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Speaker 1: Weekend Breakfast with Sarah Jane Macgui La Kin.

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Speaker 2: We all have a voice.

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Speaker 1: Use yours called to one double four six five six seven.

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Speaker 1: Join the conversation on Cape Talk all right, seven minutes

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Speaker 1: past nine o'clock. It is always an absolute treat to

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Speaker 1: have our next guest in studio on the show. She

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Speaker 1: is genuinely one of the nicest people in a terrible industry.

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Speaker 1: It's not it's not the industry that's terrible, but it

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Speaker 1: can just be a bit, you know, you can be

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Speaker 1: a bit cynical and a bit yeah, but on the

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Speaker 1: whole people like him.

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Speaker 2: Ang'll Bret make it better. Hello, Darling, that's the that's

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Speaker 2: the only intro you're getting. I love that.

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Speaker 3: Yes, good, you look fantastic.

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Speaker 2: You look look I pretty you.

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Speaker 1: Thank you, by the way, because the last time you

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Speaker 1: were here there was more of me to love, wasn't there.

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Speaker 3: I mean, I wouldn't say that. I think you were.

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Speaker 2: You were you were also like.

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Speaker 3: Busy on a on a journey.

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Speaker 1: You were on a journey and here we are. Anyway,

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Speaker 1: It's not about that. It's about you. What have you

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Speaker 1: been doing apart from you know, collecting safter things and

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Speaker 1: did you go the other day, But I did, I did, and.

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Speaker 3: I did yeah, and I show one Bess TV drama.

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Speaker 3: So that was fantastic because we spoke.

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Speaker 1: To remind me of her name, Anton Harbour's wife. That's

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Speaker 1: an awful thing to say. Mustn't name somebody through the

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Speaker 1: gash who Harriet chatted to Harriet the other day.

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Speaker 2: Yeah, I really her. Yeah, she's a powerhouse, isn't she.

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Speaker 3: And she's fantastic and she's I think what the wonderful

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Speaker 3: thing about their team was is that the show started

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Speaker 3: it's run like so early on, like they were starting

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Speaker 3: to talk about Raka in twenty eighteen. It only really

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Speaker 3: got made in like twenty twenty, twenty twenty one, and

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Speaker 3: then got a first season and season. So I think

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Speaker 3: the life of the show was really wonderful. And now

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Speaker 3: you've got these people that have walked the long journey

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Speaker 3: with it.

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Speaker 1: When they came to you and said, we're doing how

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Speaker 1: soon after season one? Did you know you were doing

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Speaker 1: season two?

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Speaker 3: I think there were murmurs, but we only started filming

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Speaker 3: a year later.

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Speaker 1: Okay, because I mean that did ridiculously well globally also,

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Speaker 1: it did, Yeah, I did.

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Speaker 3: I think it was one of those shows that it

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Speaker 3: was a South African TV show, South African made. It

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Speaker 3: was story that was rooted and idiot like, yeah, you

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Speaker 3: couldn't have put it anywhere else. It wouldn't have worked

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Speaker 3: anywhere else. And the cast and everybody was just so fantastic.

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Speaker 3: I mean, Ian Glynn was incredible. So I think it

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Speaker 3: was just one of those amazing, magical things that just happened.

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Speaker 2: Yeah, and not.

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Speaker 1: To say this isn't for me to say, because I

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Speaker 1: remember speaking to you when that came out, And this

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Speaker 1: isn't to say that we weren't doing amazing stuff and

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Speaker 1: TV show and fantastic local productions weren't being made. But

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Speaker 1: for me from where I sit, it almost signaled like

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Speaker 1: the next level and a jumping off point because this

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Speaker 1: stuff that's come after that has also been incredible. We've

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Speaker 1: been producing some amazing, amazing local work that again and

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Speaker 1: I think largely in part also to streaming services and

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Speaker 1: stuff is just doing phenomenally outside of our South African bubble.

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Speaker 1: Like there's amazing quality stuff.

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Speaker 3: Exactly, and some reason it's about timing, I agree. And

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Speaker 3: there was a collaboration that was happening then where internationals

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Speaker 3: were coming and they were working here and there's this

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Speaker 3: exchange of education, right you know, and then just makes

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Speaker 3: your product just a little bit better. Yea. So it's

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Speaker 3: got this little international flee Not to say the South

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Speaker 3: Africa isn't great, but it's always great to trade secrets

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Speaker 3: and yeah, and it also gets you gives you a

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Speaker 3: chance to be seen on a global on a global stage.

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Speaker 2: Yeah.

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Speaker 1: Yeah, so your next thing is very different. You are

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Speaker 1: literally going back on or onto this And I say

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Speaker 1: going back, but going onto the stage like small intimate

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Speaker 1: is that?

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Speaker 2: How are you feeling about that?

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Speaker 3: I mean, you know, if I take it, if I

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Speaker 3: take it back. I started looking for a piece of

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Speaker 3: theater in twenty thirteen, looking for something that I could

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Speaker 3: do on my own. You know, I've always been fascinated

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Speaker 3: with trying to push myself, trying to challenge myself, trying

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Speaker 3: to see what else there is in me. So it

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Speaker 3: was finding a piece. And then I came across this

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Speaker 3: piece called Them A Woman Alone, written by Dario Foe

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Speaker 3: and Frank Orama, about topics that I think are very

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Speaker 3: rooted in what we as females are dealing with, not

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Speaker 3: only yeah, but all over the world, these intense themes. Yeah.

