

14:44

it's not... I don't come into an

14:46

audition process looking, oh, this is what

14:48

they could do. But because he in

14:50

his own preparation thought about it and

14:52

implemented it, that stands out as something

14:54

that the others didn't. And I think

14:56

it was also just simply part of

14:58

his instinct. I don't actually know how

15:00

much he planned. I think a lot

15:03

of it was just taking every moment

15:05

and making it the most he could.

15:07

Yeah. Really getting the most out of

15:09

every single moment that he could. I

15:11

guess it really just... Either way, whether

15:13

it's the preparation or whether he was

15:15

in the moment, that was something that

15:17

he didn't take for granted and other

15:19

people were just like, oh, it says

15:21

I pass on this in the script

15:23

and that's what I'm gonna do. I

15:25

would guess what he really, perhaps we

15:27

should talk to him more about this,

15:29

but what I think what he really

15:31

prepped was the what, like the who

15:33

this character is and not necessarily the

15:36

how, like not necessarily everything that he

15:38

does. So that. he was ready for

15:40

every moment if you're really prepared for

15:42

you know like who this character is

15:44

and and how this character expresses themselves

15:46

then you can improvise in every single

15:48

moment does this make any sense to

15:50

you? No it does I feel like

15:52

we're going like into the acting yes

15:54

no but this is interesting to me

15:56

because I do love film a briefly

15:58

studied film in college which means nothing

16:00

I know the term mizonsen, that's about

16:02

it. You've got you've got in background,

16:04

so yeah, yeah, I've got a background

16:06

in film. But it's interesting to me

16:08

because I always, I'm curious about

16:11

method acting. So people for anyone

16:13

listening doesn't know, it's people who

16:15

literally get so engrossed in that

16:17

character that even when the director

16:20

yells cut, they want to be referred by

16:22

that name, they are that character, don't call

16:24

me my memorial name, etc.

16:26

Yeah. The debate is. Is that acting

16:28

though? Because acting to me

16:31

is one minute, you're the

16:33

character. Not just calm with

16:36

a character, that's not acting,

16:38

that's just like who you

16:40

are. Is that fair or is

16:42

that a bit of a naive

16:44

viewpoint? I don't think it's

16:46

naive. I just think it's

16:49

a different way of going about

16:51

it because I get that sense of

16:53

like you have... There's an awe

16:55

in a sense of awe looking at

16:58

someone who can be himself and then

17:00

like turn around and suddenly put

17:02

on a mask and be completely different.

17:04

You're like, how the hell did you do

17:06

that? And that's really impressive. And I

17:09

think that's, you know, if you think

17:11

about all the English actors out there,

17:13

you kind of see that as part

17:15

of their expertise. But from my point

17:17

of view, it feels like people go method.

17:19

They believe that something authentic would come

17:21

out of. them being in the role

17:23

the whole time. It can be seen

17:25

as very pompous or very kind of

17:28

like distancing and very obnoxious and depending

17:30

on who the what the role is.

17:32

I mean Jim Kerry in that there

17:34

is this story about him being in

17:36

the character constantly for the man on

17:38

the moon and that was the most

17:40

annoying and obnoxious like thing ever and

17:43

you know you're at one point like

17:45

dude just chill which I completely get

17:47

but also there's value in just

17:49

him breathing it. I feel

17:51

there's something special about it.

17:53

Does everybody need to do

17:56

that? No. But I don't

17:58

know, yeah. I don't. love the

18:00

idea of staying in character the

18:02

whole time. And I don't think

18:04

it's, I guess I can only

18:06

speak for myself, I would never

18:08

do that because I don't think

18:10

for my mental health, I don't

18:12

think that is, I don't think

18:14

anyone needs to suffer for art

18:17

at all. I think that's really

18:19

a debunked myth. Other people also

18:21

don't need to suffer for your

18:23

art. And I think there's something

18:25

really precious about being part of

18:27

an ensemble and being part of

18:29

an ensemble and being like coming

18:31

out of it. Yeah, I guess,

18:33

I guess think about it. If

18:35

you were to suddenly put on

18:37

yourself, right, Stu, you, you, and

18:39

you were to decide from now

18:41

on, I'm behaving and thinking in

18:43

a completely different way. Are you

18:45

not acting as someone completely different?

18:47

Are you not pretending to be

18:49

somebody else? And it is, it

18:51

is a form of just like

18:53

completely... changing your behavior who you

18:55

are for I mean think about

18:57

it if they're doing for months

18:59

or like even two weeks or

19:01

whatever the amount of time that's

19:04

that's insane to certain extent but

19:06

also that is acting because you're

19:08

doing something, you're behaving and embodying

19:10

something that is not you or

19:12

is not your regular reactions or

19:14

thought patterns for a certain amount

19:16

of time. So I would still

19:18

categorize that as like acting for

19:20

sure. It's just whether that's mentally

19:22

healthy, whether that's like helpful for

19:24

the people around you, that's the

19:26

whole different thing. And I think

19:28

I just did a very heavy

19:30

staged reading about like many many

19:32

people being mass killed and the

19:34

documentation of this love it was

19:36

verbatim it was extremely horrifying heavy

19:38

stage reading that I just did

19:40

yesterday and backstage we were the

19:42

cast was light we were laughing

19:44

we were happy we were being

19:46

silly on stage I was crying

19:48

it's not this is acting I

19:51

don't I I think it's important

19:53

actually if something's really heavy to

19:55

to go back stage and keep

19:57

it light and keep it fun.

