We’re nearly there… To make theatre, I need to feel like
I’m at risk, that I’m in danger. In fact, I need everybody
to feel in some kind of insecurity and artistic danger. That’s why they took her,
because we couldn’t feed her… I think the risk of this work
is incredible. It just makes everything so alive, and I think that’s the main…
the main power of this play. ..back to life.
There’s a natural pace of increasing. The play isn’t just about text. It’s about moments between people, and it’s about small acts
of human kindness. What I love about his theatre is that
the audience is as vulnerable as the play. It’s been absolutely amazing. Everyone that I’ve worked with, they’ve been absolutely…
been so, so amazing, you know, to work with. And, yeah, I mean,
it’s like I’m having fun out there. And also learning. We kind of know what it is now,
at least in some sense… It’s extremely collaborative, and Alex is
one of the few directors you work with who doesn’t come in with a pre-set vision, he just says, “We’re going to see
what happens in the room,” “because that’s the truest reflection
of who and where we are right now.” The rehearsal process is about trying
to find that true nuance and rhythm, and then smashing out the learning of it. (MUSIC OVER VOICES) Hind, that was incredible. Working with Alex is very interesting. Coming from a none acting professional,
it was a challenge. Changing your daily routine to be
an actress in one day, it’s a challenge. See, that’s it! Once you know what it is,
the lines, naturally, will weave in. Then there’s a beat,
then you think about the lunch. – And I’ve cut all the lines.
– Oh, good! I met Alex and I just thought,
“He’s such an intense, dynamic human being “and he really cares about this.” He gives people a voice that don’t have one, and I really respect that. I think that’s theatre
that I would like to see. You are part of something, rather than just standing outside
and observing it. OK, we go from the top of Act III.