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Speaker 3: So it was a long journey, and then I kind

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Speaker 3: of left it and then picked it up again years later,

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Speaker 3: and yeah, now I'm making it.

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Speaker 2: Now you're making it. Talk to us like, what's what's

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Speaker 2: it about? I know for question? You know.

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Speaker 3: Yeah, So it's a dark comedy and it's about a woman.

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Speaker 3: You find it at home and she's just lapped up

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Speaker 3: in domstus and domestosity. Yeah, and it's all about how

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Speaker 3: you see her and you don't really know who she is.

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Speaker 3: And as the play continues, she reveals a little bit

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Speaker 3: more about herself. You find out that she has a

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Speaker 3: husband that she has no connection with. She's got kids

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Speaker 3: that she can't really you know, she has no link

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Speaker 3: to them. She's got a strange man that's watching her,

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Speaker 3: she's got a strange guy that's on the phone with her.

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Speaker 3: She's got a lover that she's trying to get rid of.

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Speaker 3: And as things continue, you realize, oh my gosh, she's

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Speaker 3: trapped in this house's trapped. No, she's really trapped. But

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Speaker 3: also in another way, she's kind of trapped in her

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Speaker 3: gilded cage of She's got everything she possibly wanted in life,

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Speaker 3: but she's got nothing God. And sometimes we as women

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Speaker 3: we make a series of decisions that trap us and

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Speaker 3: how do we get out?

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Speaker 2: We run or we just sit there with a smile

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Speaker 2: and we achamed. Yeah, true, true.

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Speaker 3: But it's written in Dario faux frank Aama style where

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Speaker 3: it's intensely violent, high energy, filled with those archetypes that

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Speaker 3: are known in like d'Arte of the Master the Fool,

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Speaker 3: you know those.

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Speaker 2: Yeah.

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Speaker 1: What was it about the script that made you go yes?

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Speaker 1: Because I mean as an actor, is there the sense

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Speaker 1: that you want to try and find someone as far

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Speaker 1: away from you as possible to challenge you, or perhaps

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Speaker 1: on a more introspective level, someone who has elements of

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Speaker 1: you that is also going to be quite challenging because

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Speaker 1: it's like all, hello, hello, Kim.

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Speaker 3: I think it was funny, you know, it was really

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Speaker 3: dark and salacious and provocative, really funny, yeah, which is

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Speaker 3: very South African.

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Speaker 2: Yeah.

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Speaker 3: Yeah, you know we've got a lot of things that

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Speaker 3: we're going through and we can still smile and laugh

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Speaker 3: about things.

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Speaker 2: Yeah.

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Speaker 3: And I think as women, yeah, I mean just just

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Speaker 3: outside they were like, oh can you pick this up?

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Speaker 2: Can you think this?

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Speaker 3: And I'm fine, I can carry everything. I'm a woman, Yeah,

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Speaker 3: I can do all of this.

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Speaker 2: Yeah, yeah, what should we have to No, You're like, yeah,

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Speaker 2: this is me?

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Speaker 1: No, nover No, I'm finding myself Like really, I think

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Speaker 1: i'm because I'm at like mid I don't say midlife,

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Speaker 1: but I'm at a certain point in life where and

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Speaker 1: I'm at like forty five. And it's such a weird

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Speaker 1: aged weird in a wonderful way because there's stuff going

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Speaker 1: on physically the perimen and pause is clapping me for

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Speaker 1: a six, it's a whole thing.

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Speaker 2: My kids are small, but I'm there's all this stuff.

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Speaker 1: So I'm like, I'm finding people that I'm wanting to relate,

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Speaker 1: like people, real people and characters that I'm wanting to be.

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Speaker 2: Like, am I in there somewhere? Do you know what

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Speaker 2: I mean? That's what's going on with me?

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Speaker 3: But I think you are. I think you are in everything.

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Speaker 3: Yeah yeah, and you as you get, as you get

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Speaker 3: a little bit older, you start discovering things about yourself.

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Speaker 3: And I think with this whole process, you know, me

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Speaker 3: even wanting to make this, it was that kind of

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Speaker 3: feeling of like wait, who am I?

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Speaker 2: Yeah, what do.

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Speaker 3: I want to make? What can I do? And what

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Speaker 3: can't I do? And also who am I going to

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Speaker 3: have that surrounds me when I'm, when i'm, when I

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Speaker 3: make this, when I.

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Speaker 1: Do this directing is the delightful Corneita Cornita Adams. Yes,

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Speaker 1: what a talented ball.

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Speaker 2: Of how fantastic.

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Speaker 3: I'm so looking forward to getting in a room with

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Speaker 3: her and seeing what she does with us. I mean,

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Speaker 3: she has her own body of work that she that

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Speaker 3: she brings with her and just also just a fantastic

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Speaker 3: woman you know who is also doing it all. She's

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Speaker 3: a she's a director, she's an actress, she's a filmmaker.

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Speaker 2: Yeah, she's a mom mama. Yeah. Yeah.

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Speaker 1: Was it important for you that a woman directed this

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Speaker 1: or does it not make a difference to you?

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Speaker 3: I think it was. I think it was very important

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Speaker 3: for me.

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Speaker 2: Yeah. Yeah.

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Speaker 3: And when when she decided that she was going to

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Speaker 3: agree and do it, I was, Yeah, I was. I

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Speaker 3: was really excited about it.

