Ep 20: James Watson & Emelia Williams: The Creative Team Behind The New Australian Play 'The Housewarming'

Get your tickets here: https://events.humanitix.com/the-housewarming-flw

The Housewarming by Famous Last Words
Written & Directed by James Watson
At The Goodwood Theatre from the 24th of April to 2nd of May

So this is a special episode. I’m currently in a play called The Housewarming with Famous Last Words Theatre, and I am so excited about it. I thought it’d be fun to bring in a couple of the people involved for a chat before we open.

I’ve got James Watson, who wrote and directed the play, and Emelia Williams, who’s one of my co-actors and co-producers on the show. And honestly it was just such a good conversation. 

We talk about where the idea for the play came from, and there’s a pretty honest answer to that. We get into housing affordability in Australia, what happens to friendships when people end up in very different financial situations, and why that stuff is so uncomfortable and so recognisable at the same time.

We also get into the rehearsal process, building trust in the room, why Famous Last Words exists, and why Adelaide needs more people just making work instead of waiting for someone to give them permission.
Seriously, come see this show if you’re in Adelaide. 

Transcript

Cold Open And Introductions

SPEAKER_01 0:00

Hi, I'm James Watson.

SPEAKER_03 0:01

And I'm Amelia Williams.

SPEAKER_01 0:02

And you should go pluck yourself.

SPEAKER_00 0:16

Hello guys, welcome to Go Pluck Yourself, uh, The Actor's Pursuit. My name is Chris Gunn. This is a little bonus episode. Um, as you guys know, I'm involved in a play at the moment called The Housewarming, put on by Famous Last Words Theatre, directed by James Watson. And yeah, so this is a little promo episode to get uh to get to know some of the people involved in that play. And I've got here today, I've got James Watson, who's the director, and Amelia Williams, who's one of uh one of my co-actors and uh I guess co-producer on the show. Yeah, so here we are. This is James Watson and Amelia Williams from Famous Last Words. Famous Last Words Theatre. How are you doing, girl? Great. Thanks for having us. I'm so happy to have you guys here. I'm mucking around with this microphone because I haven't used this one before. Oh, very professional. So, well, these ones are better.

SPEAKER_02 1:06

Um but anyway, how are you guys doing?

SPEAKER_00 1:08

Yeah, it's good. It's good. I'm loving the setup here. It's nice to be fun. Last night I had my my sister come over because she saw the show. She's learning the drums and she was so nervous to like jam with me. Oh, really? I was like, you just come and hang out with your bro.

SPEAKER_03 1:23

Yeah, just jam time.

SPEAKER_00 1:24

Anyway.

SPEAKER_03 1:25

What song did you play?

SPEAKER_00 1:26

Um, she's learning in bloom by Nirvana.

SPEAKER_03 1:29

Yeah, that's a good bit of Dave Bro. Yeah, hell yeah.

SPEAKER_01 1:34

It's a classic. Long time since I've listened, but I went through a really big Nirvana phase in high school. Oh, did you? I did, yeah.

SPEAKER_00 1:39

I'm

Why This Bonus Promo Exists

SPEAKER_00 1:40

I'm very nostalgic. Haven't really moved on from the 90s or 2000s, to be honest.

SPEAKER_03 1:44

Nice, nice.

SPEAKER_00 1:44

But anyway, we've got rehearsal today.

SPEAKER_03 1:46

We do in like an hour.

SPEAKER_00 1:47

In an hour, yes. No pressure. None at all. None at all. But how are you guys doing? How are you guys feeling? How's the rehearsals going? How are you guys feeling about it all? It's great.

SPEAKER_01 1:56

I think it's um I'm surprised, not surprised, that's not the right word. I'm I'm really happy with how kind of seamless it's felt, you know? Yeah. Like there are sometimes where you come into a room and everyone's sort of looking at each other being like, okay, how do we do this? What do we do? Yeah. Um, and then you're expected to have a plan. Um, but I think this has felt really organic and really natural. I think everyone's really warm to it quite quickly, which is nice. Which is good, which is wonderful. I know maybe the actors have a different opinion.

SPEAKER_00 2:24

Oh, I do. I she brought you in to bring up a few things. Actually, James, an intervention.

SPEAKER_03 2:29

Um we need to talk to you right now.

SPEAKER_00 2:32

Yep. No, no, I completely agree with you. I think what's really nice about this whole experience, um working with you guys and working with a new company. Um, also, I always feel very like nervous about um doing any work with any any sort of anyone that I haven't worked with before because I'm so untrained and I always have that imposter syndrome that I'm like, there's something they know that I don't, and I'm gonna mess this up. But what I really love about these rehearsals is that it it feels so free, it's very there's a lot of room to play, and it's very non-judgmental, you know. Even if we're flubbing lines all the time, you've you everyone's very patient, especially like our director, you know, so patient. Which that's okay, you know, just just keep working through it. And it's about like figuring out the character as we go and and finding the characters as we go instead of feeling like we're supposed to get it all right from the get-go. Yeah, yeah, yeah. That's what I really love that about these, these, um, yeah, these rehearsals.

SPEAKER_03 3:29

So I think I think that's sort of the room we want to create with our rehearsal rooms is that sort of play and fun and collaboration. You know, no one likes going into a rehearsal room that where you feel like you have to get it right day one. Yeah, that doesn't that doesn't like bring out any sort of like fun.

SPEAKER_01 3:42

Yeah, I think you you need to be able to to make fool of yourself or or or get it wrong or try things. I think you need to have that

Rehearsal Culture Without Judgment

SPEAKER_01 3:50

that opportunity to experiment.

SPEAKER_03 3:52

Yeah, you only figure out what works when you figure out what doesn't work. Yeah, yeah.

SPEAKER_00 3:56

Yeah.

SPEAKER_03 3:56

Um, and you need the freedom to be able to figure out what doesn't work.

SPEAKER_00 4:00

Yeah, absolutely. I mean that's definitely happened, you know. Like we'll we'll try things and just be like, oh, that's a butt. Again, like never feel like it was it was a mistake to try it, you know. You never feel embarrassed or anything. You just know okay, well, that one we'll try this direction now. So I think that's a it's a really lovely way to work um with with fellow actors and and directors.

SPEAKER_01 4:24

So um and I think that's sort of the mentality I try to take to like, especially like because I wrote this script, but that's sort of the mentality I took to writing it as well, like the number of changes, not just like rewrites of dialogue or something, but the number of just big structural changes this play's had in terms of many different yeah, number of characters, how it's set, what this play's sort of focusing on, and and and you and you're just constantly trying different permutations, and then it clicks and you're like, oh, that's it.

