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Paul talks about the Much Ado tech week. He discusses the North African setting of the piece and how this is also an influence for his costume. Paul also remarks on the importance of tech rehearsals and how he believes they are a valuable part of the rehearsal process.

Transcript of Podcast

Paul Shuter:

So what’s your costume like? I am sitting here in front of you with you wearing the costume, can you tell us a bit about it?

Paul Hunter:

The whole design for it, which I think is rather wonderful, is – relocating the play to North Africa, and that North African influence which I think works really well for the piece. And I suppose the slightly Arabic looking thing I am wearing, with a very tall, almost Tommy Cooper-like, hat. What I love about the costume is the richness of the colours and the design, but for Dogberry it just has the hint of the ridiculous about it I think. Great big pantaloons and stuff, but it’s not too far, I think he’s done a really good job of something that looks a little bit ridiculous, but isn’t like a clown costume which would be a bit naff.


Many of the people reading this won’t really have an idea what goes on in the tech rehearsals; what are you doing in there and why is it important?


Well basically we are going through the whole play from beginning to end, stopping and starting the whole time.


You started on Monday and now its Friday...


...So it’s a long process and it’s basically stopping and starting, going through everything, so that every moment and technicality; and by that it could be a bit of scenery that comes in, it could be the way the music interacts with the performing, entrances and exits, costume changes. All the things that technically have to come together in order for it to run smoothly, you have to tech rehearse all of that stuff. I always feel, if you use it wisely, it’s like an extra week of rehearsal.


What difference do the musicians make?


It’s wonderful. Stephen Warbeck’s such a brilliant composer. It brings a whole new element to the piece, not just in the moments where the music is very prominent, but just in the way it appears between scenes, how it might bring certain characters on or take you off. It’s a crucial element to it and I think it’s something that works very uniquely in there [the Globe].

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