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Speaker 1: To what degree when you when you get this, when

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Speaker 1: you get when you got the script for this, to

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Speaker 1: what degree are you allowed to bring Is there any

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Speaker 1: kind of I want to say ad libbing.

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Speaker 3: But really, I mean it's written so beautifully, It's written

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Speaker 3: so tightly, is it.

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Speaker 2: Yeah?

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Speaker 3: So in every line the gag awaits okay, so you

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Speaker 3: can't really take away from there, got you?

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Speaker 1: Okay, I wouldn't want to. Yeah, yeah, Like and then

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Speaker 1: the stage stuff, it's such a it feels like from

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Speaker 1: an audience point of view that you're doing two different jobs.

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Speaker 1: When I sit and watch you in Rayka, there's like

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Speaker 1: there's a whole performance.

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Speaker 2: That's going on out.

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Speaker 1: You know, You've got your director and your this and

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Speaker 1: your that, and the lighting people and the makeup people.

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Speaker 2: This is you. Essentially, this is just okay, mmm, what

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Speaker 2: what is that?

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Speaker 1: Had this moment where at suddenly dawn like, oh my god,

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Speaker 1: I'm trying not.

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Speaker 3: To think about those things. I think this has been

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Speaker 3: just a I don't know, like a little butterfly effects.

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Speaker 3: You know, our assistant director is Charlton George, and he

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Speaker 3: knows just so much about the history of theater, and

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Speaker 3: he has been taking me through like the backstory of

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Speaker 3: who Dariopo and Franca Rama were and what kind of

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Speaker 3: theater they were trying to make.

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Speaker 1: I'm an ignoramus, I don't know much about them.

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Speaker 3: So basically, the two of them were just anti establishment,

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Speaker 3: you know. They were they were anti being controlled, and

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Speaker 3: they were anti the state and anti the church, and

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Speaker 3: everything that they were standing for was against that they

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Speaker 3: were for the people. They were the people's performance, you know,

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Speaker 3: for the working class. So everything that you see in

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Speaker 3: their pieces from like early nineteen seventies, like especially, a

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Speaker 3: big part was like in the nineteen eighties.

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Speaker 2: Yeah, just this.

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Speaker 3: Kind of to this exactly, but also just a mirror

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Speaker 3: to the working class, Like what are we going through?

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Speaker 3: You know, there are so many elements to us. It's

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Speaker 3: not just the gilded beautiful, you know, dressed up and

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Speaker 3: wonderful like you know, it's not just about them. We

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Speaker 3: we we also have stories.

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Speaker 1: Yeah, yeah, and we go through the most, you know,

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Speaker 1: we go through the most that most somebody messaging in

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Speaker 1: Sorry morning, Sja Belha in the house, all the best

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Speaker 1: to my homegirl, Kim. I've not heard the term homegirl

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Speaker 1: for a long time. The show is going to be

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Speaker 1: something to behold with. Quanita directing says, okay, you are correct,

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Speaker 1: you are correct. When do you start rehearsing for something

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Speaker 1: like this.

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Speaker 3: Well, in the next week, Quanita gets in. She lives

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Speaker 3: in the States now, so she yeah, so she lives abroad,

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Speaker 3: So she.

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Speaker 1: Gets in about a week's time, and is it that

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Speaker 1: rehearsal process. Is that is that a process that you enjoy?

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Speaker 1: Is it a process of exploration or are you keen to.

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Speaker 2: Kind of you like that. I just want to get on.

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Speaker 3: I just I think I'm just ready to be an instrument.

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Speaker 3: I'm ready to see what they want me to do.

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Speaker 3: I'm really to go on this journey, you know, take

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Speaker 3: me to those highs and take me to those lowers.

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Speaker 3: You know. I just want to see what comes out.

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Speaker 3: I think what happens is everything has just sit on

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Speaker 3: the floor characterization, and we're kind of working on now

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Speaker 3: like who is she? What is she? What is she

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Speaker 3: trying to say? Like yeah, and then there we start putting,

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Speaker 3: we start plotting.

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Speaker 1: When you look back, not look but when you look

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Speaker 1: back over over your career and to what extent do

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Speaker 1: you do that? To what extent are you? Are you

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Speaker 1: self reflective and retrospective? Do you have moments where you're

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Speaker 1: sitting alone on no pants Thursdays or whatever and.

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Speaker 2: Go what am I doing?

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Speaker 1: No?

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Speaker 2: Not what am I doing? But what have I done?

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Speaker 2: Like as in God, that was remember that moment?

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Speaker 1: Because sometimes we go through the stuff and I've done

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Speaker 1: this before where I look back at you know, what

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Speaker 1: periods of time where I was living abroad and living

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Speaker 1: here and I go, God, you did that thing. Particularly when,

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Speaker 1: particularly when the imposter syndrome creeps in, I go, I go, no,

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Speaker 1: you were that girl, You were that person. These are

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Speaker 1: the moments, and sometimes things are happening so fast that

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Speaker 1: you can't always live in the moment and look at

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Speaker 1: something for what it was, and then you.

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Speaker 2: Look back and go, are you. Are you reflective in

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Speaker 2: that way? I think I do.

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Speaker 3: I think I see it in the people and the

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Speaker 3: friendships that I've made along the way, you know, they

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Speaker 3: kind of remind me of where we've come from and

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Speaker 3: what we've been through and all of those different stages

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Speaker 3: of our lives that they've gone with me. But I

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Speaker 3: think life is all about reinvention and seeing everything as

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Speaker 3: a new beginning and a new chance, or approaching something

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Speaker 3: with a bit of a beginner's mindset. And I think

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Speaker 3: that's what I'm doing with this. I'm not I'm not

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Speaker 3: always the most at home when it comes to theater.