SPEAKER_03 4:52

I've read many a different version of this script that had.

SPEAKER_01 4:55

Yeah, this play could have been so different.

SPEAKER_03 4:56

It had like at 1.8 nine characters, yeah.

SPEAKER_01 5:00

Really?

SPEAKER_03 5:00

Yeah, it was like a house party.

SPEAKER_01 5:02

Yeah, and then it and then it became like Nick's mum rocks up.

SPEAKER_03 5:05

Yeah, yeah, it really was really different at Bombardier. And there was there was a fun little scene between Nick's mum and one of Nick's friends.

SPEAKER_00 5:11

Yeah, maybe that can be in the sequel.

SPEAKER_03 5:12

Maybe that, yeah, Housewarming 2 Electric Google.

SPEAKER_00 5:15

I was kind of intrigued to see what that play, that version was.

SPEAKER_01 5:18

Yeah, I have to dig out some more drafts and show you.

SPEAKER_03 5:20

But I think like there's still remnants, like the Nick and Phoebe um when you come see the show, um, the Nick and Phoebe uh fight in their bedroom, that was that that was been in there from like very early on. So there's always been like versions of it. Steph wasn't in it for a while.

SPEAKER_01 5:36

No, not really. She and and there were sort of two different characters that kind of had elements of her. Yeah, and then and then you took them on the backbone. I think you kind of need to have the space to kind of be like, I I know vaguely what what the goal is, but I I am deliberately trying not to know too much to lock me in.

SPEAKER_00 5:54

Um yes, because you're in in interested in finding out what the other stakeholders in the player bring into it as well. Yeah. How we sort of attach ourselves to these characters and what we bring to them, right? Yeah, yeah. And so the creative process hasn't finished when you finish the draft or the the the final draft, you know.

SPEAKER_01 6:11

Yeah, and even so, like, I think about um, you know, what what we've discovered with the set as we've gone along. Yeah. You know, like day day one, we had some sort of rules around the set, yeah, and what that was gonna be like, and and you we very quickly worked out with like, oh, this isn't quite what we need. And so you're trying to think to yourself, you're like, okay, do we do we double down and persist and try to sort of ign ignore the the challenge? Or or do we say, okay, cool, we're we're gonna embrace this and and be open to something that's better. And I think then like with actors, you know, it's this whole new dimension, which is great because they're bringing different ways of saying things, different interpretations, they're making different connections that maybe you haven't seen before. And I think uh my hope is that we create an environment that opens to that. Because I've also seen the opposite where you know people don't want that maybe because they've got a really, really firm idea of what it should be. Yeah, and you end up sort of losing a sense of discovery. So I think I think that's what we're trying to look at.

SPEAKER_03 7:08

Yeah, if you're locking stuff, like I found this as an actor, if you're locking stuff in day one, then you're just constantly trying to prove that what you were like, no, no, this is how the character is. Yeah. And then you just don't like open up to anything that it could be. You're like, no, no, it's this from my day one thought. And it probably isn't.

SPEAKER_00 7:24

Yeah, yeah. It kind of blocks off all the discoveries.

SPEAKER_03 7:27

Yeah, for sure, for sure.

SPEAKER_00 7:29

Speaking of like the

Rewrites That Finally Click

SPEAKER_00 7:30

writing process, where what was the genesis of this uh idea or this play?

SPEAKER_03 7:34

I think you should tell the honest truth here without like the honest truth. Without dropping names, without dropping names, without dropping names, I doubt they'll watch this.

SPEAKER_01 7:42

Yeah, yeah, yeah. Yeah, just just like bleep me out. Um, no, no, I think most of the time when I'm writing something, yeah um, you know, because I because I guess for the background is like I trained as a playwright, um, and so that's sort of meant my primary thing, and then directing came later. Um, and I think every time I sort of end up writing something, it's because I'm trying to understand something. Yeah, okay. You know, it's it's not I'm not sort of coming in with an attitude of like, this is what I think or this is what you should think. It's I'm I'm really curious about this. Um let's let's explore that in all its complexities. And so I think, you know, a couple of years ago, um I was I was at a no, I was I was at a house warning. And it was a really odd experience. Um so I think I'm trying to I'm trying to sort of remember the circumstances because it was just it was just after COVID as well. So, you know, very different sort of time. Um everyone's every or at least all my peers at this party were sort of just out of uni and life was starting to sort of shift. And we were at this house swarming of a friend of a friend. Um, and there were l lots of compliments, really beautiful house, really close to the city. And I was sort of scratching. Yeah, yeah, yeah. And I was sort of scratch scratching my head, and it I was like, something doesn't feel right. And what it actually was is that this wasn't this person's house. It was um it was a retirement plan for this person's appearance.

SPEAKER_00 9:09

I see, okay.

SPEAKER_01 9:10

Um and so there was sort of this odd disconnect between the party and the conversations and how everyone's talking about oh, the house is so so lovely and and sort of acting this sense of ownership. Um and I was like, well, it's it's not yours. Um but then also the other thing was like I was looking around and being like, none of us are ever gonna have this. Um you know, and I think like home ownership in Australia is getting really hard and and that that gap is getting harder. Um, you know, and around the time or or shortly afterwards, a few years later, I was reading like um Alan Kohler's like quarterly essay where he talks about like land value in Australia from like a great read, guys. Yeah, yeah, but honestly, Alan Kohler's the goat. Damn it on it. Um but you don't talk about economists on this podcast very often. But yeah, well, it's hard to it's hard not to talk about them. Um but he um but you know he he tracks uh l land and property value from essentially from the first fleet um and sort of this first division of land and you know signing for it and and stuff all the way to now and especially he he tracks um things like the changes under Howard and and stuff and he sort of he makes a really strong economic case for like we've created circumstances which are paying off and people are not able to access this anymore. And what I was seeing, I think, with my friends was this divide between who's got something inherited and who doesn't. And then on top of that, I think you add, you know, we've all gone to uni, all been sort of told to follow our dream. And for some people that dream is not paying off, you know, especially especially I think a lot of people, you know, in the arts who have said, oh go go to uni, do do what you you love and you'll be okay. And that's actually not enough to to sustain yourself financially.

SPEAKER_00 11:02

We've we've been sort of sold a narrative that was based on the a generation uh one generation that really was only set up to work for for one generation, and then we've followed those.

SPEAKER_03 11:12

Yeah, go to uni, get a degree, you'll be you'll be in Hollywood by now. Um and no, I'm working at a cafe. Yeah, that's right.

