WEBVTT - Es Devlin

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<v Speaker 1>Hmm, are we okay for noise? By the way, it's

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<v Speaker 1>Friday night.

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<v Speaker 2>It's Friday, Friday night, It's Friday night. We should do

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<v Speaker 2>something that was so fine the night?

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<v Speaker 1>It wasn't that all right? I know? Just to sing?

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<v Speaker 1>What did we? We?

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<v Speaker 2>Sang?

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<v Speaker 1>Still my escape going in June of this year. I'm

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<v Speaker 1>completely unsure about what to do with Damien Hirst's beautiful

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<v Speaker 1>studio space next to the River Cafe, which he was

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<v Speaker 1>giving to us for the memorial for Richard Rogers. My husband,

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<v Speaker 1>a friend, Jonah Freud, introduced me to s Devlin by text.

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<v Speaker 1>A few hours later, I found myself talking to her

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<v Speaker 1>while she put her child to bed at midnight. S

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<v Speaker 1>the design of the set for Beyond his concert, the

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<v Speaker 1>West End production of the Crucible, the fashion show for Youth.

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<v Speaker 1>Saint Laurent had recently finished her radical book in Atlas

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<v Speaker 1>of s Stevlin. At the end of the conversation, she said,

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<v Speaker 1>I'll tell you what, Ruthie, I'm going to Lisbon tomorrow morning.

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<v Speaker 1>Why don't I stop over on the way to the

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<v Speaker 1>airport is eight o'clock oka, of course, s I said,

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<v Speaker 1>already exhausted. She arrived at day on the dot we've

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<v Speaker 1>had a look at the space. She told me what

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<v Speaker 1>to do and got straight into a taxi to make

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<v Speaker 1>the flight. This was s spontaneous, generous, positive, creative, funny

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<v Speaker 1>and very smart. As I write this, S is in

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<v Speaker 1>the restaurant talking to Charles pull and our manager about

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<v Speaker 1>what makes the River Cafe a set a place that

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<v Speaker 1>is active and calm, dark and light, noisy and quiet

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<v Speaker 1>at different times of the day. When it comes back

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<v Speaker 1>from all this, we'll talk about food, theater, space, books,

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<v Speaker 1>family and cooking, and most of all, we will talk

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<v Speaker 1>about friendship, and we will talk about love.

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<v Speaker 2>Thank you, Yes it's beautiful. Don't change a word.

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<v Speaker 1>So you know the drills. And we asked you to

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<v Speaker 1>choose from all the recipes of all the books from

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<v Speaker 1>the last twelve cookbooks. So I'd like ask you why

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<v Speaker 1>you chose this recipe for kanelini bean soup.

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<v Speaker 2>But this is from the first book. And of course

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<v Speaker 2>my first encounter when the River Cafe first was open,

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<v Speaker 2>when I was first able to come, which took a

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<v Speaker 2>while to get my table, and then when the book

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<v Speaker 2>came out and we were fans, so I wanted to.

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<v Speaker 1>And well back then it.

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<v Speaker 2>Was probably me in France read before I met my

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<v Speaker 2>husband Jack. But my husband Jack is an extraordinary cook.

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<v Speaker 2>He makes this canelini bean soup and he makes it

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<v Speaker 2>very specifically with a piece of toast in the bottom.

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<v Speaker 2>And he did teach me how to make it. So

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<v Speaker 2>I have made it okay, but more often I have

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<v Speaker 2>eaten it and that it didn't make it.

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<v Speaker 1>Yeah.

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<v Speaker 2>I The recipe canellini bean soup. Serve six two hundred

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<v Speaker 2>and fifty grams cooked cannellini beans, a handful of fresh

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<v Speaker 2>sage leaves, two to three garlic cloves, peeled and chopped,

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<v Speaker 2>three tablespoons of olive oil, a bunch of fresh flat

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<v Speaker 2>leaf parsley chopped extra virgin olive oil in a large saucepan.

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<v Speaker 2>Cook the garlic in the olive oil until soft but

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<v Speaker 2>not brown. Add the parsley, then add beans and stir.