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Speaker 3: You know, I'm a TV film girl. So this for

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Speaker 3: me is something which I'm just jumping right into with

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Speaker 3: open arms, and I'm like, just take me and see

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Speaker 3: what happens.

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Speaker 2: There's such a freedom in that though, isn't there.

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Speaker 3: Yeah, And then you can then you then you see

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Speaker 3: where it takes you. And if it doesn't work, you

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Speaker 3: can you can change, all right?

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Speaker 2: Not that does? But do I do?

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Speaker 3: I find that this is my new home? Is this

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Speaker 3: Whayre I belong?

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Speaker 2: I love that though, And you won't.

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Speaker 3: Know until you until you try, or you give yourself

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Speaker 3: a chance to just complact, but like, actually really give

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Speaker 3: yourself a chance. Don't pretend to give yourself a chance.

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Speaker 3: Because I was in a session with Charlton yesterday and

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Speaker 3: you were saying, the thing that's going to make this

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Speaker 3: work is if you are completely vulnerable, if you just

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Speaker 3: need to be completely vulnerable.

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Speaker 2: God, that's not always easy to do.

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Speaker 3: Because the themes of this show are so pertinent. You know,

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Speaker 3: it's a it's just a woman who looks back as

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Speaker 3: these things are just happening to her, you know, like,

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Speaker 3: oh my god, another person on the phone, another person

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Speaker 3: at the door, another thing, and I'm all on my

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Speaker 3: own and she's just like, what is happening. At the end,

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Speaker 3: she reaches a breaking point of vie and breaking points

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Speaker 3: and she's just like, what am I even doing obviously,

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Speaker 3: you know, it's just the life that I wanted. Those

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Speaker 3: are not her lines, but she's she's feeling, you know,

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Speaker 3: and it's just it's just that.

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Speaker 2: Little that what is that word?

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Speaker 1: Yeah? Yeah?

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Speaker 2: What is that?

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Speaker 1: Yeah?

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Speaker 2: Like the peaks and traps, the momentum, the.

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Speaker 1: Yeah means happening going on in studios. I'm never quite

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Speaker 1: sure how to pronounce your surname Engel brecked in my

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Speaker 1: British accent. And this is the first time that this

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Speaker 1: is so random. First time I'm looking at you that

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Speaker 1: I've noticed how much you look You and Jody look

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Speaker 1: so similar.

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Speaker 2: Are you growing into each other? Like I've never I

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Speaker 2: never thought kime sister exactly.

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Speaker 1: Yeah.

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Speaker 3: So it's my myself, my sister, my brother and then

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Speaker 3: another sister and we all have like we all look similar,

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Speaker 3: but we kind of you can't really play.

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Speaker 2: No ride next to each other.

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Speaker 1: Now it's suddenly coming in. That's nice, isn't it. Isn't

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Speaker 1: it nice when that happens?

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Speaker 3: Yeah? And you can see someone else?

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Speaker 1: Yeah, really, Like I looked at my brother, a picture

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Speaker 1: of my brother the other day, and.

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Speaker 2: I heard a part of you, that's a part of me.

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Speaker 2: It's so nice. It's such a liqu of thing. She's

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Speaker 2: still over there in the old DXB. Is she all right?

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Speaker 1: Yeah?

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Speaker 2: She is a little bit just checking on there.

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Speaker 1: What what excites you about the next thing, even if

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Speaker 1: you don't know what the next thing is like? What

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Speaker 1: the growth that you have had as a as a woman,

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Speaker 1: as a performer. I think that we go through these

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Speaker 1: face like I'm in a phase now, and I think

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Speaker 1: we go through these phases sometimes. I don't think we

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Speaker 1: know that we're in the phase, but just little things

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Speaker 1: happen when you maybe find a little bit of confidence

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Speaker 1: for something else, or you may be.

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Speaker 2: Oh, I'm going to do this. Where are you at

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Speaker 2: and what looking forward? What is exciting for you on

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Speaker 2: the horizon?

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Speaker 3: Oh, I've just just finished a TV show. I've wapped

356
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Speaker 3: in a TV show, Yeah, called The Invisible It's one

357
00:17:08,800 --> 00:17:12,080
Speaker 3: of the Dionn. Mayer books. It's another one of the

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Speaker 3: series of books. The lead is yeah, so that that's

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00:17:17,359 --> 00:17:18,840
Speaker 3: just that's just wrapped. I mean, I don't know how

360
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Speaker 3: much I can tell.

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Speaker 2: Tell me everything and we'll worry about the legal.

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Speaker 3: So it's led by Tim Darn Grace Scott Okay, Abby

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00:17:29,840 --> 00:17:34,040
Speaker 3: Cornish to ask myself to Musha Marsha. I know he's

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00:17:34,080 --> 00:17:36,960
Speaker 3: quite I don't want to share too much.

365
00:17:37,119 --> 00:17:39,800
Speaker 2: No, let's get him up on the Google images. He is.

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Speaker 3: But in a few months I think that comes out.

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Speaker 2: That's exciting.

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00:17:44,200 --> 00:17:45,240
Speaker 3: Yes, And the.

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Speaker 1: Kruger, Oh nice, oh dear, he is Scottish, isn't he?

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Speaker 3: And so lovely and so kind, great, great actor, great accent. Mmmm.