SPEAKER_01 11:19

And I think it's a hard thing. So I think it's about trying to reconcile this in terms, and I think it's about these characters sort of all looking around each other, being like, well, what what is our lives? Like how do we how do we accept this? How can can we change our lives before it's too late? Are we getting locked in?

SPEAKER_03 11:37

But also can we stay friends with people that are are in different circumstances? Can you like can two people who are like in different places in their lives can be can they be friends anymore? Yeah, yeah.

SPEAKER_00 11:47

That's a really interesting thing that the play touches on is the sort of the divide that that begins or the the resentment that starts to build between these, you know, when you start when your friends start sort of um going in these different directions or or gaining different opportunities, and suddenly you can't relate to them anymore. You can't relate to them and they're suddenly in a sort of different class to you, you know, social class or financial class to you, and yeah, how they're kind of othered suddenly, or you feel othered or you know, yeah, it's it's really odd, like you you've sort of grown up together feeling like peers, feeling like equals, yeah, and suddenly you're not, and you're like, I don't want to hate my friends.

SPEAKER_01 12:26

Um, so I need to I need to find some way to

The Real Housewarming That Sparked It

SPEAKER_01 12:30

to explore this. Yeah, you know, yeah.

SPEAKER_03 12:32

You know, we we we feel that all the time. Like I've got friends that are doctors and they are in their house, and it's like, oh, I'm an actor and I work at a cafe and I Yeah, but if you've just been a doctor, yeah, no, fuck. If I just went to uni and was a doctor, shit.

SPEAKER_01 12:43

Um and then and I think also like there's a cultural attitude for some people where it's like, well just work hard. Just work hard. Or just just be born into the right circumstances or just stop getting your coffee every morning, yeah. Yeah, pick yourself up by the bootstraps and and whatever, and I think it's kind of rubbish.

SPEAKER_03 12:57

Um especially in this day and age.

SPEAKER_01 12:59

Yeah, and so I think we you know, so so but but then the other thing is you don't you don't just want to make a play that sledges it, you want to you want a play that can be complex and be uncomfortable, and even if there's people who are struggling, who maybe a a more simplistic way would be to be like, oh it's black and white, the rich rich people are arsehole and poor people um always right. And but you ni you need to also have show it as human. So you so you need to have that thing where where characters are choosing more complex choices and are having harder conversations with one another and and having conversations of regret and um and trying to find that. So I think kind of that's where the play comes from. That wasn't a succinct answer.

SPEAKER_00 13:41

No, that's no, it's perfect, it's it's beautiful, yeah. It's ex exactly what the play is about, and um, and I think a really relevant and and uh interesting thing to be discussing at the moment, or even just exploring or observing through the medium of theatre, you know. What about the sort of the complexities of relationship sort of aspect? Oh what are your thoughts on that, Amelia? Like it is as one of the characters, and and I don't know how much we can sort of we you know, we can We could do the pre-spoiler version and then the post-spoiler version once the show closes. A couple a couple in this, and that's not a spoiler, it's a lot of people. No, no, I think it's very good.

SPEAKER_03 14:21

We'll get into that very quickly on that we play a couple, yeah.

SPEAKER_00 14:24

Yeah, but uh what are your thoughts on on the sort of yeah, the the relational uh um aspects or or themes throughout the play and in in relation to the you know the the socioeconomic themes that are that are coming up and how that how that kind of divides couples or gets in the way of couples in their their direction?

SPEAKER_03 14:45

Even not just couples, just friendships. Like my character and Virginia's character, they have been best friends since like the first day of primary school. And my character comes into a situation where she can't recognise her anymore. And it's like, who is this person that I've known for like 20 plus years? She's a complete stranger to me now, and how I feel like Steph in this play is just sort of wading through the ward of trying to figure out like can she be friends with her anymore through all the situations and not just getting into what goes on between everyone else. Yeah. I think, yeah, I think f the friendship between um Phoebe and Steph is kind of heartbreaking in a way.

SPEAKER_00 15:24

Yeah, absolutely.

SPEAKER_03 15:25

They kind of have the longest history together, and I think that's kind of devastating what happens, spoiler.

SPEAKER_00 15:33

Yeah, well, I mean, yeah, we won't get into what happens, but yeah, but it the fact that like these things that come up, you know, inherently in life, um, you know, as people sort of uh sort of uh different opportunities are sprung upon us, yeah, and the questions that sort of come up within ourselves when those things happen or when we witness it happen to other people, you know. And even the the difference in our trajectory or the questions that come up between, you know, within couples as well, you know. Um these people are doing this, and I kind of want to do this. Well, that brings up this conversation with us. You know, I think I'm really trying hard not to spoil facts.

SPEAKER_03 16:15

I know. I think all the characters, even in their couples, they're entering a point where they they're gonna get past a point in a return and they have to make decisions. And I think that's the age of the characters as well. Like they're all in their late 20s, yeah. And there's things that happen in the play.

SPEAKER_00 16:31

Am I really playing late 20s? Come on, guys.

SPEAKER_02 16:32

Yes, yeah!

SPEAKER_03 16:33

When you said you were 34, I was like, Chris, no. I was shocked.

SPEAKER_00 16:37

You can you can play late 20s. That's how you fish for a compliment.

SPEAKER_03 16:40

I'm sorry. But I think you're right, Amelia. It's like, you know, there's there's decisions, there's things that happen in the play.

SPEAKER_01 16:46

At this major turning point, and I think that they have to each decide to in the course of the play, do do we kind of take take this and and determine the the next 10 plus years on or not? And I think like for you for your characters, that that idea of like, oh, what we could have had if if we had you know, the hypotheticals of if we'd studied differently, if we'd been with other people, if we'd got other careers. And I think that that means you're not the they don't they're not given an opportunity to be a united front. No, because they're not they're not in that together.

SPEAKER_03 17:20

There's a lot of reminiscing on the past and also like fearing the future in this play.

SPEAKER_01 17:25

Yeah.

SPEAKER_03 17:25

Um, and fearing what if I don't choose the right thing, how it's gonna affect my future to come, which I know I can relate to right now.

SPEAKER_01 17:35

A lot of opportunism being about, actually.

SPEAKER_03 17:37

Yeah, a lot of excess.

SPEAKER_00 17:39

Crossroads, sliding doors moments, you know. Yeah, just being really nervous about what it's gonna come, will happen. Yeah, which I think is just so relatable. Oh, yeah. Especially now when everything seem feels so I mean existentialism, yeah, just it's everyday for me, and and this sort of like we're being we're being forced into this nihilistic kind of uh you know mindset, you know. Yeah, for sure. Yeah, and and it's hard to it, yeah. I think it's an extremely relevant, relevant um story, you know.