19:59

I think that's For me, I

20:01

think that that's important.

20:03

Let's talk about crying. No,

20:06

I at least can't. You not

20:08

do it? I cry all the

20:11

time. That is one thing that

20:13

I almost feel when you see

20:15

an actor and you see

20:17

that tear drop down the face,

20:20

right? I always think that

20:22

actor must be thinking, yeah,

20:24

get in. I bet you they

20:27

do. How hard is that to

20:29

achieve? You know, I think the

20:31

one tier that might be that thing

20:33

that you put in your eye to

20:35

make your eye And I don't

20:37

ruin it. I'm sorry. I'm sorry.

20:39

Like last stitch thing that you

20:42

can do but I think if

20:44

you're in the moment and if

20:46

you're being honest and truthful and

20:48

you you know, you know, you

20:50

know what you're trying to do

20:52

in the moment. You're taking action

20:54

as it were. It's for me.

20:57

If it's a sad moment and

20:59

it's not difficult for me. Do

21:01

you think about what's going on in

21:03

the scene though? Would you use

21:05

outside influences to help in a

21:07

circumstance like that? A mixture, a mixture.

21:09

And for theater for me, every

21:12

day is different and every night

21:14

is different and I have to

21:16

really allow my instrument to be,

21:18

my instrument is in my acting instrument,

21:20

to be by my body, my mental,

21:23

my heart, my nervous system to be

21:25

extremely... open and up for whatever associations

21:27

especially arise on that day and just

21:29

go with it. That's what I do.

21:31

Also you kind of have to remember

21:34

that theater is different than film. Like in

21:36

film, you know, they're going to put the

21:38

camera on an actor and I remember hearing

21:40

Tom Holland talk about like him learning from

21:43

Benedict Cumberge on how to like bring the

21:45

crying out. And it was just he says

21:47

now he doesn't have to bring all that

21:49

emotional baggage with him to cry authentically. He

21:52

literally just learned how to do it had

21:54

to do it like... as a valve in

21:56

a certain way. And so it's different because

21:58

when it's like... a film, you know,

22:00

you set up the shot and then

22:03

you expect the actor to get to

22:05

that emotion right away as opposed to

22:07

in theater, you can really be immersed

22:09

in the emotional aspect that... We've got

22:11

the whole arc of the story behind

22:13

you as well. Yeah, so that really

22:15

is a different process that... you also

22:17

are affected on the night because every

22:19

night is different and you go from

22:21

A to B throughout the whole arc,

22:23

whereas in a film you're just like,

22:25

okay, get ready, you need to know

22:27

what this part is all about, you

22:29

need to know how like what emotional

22:31

state you were in, if it's crying,

22:33

you need to be able to cry

22:35

on that on that cue. And yeah,

22:37

I think that's, they're, they're, both for

22:39

me are very hard. But yeah, there

22:42

was another thing I was going to

22:44

say about that thing I was going

22:46

to say about that. Oh shoot, I

22:48

forgot, well I come back to me.

22:50

That's okay, it'll come back. So for

22:52

context, we're recording this at the end

22:54

of January, but you guys are doing

22:56

rehearsals in February for a March release.

22:58

Yes, so in six days we're starting

23:00

our rehearsal process. That's four weeks of

23:02

rehearsing. So what does that look like

23:04

then? Take me from if it's four

23:06

weeks, day one on week one, to

23:08

day, the last day on week four.

23:10

I don't want the schedules like. Yeah,

23:12

so I guess it's divided in five

23:14

days per week, Monday to Friday, 10

23:16

to 5, or something like that, we

23:19

all show up. Our first day of

23:21

rehearsal is going to be a sit-down

23:23

with everybody. That's part of the... cast

23:25

and crew so everybody's part of production.

23:27

Everybody listens to the cast read out,

23:29

the play, just sat down, just chilled.