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<v Speaker 2>Put three quarters of the bean mixture into a food

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<v Speaker 2>processor with some reserved cooking liquid. Pulse briefly. You do

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<v Speaker 2>not want to pure. Add more of the cooking liquid

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<v Speaker 2>if necessary, but the soup should be thick. Return to

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<v Speaker 2>the saucepan and season. Reheat if too thick, add more

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<v Speaker 2>cooking liquid. Serve with generous amount of extra virgin olive oil.

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<v Speaker 1>And perhaps some toast.

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<v Speaker 2>And I would if I were Jack, I would be

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<v Speaker 2>toasting something in the bottom.

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<v Speaker 1>So you have that gorgeous toast and beans and oil.

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<v Speaker 1>So we love threems three ingredients, isn't it? You know, simplicity,

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<v Speaker 1>which I guess is perhaps the way you work it is.

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<v Speaker 2>And also I don't eat meat, so and I, as

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<v Speaker 2>you mentioned, I use quite a lot of energy, so

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<v Speaker 2>I have to be quite careful to make sure I

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<v Speaker 2>get a lot of protein without eating meat. And the

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<v Speaker 2>beans are amazing for that as well.

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<v Speaker 1>So, going back to the beginning, tell me about growing

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<v Speaker 1>up in the Devlin household. Where were you born?

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<v Speaker 2>I was born in Kingston Hospital in Kingston upon Thames,

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<v Speaker 2>not too far from here, proper suburbia, proper suburbia in

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<v Speaker 2>the western suburbs of London. And then my parents went

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<v Speaker 2>on a romantic weekend break to Rye in East Sussex,

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<v Speaker 2>and they bought a house on a whim on a

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<v Speaker 2>cobbled street called Mermaid Street which used to descend into

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<v Speaker 2>the sea. And the house had been lived in by

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<v Speaker 2>Conrad Aiken the poet and his daughter Joan Akin, the author.

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<v Speaker 2>So in my mind, the house spoke. There was a

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<v Speaker 2>model city, model town of Rye next to the house,

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<v Speaker 2>and we used to visit it every weekend because my

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<v Speaker 2>mother and father were so excited to invite their friends

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<v Speaker 2>to see the place they loved, so they would take

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<v Speaker 2>them to the model, which was a sone Lumier and

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<v Speaker 2>it told stories. So each house told a story, including

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<v Speaker 2>my house. So I was only six years old, so

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<v Speaker 2>in my head something made me think that objects could speak,

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<v Speaker 2>houses could speak the way that I think bean speak

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<v Speaker 2>and food speaks. So that was me growing up. And

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<v Speaker 2>my mother was a teacher.

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<v Speaker 1>What did she do.

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<v Speaker 2>She taught special needs children, dyslexic children. At that time,

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<v Speaker 2>she had taught lots of things, but she was teaching

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<v Speaker 2>dyslexic kids. And my dad was a journalist specializing in education.

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<v Speaker 2>They were both fascinated with education, actually, But my mom

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<v Speaker 2>prepared all the food. My dad could make scrambled eggs

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<v Speaker 2>on toast, that was really it. I'm worried that I

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<v Speaker 2>might be like my father was slightly known for only

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<v Speaker 2>cooking one thing. Okay, because I don't get very much.

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<v Speaker 1>That's fine, what is your one thing?

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<v Speaker 2>Well, I do make cheese and tomatoes, on toast quite well,

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<v Speaker 2>if it's good toast, and I sometimes put red pepper.

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<v Speaker 2>I'm trying to use the vegan cheese.

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<v Speaker 1>Are you vegan and vegetarian?

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<v Speaker 2>Now I'm vegetarian, but I'm just trying to be as

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<v Speaker 2>smart as possible with the ingredients. But yeah, my mum

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<v Speaker 2>was in the kitchen. She was trying to manage everything.

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<v Speaker 2>There were four kids, four and she taught all day

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<v Speaker 2>and then he came home and cooked. Yeah, would you

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<v Speaker 2>sit down, all of you to do Yeah, every year.

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<v Speaker 2>But it was quite a lot of you know, back

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<v Speaker 2>then in the eighties and late seventies, quite a lot

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<v Speaker 2>of potato waffles, the freezer, whatever she had time for.

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<v Speaker 2>Then she got a slow cooker and she realized that

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<v Speaker 2>before she went to work, she could put all the

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<v Speaker 2>ingredients big meaty stews she could put.