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Speaker 2: Okay, you've got to listen. There's a problem.

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Speaker 1: Okay, so you've you've you've done that, the invisible and

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Speaker 1: they are and then you right now.

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Speaker 3: This is my life and then I'm just going to

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Speaker 3: kind of are you.

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Speaker 1: Because the nature of the industry is what it can be.

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Speaker 1: Talent be damned often the nature of the industry is

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Speaker 1: the industry. Have you reached that point in your career now?

379
00:18:27,600 --> 00:18:30,159
Speaker 1: And I don't mean like financially order, but just just

380
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Speaker 1: in where you're at that you're like you can not

381
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Speaker 1: worry about the next gig.

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Speaker 3: I think I always want to work, so I.

383
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Speaker 2: Don't really think it's about that, Okay, I.

384
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Speaker 3: Just want to do great work.

385
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Speaker 2: And do you still have to audition?

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Speaker 3: Sure?

387
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Speaker 2: But I love to audition. What's wrong with you?

388
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Speaker 3: I mean, if I were to see myself as a director,

389
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Speaker 3: I would love to see what somebody has to say

390
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Speaker 3: in their performance in the audition might be very different

391
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Speaker 3: to what I you know, because I mean, one, when

392
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Speaker 3: you're writing, you've got an idea, Okay, I want to

393
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Speaker 3: see her to play it, and then I see someone

394
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Speaker 3: else I've got Vicky, and she's like, oh my god,

395
00:19:07,560 --> 00:19:11,159
Speaker 3: Oh what Vicky, that's amazing, you know, and just not

396
00:19:11,800 --> 00:19:14,159
Speaker 3: you look like what I think. But when I feel

397
00:19:14,240 --> 00:19:17,399
Speaker 3: what Vicky gives me, it's different, you know. And I

398
00:19:17,400 --> 00:19:20,919
Speaker 3: think maybe as directors or producers or writers, you you

399
00:19:21,000 --> 00:19:24,320
Speaker 3: want the opportunity to be shocked or change my mind.

400
00:19:24,119 --> 00:19:27,760
Speaker 1: Or yeah, be not swayed, but but have something fresh

401
00:19:27,800 --> 00:19:28,399
Speaker 1: come to you.

402
00:19:28,560 --> 00:19:29,719
Speaker 2: Yeah, I get that. I get that.

403
00:19:29,760 --> 00:19:31,760
Speaker 3: So I don't mind auditioning because I might be what

404
00:19:31,840 --> 00:19:32,720
Speaker 3: you want or I might not.

405
00:19:33,520 --> 00:19:37,040
Speaker 2: That's such a healthy, healthy, healthy attitude to have.

406
00:19:37,600 --> 00:19:38,920
Speaker 3: Yeah, because I think at the end of the day,

407
00:19:38,920 --> 00:19:40,479
Speaker 3: you want to you want a great product. And if

408
00:19:40,480 --> 00:19:43,200
Speaker 3: you've written this thing for so many years, you've taken

409
00:19:43,240 --> 00:19:44,960
Speaker 3: such a long time to make it what it is,

410
00:19:45,000 --> 00:19:46,560
Speaker 3: and you only get one chance to make a TV

411
00:19:46,600 --> 00:19:48,840
Speaker 3: show reform, right, do you have?

412
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Speaker 1: I just as you were talking, then I suddenly thought producer,

413
00:19:52,920 --> 00:19:58,879
Speaker 1: would you would you produce? Definitely, just suddenly had a definitely, Yeah,

414
00:19:59,240 --> 00:20:02,200
Speaker 1: what would be your or at this stage, what would

415
00:20:02,200 --> 00:20:05,520
Speaker 1: really get your juices flowing in a in a producing capacity.

416
00:20:05,880 --> 00:20:09,480
Speaker 3: I think female driven stories exactly what we were doing now,

417
00:20:10,480 --> 00:20:12,000
Speaker 3: maybe we can make your book.

418
00:20:12,520 --> 00:20:16,840
Speaker 2: Well listen, I'm not as as I asked that question.

419
00:20:16,920 --> 00:20:20,840
Speaker 1: I suddenly went king Caroline produced by not even joking.

420
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Speaker 2: Seriously, I'm deadly serious. Exces it needs to happen one day.

421
00:20:24,480 --> 00:20:26,720
Speaker 3: But yeah, yeah, And I think earlier you were just

422
00:20:26,760 --> 00:20:29,280
Speaker 3: saying about like how you see yourself and how you've changed,

423
00:20:29,280 --> 00:20:31,879
Speaker 3: And I think for you too, you're going through this

424
00:20:31,920 --> 00:20:34,560
Speaker 3: thing where you're like relooking. Where am I at? What

425
00:20:34,560 --> 00:20:35,120
Speaker 3: do I want?

426
00:20:35,320 --> 00:20:35,760
Speaker 2: Yeah?

427
00:20:35,840 --> 00:20:39,119
Speaker 3: You know, where do I see myself? If I have

428
00:20:39,240 --> 00:20:40,480
Speaker 3: this one time on earth?

429
00:20:41,359 --> 00:20:43,320
Speaker 2: It's so real? Me see let me see me.

430
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Speaker 1: I think we I think in our in our twenties,

431
00:20:46,600 --> 00:20:50,160
Speaker 1: we spend and maybe early thirties to a point, there's

432
00:20:50,200 --> 00:20:52,640
Speaker 1: so much of the who am I going to be?