23:31

That's so the whole crew understands what's

23:33

happening, where the story takes us, what

23:35

is needed. They start like annotating in

23:37

their own kind of stuff, the lighting

23:39

designer, sound designer, the regular designer, stage

23:41

manager, what the things that are needed

23:43

for the production. And then they finish

23:45

that. Well we finished that, they go

23:47

on their day, whatever, and then the

23:49

director and the cast start going through

23:51

the play, scene by scene, understanding what

23:53

the characters want, what their intentions are,

23:55

feeling it out, and just like putting

23:58

it up on its feet really. the

24:00

whole point of these four weeks of

24:02

rehearsal is just to play as much

24:04

as possible and to experiment as much

24:06

as possible and you go from one

24:08

scene to another to another slowly trying

24:10

to figure out what they're trying to

24:12

do what what the characters want from

24:14

each other but the point of the scene is

24:16

yeah what the point of the scene is why is

24:18

this scene here how does this move the play forward

24:20

yeah it's a lot of it kind of

24:23

when it comes to structure wise it's just

24:25

like very to the point, but when

24:27

you're actually in the room

24:29

rehearsing, it's very flexible, very

24:31

dependent on just what the director wants

24:33

to bring out, what we like, you

24:35

know, the guy in the rehearsal process,

24:37

in the audition process. he brought an

24:39

idea. So how does that idea work

24:41

in rehearsal compared to what I had

24:43

in mind for my character and how

24:45

that interacts with each other and what

24:47

happens? You know, and if the director

24:49

thinks, oh great, you brought this and

24:51

you brought this that really contradicts each

24:53

other well, but I want something else

24:55

and that's where the rehearsal process starts

24:57

and you're trying things out. Yeah, we kind

24:59

of don't know what's going to happen. Yeah, it's

25:02

going to be a lot of creating. Yeah, and

25:04

I mean from the more production side.

25:06

taking pictures for you know marketing on the

25:08

first week there is a making of sitting

25:10

a sitting the cast down to have a

25:12

little video be like what do you think

25:15

about the play so we can you know

25:17

share with people there's a lot of thinking

25:19

about that as well of making sure people

25:21

get an insight and a look into rehearsals

25:23

and what's happening and who the people are

25:25

that are part of the production and stuff

25:28

like that so that's more of the production

25:30

side that goes on top of the rehearsal.

25:32

The story will continue after these

25:34

quick messages And

25:36

now, back to the story. So tell

25:39

me a bit more about the

25:41

actual producer role then. So it

25:43

sounds like you do a

25:46

lot of behind-the-scenes stuff, you're

25:48

involved with the casting,

25:50

but you're also actors in

25:52

the play as well. So, what's

25:55

it like, balancing that difference of

25:57

roles? Oh man. Can you hear

25:59

that? It's been tricky. Yeah, it's

26:01

been tricky just because we both

26:03

really want to do the acting

26:05

and we obviously in order to

26:07

put this play on we have

26:09

to take that it that the

26:11

reins for that but luckily enough

26:13

we found a producer to take

26:15

over once we start rehearsing and

26:17

she will have everything she will

26:19

take care of everything we basically

26:22

set up. So the hope is

26:24

that way we can isolate ourselves

26:26

from that when you just mentioned

26:28

the whole like additional whole heaviness

26:30

of what our responsibilities are for as

26:32

a producer and have her take care

26:34

of all that and then have us

26:36

just be like, okay, great. So we

26:38

can play. We can just not worry

26:41

about that. We can be active to

26:43

the end because that's what we want

26:45

to do. But yeah, there's a lot of

26:47

preparation that goes into it before

26:50

we even like, you know, going

26:52

into the acting that happens next

26:54

week. We're really looking forward to

26:56

being actors. How do you go

26:58

about learning your lines? We haven't

27:01

yet. You haven't yet, but

27:03

you will, because you're experienced.

27:05

Whenever I'm doing video, which

27:08

is rare, I give myself prompts.

27:10

If I'm doing a one-minute

27:12

video on Instagram, right, I

27:14

could talk to the camera, I can chat

27:17

shit as we say. But when you're

27:19

doing a proper video, remembering

27:21

a line, I have to do bullet

27:23

points, I can't remember a line.

27:25

How do you do that? Is it... Is

27:27

that possible to have a

27:30

semi- photographic memory? I'm

27:32

really annoyed. I think they have

27:34

different methods. Aaron and I tend

27:36

to right handwrite everything out and

27:38

then I walk around and say

27:41

it. I make sure my body

27:43

is moving as I'm saying it.

27:45

But what really helps is knowing

27:47

what I'm talking about. you know,

27:49

it's a story so that's and

27:52

there's emotional associations. So that's really

27:54

helpful for memorization. I think probably

27:56

what you're doing is do is

27:58

is harder to memorize. because like

28:00

you have to sort of get everything

28:03

right I imagine with yours if if

28:05

the odd word is slightly wrong but

28:07

the message is portrayed is that okay

28:09

or does it have to be verbatim

28:12

it has to be exactly as written

28:14

okay but that's not too hard you

28:16

know if if you're if there's something

28:19

you're like oh I can't I cannot

28:21

for the life of me remember that

28:23

this word is this you think why

28:25

can't I remember that I remember that

28:28

and understanding it in your body. That's

28:30

all I can say about that, I

28:32

think. Yeah, at least it's very body.

