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Speaker 1: You're listening to the Saturday Morning with Jack Teams podcast

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Speaker 1: from News Talks at b It is.

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Speaker 2: A classic story, the classic story of boy meets girl,

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Speaker 2: their families, you know, hate each other, chaos since Hughes.

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Speaker 2: But Shakespeare's Romeo and Juliet really is the tale of

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Speaker 2: star cross lovers. And in just a few weeks the

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Speaker 2: story is going to be brought to the stage by

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Speaker 2: Auckland Theater Company. But this is not your grandparents Shakespeare, No, no,

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Speaker 2: this is a fast paced thriller set in the nineteen

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Speaker 2: sixties Milan with Kiwi accents and soon to be the

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Speaker 2: Romeo and the Julieta Romeo and Julietta Theo, David and

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Speaker 2: Phoebe mckella, and they are here with us on Newstalks

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Speaker 2: heid me this morning, Kildercordawa and welcome to the show.

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Speaker 2: Thanks for being here. Whatdding Jack, So nice to be

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Speaker 2: speaking with you both. Theo I'm going to kick off

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Speaker 2: with you just explain to us how different is this

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Speaker 2: production of Romeo and Juliet to the one that we

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Speaker 2: might have seen two hundred years ago.

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Speaker 3: Well, for starters, you've got men and women in the cast,

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Speaker 3: because I know back then it was probably all men.

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Speaker 4: So that's nice. But like you said, this is set

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Speaker 4: in kind of nineteen.

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Speaker 3: Sixties Milanese style, So think high fashion, think culture, I

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Speaker 3: think really hot passion. And like you said as well,

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Speaker 3: you know, we've got all the actors retaining their accent,

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Speaker 3: so it's not going to be some British broadcast network

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Speaker 3: vision of Roman Juliet.

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Speaker 4: This is a Roman Juliet produced in Auckland.

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Speaker 2: Oh fun, phoebe. What about the language? Is it still

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Speaker 2: very much like Romeo Romeo? Where for out there Romeo?

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Speaker 2: Or is it like Romeo Romeo? Wee you Wet Boy?

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Speaker 5: I mean I guess that the language is very much

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Speaker 5: the same. And the intention I mean wee Wet Boy

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Speaker 5: was valid back then and still valid now. So the

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Speaker 5: language is the same, the intention is heightened.

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Speaker 2: Yeah, it's what four hundred years I think since this

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Speaker 2: production from this first stage, which is remarkable. But it

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Speaker 2: really is like kind of like I was saying, it

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Speaker 2: is the story of Starcross lovers, the story of boy

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Speaker 2: meets girl. But theo you've done like heaps of Shakespearean

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Speaker 2: plays over the years, right, like you've played well, I

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Speaker 2: think you've been Henry the Fifth and Romey and Juliet.

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Speaker 2: You've been a much ado about nothing, You've been Northello.

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Speaker 2: So what is it about Shakespeare that you love so much?

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Speaker 3: Ah? Just language, a just as words like I mean,

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Speaker 3: I'll be honest, I like the employment that comes with

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Speaker 3: it too, our life. But just you know, he has

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Speaker 3: this way of explaining things that we don't. We don't

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Speaker 3: talk like that anymore. Yeah, we're in the era of

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Speaker 3: the emoji or the meme. You know, we can send

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Speaker 3: that and try and communicate. But you know, back then

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Speaker 3: he was saying stuff like, you know, but all my

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Speaker 3: fortunes at my foot, I'll lay and I'll follow you

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Speaker 3: throughout the world.

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Speaker 4: Like, you know, that's pretty romantic. But you would never

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Speaker 4: hear anyone say that right now.

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Speaker 2: Yeah, it is quite kind of profound. How do you

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Speaker 2: feel about the language, Phoebe, How does this compare to

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Speaker 2: a different kind of production, one one that would use

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Speaker 2: modern language. How do you find telling a Shakespearean story

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Speaker 2: in Shakespeare's language?

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Speaker 5: Yeah, I mean the language is so rich in all

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Speaker 5: of its imagery, Like you can really roll around as

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Speaker 5: an actor, just roll around in the in the words

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Speaker 5: that He's gifted you and their a gift to the

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Speaker 5: audience as well, because they might be foreign to their

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Speaker 5: audiences there. But you really understand the poetry of it,

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Speaker 5: and it is all poetry. Basically, Romeo and Juliet is

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Speaker 5: all poetry and most of it's in verse.

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Speaker 2: Yeah, yeah, how do you find do you find the

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Speaker 2: rhythm of it difficult to get into or does that

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Speaker 2: kind of help once you're in the production help with

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Speaker 2: the flow of the production?

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Speaker 5: Do you find phobe the rhythm one hundred percent helps

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Speaker 5: learn lines very much, so much easier than anything else

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Speaker 5: because it just kind of gets you into that poetry

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Speaker 5: and that emotion.

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Speaker 4: Immediately.