SPEAKER_01 18:09

But it's fun, it's funny because I feel like despite all those really serious themes that have to play, I think we've we're also hopefully doing a good job of finding humor. Yeah, it's very funny, yeah. Really funny bits, and and I think something I get a lot of satisfaction out of is it's really easy to sit there at home on your laptop and like be, you know, typing this, but I'm so funny. Um but then when you give it over to people, yeah, yeah, and and you watch it, yeah, and they take that and then take it a step further, and you're like, oh that is so much stronger than than the comedy I thought

Class Divide Inside Friendships

SPEAKER_01 18:40

I'd found. It's you know, and then little little things come off that, like little glances to one another between strokes, and yeah, and you're just like, oh, this feels much more alive, much more engaging, and and so you sit there laughing half the time, yeah, and then when it gets serious, you know, if it was like a gut punch because you're like, oh whoa, this is yeah, I think that I think that's what we're finding at the moment I'm really enjoying is that lunch.

SPEAKER_03 19:02

You've got to have joy to have the dead, like anyhow.

SPEAKER_00 19:05

Yeah, and even even the even the fact that like a lot of the humour is um you know can can be sort of seen as a as a bit of a mask, you know, cover you know, covering the the reality of what these people are having to face, um, which yeah, which sets up that gut punch so much, so much more. Yeah, and it's it really is fun finding the the humor in those things, or the seriousness or the heartbreak in those moments as well. You know, a lot of heartbreak. Yeah, um, yeah, and and Amelia and I are having a lot of fun, I think, especially some of our you know more emotional scenes, you know.

SPEAKER_03 19:39

I think I think because I'm having so much fun, yeah, even in those moments, like I remember last rehearsal, there's a moment where like it's like a split scene and um Jin and um Dan are going at it and I have to stare at you and I just couldn't stop giggling.

SPEAKER_00 19:54

We kind of have to freeze, and you know, when the lights come down and we're just staring at each other, kind of semi-frozen.

SPEAKER_03 20:00

I'd be like, no, I'm really angry at him right now, but I was just sort of quite giggling.

SPEAKER_00 20:04

We don't look at each other at all. And then right at the end, Amelia just puts her eyes up into my eyes and she just goes, Oh my god.

SPEAKER_03 20:12

And then I have to go into a really serious moment of like, I need to tell you something, Michael. Yeah. Very serious actor.

SPEAKER_00 20:19

Yeah, yeah. But yeah, it's it's it's fun. Yeah. While we're doing these rehearsals, that's that's all you know. It's all it's it's really I really enjoy being able to have a laugh to sort of release some of the tension in these in these more serious scenes as well. Yeah, while we figure this out.

SPEAKER_01 20:34

And I and I think like we're as a group finding just a good rapport between sort of rehearsing and taking breaks, and and in the breaks you're playing a lot of handball. Playing a lot of hands. A lot of handball. Honestly, I think it just but but but what that means is we're we're very comfortable, we can be goofy, we can trust each other. Yeah. And we've built a really, I think, a really good rapport really quickly. Definitely. And what it means is you can go to those places and feel comfortable and supported with one another.

SPEAKER_03 21:02

It's so important to find those sorts of like out games for an ensemble to be like it's not just serious all the time. We can just play handball as well and have fun. Yeah. Like I remember on the ugly one, we were like hitting balloons everywhere just to sort of like lots of balloon function.

SPEAKER_01 21:14

Lots of balloons. We played a lot of ninja when we did Uncle Vanya. Yeah, ninja. Oh, you know the game where like you have to like be still and you have to like slap the other person's hands. We're gonna play some ninjas. Oh, okay. Yeah, we're doing it.

SPEAKER_03 21:25

I think it's just that way of trying to like shake out what you've done. Yeah, yeah. Like, you know, especially, I mean in Vanya there was so much sorrow. So it's just sort of shaking out that like sadness and bringing back the play. Yeah. Because it is called a play. Yeah.

SPEAKER_00 21:40

We are doing a play. Yeah, we have to be enjoying that and being remaining in a playful state. I think yeah, and you want people to feel excited to come to rehearsal and feel happy.

SPEAKER_01 21:48

Yeah. Um even if you are doing the depresso espresso stuff, like you know, um like you yeah, you should you should want to be there. And so I think we're trying to constantly try and make an environment where people people uh Just happy to be around. And that's that's half the battle.

SPEAKER_03 22:03

And I think we kind of are succeeding that. I remember an ugly one, like we did like the final show, and we were all just sitting there as an ensemble being like, Man, I could do this for like another three months. Like I could do this show with you people for another three months.

SPEAKER_00 22:16

That always happens with theater. Hey, by the time you get to the end of rehearsal, you're like, I just I'm I love this so much. I've got a little family here.

SPEAKER_03 22:23

And it is, it really, it's so interesting. You'd like form these like little families and then it breaks apart. And like you'll see these people, like I caught up with Tom Spybe, who we did um ugly one with on a film thing like this week. And I was just like, Man, remember how much remember remember when we did this on The Ugly One? Remember how and we I started chucking like in jokes to him like that we only had on The Ugly One? Yeah. And it was like we were back there, like last year back there. Yeah, it's such like a lovely, like we you and I have only experienced this together. Yeah, that's right. No one else has. Yeah. And you know, maybe it'll be like 10 plus years, and I'll be able to chug that joke at Tom Spibe, hopefully. And we'll still be able to really relive being in Slingsby in the cold with all the balloons everywhere. Yeah.

SPEAKER_00 23:02

I hope. It's it's the best. That's why I love doing it.

SPEAKER_03 23:05

Yeah, it's yeah.

SPEAKER_00 23:07

And it's yeah, especially when it's so as sort of adults, it's kind of hard to to sort of find healthy ways to sort of interact with people these days instead of going to the pub. So I'm so glad I'm so glad I found theatre. Just come to a play.

SPEAKER_01 23:21

It's great having you in there. It's um that's good fun. I think you bring you bring such a like a great warmth and genuineness to it, and it's um that's really fantastic.

SPEAKER_03 23:31

Yeah, it's always fun having new people in the room. Yeah. You know, we've got our old favourites, but it's really nice bringing.

SPEAKER_01 23:36

Yeah, we kind of we kind of have a lot of repeat collaborators and a and I guess a

Comedy Masks The Gut Punch

SPEAKER_01 23:40

very small vague ensemble. Yeah. But it's nice to bring people into that and because you see in a lot of people. And that also means I've I think on a technic uh on a technical, like, what's it like in the rehearsal? No, like it's easier than because you're super familiar with how those repeat collaborators work. Yeah. And so you can sort of you know what it's gonna be, you can work faster, but then you can also bring people into that system and support them. And you kind of know what it's gonna feel like. It's really hard, like I've seen, you know, I've seen other houses room where no one's met each other until that day. And then you have to work sort of really hard to to build that rapport and stuff. Whereas if in this play, like I've worked with half the cast before.