28:35

I'm very physical. For me, it's just

28:37

repetition, repetition, repetition, repetition, repetition. I mean,

28:39

like you yourself said, the bullet points

28:41

is really helpful for me to like

28:44

make sure I know in the script

28:46

what each... combination of lines what they

28:48

talk about and how each subject changes

28:51

from one subject to another so that

28:53

I know oh at this point I'm

28:55

talking at this point I'm talking about

28:57

this subject and then that goes into

29:00

that But still in the end, it's

29:02

just like, I need to repeat it,

29:04

repeat it, repeat it, repeat it, repeat

29:07

it until I'm just like, it's coming

29:09

out of all my holes. And I

29:11

just know it so by heart that

29:13

I wake up in the morning, be

29:16

like, these are the lines and I

29:18

don't, you know, so bullet points like

29:20

yourself and repetition for me. But it

29:23

is a muscle, the more you practice,

29:25

the better you get. Yeah. Yeah, that

29:27

makes sense. Tell me about Trace's role

29:29

as director. I know you've not started

29:32

rehearsals yet, but you'll have worked with

29:34

directors before. Yeah. You see in films,

29:36

I know this is a play, but

29:39

in films, directed by so and so,

29:41

it's a bit ambiguous to the general

29:43

viewers to what they do. If you

29:45

could tell me a little bit about

29:48

that, that would be helpful. I love

29:50

it. Yeah, so we haven't really started

29:52

working with Tracy, but at the auditions

29:55

she was directing. So we got to

29:57

see her do that do that. What

29:59

does that mean, though? Something that I

30:01

really, really appreciate about directors is when

30:04

they ask questions. Questions that will clarify

30:06

what the actor is doing and why

30:08

the actor is doing it, or this,

30:11

or why the character is doing it.

30:13

Because that is, I think it's especially

30:15

respectful to the creative person because you're

30:17

not making them do something. You're not

30:20

treating them like a meat puppet. You

30:22

are incorporating their ideas and their creative

30:24

vision. Yeah, so she asked every actor.

30:27

what do you like about the character

30:29

of Bill Reach? What are you afraid

30:31

of? What scares you about Bill Reach?

30:33

Why do you think you say that?

30:36

Things like that. I guess I had

30:38

a chance to direct a tiny little

30:40

piece of theater and really when I

30:42

came to direct it I felt that

30:45

I had an idea of what A,

30:47

the characters are going through, what kind

30:49

of it... interactions and conflicts they had

30:52

really where each character comes from and

30:54

then you know I'm trying to see

30:56

what the actor does and that can

30:58

help that idea. come to fruition as

31:01

much as possible. So, you know, so

31:03

when, you know, Anilis talks about Tracy

31:05

and she's asking these questions, it's like

31:08

a guidance because she knows what she

31:10

wants out of the actor. She knows

31:12

what she wants in the... But not

31:14

strictly, not to, not to the extent

31:17

where she says... No, no, no, no,

31:19

no, but the idea is that... I

31:21

imagine or a director comes in with

31:24

a concept that they have in mind

31:26

about each character and where the story

31:28

goes, but then, you know, it really

31:30

depends on director, but they would incorporate

31:33

what the actor brings and guide them

31:35

along to get there. A lot of

31:37

actors bring their influences and they have

31:40

to like see how they can adjust

31:42

it in order to bring the most

31:44

out of the story. I think that's

31:46

kind of what their job would be

31:49

to kind of guide. the story to

31:51

be as clear and the characters to

31:53

be as clear for the audience to

31:56

see what's happening between them. It's also

31:58

really important. to have the outside eye

32:00

to make sure the story is coming

32:02

across visually. It's a story that happens

32:05

in space. So we have to make

32:07

these, basically these pictures almost like

32:09

film, to convey what's happening, maybe even

32:12

under the lines or around the lines.

32:14

And that's kind of like film in

32:16

that sense because the film director has

32:18

complete control over the audience's eye in

32:21

that sense that can really be specific

32:23

about where they're guiding the audience's eye.

32:25

So this will be a bit broader

32:28

but yeah I'm more like a big

32:30

painting. What are some things that

32:32

are important in a play versus say

32:34

a TV series or a film so in

32:37

school they might say exaggerate your movements

32:39

you know if you wave in

32:41

you're really waving big you're talking

32:43

look to the spotlight and

32:45

speak as loud as possible. Are

32:47

these things still relevant or are

32:49

there any other tips that as

32:52

a professional you actually have to

32:54

incorporate? I would rephrase, I would say

32:56

I think yes, but I would rephrase

32:58

it to say in film the intimacy

33:00

or the like the inside of my

33:03

head I guess like if it's something

33:05

I'm hiding the vulnerability is right behind

33:07

my eyes. It's still it's inside me.