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Speaker 5: And then yeah, the show itself is so fast, the

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Speaker 5: journey that they go on is so fast, so that

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Speaker 5: just kind of the verse keeps the heartbeat alive.

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Speaker 4: And just ticking.

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Speaker 2: Yeah, yeah, so it kind of drives it forward throughout. Absolutely,

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Speaker 2: I can imagine that that when you're playing Romeo and Juliet,

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Speaker 2: mstry is super important. So can you talk to us

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Speaker 2: about the process, process of being of being cast as

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Speaker 2: Romeo and and how you guys try and kind of

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Speaker 2: nurture the chemistry on stage together.

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Speaker 4: We well, we're quite lucky.

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Speaker 3: We've we've known we were going to play these characters

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Speaker 3: for about a year, yew so, and we did our

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Speaker 3: kind of callback audition together of us. So I think

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Speaker 3: there was something in that audition that may Ben go, oh,

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Speaker 3: let's maybe this is the relationship with nurture. And then

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Speaker 3: just at different points throughout the past year, you know,

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Speaker 3: we did a photoshop together, and we shot the trainer

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Speaker 3: together and that was like a nice slow build up

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Speaker 3: before we got into the rehearsal room.

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Speaker 4: But there's a lot We've got Ben helping us with that.

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Speaker 3: An we have an intimacy coordinator Lara, who kind of

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Speaker 3: helps cultivate you know what the touch choreography is, what

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Speaker 3: kind of because this might be all that kind of stuff.

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Speaker 3: So that does very much it's like a dance. Yeah,

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Speaker 3: it's like learning dance steps so that where you're not

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Speaker 3: well for that, where you don't just throw yourself into

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Speaker 3: it if you don't feel like it, but also so.

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Speaker 4: That you just have these little touch points that you

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Speaker 4: can get to. Yeah.

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Speaker 2: Right, they kind of the kind of spark. It ll

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Speaker 2: kind of mean continuity or something with that relationship. So

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Speaker 2: the Ben you're you're referencing as Benjamin Kilby Henson, who's

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Speaker 2: the director of this production of Romeo and Juliet. But

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Speaker 2: how have you found it? Phoebe? Because I can look

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Speaker 2: from an outsider this perspective of someone with no acting chops,

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Speaker 2: I can imagine that's quite a high pressure scenario to

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Speaker 2: be put in an environment where you are trying to

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Speaker 2: develop chemistry with someone in quite a public way.

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Speaker 5: Now, I feel like Ben himself has is an amazing director,

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Speaker 5: and the way that the room has run, like his

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Speaker 5: process and his preparation has made it so, I mean,

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Speaker 5: I think easy for us to actually just walk in

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Speaker 5: and then find this language of intimacy together with his

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Speaker 5: outside eye of just fine tuning and within the world

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Speaker 5: of discovery, so we never lose that play that the

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Speaker 5: chemistry is still alive and there's always more to be discovered,

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Speaker 5: which is a gift.

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Speaker 2: So tell me more about this intimacy coordinate. I'm fascinated.

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Speaker 2: I'm fascinated by this, and I know zero about how

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Speaker 2: an intimacy coordinator actually works. How does what is the

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Speaker 2: role mabe and how does that kind of work in

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Speaker 2: a production like this.

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Speaker 5: Yeah, so the intimacy coordinator kind of comes in and

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Speaker 5: we're because we had all the photo shirts and stuff,

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Speaker 5: any kind of intimate touch, you essentially choreograph it and

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Speaker 5: give yourself a really good base whilst talking about is

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Speaker 5: it feather touch or is it like a muscle touch

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Speaker 5: or is it bone touch? And you always have to

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Speaker 5: check in with your other actor, almost like a stunt

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Speaker 5: of going, yeah, how do you feel today?

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Speaker 4: Away?

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Speaker 5: Okay, like yeah, and re checking in, and then you

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Speaker 5: kind of make the the goalposts essentially, and then within

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Speaker 5: what you've discussed and the world that you've created together

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Speaker 5: with that touch, you can kind of play in there,

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Speaker 5: which is fad.

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Speaker 2: I see. So you don't want to be too prescriptive

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Speaker 2: that again speaking just like you have to forgive me

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Speaker 2: guys as a total amateur year, but speak, I would

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Speaker 2: have thought, you don't want to be like you want

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Speaker 2: to set the goalposts in an appropriate distance, right, because you

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Speaker 2: don't want to coordinate it to the point that you

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Speaker 2: kind of suck the romance or the serendipity or the

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Speaker 2: kind of measure that it is a balance. I would

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Speaker 2: have thought there.

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Speaker 3: Yeah, yeah, And it's just to keep everyone safe too,

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Speaker 3: because you know, you don't want to be you hear

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Speaker 3: stories all the time, but it's just to make sure

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Speaker 3: we know that my hand is going to go here

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Speaker 3: and it's not going to go any higher or any lower,

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Speaker 3: and it just takes all that anxiety away for everyone

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Speaker 3: as well.

