Shakespeare's Globe

RSS Final Performances 2

"Pieter comes on in the opening with his baby, and the audience went wild. And I said to Piet afterwards, I said, ‘Mate, isn’t it sad? That’s the best reaction you’ve ever got, on stage, in your career! You and your baby; it’s the best ever reaction, you’ve got!’ But it was gorgeous, and at five months old!"

Answering questions from some of our Adoptees, Josh choreography, costumes, and cast changes.

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Time: 4 minutes 54 seconds

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Transcript of Podcast

Rona Kelly: Speaking of Twitter, we’ve got a couple of questions.

Joshua Lacey: From people? 

RK: From actual people who have adopted you. 

JL: Oh wow! Just two? 

RK: Just two; your Mum and your Dad.

JL: Oh, brilliant!

RK: So, we’ve got one from Elyse who says, How long did it take to master that jig? 

JL: Oh, as a Company? All throughout rehearsal, a good four weeks. We started at the beginning, with it. We adapted it here and there. Even during previews, we cut bits out, we added another little bit, cut the verses down, because it went on too long. So it went all the way up until Press Night; we were polishing that up.

RK: But you’ve got the dance background, as well. So you’ve got a little bit of an edge.

JL: I’ve got the dance background so, personally for me, it was alright, it was pretty simple. But Martin Marquez who was in Imogen last year, and is in Much Ado [About Nothing] this year, last year he was at the back of the jig. He was like, I’m just going to stay at the back; I’m going to just hide! And this year I watched it, Press Night, and there he was, at the back, hiding away! Just like, It’s too hard; can’t be doing that!

RK: The jigs are just so high energy. We get exhausted watching them backstage!

JL: I think it’s a lovely tradition I didn’t know they had here. I think it’s a lovely thing, and each one is different. Each one is different, which I really, really enjoy to see.

RK: And then we’ve got one from Cassidy, which is actually a really good question?

JL:  Go on then, Cassidy!

RK: Does your necklace - in the show, you have a little medallion - does that have any significance, or is it just cool decoration?

JL: Oh, I do, yes! I wish I could get really deep with you and say, Yah, well you know it’s because I got it when I was sixteen, and the character… No, not at all! It’s just looking at pictures of musicians of that era, especially Keith Richards, they all had jewellery as such.  So that’s where that comes from. He’s in that era, and even today, but especially in that era, those rock stars, they had their things. They had their rings and their bracelets and stuff, so that’s where that comes from.

RK:  I didn’t even realise, until I read the question. 

JL: She’s really looking, isn’t she? Really staring.

RK: She is! I only realised when I looked at a picture, and I went looking into it! 

JL: These is a medallion, yes!

RK: Yes, so a good spot.  

JL: She was looking at my chest. That’s what it is!

RK: That’s what it was!

JL: Caught you red-handed! 

RK: And in the opening scene, you’ve got a different costume haven’t you?

JL: I’m a sailor, yes!

RK: You’re a little sailor boy... 

JL: I’m a little sailor boy. Is that what you see me as? 

RK: Yeah, a little sailor boy!

JL: Wow!

RK: No! 

JL: I’m thinking more Richard Gere in An Officer and a Gentleman, that’s what I’m going for. That’s the vibe I’m going for!

RK:  We’ll go with that, yes! But the other day, I think we’ll share this with the audience...we had a little extra guest on stage [for that scene], didn’t we?

JL: We did! 

RK: We did!

JL: So Pieter Lawman plays Antonio, and he’s got a five-month-old [baby]...is it Kit or Patrick? He’s got two. He asked and everyone said, Yeah, bring him on! So he comes on in the opening and the audience [went wild]...I said to Piet afterwards, I said, Mate, isn’t it sad? That’s the best reaction you’ve ever got, on stage, in your career. You and your baby; it’s the best ever reaction, you’ve got! But it was gorgeous and at five months! His eyes were open, just taking it all in. I hope there’s some footage, because you’ll look back on that in the years to come and you’ll be like, That’s a lovely little moment, that is’.

RK: First stage credit on there.

JL: What about that? I’ve got one more credit than him at the Globe and he’s only five months!

RK: And finally, finally, what can we expect from you next? Would you like to come back to the Globe at some point?

JL: Of course I would. This is one of those buildings, more than any building (I’ve worked at the National a few times), but this place especially you just...Maybe it’s the size of it, maybe it’s the people, but everyone is just so friendly. Like you and all the office staff you get to see every single day. Maybe it’s because the way the building’s laid out, you see them in the Green Room or at The Swan. Everyone from the Stage Manager or the techies. And the work which I really respect is the Prop Department. They’re all women, aren’t they? And what they do is just fantastic, like the stuff they did for Much Ado About Nothing.

RK: That train and the graves.

JL: Unsung heroes, they're just incredible. I do love this place, the position it’s in, the history of it. And obviously, we’re moving into a different era, next year, so that will be a lovely thing, to see what comes of it. But, it’s always a pleasure being here and getting paid to mess around.

RK: Well, great. Thank you so much for joining us, for this series. 

JL: Thank you, thank you for asking me.

RK: No, don’t worry. And maybe we’ll see you soon!

JL: Touch wood.

RK: Touch wood, touch all the wood. We’re in a wooden building!

JL: We’re in a wooden building!

RK: Well it's over there, but yes! Thank you, Josh!

JL: Thank you very much.

Thanks to Mary for the transcription of this interview.

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