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<v Speaker 1>She would do a.

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<v Speaker 2>White one or a brown one, and she put all

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<v Speaker 2>the ingredients of the chicken or whatever it was in there.

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<v Speaker 2>In the morning, she'd go out do her whole day teaching,

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<v Speaker 2>and then we would come home from school. The idea

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<v Speaker 2>was that the big stew would be there for us

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<v Speaker 2>to eat, and that worked well, no, because we liked

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<v Speaker 2>the potato waffles, so we would just go to the

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<v Speaker 2>freezer and get poor mam so she gave up after

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<v Speaker 2>that a bit.

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<v Speaker 1>So your father would come back. Would he work in London?

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<v Speaker 2>Yeah, we only saw him at the weekend because he

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<v Speaker 2>would stay up in London to get to Rye at

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<v Speaker 2>the time, it's quite a track, so he would come

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<v Speaker 2>back at the weekends. So my mum was really holding

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<v Speaker 2>the four and we we all did a lot of things.

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<v Speaker 2>There was music lessons orchestra. We had a little yellow

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<v Speaker 2>citron Diane that we had to park facing downhill on

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<v Speaker 2>Mermaid Street, otherwise it wouldn't start if it was facing

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<v Speaker 2>uphill because then if it if it didn't start, you.

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<v Speaker 1>Could just roll it down.

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<v Speaker 2>She would put hot water bottles on it in the

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<v Speaker 2>winter to stop the points freezing. She had a little

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<v Speaker 2>plastic like a bonnet that you put on to stop

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<v Speaker 2>your hair getting wet. In the shower. She put one

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<v Speaker 2>of those over the whole car, a big bonnet to

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<v Speaker 2>stop it getting wet. But we would go to the

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<v Speaker 2>beach after school in the summer every day, to camber

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<v Speaker 2>Sands or to Winchelsea and we would My food memory

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<v Speaker 2>of that time I was sitting usually crappy weather, in

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<v Speaker 2>the wind and unwrapping foil crusty little pastries, and then

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<v Speaker 2>the sand, the grit of the sand would get in them,

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<v Speaker 2>and she would make these little pastry chicken pies. So

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<v Speaker 2>I remember the chicken in the sand. They were kind

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<v Speaker 2>of tasty with a bit of sand in them.

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<v Speaker 1>So you grew up in this house with four children,

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<v Speaker 1>where are you in the list of number two? Number two?

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<v Speaker 1>And the mother who worked, a father who was absent,

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<v Speaker 1>and you had a meal every night that you would

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<v Speaker 1>sit around the table and would you all talk about

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<v Speaker 1>what you've done during the day, just eat and then

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<v Speaker 1>do the homework.

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<v Speaker 2>Was noisy, very noisy, and kind of My brothers went

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<v Speaker 2>to boarding school for a while. I think it was

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<v Speaker 2>all too much, probably for my mum to manage four

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<v Speaker 2>kids at once, so they went off for a bit

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<v Speaker 2>and they would come back in the holidays and it

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<v Speaker 2>was very, very noisy, and there were friends over, and yeah,

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<v Speaker 2>it was food and noise and talking.

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<v Speaker 1>And at lunch, would you take your lunch to school?

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<v Speaker 1>Did you get lunch school food?

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<v Speaker 2>School food? Yes? Oh yes, oh yes. School food was

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<v Speaker 2>horrible rice puddings that were all skinny, and you had

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<v Speaker 2>to eat it all. It was a local school called

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<v Speaker 2>Frieda kardam in Rye Primary School, and then we moved

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<v Speaker 2>to Kent to go to a school called Cranbrook School,

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<v Speaker 2>which was a grammar school. They had a little cafeteria

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<v Speaker 2>that you would choose your food, but we just did

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<v Speaker 2>eat the potato waffles.

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<v Speaker 1>And came back to the I'm afraid it's such a

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<v Speaker 1>shame because I've never seen a potato. I guess I

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<v Speaker 1>have to go through the British education system had a potato.

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<v Speaker 2>Yes, I mean, in fairness to my mum, the the

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<v Speaker 2>fact that you know, we were annoying children who liked

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<v Speaker 2>processed food was not her fault. She's a fantastic cook.

