"The Midnight Matinee was a whole other experience actually. There’s something about being all in it together at that time of night, you and the audience; it's very magical and very weird. And then we sat and we watched the sun come up over St Paul’s afterwards altogether, which was really lovely..."
Catching up after the Midnight Matinee, Annette looks back on that 'magical' evening.
Time: 3 minutes 16 seconds
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Transcript of Podcast
Rona Kelly: Music and dance feature quite heavily in this one, don’t they? How have you found doing the jig and actually getting it before an audience? Because it’s quite the moment, it’s quite like a release of energy isn’t it, right at the end?
Annette McLaughlin: Yes, well I’ve danced all my life so that was the least of my worries to be honest! The dance and all of that I thought about the least...don’t tell Etta [Murfitt, Choreographer] that! But I did think about that the least, because it was more to do with working the scenes and trying to get the scenes down and working the space, being very different to a rehearsal room. And the dance was a release in itself, because it sort of comes second nature really, a little bit.
RK: So by that time you’ve reached [that point], you’re like, 'That’s it, I can just...'
AM: Yes, you can just have fun with it.
RK: Have you had any discoveries to do with characters since you brought it on stage, maybe before an audience?
AM: Well yes, that main one being the soliloquy and really understanding what a soliloquy was all about then. That it’s an actual conversation, it’s not a monologue; it’s a conversation with the audience. And the audience being the missing piece of the puzzle. You know, they’re your confessor, they’re your conscience, they’re all sorts of things and they can be all sorts of things at different points in the play. But they really do make the show in that space, and that’s really exciting and continues to be very exciting each night.
RK: I think the midnight matinee for Romeo and Juliet was earlier this week. You guys were the first show to do your midnight matinee, and that was a couple of weeks ago I think, wasn’t it? How did that go?
AM: Yes, yes. That was a whole other experience actually. Very unlike a normal show because, of course, you don’t see anyone at all which was...not as exciting for me. I really like seeing people and being able to talk to them. But it brought a difference kind of magic to it, you know. There’s something about being all in it together at that time of night, you and the audience; it's very magical and very weird, you know? 2 o’clock in the morning, being in your interval, trying to drink more coffee to get you through the second half! And then we sat and we watched the sun come up over St Paul’s afterwards altogether, which was really lovely. So yeah it was very magical.
RK: Beautiful! And finally, what’s been your favourite moment so far from performances onstage and what’s been your favourite moment off stage? That might be it off stage, watching the sun?
AM: Maybe, yes. I mean I love our dressing room, our girls all together. We have such a lovely group of people in the whole company, but the girls are really tops and we just have so much fun in the dressing room. So we all share together, which is really great fun. And I’ve just come from a job where I’ve been a year and half on my own in a dressing room with my door open always, because otherwise it gets very lonely. But to be in room full of girls is great fun.
And I think my continual moment of enjoyment on stage is the first time I talk to the audience every night and do that speech, and just look out and see people so engaged and getting it and getting the Shakespeare. That’s very exciting, that’s probably mine [now] and will continue to be until I finish.
RK: Well great, thank you so much for talking to us today, and we’ll do one last catch up with you just as we finish performances.
AM: Brilliant, thank you so much. Cheers.
Thanks to Liz for the transcription of this interview.