SPEAKER_03 24:23

Yeah, Jin and I, this is our post-Drama Center, this is our third play together.

SPEAKER_02 24:28

Oh wow, yeah.

SPEAKER_03 24:29

And like, yeah, and then that just includes like every single play we did at drama center. But like I know that like you could chuck Jin and I on stage together and kind of tell us to do anything, and we'd feel so comfortable just to be able to go wherever we need with each other. Yeah. And I and I don't know, I working with Jin's so wonderful because I've known her for eight years. Yeah, I kind I can not predict, but I know where she's gonna go, and I feel safe with her to go there.

SPEAKER_01 24:53

Yeah, yeah.

SPEAKER_03 24:54

Um, and she's just amazing.

SPEAKER_01 24:55

Or you know that what she'll ask or what she'll need is is like you you sort of work out okay, this this is what what is helpful for her, and then there'll be like another actor like Amelia will want something or need something different. You'll respond to to different prompts, like everyone, everyone, and so you so you can really try and or at least something I try to do is tune into that. Yeah. Um, you know, like I think about like um like James Starbuck and I have done a couple of plays together, and like he and I will end up just talking in metaphors a lot because like in the in a way that like not not a lot of other people do because I know that that's his that's his thought process. And so once you find the right like language through like metaphor, there's like, oh cool, now we're cooking. But that's but like other actors aren't like that. Other people will be much more.

SPEAKER_03 25:38

Like some actors will be like, tell me physically how I need to do this, or like I know me, I'm like, what emotional state is she in? Where is she sitting on like where where is she? Yeah, um, yeah.

SPEAKER_00 25:50

That's really interesting because yeah, I mean, because I I would I would not respond well to that. I'm like, how how do I know how I'm feeling? Like I'll I'll feel how I feel in the circumstance when it happens and I'll respond to that.

SPEAKER_03 26:01

But that's just like because you yeah, you're a different person to me.

SPEAKER_00 26:03

That's right, we yeah, and and we we've figured out how to connect to this craft in different ways. Yes, for sure. And both ways are correct, yeah. Yeah, but what I've found is that like I I can see you sort of taking on as a director, I can see you taking on those different um uh needs from your actors and and sort and implementing them. Uh and I and I've and I really appreciate that. Like I really I really find that um really refreshing because I think there hasn't been any tension at all during the play, I don't think. Okay. Except between us um when you know when like just all the time. I just no that's a joke. Oh no, I was just thinking, um actually no no no no but but uh but no there hasn't been any sort of any tension amongst the rehearsal period at all, but um I think pretty early, I think you've been really intuitive when when picking in picking out what's working for each actor really quickly, and even with me, like I know that like if I start to go, if I start to if we go down the wrong direction with like what work well what what language works for me, I think I start to get quite defiant very quickly. And I'm like, nah, nah, I don't know what you mean. Like that's not gonna work, like but it's never got to that point, like it's it's always just like okay, what about this? And I'm like, that's my language, yeah. That that works, you know.

SPEAKER_01 27:24

So and I think part of it is um, and like I'm sure you guys will will will tell me, um, but um trying to keep it organic by really kind of the first pass of a scene taking the my hands off a bit,

Ensemble Trust And Rehearsal Play

SPEAKER_01 27:40

yeah. Being like, all right, I just sort of do something, give give some offers, feel feel and will what I think it does, hopefully, is it sort of forces everyone to have to be really, really present. And and if something's not quite right, you you work it out really quickly. Um hopefully. You're not stuffing around by starting with like, okay, I want you to stand here, I want you to stand here, I want you to say exactly like this. Yeah, and then you're gonna look at him at this moment. Yeah, it's like okay, just be on the stage and start having the conversation, and then you have to really think about you the other person in the scene, you have to really think about what you're saying, and even if it feels crap, then it's like, oh cool, okay, we know what we can do next time. And then I can see, oh, this person's really gravitating towards saying it like this, or this person suddenly feels the need to sit down or something. Yeah, and I'm like, cool, let's investigate that. Um, and so what I think it hopefully does is it kind of opens up to the the expertise and experience the actors are bringing to it in the same way that you would open up to a set designer or a sound designer to say, look, I don't have those those skills per se. I want to know what what you think of them.

SPEAKER_03 28:51

Yeah, you're not an actor. Yeah, definitely. Although I have seen his VHL production of a way on videotape and it was Amazon.

SPEAKER_00 28:57

It's not very good. Um videotape?

SPEAKER_03 28:59

Oh, not videotape, DVD. Videotape.

SPEAKER_00 29:01

When did you study? 1996. 1996. Um available at Blockbuster. Yeah.

SPEAKER_03 29:08

I have the copy of the DVD if anyone wants to see James Watson in a way. Contact me.

SPEAKER_01 29:13

Please don't. But yeah, you're trying to create this this environment. And it's a little tricky and a little uncomfortable at first because I think everyone's like, well, what do we what do we do? I have to uh but I think what it does is it it highlights what's working and what's not.

SPEAKER_03 29:26

Yeah, um, it also makes you have to think for yourself as an actor. Like I've worked, I've worked with the directors that are that are just like, I want it done like this. And I'm like, great, I am just a little dull that you're just manoeuvring and I don't have any say in this. Whereas like I feel like I have I feel like I have so much say in my character when working.

SPEAKER_01 29:44

And I and I think what it means is it's really organic, really truthful, really authentic. And I think um people take ownership of it more, and I I guess sort of my in a nutshell, I feel like my role as director, hopefully, is to create an environment for everyone else to really flourish. Yeah. Yeah. Um, you know, like I think about say the production of Uncle Vanya we did earlier this year that came from a development, and part of that was we worked out kind of what the what the structure and story of the play was, yeah. But then giving it over to everyone else to sort of improvise and come up with their own versions of it. And then I would just sort of follow and keep keep watching and then being like, oh cool, that's really working, let's keep following this, or okay, maybe we'll try it this way. Yeah. And what it meant was that we didn't know at all what it was gonna be when we first rocked up. Yeah. And then we found something really unique. And we all sort of you couldn't have planned that.

SPEAKER_03 30:37

We all sort of took ownership of those characters. Like, I am so protective of Sonia as a character. I'm like, no, that's my girl. Yeah, that's my girl. Like, I will die for her because I just got to live her.