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<v Speaker 2>She makes great big themed I mean, she would make

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<v Speaker 2>ridiculously crazy birthday cakes, theatrical, perhaps extraordinarily the I mean.

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<v Speaker 2>My mum's a great artist, as is my dad. They

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<v Speaker 2>didn't pursue art as her career, but all of our

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<v Speaker 2>birthdays were always it would be a themed mermaid cake

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<v Speaker 2>with mermaid biscuits. I am I'm pretty terrible because I

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<v Speaker 2>do when I eat a meal, and I've been served

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<v Speaker 2>the most beautiful meals in my life by my husband

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<v Speaker 2>and others, But I tend to eat the conversation. Yeah,

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<v Speaker 2>the food tastes of the thought. That's fine, that's a story.

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<v Speaker 2>That's a story of food. And I think food can

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<v Speaker 2>be a story. And I think you know, what you

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<v Speaker 2>eat is so much obviously more than what's going in

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<v Speaker 2>your mouth. And the lighting. I am obsessed with what

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<v Speaker 2>the light is. I can't if I walk into a restaurant,

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<v Speaker 2>the light is where I will probably go up to

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<v Speaker 2>the person's say, can I just dim this switch here?

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<v Speaker 1>So what is the lighting that you like? Low? Low?

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<v Speaker 2>Or outside and being in the like just now, we

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<v Speaker 2>were sitting outside your beautiful piazza. So either natural light

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<v Speaker 2>or the light of the fire. Yeah, by the fire,

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<v Speaker 2>the food by a fire.

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<v Speaker 1>Yeah.

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<v Speaker 3>I'm Charles Pullan, executive director of the River Cafe, and

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<v Speaker 3>we are sitting on the table one oh six on

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<v Speaker 3>the terrace outside on a Friday afternoon, and I'm about

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<v Speaker 3>to talk with es Devlyn. Very exciting. We want to

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<v Speaker 3>get her take on the feel and the energy and

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<v Speaker 3>the design of the River Cafe. So rather than one

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<v Speaker 3>of her sets that we do all over the world,

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<v Speaker 3>be rather interesting just for us to hear what your

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<v Speaker 3>take is on the space that we use. As people

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<v Speaker 3>arrived through the front door, their first view as they

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<v Speaker 3>look left down the length of the very long dining

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<v Speaker 3>room is that it's the big pink word oven than

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<v Speaker 3>the fire in there flickering away, which has a wonderful

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<v Speaker 3>purpose of shrinking the room in a way and making

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<v Speaker 3>it feel cozy and make it feel much more intimate

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<v Speaker 3>despite the facts it is a very long, large dining room.

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<v Speaker 3>It's such a such a sort of hackneyed old reference,

0:12:03.840 --> 0:12:06.160
<v Speaker 3>the fact that there is so much in common with

0:12:06.200 --> 0:12:08.880
<v Speaker 3>the theater and the restaurant world. But it's a truism

0:12:08.880 --> 0:12:12.199
<v Speaker 3>because there are so many parallels with how you gear up,

0:12:12.280 --> 0:12:15.800
<v Speaker 3>you rehearse your audition, but then there's the energy that

0:12:16.360 --> 0:12:19.439
<v Speaker 3>just before service, just before the curtains up, and then

0:12:19.480 --> 0:12:23.160
<v Speaker 3>you all jump into your roles. And so we've always

0:12:23.200 --> 0:12:25.959
<v Speaker 3>talked about the staff and the food and all that

0:12:26.000 --> 0:12:27.800
<v Speaker 3>side of things. But from your point of view, it

0:12:27.880 --> 0:12:30.360
<v Speaker 3>might be interesting to hear how the kind of design

0:12:30.480 --> 0:12:33.280
<v Speaker 3>of the dining room itself comes into play.

0:12:33.520 --> 0:12:38.160
<v Speaker 2>I think the comparison between the performative aspects of the

0:12:38.160 --> 0:12:42.600
<v Speaker 2>delivery of food and the physical aspects of being backstage

0:12:42.640 --> 0:12:46.040
<v Speaker 2>and front stage are clear. I don't find them hackneyed.