33:10

I don't need to do anything. In

33:12

theater, the, I'm going to go to

33:14

all the inside of my head and

33:16

I don't know what I'm saying. It's

33:19

not just my brain, it's

33:21

like the secret emotions,

33:23

the intimate, vulnerable feelings,

33:25

feelings and thoughts, like the

33:27

tiny things, it's not like big

33:29

anger, the tiny things, the tiny

33:31

things, the tiny things are on

33:33

the other side of the audience

33:35

in theater. So as opposed to

33:37

it being right behind my eyes,

33:39

it's... I don't know how quite

33:41

that's... I think, I think, can

33:43

I try and... Yes. I think,

33:45

what's that, what's the really big,

33:48

really famous actor called who's,

33:50

who played Gandhi and what not?

33:52

Oh, Ben... Kingsley, yes, I think

33:54

him or some of the, like,

33:57

you know, if his statue was

33:59

saying, like... You can't fake acting to

34:01

a camera. You can't like have a

34:03

camera, you know, audience. You can't see,

34:05

but we're doing this over like zoom

34:07

and, you know, we have a pretty

34:09

close up, like if you have a

34:11

zoom conversation, that's like a close up

34:14

on you and on your face. So

34:16

when a camera is that close to

34:18

you, you can't. pretend whatever is happening

34:20

in you with thoughts and emotions you're

34:22

having, you're showing it. Even as Emily

34:24

said, it's the slight, you know, you

34:26

hurt you're not showing it. You're just

34:28

doing, you're just feeling, exactly, you're showing

34:30

it in the sense of you're not

34:32

showing away from the camera. Yeah, you're

34:35

allowing the camera to see that. Whereas

34:37

in a theater. Nobody's sitting that close

34:39

to you. And nobody's watching your face

34:41

that closely and individually. And you do

34:43

have to exaggerate or make bigger that

34:45

emotion and feeling and thoughts so that

34:47

the audience, you know, even. at the

34:49

end of the, let's say we're in

34:51

a West End show, at the end

34:53

of the balcony or whatever, they can

34:55

get a sense of that emotion because

34:58

yeah, it needs to get all the

35:00

way there. So if you're, you have

35:02

to talk louder when you're on stage

35:04

in the West End or in a

35:06

big theater, you have to. But I

35:08

just, I guess I resist the mechanical

35:10

like louder, bigger because... It has to

35:12

still be from a place of truth.

35:14

So it's like the inside of you

35:16

is just takes up the whole theater.

35:19

Yes, yeah, yeah, I think you're right

35:21

about that. It's just the, it is

35:23

the mechanical aspect of it. Technically, I

35:25

guess, maybe it looks. Yeah, I mean,

35:27

and also. Yeah, it's just sharing that

35:29

with the audience. I mean, obviously, in

35:31

theater, you see that the actors are

35:33

always cheating it to the audience. Or

35:35

like in film, it's just like we're

35:37

with each other. So there's some technical

35:39

aspects that will always be part of

35:42

it. That's another thing I think about

35:44

theaters. We're cheating into the audience quotes

35:46

around that because the audience is actually

35:48

a part of the play. The play

35:50

happens between me. the actor and the

35:52

audience. That's where the imaginative conversation takes

35:54

place. It doesn't just happen on stage.

35:56

We need the audience. There's no play

35:58

without the audience. So they're essential. So

36:00

their inclusion in the creation of the

36:03

play every single night. That's what the

36:05

play is. That's what makes the play.

36:07

What's great about our play is that

36:09

we are going to be in such

36:11

a tiny space Yeah, and the audience

36:13

is going to be part of our

36:15

set so to speak We we have

36:17

a plan. This is this is like

36:19

an eight by eight room eight meters

36:21

by eight meters room and we're going

36:23

to have pretty much like audience on

36:26

both sides of the stage. And then

36:28

not only that, the design of it,

36:30

so the carpet we have for the

36:32

motel will go towards the audience and

36:34

be part of their seating. It's going

36:36

to be quite immersive. Yeah, the floor

36:38

of the interrogation room will also go

36:40

in towards the audience and they're going

36:42

to be part. So they're going to

36:44

be in the space that we are

36:47

supposedly acting in and that will be

36:49

a lot more intimate, intimate, kind of

36:51

like feeling. So hopefully, they will be

36:53

able to experience that up close experience

36:55

without having to be that big. And

36:57

we can be a lot more natural

36:59

and a lot more realistic as opposed

37:01

to, for example, I'm here and you

37:03

know, doing the whole thing with shouting

37:05

towards the end of the whatever balcony.

37:07

So I'm excited about that. Was that,

37:10

you said, cheating to the audience, is

37:12

that the term? Oh, yeah, like slightly

37:14

turned out towards the audience. Okay, yeah,

37:16

because I saw you sort of to,

37:18

so I guess that kind of means

37:20

what even when you're speaking to someone,

37:22

you kind of speaking half. Outwards, right?

37:24

Exactly. That's cheating it. Okay. That's interesting.

37:26

So do you wear microphones or would

37:28

it be in a small place? You

37:31

won't or microphones? You won't. But I've

37:33

definitely seen West End shows do that

37:35

nowadays. Oh yeah, a lot of them.