SPEAKER_01 30:49

And I th and so I think about like the house warming. If I planned it with like models in advance, we wouldn't find any of the interesting stuff that we're doing now. Because, you know, even um

Directing Styles For Different Actors

SPEAKER_01 31:00

like I think.

SPEAKER_00 31:00

What's the point in hiring actors if you're not you're not actually utilizing the fact that they are there, there's human beings inside that are that have experiences and feelings and perspectives and you know.

SPEAKER_01 31:11

Yeah, like if you say, Oh, I really relate to this, or um, you know, I think about I think about like the thing with the can the other day where we were just sort of you'll you'll see it when you buy tickets. Come see the show.

SPEAKER_00 31:22

I'm waiting for the canned thing.

SPEAKER_03 31:24

And we cut it, we cut it, it's like two weeks after the show, we cut it. They're like, We're the pocket thing.

SPEAKER_01 31:29

That came about really. It came about really organically, came about sort of in the moment, and then it was like, oh great, and then we can add this. And that that wasn't really in the in the script, it wasn't really pre-planned. Yeah, and what it ends up being is this really interesting moment for the character that feels real, um, because it is, and I and I think hopefully that's that's sort of what what I'm really interested in.

SPEAKER_00 31:54

Yeah, maker. As I said, like it's really refreshing as an actor to work with um other actors and a director that really trust everyone that's involved in this thing, because it's it's it really is about um well handing over trust, but also sharing sharing trust amongst each other.

SPEAKER_03 32:12

Hiring an actor if you don't trust them, you know. Like like why are you being out, yeah, I want you on my player, but I'm gonna tell you everything you need to do.

SPEAKER_00 32:19

Yeah, I don't want any of your own ideas or opinions or something.

SPEAKER_03 32:21

Why are you why why are you doing that? That's not interesting.

SPEAKER_00 32:24

Yeah, otherwise I'll just have mannequins.

SPEAKER_03 32:26

Yeah, otherwise, yeah, otherwise.

SPEAKER_00 32:28

And if you did, you would you would hire someone much more pretty than me. No, not you'd get a much prettier mannequin.

SPEAKER_03 32:34

But that's the beauty of theater in this like AI age, where like I'm a person and I'm feeling things, and you know, my performance will differ from night to night. You're only gonna get that exact performance when you come on that exact show. Like, I don't know, my day might my day might affect how I play one scene, and you're not gonna you don't get that like anywhere else but the theatre.

SPEAKER_00 32:55

Absolutely. Which really is such a good reason to come and see any theatre, let alone with this player, but also just any theatre right now. Like just going to see something real in person right now, it's just so vital to go and see some real humans expressing themselves through art.

SPEAKER_03 33:11

Feeling things and like I just I think with AI and everything, I think people are gonna like flock back to the theater. Yeah. You're only gonna I oh wait, I'm I really hope so.

SPEAKER_01 33:20

Like, I mean, the ancient Greeks, you know, um, to to get Hoiti Joyti, you know, for them there was this idea of um going to the theater with sort of a social responsibility, yeah. That that lots of their plays were about uh trying to understand like how how do we want to live as a society, how do we want to govern ourselves, how do you resolve things, you know, in a sense of justice and stuff and stuff. And so and so for them it was like that's how you participate as a good citizen. And I think that's a really interesting idea that I think sometimes there's this expectation now that theatre, you know, it should be interesting. Oh, yeah. But it I don't think theatre should be automatically like you know, light entertainment. There's a place for that, but I think we should we should explore something deeper.

SPEAKER_03 34:03

I think theatre can be there very therapeutic. Like I think of many a show that I've just cried at and it's just felt good to release that. Like I think about my dad, bless my dad. He's like, you know, a um a tree lopper, and he came and saw Vanya and cried.

SPEAKER_00 34:18

Oh, that's amazing.

SPEAKER_03 34:19

And it was it was quite lovely to see that that it affected him that way. Um, you know, we we saw a beautiful show at Belvoir, what, three years ago called Tell Me I'm Here. And I just remember you, it's a it's about a man with schizophrenia, and I just remember sitting in the audience afterwards and just not being like being able to stop crying. And you I don't think you can get that anywhere else. Yeah, because I got to see this guy on stage go through all these emotions in like two hours, and it was just like amazing. Yeah. Theatre's cool guys. Yeah, theatre's great.

SPEAKER_00 34:48

Well, tell us about famous last words. Like, how did that how did that start? Why did you start it? What did you want to do with it? And um, yeah, tell us all about it.

SPEAKER_01 34:57

So famous last words started. I did a show on the fringe in 2022 called Home Thoughts, and I think what was important to me was about with red and crystal. Yeah, it was.

SPEAKER_03 35:07

Oh, did you see that? Okay.

SPEAKER_00 35:08

Oh, at Bake House. Yeah, yeah. I didn't know you guys at all. Yeah, yeah. Oh wow.

SPEAKER_01 35:15

Was it good? Yeah, it was great. Oh great, cool. Crystal and rain with great. So I think, yeah, and I think what I was interested in was was sort of taking it one step further and being like, how do how do we create something deeper? How do we create um a structure in place to keep making more work?

SPEAKER_03 35:31

Yeah, and then we were invited by Goodwood to come back in August of 2022 to bring home thoughts back with their comeback season. And that's how I got involved because Ren was being amazing and doing a state theatre show and couldn't do her role. And so I was able to slow. Ren Williams, which is Ren Williams, uh, who we like to say we're sisters because they're both cave. Yeah, Ren and I are the Williams sisters.

SPEAKER_00 35:51

Amazing.

SPEAKER_03 35:51

Yeah, yeah, yeah. Cause yeah, um, um, but and then I was able to slot in and um and step in for Ren's role. I had a week's rehearsal, which was fucking terrifying.

SPEAKER_01 36:01

Wait, was that did you do it at Goodwood? Yeah, I did it at Goodwood. Yeah, so we brought it up. So we brought it back to Goodwood, yeah. And I think that built a really great rapport with Goodwood Theatre. And then who are amazing. And then I think the two of us, you know, started working together really, really well. And we found and we ended up pitching this really crazy idea to Goodwood saying, hey, can we just do a residency? Yeah, can we do like three shows? Heaps of plays. And so then we actually said yes, which I didn't expect. Which we went there.

SPEAKER_03 36:25

They didn't even doubt it for a second. Like we thought we were gonna go into that meeting and like really have to convince them. Like Simi was just like, yeah, do it.

SPEAKER_01 36:31

Yeah, which is and I think it was a big vote of confidence. I think they really championed emerging artists, which is great.