0:12:46.080 --> 0:12:48.800
<v Speaker 2>I think they're fascinating. When I was here last time,

0:12:48.840 --> 0:12:50.880
<v Speaker 2>it was an evening. The weather was a bit like this,

0:12:51.040 --> 0:12:54.480
<v Speaker 2>maybe not so sunny, but we all gathered in bright

0:12:54.559 --> 0:12:58.760
<v Speaker 2>clothes in honor of Richard's love of bright colors, all

0:12:58.800 --> 0:13:01.480
<v Speaker 2>around the banks of this piazza, and.

0:13:01.480 --> 0:13:04.840
<v Speaker 1>Of course the river. It's called the River car favor reason.

0:13:04.920 --> 0:13:09.560
<v Speaker 2>We are adjacent to this great planetary force that runs

0:13:09.559 --> 0:13:12.959
<v Speaker 2>through our city. So for me, those fundamental forces of

0:13:13.040 --> 0:13:18.920
<v Speaker 2>the fire in the bright crimson furnace, and the river

0:13:19.160 --> 0:13:22.679
<v Speaker 2>that's here, this green piazza of grass that's outside, the

0:13:22.840 --> 0:13:25.760
<v Speaker 2>vivid color of the doors everywhere in the toilets, this

0:13:25.960 --> 0:13:30.679
<v Speaker 2>beautiful red orange fluorescent color. Right, So, I think all

0:13:30.720 --> 0:13:32.920
<v Speaker 2>of those energies are felt even when you're inside. We're

0:13:32.960 --> 0:13:35.720
<v Speaker 2>sitting outside now, but I believe they're felt inside as well.

0:13:36.280 --> 0:13:38.760
<v Speaker 2>And of course the color that the idea that when

0:13:38.800 --> 0:13:42.520
<v Speaker 2>you eat, you're not just eating food, you're eating color.

0:13:42.960 --> 0:13:46.200
<v Speaker 2>You're eating light because the way that light reverberates off

0:13:46.240 --> 0:13:49.800
<v Speaker 2>objects to create color. You're eating what you smell, You're

0:13:49.840 --> 0:13:53.440
<v Speaker 2>eating the conversation that you might be having with someone.

0:13:53.920 --> 0:13:56.160
<v Speaker 2>That's what you're eating. That's what you're nourished by. So

0:13:56.280 --> 0:13:59.520
<v Speaker 2>much more than molecules that you need is fuel, right,

0:14:00.360 --> 0:14:02.719
<v Speaker 2>and that's this place has always celebrated that. And of

0:14:02.800 --> 0:14:05.880
<v Speaker 2>course what's beautiful about it in my understanding of the

0:14:05.920 --> 0:14:09.680
<v Speaker 2>etymology of this restaurant and why it's so duly loved,

0:14:10.160 --> 0:14:12.760
<v Speaker 2>is because it began as a place of work, didn't

0:14:12.800 --> 0:14:15.640
<v Speaker 2>It began as a canteen to feed those who were

0:14:15.679 --> 0:14:17.719
<v Speaker 2>working together to make buildings.

0:14:18.080 --> 0:14:21.760
<v Speaker 3>The paper tape cloth here is absolutely was here so

0:14:21.800 --> 0:14:24.440
<v Speaker 3>that Richard could get out its pens and squibble on

0:14:24.480 --> 0:14:28.120
<v Speaker 3>them and design the next compute, whatever it might have been.

0:14:28.800 --> 0:14:31.320
<v Speaker 2>And I think that's why it feels so rooted in

0:14:31.360 --> 0:14:34.240
<v Speaker 2>this spot. It's here for more reasons than one might think,

0:14:34.280 --> 0:14:36.520
<v Speaker 2>even on the surface. Of course, now it's become this

0:14:36.920 --> 0:14:40.760
<v Speaker 2>incredibly sought after place to have some of the finest food,

0:14:40.800 --> 0:14:44.080
<v Speaker 2>with the finest produce, with some of the most successful

0:14:44.160 --> 0:14:48.400
<v Speaker 2>and accessible and readable and beautiful cookbits that have ever

0:14:48.440 --> 0:14:52.640
<v Speaker 2>been made. But it started because a team at lunch