37:37

That's become like a more acceptable thing

37:39

now. But nice, because you can be

37:41

quite quiet and everyone can hear it.

37:43

Yeah, yeah, but the more traditional purists

37:45

will be like, how dare they put

37:47

a microphone on me? I'm a professionally

37:49

trained actor. So I think if you

37:51

go to the globe for example, they

37:54

won't have mics. They do. No. They

37:56

also probably have them shocked. I'm shocked.

37:58

Yeah. So you know when this first

38:00

guard. Josh is called, right? This is

38:02

Joshua. So Joshua. So how important is

38:04

it then when you think this

38:06

is our guy? This is Bill. How important

38:09

is it though that you feel you can

38:12

work with him rather than just

38:14

the performance being good?

38:16

For sure. For sure. That's like

38:18

a big reason we're kind of

38:20

we were always sense because we

38:22

were in the in in in

38:24

the casting process. We were acting

38:27

opposite them when they did the

38:29

audition. we definitely felt the kind

38:31

of like tug and pull of us

38:33

versus them and how that works together

38:35

and you know the conversation at the

38:37

beginning. Hey, how's it going? There's a lot

38:39

of like just small talk just to get

38:42

a sense and there's definitely. you know

38:44

we had an idea early on to maybe

38:46

offer some some the role to some big

38:48

name I mean you know we were

38:50

trying to get somebody on board but what

38:52

was really preventing us from doing that

38:54

is like but we don't know who this

38:57

person is we've never met him we haven't

38:59

talked to him we don't know what

39:01

his vibe is we don't know what

39:03

is like you know how he how

39:05

he basically behaves in the room. So

39:07

we're like, we can't, how do we

39:10

do that? How do we offer, even

39:12

if he's a big night, we don't

39:14

know if he's gonna like us, if

39:16

we're gonna like him, if we're gonna

39:18

get along? So it definitely

39:20

was part of that idea

39:22

of like, great, we're meeting people.

39:24

We're getting their sense of like

39:27

their energy. And one of the

39:29

essential things I came across with,

39:31

you know, we're the first. play

39:33

that's going up in this brand

39:35

new theater and we all have

39:38

to be extra passionate about acting

39:40

and putting on a show for the

39:42

people and telling this story and that's

39:44

that was sort of an essential part

39:46

of can we work with them are

39:48

they are they like an actor's actor

39:50

do they love this yeah they love

39:52

to play as much as we love

39:54

to play yeah also I remember what

39:57

I forgot earlier good it was about

39:59

the crying that you were asking. One

40:01

of the actors who came for the

40:03

casting, there's a second scene. So there's

40:06

the first scene where he's talking to

40:08

Iris, that's Anna Lisa's part, and then

40:10

the other scene is talking to Dan.

40:12

And in the second scene, the character

40:15

is really like pissed off. It's really

40:17

frustrated and annoyed. And this actor, the

40:19

young actor, super talented, he just went

40:21

down. He just looked down. And we

40:23

were all just a bit like... unsure

40:25

what's going on and the moment he

40:28

looked up his eyes were swelled with

40:30

tears he was crying his eyes off

40:32

and I because he was directing it

40:34

to me I was looking at him

40:36

and I was just it was as if

40:38

he literally turned on the tap his

40:41

his crying wasn't coming from the bottom

40:43

of his eyelid but from the top

40:45

and I can see the water go

40:47

down from his top islet it was

40:50

I had never seen something like that

40:52

in front of me happened in such

40:54

a like buck turn. And yeah, that

40:56

I don't know what he was thinking.

40:58

And even the director was like, what

41:00

are you thinking? It was like really

41:03

just like, how did you do that?

41:05

Yeah, kind of an interesting choice. Yeah.

41:07

And it was just and then when

41:09

they needed him to do it again

41:11

or the next take, so to speak, he

41:13

just did it again. And he really had

41:16

that special skill. Yeah. He really knew

41:18

how to like, or either he knew something

41:20

emotionally so raw that brought her out or

41:22

he just knew how to like. This is

41:25

the muscle, that's it. I don't know what

41:27

it is, but he did it. And we

41:29

were very like impressed. What's it like, because

41:31

you've been on the receiving end of

41:33

rejection, I imagine as all actors have

41:35

at some point in the life? On

41:37

the other side of it, it's great when

41:39

you offer someone a role. What does it

41:41

feel like knowing that, because there were

41:43

six in total, right, that you've got

41:45

five that you're not going to be

41:48

working with going forward? How do you feel

41:50

after that? I don't know if you guys

41:52

were the ones that informed them or not,

41:54

but yeah, yeah There were really hard ones.