SPEAKER_03 36:37

Yeah, um, so that season we did Miss Julie with um Kate, myself, and Chris Bartlett, and then we did Proud, and then we did 448 Psychosis.

SPEAKER_01 36:45

So we we tried to sort of have a diversity of work, and I think what was important was like each place should feel really, really different, each place should really build on each other, and we should really try and focus on bringing in other younger emerging voices and creatives. Yeah, because I think one of the challenges in Adelaide um is that there's not many companies, there's not many theatre companies.

SPEAKER_03 37:06

It's kind of like state theatre, and that's kind of it.

SPEAKER_01 37:09

Yeah, so lots of other companies aren't necessarily resourced to take you on.

SPEAKER_03 37:13

And I think what I s I saw leaving drama centre was people would like all of these wonderful actors were going

Why Theatre Matters In AI Times

SPEAKER_03 37:20

out like match fit, ready to go, and kind of having to sit on the backbench and not being being able to be put in.

SPEAKER_02 37:26

Yeah.

SPEAKER_03 37:26

Because there's only so much stuff that state can cast for a year. So, you know, for myself selfish, like selfishly, was like, well, if I can employ myself, I can stay match fit for whenever state or whoever wants to call.

SPEAKER_01 37:38

Totally, yeah. And I think it's really I find it really heartbreaking when people are a couple of years out from that and and like saying I I can't do this anymore, and you know, and just stop or they move into state or or whatever. And I think it's like you want to you want to keep making the work. And so I think one of the only ways to do that is by sort of trying to take it on yourself. Yeah. And I think what was what's been really nice over the past like nearly five years has been we've managed to do like what 10, 11, this is our I think our 12th production. Yeah, right.

SPEAKER_03 38:09

Yeah, we've managed my head, yeah.

SPEAKER_01 38:11

To build an audience space that will come with us to different places. We've managed to really help build portfolios, we've managed to find work in really interesting places like Carrick Hill, and we've taken shows interstate. Um, and you suddenly look back and you're like, oh wow, we've we've hopefully made something really meaningful. Yeah, um, and I think that means that this show we can take a step further and try and have a slightly bigger cast and a bigger production quality. The next show will hopefully take another step. So you're just trying to build something that can be substantial, and there's lots of companies doing doing work, and I think you want to try and create an ecosystem that that can be sustainable. Yeah, um, and I think um it's really, really hard for emerging artists. Um and I think if we hadn't done that, I don't know if we would be yeah, I don't know what I would have been doing. Well, that's the thing.

SPEAKER_03 39:00

If I didn't if we didn't do famous last words, I don't know where I'd actually be.

SPEAKER_01 39:04

Yeah.

SPEAKER_03 39:04

I feel like I'd be sitting at home waiting for a phone to call, which is kind of sad.

SPEAKER_00 39:08

And I think it's really it's really wonderful to to sort of see that you you guys have taken that that step to just be like, all right, well, we'll just go make it ourselves. And and it's really I love looking back on on on things that you've done, because you just chip away at things over time, but then you look back and you're like, oh wow, look at all look at everything we've done. This is really cool.

SPEAKER_01 39:28

And I think like same same for this podcast, right? Like there's lots of actors who I you know I hadn't heard of that you've you've got on. I'm like, oh wow, there are all these other people out there that you just don't know. Um and it's just about creating the right exposure, creating the right environment, and suddenly it it feels like there's a bit more of a heartbeat to the whole industry in the scene. Yeah. Um which you don't you don't get sometimes when you when you're less connected. Yeah.

SPEAKER_00 39:52

Yeah, and as you said, like it's adding to the ecosystem. Yeah. I think because it is so hard to get work, it it can become competitive. Yeah. But I I love that sort of attitude that you have, which is it's not it's not about like t having having an opportunity over someone else. It's just adding to the adding to the ecosystem and encouraging other people to do the same thing.

SPEAKER_03 40:13

And my big advice for emerging creatives is if you oh, there's some dogs barking.

SPEAKER_00 40:18

That's my my dad's dog next door.

SPEAKER_03 40:20

Oh, Luna. Um, but I my my big advice for emerging creators is if you want to have if you want to create something, just do it.

SPEAKER_02 40:28

Yeah.

SPEAKER_03 40:29

Like if if you want to put a play on, do it. Yeah. Like it is hard. Yeah, yeah, yeah. But like it is also really rewarding and you know, put on the work that you want to see as well. Yeah. Like if you really like a play, put it on.

SPEAKER_00 40:44

Yeah. Yeah. And if you don't know how, just starting to do it. Well, reach out to us. I'm not sure.

SPEAKER_03 40:49

If you don't know how to put on a plate, message me, I'll help you. Yeah. And I think yeah, like I can give you some, yeah.

SPEAKER_01 40:54

And it's tricky as well because you you sort of can spend time kind of almost waiting for like some sort of permission. Yeah. Yes. Whether it's permission to to, you know, share your writing or or to direct or you know, like I think that certain put to put a play on. Yeah, like I I didn't study directing, I studied writing. Yeah. And and you know, theatre making is a part of that, but it was always uh, you know, kind of almost one step removed. And so then I came out of NIDA um planning to I was like, I need I need to direct, I need to be involved more. And so it was like, okay, well, I can't wait around for permission.

Building Famous Last Words Theatre

SPEAKER_01 41:31

So then it became okay, I'm gonna I'm gonna seek out people to to intern and an assistant direct with them and learn directly from them.

SPEAKER_03 41:38

James, where did you intern?

SPEAKER_01 41:39

I interned at the International Theatre Event. And who did you work with, James? Evo Van Hoever, one of my all-time heroes.

SPEAKER_03 41:45

And what and what did that what did they have in the show?

SPEAKER_01 41:48

They had live cows in the show. They did. It was amazing. I learned a lot about it. Oh, we're getting live cows in our show. Yeah, yeah, yeah. That's that's kind of live actors, that's close.

SPEAKER_03 41:56

Live live actors.

SPEAKER_01 41:56

It's great, you know. Um Trix and Dora. But um, but you know, so it was about like learning directly from that and then yeah, making work, and through that you you build a portfolio and a rapport and an understanding where you're like, oh cool, I'm I'm able to do this. You know, six, seven years ago, I remember kind of feeling like I need I need permission, I need to be told you're allowed to direct. Um, and then that was because I had been doing a writing course where I felt like now I'm allowed to write. Yeah. And actually, I think that's a bit of a misnomer, and I think I think it's really hard to get going.

