Calantha played by Sarah MacRae
The Broken Heart (2015)
Written by: John Ford
Sarah trained at the Royal Scottish Academy of Music and Drama.
Previous work for Shakespeare’s Globe includes: The Changeling, The Knight of the Burning Pestle, The Duchess of Malfi, A Midsummer Night’s Dream, Blue Stockings and The Taming of the Shrew.
Other theatre includes: The Two Gentlemen of Verona (RSC); Much Ado About Nothing (Wyndham’s Theatre) and Men Should Weep (National Theatre).
Television includes: Silent Witness.
“There is something about the playhouse and involving the audience in a small room in really grizzly acts that I think is quite unique. You know, a person is killed and they are almost complicit because they are so close, perhaps 3 metres away.”
In her final interview Sarah talks about the challenges of putting this play together, her favourite moment, and performing in the Playhouse.
“It always feels like during tech you lose the play slightly. Because you're just thinking technically where you are in the theatre, trying to make entrances and do quick changes. And then you start doing the show again and you remember the story you're telling and then it gets really fun.”
In her third interview Sarah talks through tech week, getting to grips with the elaborate costumes and how her character has developed.
“They're kind of Grecian to begin with, lots of drapes. And then as the play moves on and they move into the Jacobean style - everything becomes a bit more oppressive and held. Which is amazing.”
In her second interview Sarah talks through the costumes in the production, getting Beyonce into the jig and how the space in the theatre will be used.
"I'm amazed at how naturalistic it seems to be so far. There's a modern body language which seems to be developing, and that's something I think is quite exciting."
In her first interview, Sarah talks about the experimental nature of rehearsals so far, her impressions of the play, and her character dying of a broken heart.
"In any of these plays when it gets so dark by the end, you have to try and keep the light at the beginning, it’s so important. Don’t play the end at the beginning because you know what’s coming but the characters don’t."
In part two of her first interview, Sarah talks about the language of the play and the Jacobean preoccupation with gory plays.