433
00:20:52,920 --> 00:20:54,600
Speaker 2: What? What is the thing? What is the thing that

434
00:20:54,640 --> 00:20:55,880
Speaker 2: I'm doing now.

435
00:20:57,040 --> 00:21:00,640
Speaker 1: That is going to get me to the finish product

436
00:21:00,760 --> 00:21:02,840
Speaker 1: or certainly I did, and I felt like the finished

437
00:21:02,840 --> 00:21:05,080
Speaker 1: product would probably hit me at around thirty five forty

438
00:21:05,720 --> 00:21:09,239
Speaker 1: and it's like, God, it's an ever evolving journey. And

439
00:21:09,280 --> 00:21:10,639
Speaker 1: I see that now, and I.

440
00:21:10,640 --> 00:21:13,600
Speaker 3: Think you also realize that that's not You're not happy

441
00:21:13,680 --> 00:21:15,680
Speaker 3: because that doesn't make you happy.

442
00:21:15,760 --> 00:21:17,080
Speaker 2: To make you happy, yeah, one hundred percent.

443
00:21:17,200 --> 00:21:18,879
Speaker 3: You know when you get that you're not happy, Why

444
00:21:18,920 --> 00:21:21,000
Speaker 3: am I still searching? Because that's not what it's about.

445
00:21:21,600 --> 00:21:24,680
Speaker 2: Yeah, it's not about the destination whatever that about that.

446
00:21:25,280 --> 00:21:27,320
Speaker 2: The beauty in being.

447
00:21:29,640 --> 00:21:37,600
Speaker 1: Mercurial and evolving and reimagining and re rebirthing oneself is

448
00:21:37,640 --> 00:21:43,400
Speaker 1: something that I've really enjoyed, Like and mother had changed

449
00:21:43,400 --> 00:21:46,040
Speaker 1: me in a way, which was cool. I remember somebody

450
00:21:46,119 --> 00:21:47,640
Speaker 1: saying to me when I was pregnant with my daughter,

451
00:21:48,000 --> 00:21:49,560
Speaker 1: it's going to be the best thing you ever did.

452
00:21:49,640 --> 00:21:51,960
Speaker 1: And I remember saying, I hope not. And I didn't

453
00:21:52,000 --> 00:21:54,359
Speaker 1: mean it in a in that way, but it was

454
00:21:54,400 --> 00:21:56,639
Speaker 1: that thing, is what they were saying to me. Was

455
00:21:57,040 --> 00:22:00,560
Speaker 1: and now and now you're complete because you've the thing

456
00:22:00,600 --> 00:22:01,639
Speaker 1: that you were put here to do.

457
00:22:01,680 --> 00:22:03,879
Speaker 2: And I'm like, I've written two books. What are you

458
00:22:04,000 --> 00:22:07,639
Speaker 2: talking about? I'm like, I've which was me.

459
00:22:08,119 --> 00:22:10,120
Speaker 1: This is just a part of my my kids are amazing,

460
00:22:10,359 --> 00:22:12,119
Speaker 1: but I don't want that, and then what and then

461
00:22:12,160 --> 00:22:13,600
Speaker 1: and then they grow up and they disappear and they've

462
00:22:13,600 --> 00:22:15,280
Speaker 1: lived their own life, and what I'm now a shell

463
00:22:15,320 --> 00:22:16,840
Speaker 1: of a person exactly.

464
00:22:17,080 --> 00:22:19,760
Speaker 2: That's just not you know that. It's just a weird thing,

465
00:22:19,800 --> 00:22:20,800
Speaker 2: isn't it? Exactly?

466
00:22:20,840 --> 00:22:24,159
Speaker 3: And the same with this piece as well. Sorry it's female. No,

467
00:22:24,359 --> 00:22:27,800
Speaker 3: she's there after everything and sitting there on her knees.

468
00:22:27,840 --> 00:22:30,840
Speaker 3: And did I live my life just to appease somebody else?

469
00:22:32,040 --> 00:22:33,520
Speaker 3: Am I just geared to appease?

470
00:22:33,760 --> 00:22:36,160
Speaker 2: Yeah? When can we start buying tickets? But by the.

471
00:22:36,080 --> 00:22:38,480
Speaker 1: Way, I should have I should have read kay Mangle

472
00:22:38,480 --> 00:22:40,720
Speaker 1: breaks in studio with us. She's talking to us about

473
00:22:40,720 --> 00:22:43,560
Speaker 1: all sorts of things, but mostly a Woman Alone, which

474
00:22:43,600 --> 00:22:44,800
Speaker 1: is the play that she's going to be in, which

475
00:22:44,840 --> 00:22:46,879
Speaker 1: is directed by Corneta Adams, who's flying in from the

476
00:22:46,920 --> 00:22:49,080
Speaker 1: States though I didn't know she lived now in about

477
00:22:49,080 --> 00:22:50,440
Speaker 1: a week's time and they're going to start getting to

478
00:22:50,520 --> 00:22:54,080
Speaker 1: work on it thirtieth of April.

479
00:22:54,000 --> 00:22:56,840
Speaker 3: Thirty other April. First of my run is sickond of

480
00:22:57,000 --> 00:22:59,240
Speaker 3: May three, so it's forms part of the state that

481
00:22:59,359 --> 00:23:00,200
Speaker 3: was to FEUs.

482
00:23:00,280 --> 00:23:03,440
Speaker 2: Hello at the is it going to be in angles?

483
00:23:03,920 --> 00:23:04,760
Speaker 3: Yes, it's in English.