SPEAKER_03 42:29

But even like choosing our own plays, like coming out, I felt like I needed permission to play certain parts. And then I remember being like, well, I just want to do the maids, so fuck it. I'm just gonna play Claire and the maids. Yeah, yeah, yeah. And I don't care that Kate Blanchett has played it, I'm gonna play her as well.

SPEAKER_01 42:44

Or there were plays established players that we wanted to do where some people would say You're not ready for that. Yeah, it's like you're you're not up to it. This is um this is too complex for you or too much. And it's like, well, no, we we believe we can do it, we're passionate, like we're gonna do it, and we do it successfully.

SPEAKER_03 42:59

So if we fail, let us fail. Yeah, you know, like you discover shit through failing as well. Like it's yeah, yeah, you don't have to get everything right as well, which we've learned in our 12 shows that we've done that you don't have to get everything right.

SPEAKER_00 43:15

Yeah, yeah, and you know There's always gonna be gatekeepers and naysayers, and you know, yeah, big time, big time.

SPEAKER_01 43:21

Um and I think the proof is we you know our shows sell really well and we uh get really incredible reviews and we have a returning audience, yeah, and we can keep keep going. And I think that's because of the the faith that we put in ourselves, and then other people are willing to put faith in, and then and the point is you're making something, yeah, and that's the joy.

SPEAKER_00 43:40

Like, how can how can anyone d deny that you know? Like you have we have to just be making stuff, like finding opportunities to create anything and collaborate with other creatives, you know.

SPEAKER_03 43:51

Yeah, like I spoke to some like grads that are like we want to put a show on, and I'm like, fucking sick, dude. I'm so happy for you to do, like, do It please make make I would love to see like a billion more indie theater companies here in Adelaide. Yeah. Because there are months where like there's no theater on, and it makes me really upset. Yeah. Like I'm like, why isn't there a show on right now? There could be. Yeah. So make that show, please. Yeah.

SPEAKER_00 44:15

Alright, guys. Well, um, so final pitch. Why should people come see the house swarming?

SPEAKER_03 44:20

Um, it's relevant, it's very relevant, it's funny, and I think you'll see yourself in one of the characters. Yeah. I think you'll sit there and go, Oh fuck, I've been there, I've really been there, James.

SPEAKER_01 44:31

Yeah, I think um one of the best pieces of advice I got when I was studying at NIDA, which was like to um put your audience on the stage. And I think that's what kind of the ethos behind this play was. And I think, yeah, like Amelia said, it's really really poignant, um, authentic, hopefully starts an interesting conversation. Yeah. And I think hopefully it's a way for for people to s to see um you know stories being told about Adelaide and about the place we're from.

SPEAKER_03 44:59

It's also new writing, like new Australian work, how fun, how great.

SPEAKER_01 45:03

And we've got such an awesome team. Like, you know, obviously you guys obviously, but also Virginia and Dan and Oscar.

SPEAKER_03 45:10

Um Oscar is our sound designer and Corey's our stage, Steven's doing lighting.

SPEAKER_01 45:14

So you know, it's all local young artists here, and that's and that's phenomenal. Like that shouldn't be the exception. No, it should be the exact exact exact one. And so it's really but it but it kind of is sometimes, and so it's so it's really great to be able to champion that and to make such interesting work.

SPEAKER_00 45:29

Yeah, um yeah, definitely. Come come see the show, come support local theatre and go see something real. Yeah, get off your phones, kids. Yeah, yeah, stop scrolling, man. And also, also, you said um putting your audience on the stage, you've literally done that. Yeah, because the the audience will be physically on the stage.

SPEAKER_03 45:47

Oh, yeah, we're on stage at Goodwood, we're in Traverse, so yeah, it's really intimate. I've been telling people you need to come twice because if you sit on either side, you're gonna get a different show. Yeah, like there might be one show where you just get my back for a little bit, but if you sit on the other side, you'll get my face.

SPEAKER_01 46:02

Yeah, yeah. Yeah, so it's really, really natural, really close. I think it it feels a little bit like when you're in the that front row, um, so close to the actors,

Final Pitch And Ticket Details

SPEAKER_01 46:10

it feels like you're right on the edge of the boxing ring.

SPEAKER_00 46:12

Um, which you really are, and it kind of is like a very close, and I think we're literally walking like over people's feet sometimes.

SPEAKER_01 46:19

You you and I are, yeah. I think that's that's good. You want you want it to feel impactful. Um, so I think it should be a really, really fun show.

SPEAKER_03 46:26

You're also supporting Goodwood as a venue, which you know, try and champion emerging artists, and I think keep supporting Goodwood because Simone and Chris are doing fabulous work with emerging artists.

SPEAKER_00 46:37

It's April, guys. You go what month is it? Is it April or April? You guys have nothing else to do. Yeah, come see some theatre. Where can people get tickets?

SPEAKER_03 46:43

Uh Humanitix, uh, the houseworming, or you can look us up on Instagram or Facebook, Famous Last Words, um, all the good things, follow us.

SPEAKER_01 46:50

We've got more, we've got another show on in September too, which will be C and yeah, and we what preview the 24th.

SPEAKER_03 46:57

We open the 25th, and we're on until the 2nd of May. So there's lots of opportunities.

SPEAKER_00 47:01

Nine shows.

SPEAKER_03 47:02

Yeah, nine shows.

SPEAKER_00 47:03

Including a matinee.

SPEAKER_03 47:04

There is one matinee. Please come. It's a Saturday. You could come and then you could go get a bevy after.

SPEAKER_00 47:09

I'll try to be there.

SPEAKER_03 47:10

I hope you'll be there because otherwise, what time is a matinee?

SPEAKER_00 47:13

It's like a 2:30 show. Uh I'll be up. Okay. Great. I'll see what I'm doing.

SPEAKER_03 47:18

Understudy on on the matinee.

SPEAKER_00 47:19

Oh, we we have understudies, right?

SPEAKER_03 47:21

I mean, if we got desperate, James could chuck a wig on and play me. Not before.

SPEAKER_00 47:26

The wig has to be over my beanie. The teeny weenie beanie. Um, great. So humanitics. Yeah, humanitics, yeah. Uh there'll be a link, I'll put a link in the bio. Yeah. And uh, but everyone knows how to use the internet. Just look up the housewarming, famous last words. Um, yeah, we'll we'll see you there. Thanks for coming in, guys. Thanks for having us. So fun things. And we've got to get to what's the time? We've got rehearsal in 15 minutes.

SPEAKER_03 47:50

We're doing a run through of act one, so oh shit, I should I should uh read my lines.

SPEAKER_00 47:56

Let's go to rehearsal. Thanks for coming in, guys.