41:57

We felt we really loved everyone

41:59

and very very talented people who came

42:01

in and gave it their all and

42:03

really really respect that and value that

42:06

I mean it was very I feel

42:08

very honored really actually that they came

42:10

in and did that that was amazing

42:12

you know they don't know they're gonna

42:15

get it but they came in and

42:17

gave it their all so it was

42:19

hard to tell some of them that

42:22

were that we've gone a different way

42:24

as they say I don't know that's

42:26

what I guess that's just what it

42:28

is they they're used to it. Yeah

42:31

I mean it's really a you know

42:33

we had to send an email to

42:35

their agent and and kind of like

42:37

just tell them listen we really loved

42:40

your your client your actor but unfortunately

42:42

and this is such a traditional and

42:44

cliche thing they say in casting it

42:46

was like but we went another way

42:49

yeah and that's like just something you

42:51

hear constantly and if you from your

42:53

like as actors you're just like holy

42:55

so annoyed but in the end it

42:58

really is just Nothing they did. It's

43:00

like nothing the other actors did wrong.

43:02

It was just like, to the vision

43:05

and idea of the director, it was

43:07

just wasn't the right energy or whatever

43:09

it was. And you can't, you can't

43:11

do anything about that. So it was

43:14

definitely some people were just like, we

43:16

love them, but unfortunately not. That's part

43:18

of the game, isn't it? Yeah, yeah,

43:20

yes, part of it. We spoke on

43:23

the phone last week, Aaron, and you

43:25

mentioned something about... wanting the audience to

43:27

think about how we consume true crime.

43:29

So I'm curious if you could portray

43:32

the message you hope the audience takes

43:34

from this play. Yeah, I mean, so

43:36

we are doing a true crime play,

43:39

right? And it's about two journalists going

43:41

to interview a serial killer for a

43:43

book of his and the journalists are

43:45

writing this book for him. He's committed

43:48

to killing 19 women and he's now

43:50

willing to share how he did it.

43:52

And he gets no monetary compensation for

43:54

the book. Yeah, he doesn't get paid

43:57

for it, but the more they go,

43:59

the more they interrogate him, or not

44:01

interrogate it, but you know, take his

44:03

testimony, the more they realize that this

44:06

person might not as been a straightforward...

44:08

as we thought. And I'm trying to

44:10

do that on purpose, so we don't

44:12

give away the play. But the idea

44:15

we really want an audience to come

44:17

out of this whole story is really

44:19

to kind of contemplate a bit, because

44:22

I guess one of the quick questions

44:24

or quick, big questions we ask is,

44:26

who benefits from this attention by the

44:28

media towards these big known serial killers

44:31

and all the kind of like stories

44:33

they have to tell and all the

44:35

like. you know inside about who they

44:37

are and what they went through and

44:40

you know where they brought up like

44:42

this was the reasons he behaved like

44:44

this like in the end really who

44:46

benefits from it and why do we

44:49

give so much attention to the serial

44:51

killers maybe as opposed to other people

44:53

and I think that's a big question

44:56

that the play offers is just for

44:58

people to contemplate that about themselves they

45:00

also came to see our show which

45:02

please do come see our show but

45:05

maybe at the end you'll be like

45:07

why did I come to see the

45:09

show like what was it in me

45:11

that just propelled my interest to come

45:14

see this show, you know? And there's

45:16

no wrong or right. We're all human.

45:18

It's all, you know, part of us

45:20

who we are. There's a reason the

45:23

society is so interested in people like

45:25

this. But why? What is it? And

45:27

I think there's the tension or the

45:29

conundrum between giving these people who've committed

45:32

these horrible crimes, this huge platform to

45:34

speak to everyone knows what they looks

45:36

like, versus... investigating and journalistic integrity and

45:39

exploring these things that we don't understand.

45:41

And that's like a noble pursuit. And

45:43

how do we balance those two things?

45:45

Yeah, yeah. So now you're partnering with

45:48

the CrimeCon, right? For this. Yes. Partnering

45:50

with CrimeCon. So let people know where

45:52

they can buy tickets and when. This

45:54

episode's coming out. I think we said,

45:57

if I time travel a little bit.

45:59

If you're listening today on the day

46:01

of release, it should be February 24th,

46:03

God willing. Yes, God willing. So rehearsals

46:06

pretty much in the last week, I

46:08

guess. Yes, that's all. Yes, this is

46:10

our last week of rehearsals, we're sweating,

46:13

and we're like, oh my God, yes,

46:15

we're so much fun. The first, it's

46:17

in March, right, so the following week,

46:19

I believe, is when it premieres, is

46:22

that the right term? So we have.