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Speaker 4: And it's lot of people. Yeah, yeah, no, not even

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Speaker 4: twenty years ago probably.

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Speaker 2: So yeah, sorry I interrupted you there. What were you say?

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Speaker 3: Oh, just I intimates her coordinators are. They're not just

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Speaker 3: for like romantic relationships either. You know, there's a lot

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Speaker 3: of maternal slash paternal relationships in the show. They help

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Speaker 3: kind of cultivate that language as well.

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Speaker 5: Yeah, Like I had a meeting with Lara and the

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Speaker 5: nurse because there's a very physical relationship there and that

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Speaker 5: really helped play the groundwork for the round that we

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Speaker 5: get to play in.

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Speaker 2: Yeah right, yeah, nice. So Phoebe tell us about the

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Speaker 2: fashion because setting it in Milan in the sixties has

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Speaker 2: a very distinct look.

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Speaker 5: Yes, lots of bright colors, bowl pattern everything's a lot

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Speaker 5: of a lot of tight pants for the men and

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Speaker 5: then the ball outfits. I mean, you'll just have to

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Speaker 5: come see it, I mean.

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Speaker 2: Yeah, yeah, but I mean this is part of the

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Speaker 2: the decision to set it in the sixties. They is

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Speaker 2: very much because it allows for like the most kind

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Speaker 2: of impressive visuals possible, right.

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Speaker 3: Yeah, it's the era of Romanticism, it's the era of

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Speaker 3: rebellion and like, because we're already so removed from the

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Speaker 3: Shakespearean language, so you could set it in a modern setting,

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Speaker 3: that would it sounds a bit weird to see someone,

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Speaker 3: you know, dressed in the hoodie speaking Shakespeare. So what

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Speaker 3: Ben's done is quite amazing because he's kind of given

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Speaker 3: you a step into the Shakespeare and Ruld by setting

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Speaker 3: it maybe one step away from us, and then that's

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Speaker 3: kind of a launch pat into the language.

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Speaker 2: Yeah, yeah, I think that's a great way to do it.

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Speaker 2: So it's a story about young people, essentially Romeo and Juliet.

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Speaker 2: I think they're super young, aren't they? Or the characters

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Speaker 2: are super young. So when you guys are staging a

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Speaker 2: performance like this, do you do you do you hope

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Speaker 2: that it will bring young people to the theater? Like,

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Speaker 2: is that a consideration given there are so many different

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Speaker 2: forms of entertainment kind of vying for people's attention at

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Speaker 2: the moment, especially young people. Is this the kind of

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Speaker 2: production you think that that you know that that might

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Speaker 2: help to inspire the beans of the future or inspire

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Speaker 2: young people who might not usually go to the theater

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Speaker 2: to head along and be inspired.

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Speaker 4: Yeah.

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Speaker 5: Absolutely, I mean and and the way that Ben has,

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Speaker 5: I guess cut down the script it is the first

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Speaker 5: time I read it, I was like forty six pages

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Speaker 5: and I was like, this is so short for a Shakespeare.

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Speaker 5: But I think it's also what we need and what

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Speaker 5: our younger brands need.

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Speaker 4: We don't have.

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Speaker 5: The the will to sit and listen to all of

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Speaker 5: that poetry, but it just rockets forward with the narrative

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Speaker 5: and the emotion, and I think that will really.

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Speaker 4: Hit so well with the younger audience.

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Speaker 2: Yeah yeah, yea, so good. So it's been cut down

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Speaker 2: a little bit. It's been set in the nineteen sixties.

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Speaker 2: It sounds like so much dumb but fun. But THEO

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Speaker 2: just promise us, does it have a happy ending?

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Speaker 3: You know, we're going to play it like there's a

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Speaker 3: happy ending, you know, there's it's not a tragedy until

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Speaker 3: it's a tragedy.

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Speaker 4: So yeah, there's going to be and yeah there they're going.

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Speaker 3: To fall in love and it's going to be a

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Speaker 3: big there's another stuff that happens too.

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Speaker 4: Yeah, yeah, it will be some but the problem but.

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Speaker 2: After yeah yeah, look, no promises, but no, it sounds

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Speaker 2: like so much fun, guys, and a great way to

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Speaker 2: reimagine one of the all time classics. Thank you so

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Speaker 2: much for being with us this morning. O, David and

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Speaker 2: Phoebe McKellar are the stars of Auckland Theater Companies new

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Speaker 2: production of Romeo and Juliet. It's fast paced, it is

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Speaker 2: set in the nineteen sixties in Milan. We're going to

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Speaker 2: have all the details, including we can get tickets up

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Speaker 2: on the News Talks EDB website.

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Speaker 1: For more from Saturday Morning with Jack Tame. Listen live

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Speaker 1: to News Talks he'd be from nine am Saturday, or

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Speaker 1: follow the podcast on iHeartRadio