484
00:23:05,840 --> 00:23:06,600
Speaker 2: Yeah, it's in English.

485
00:23:06,600 --> 00:23:07,960
Speaker 3: It's one of the few pieces.

486
00:23:08,240 --> 00:23:24,320
Speaker 1: Is your afric fantastic? Oh it's absolutely dreadful mine. Yeah, okay, good?

487
00:23:24,760 --> 00:23:25,320
Speaker 2: And then.

488
00:23:27,520 --> 00:23:31,760
Speaker 1: Yeah, because because stuff that's there often goes other places.

489
00:23:32,400 --> 00:23:34,879
Speaker 3: I mean, I've always envisioned that the that the piece

490
00:23:35,000 --> 00:23:37,399
Speaker 3: was going to travel, you know, and I've got a

491
00:23:37,560 --> 00:23:39,000
Speaker 3: traveling team more really.

492
00:23:41,040 --> 00:23:42,520
Speaker 2: Yeah, yeah, that would be good.

493
00:23:43,160 --> 00:23:43,800
Speaker 3: Yeah, I think so.

494
00:23:45,400 --> 00:23:49,480
Speaker 2: Is it going to be at a studio that is

495
00:23:49,600 --> 00:23:52,440
Speaker 2: such a great space. I've seen a few things there recently,

496
00:23:52,720 --> 00:23:53,600
Speaker 2: so recently.

497
00:23:54,000 --> 00:23:56,800
Speaker 3: And also in this age of like a I go

498
00:23:56,960 --> 00:23:58,040
Speaker 3: to the theater, to the.

499
00:23:58,080 --> 00:24:01,680
Speaker 2: Theater, people, please and sit and see real human beings,

500
00:24:01,800 --> 00:24:02,679
Speaker 2: so real stuff.

501
00:24:02,880 --> 00:24:05,080
Speaker 3: And it's also a really nice exercise for me because

502
00:24:05,600 --> 00:24:08,000
Speaker 3: theater realsle that's quite dirty, you know, you put on

503
00:24:08,080 --> 00:24:12,720
Speaker 3: your clothes, rolling lot you kind of it's quite tactile.

504
00:24:13,000 --> 00:24:16,960
Speaker 2: Yeah, grounding, yeah a bit.

505
00:24:17,400 --> 00:24:19,680
Speaker 1: Do you still get what's that? What's I've been listening

506
00:24:19,720 --> 00:24:23,720
Speaker 1: to too much Smartness podcast? What's That's the thing? The

507
00:24:23,840 --> 00:24:25,320
Speaker 1: thing that you get when you're in a film set,

508
00:24:25,400 --> 00:24:28,320
Speaker 1: like the food catering, Yeah, the catering.

509
00:24:28,560 --> 00:24:30,520
Speaker 2: You don't get that in the theater, do you craft?

510
00:24:31,880 --> 00:24:36,679
Speaker 2: The craft. That's such a thing. That's my dream one

511
00:24:36,800 --> 00:24:38,959
Speaker 2: day to be in a space or I get craft.

512
00:24:40,119 --> 00:24:43,480
Speaker 2: Is that mad? I've made it.

513
00:24:43,720 --> 00:24:46,600
Speaker 3: I did a job in in Spain and they had

514
00:24:46,680 --> 00:24:48,480
Speaker 3: this like these beautiful cuts.

515
00:24:48,240 --> 00:24:50,119
Speaker 2: Of meat right and craft.

516
00:24:50,440 --> 00:24:53,720
Speaker 3: It's fantastic cheeses and it's a lot.

517
00:24:54,080 --> 00:24:58,840
Speaker 1: Yeah, and now you're running out wherever it might be

518
00:24:59,720 --> 00:25:01,480
Speaker 1: to get yourself a nice chip roll.

519
00:25:01,960 --> 00:25:04,160
Speaker 2: Ye do you know what I mean? It's your favorite

520
00:25:04,200 --> 00:25:05,720
Speaker 2: thing to eat? King emmal break.

521
00:25:07,560 --> 00:25:11,400
Speaker 3: I like corps, which is like a nice do something.

522
00:25:12,040 --> 00:25:15,119
Speaker 3: I'm not really a pizza pasta girl, but like that.

523
00:25:15,920 --> 00:25:16,119
Speaker 1: Do you know?

524
00:25:16,160 --> 00:25:17,080
Speaker 3: I know what's the love.

525
00:25:18,800 --> 00:25:19,320
Speaker 2: Seafood?

526
00:25:19,640 --> 00:25:23,240
Speaker 3: Like a lovely crayfish curry?

527
00:25:24,320 --> 00:25:24,920
Speaker 2: Can I tell you?

528
00:25:25,040 --> 00:25:28,200
Speaker 1: And this is not a shameless I like a oxtail

529
00:25:29,000 --> 00:25:31,960
Speaker 1: went out for the other half's birthday the other day.

530
00:25:33,000 --> 00:25:34,920
Speaker 1: I know this isn't a shameless plug. But when I

531
00:25:34,960 --> 00:25:38,000
Speaker 1: eat good food Melt Boss Kitchen and Meltbostrand, I know

532
00:25:38,080 --> 00:25:42,560
Speaker 1: it's a bit far the best prawns I've had since

533
00:25:42,600 --> 00:25:43,280
Speaker 1: I was a nice.

534
00:25:43,640 --> 00:25:49,320
Speaker 2: Ocean from the ocean taste.