46:24

three previews which are basically kind of

46:26

part of the rehearsal still we have

46:28

people come in we test things out

46:31

make sure lights are still working everything's

46:33

working according to plan the cues the

46:35

sound that everything comes across as well

46:37

any funny moments we leave room for

46:40

laughing all those kind of things well

46:42

yeah that's true that's true and then

46:44

the actual premiere the kind of like

46:47

release date supposedly is the sixth of

46:49

March and then from the sixth to

46:51

March until the 29th of March we're

46:53

just performing pretty much seven days a

46:56

week a week Tuesday till Saturdays. We

46:58

have two matinees on the Thursday and

47:00

Saturday. We got two days off. Thank

47:02

God Monday and Sunday. But yeah, that's

47:05

kind of what's going to happen. We're

47:07

going to have 28 performances total. Actually,

47:09

the previews are cheaper for those who

47:11

are interested for a cheaper ticket, but

47:14

you could find our tickets on event

47:16

bright. We have a dedicated event there.

47:18

lot of information on there as well.

47:20

That's right that's our site and yeah

47:23

I mean I think also for your

47:25

listeners we've got a special discount code

47:27

so we're gonna have to wait yeah

47:30

did I not tell you this no

47:32

that's news to me that uh yeah

47:34

there we go so what tell you

47:36

tell me what do you want the

47:39

discount code to be maybe just British

47:41

British there we get British yeah Don't

47:43

have to make it more complicated than

47:45

that. That's cool. No. Well, so that's

47:48

20% off for anybody who listens to,

47:50

you know, to this podcast with the

47:52

code. Thank you. Sweet. And we hope

47:54

to, we actually really do hope to

47:57

meet a lot of people like after.

47:59

the show. Yeah, we want to hear

48:01

everyone thinks and what they what what

48:04

this all brought up for them. Yeah,

48:06

really interested in what the audience thinks. I

48:08

was going to ask that. So it's at

48:10

Playhouse East. Yep. And then is there

48:12

like an after party or something or

48:14

a beaten Greek? What happens after? So

48:17

you mean specifically for press night or just

48:19

every night? Just general nights if people want

48:21

to speak to you after if they want

48:24

to hang about a little bit if they

48:26

want to hang about a little bit. Yeah,

48:28

so actually it's going to be 90 minutes

48:30

through. So it's not going to be two

48:33

hours as you get in. It's 90 minutes

48:35

through and you get out. So it's not

48:37

that long as well, but. at the end.

48:39

I mean we're usually just hang around because

48:42

there's a bar at the theater so we're

48:44

probably going to relax over there after where

48:46

you're done with a play. I

48:48

mean press night specifically usually has

48:50

drinks and music but in a

48:52

usual performance we'll just come outside

48:55

and relax and there'll be a

48:57

little bar area to chill and yeah

48:59

nothing kind of like aside from seeing

49:01

us, nothing too excited. And yeah we'll

49:03

be I'll gladly meet people and hang

49:05

out. Cool. Well a reminder for everyone

49:07

listing the players called Down the Road

49:09

and you can get your tickets at

49:11

event bright or you can go to

49:14

American Theatre of London not code at

49:16

UK 20% discount for my listeners. Get

49:18

on that and you can even chat

49:20

to them afterwards. Well thanks for coming on

49:22

and letting me pick your brain. Oh

49:24

thank you. I do enjoy I so

49:26

enjoy movies. I know this is a play,

49:28

but as actors, do you know what

49:30

I mean? Oh no! We're sorry to

49:32

disappoint. Yeah. Oh well. Thanks for coming

49:34

on, yeah. Any final thoughts before we

49:37

finish? Any socials you want to promote?

49:39

Any other events, maybe? I mean, this

49:41

is the beginning of our theatre company,

49:43

so we're hoping to bring more plays

49:45

in theatre wherever throughout the years. So

49:47

yeah, if people are interested to keep

49:50

up to date and see what happens

49:52

would like... pictures from rehearsals or like

49:54

videos or like keep up today with

49:56

how we're going with the rehearsals and

49:59

with the production. then obviously, yeah,

50:01

of course, if you guys want

50:03

to follow us, all of our

50:05

socials are Amer, what is it?

50:07

Well, it's American Theatre of London.

50:09

No, no, this. But the exact

50:11

wording is Amer, Theatre, Eldian. It'll

50:13

probably be best if you like

50:15

have a little kind of... I

50:17

could put some links on it.

50:19

I'm just saying that. Yeah. I

50:21

mean big respect for spelling theater

50:24

the right way. Well this is

50:26

contentious. We're kind of like we

50:28

shot ourselves in the foot of

50:30

it because we're like we wrote

50:32

it down and then wait a

50:34

minute that's not the American way

50:36

to write this. Yes exactly. Yes

50:38

I'll put links in the description

50:40

and yeah best to look with

50:42

it. Thanks for having us on

50:44

man. This has been really fun.

50:46

Oh man, I hope everyone listen

50:49

enjoy that. Go see the player,

50:51

let us know how it is.

50:53

I'm hoping I can get down

50:55

there myself, coming from Leeds, it's

50:57

a long way away. Make it

50:59

a weekend or something. I know

51:01

I was thinking of that, yeah,

51:03

about after sorts of child care

51:05

out and then we could come

51:07

down. That would be awesome. Right,

51:09

everyone listening, that's it, and I'll

51:12

see you next time.