535
00:25:50,000 --> 00:25:53,480
Speaker 1: Yeah, that was it.

536
00:25:53,920 --> 00:25:54,640
Speaker 3: It is so good.

537
00:25:54,760 --> 00:25:56,080
Speaker 2: Get yourself up the West coast.

538
00:25:56,440 --> 00:25:56,840
Speaker 3: It's good.

539
00:25:58,880 --> 00:26:03,400
Speaker 2: Things have got let me. Okay, so you've been by

540
00:26:03,480 --> 00:26:05,560
Speaker 2: that reason. No, I went there the other day.

541
00:26:05,960 --> 00:26:08,560
Speaker 1: Actually this is last week, oh just last year, last week,

542
00:26:08,760 --> 00:26:11,760
Speaker 1: the first time you were discovered it. Yeah, I was

543
00:26:11,800 --> 00:26:13,560
Speaker 1: going to go somewhere else. And a friend of mine

544
00:26:13,960 --> 00:26:16,760
Speaker 1: also called Carnita fun Carnie, not Quanita.

545
00:26:17,080 --> 00:26:18,200
Speaker 3: It's a very unique name.

546
00:26:18,240 --> 00:26:19,800
Speaker 2: It's a great name, though, isn't it.

547
00:26:19,880 --> 00:26:20,240
Speaker 1: I love it?

548
00:26:20,520 --> 00:26:24,840
Speaker 2: And also she's a writer. Now yeah to Loxton. Okay,

549
00:26:24,960 --> 00:26:26,320
Speaker 2: I don't know her, but I know her.

550
00:26:26,560 --> 00:26:29,480
Speaker 1: Oh you know what. There you go, there's your first

551
00:26:29,640 --> 00:26:32,400
Speaker 1: turn here. She's done a series like being Lily, being

552
00:26:32,520 --> 00:26:33,639
Speaker 1: somebody else being whatever.

553
00:26:34,000 --> 00:26:41,240
Speaker 2: There's the producing thing. I'm here, I'm just a vessel.

554
00:26:41,880 --> 00:26:42,159
Speaker 1: Use me.

555
00:26:42,760 --> 00:26:44,639
Speaker 3: Well, we need to get you an ambassadorship of some

556
00:26:44,800 --> 00:26:45,639
Speaker 3: sort of make up for.

557
00:26:46,359 --> 00:26:49,800
Speaker 2: From your found the universe. Yeah, seriously, the fitness things.

558
00:26:49,880 --> 00:26:53,320
Speaker 2: This is this is hard. Yeah, there we go.

559
00:26:53,720 --> 00:26:55,600
Speaker 1: We've run out of We haven't run out, we have

560
00:26:55,760 --> 00:26:57,360
Speaker 1: really we have run out of time. I can see

561
00:26:57,400 --> 00:26:59,000
Speaker 1: that our music guests look at he's turned up in

562
00:26:59,080 --> 00:26:59,919
Speaker 1: a lovely hat. There.

563
00:27:00,800 --> 00:27:08,359
Speaker 2: That's nice, isn't it. He's go and.

564
00:27:10,160 --> 00:27:14,800
Speaker 1: Yes, coming up, please make sure that you're going to

565
00:27:15,040 --> 00:27:18,480
Speaker 1: Where are the tickets where wet web tickets. Web tickets

566
00:27:18,600 --> 00:27:24,399
Speaker 1: is the place thirty April, first of May, exactly, Artscape Arena,

567
00:27:25,080 --> 00:27:28,760
Speaker 1: do the things and go and see Kim doing her thing.

568
00:27:28,800 --> 00:27:29,560
Speaker 2: I'm excited.

569
00:27:29,720 --> 00:27:33,879
Speaker 1: So many notes I love well, I didn't you've mentioned it,

570
00:27:34,000 --> 00:27:38,080
Speaker 1: so I will now engl Brectors come in with an

571
00:27:38,440 --> 00:27:42,679
Speaker 1: entire note book and pad with extensive notes.

572
00:27:44,240 --> 00:27:49,159
Speaker 2: Yeah, absolutely true. There we go, We get there in

573
00:27:49,240 --> 00:27:49,520
Speaker 2: the end.

574
00:27:49,920 --> 00:27:52,400
Speaker 1: I've got an excuse because I'm peramanapausal and the brain

575
00:27:52,480 --> 00:27:53,960
Speaker 1: fog just clups me every morning.

576
00:27:54,040 --> 00:27:58,560
Speaker 2: But you don't. Right there we go. Thank you darling

577
00:27:58,600 --> 00:28:01,840
Speaker 2: for coming, and it's always delight. Are lovely earrings? Thank you?

578
00:28:02,440 --> 00:28:06,240
Speaker 2: Are they a gift? No, I need somebody to give

579
00:28:06,280 --> 00:28:06,879
Speaker 2: me more gifts.

580
00:28:09,160 --> 00:28:11,320
Speaker 1: Don't say that, because you're the kind of person where

581
00:28:11,359 --> 00:28:13,560
Speaker 1: people will hear that and then they go a little

582
00:28:13,600 --> 00:28:16,480
Speaker 1: bit doo lally and will turn up outside the theater

583
00:28:16,520 --> 00:28:18,159
Speaker 1: and be like, I brought you this, and it's you know,

584
00:28:18,240 --> 00:28:19,919
Speaker 1: they're toenail clippings in a box.

585
00:28:20,880 --> 00:28:21,399
Speaker 2: I'm open