0:14:52.720 --> 0:14:54.880
<v Speaker 2>time needed to eat in a place where there aren't

0:14:54.880 --> 0:14:57.280
<v Speaker 2>many restaurants. And it started from we always talk about

0:14:57.600 --> 0:14:59.120
<v Speaker 2>in any kind of work of art, what was the

0:14:59.200 --> 0:15:02.360
<v Speaker 2>need it need to be made, and this needed to

0:15:02.400 --> 0:15:04.960
<v Speaker 2>be made, like Ruthie and Richard needed to be together,

0:15:05.720 --> 0:15:08.440
<v Speaker 2>like you know, their need of each other sort of

0:15:08.520 --> 0:15:11.280
<v Speaker 2>resonated through all their friends and the vast kind of

0:15:11.800 --> 0:15:14.240
<v Speaker 2>circle of people they've gathered around them, which I really

0:15:14.320 --> 0:15:20.200
<v Speaker 2>witnessed when I was here on that the way.

0:15:23.240 --> 0:15:26.640
<v Speaker 1>I understand that you cook for the people that you

0:15:26.720 --> 0:15:28.240
<v Speaker 1>work with as any yeah every day.

0:15:28.480 --> 0:15:31.280
<v Speaker 2>Yeah so I don't cook, but I have a cook

0:15:31.360 --> 0:15:34.720
<v Speaker 2>who makes meals every day. And we started that probably

0:15:34.720 --> 0:15:37.880
<v Speaker 2>about seven years ago when we moved to a studio

0:15:37.960 --> 0:15:40.480
<v Speaker 2>that didn't really have an easy way for people to eat.

0:15:40.520 --> 0:15:43.400
<v Speaker 2>But also it was part of balancing our carbon footprint

0:15:44.120 --> 0:15:46.760
<v Speaker 2>and it seemed much more sensible. If I have around

0:15:46.800 --> 0:15:49.520
<v Speaker 2>eight to ten people in the studio every day, we

0:15:49.600 --> 0:15:53.080
<v Speaker 2>make them vegetarian food. There's no food waste, there's no packaging,

0:15:53.240 --> 0:15:55.360
<v Speaker 2>no one's running around getting bits of things in plastic

0:15:55.400 --> 0:15:58.000
<v Speaker 2>boxes or anything. But it was what's something I could do.

0:15:58.720 --> 0:16:00.920
<v Speaker 2>You know, we still fly. I can diminish it, but

0:16:00.960 --> 0:16:03.680
<v Speaker 2>I can't completely get rid of that from my practice

0:16:03.680 --> 0:16:06.200
<v Speaker 2>at the moment. But what I can do is serve

0:16:06.240 --> 0:16:08.960
<v Speaker 2>everyone a really nice vegetarian all eat together. Yeah, we

0:16:09.000 --> 0:16:11.720
<v Speaker 2>will stop work. We go around the table in my house,

0:16:11.880 --> 0:16:14.000
<v Speaker 2>there's a garden there. We all sit down and we eat.

0:16:14.400 --> 0:16:16.480
<v Speaker 2>We have a wonderful lady called Chia who's cooking for

0:16:16.560 --> 0:16:18.840
<v Speaker 2>us at the moment. We had Antonio until she had

0:16:18.880 --> 0:16:21.440
<v Speaker 2>to leave. But that's really important for me that we sit,

0:16:21.640 --> 0:16:23.720
<v Speaker 2>we talk to each other, we eat great food.

0:16:23.920 --> 0:16:28.360
<v Speaker 1>I think that again, how you combine work food. You

0:16:28.400 --> 0:16:31.960
<v Speaker 1>know that people who need to go out and go

0:16:32.280 --> 0:16:34.800
<v Speaker 1>for a walk to stop the people the idea of

0:16:34.880 --> 0:16:37.120
<v Speaker 1>the business lunch where you go to a restaurant and

0:16:37.160 --> 0:16:39.920
<v Speaker 1>you discuss work, which was an anathemat It rends a

0:16:39.960 --> 0:16:42.640
<v Speaker 1>piano Richard's partner. He thought, I remember when they were

0:16:42.640 --> 0:16:45.280
<v Speaker 1>doing the Pompa. It was like either you ate or

0:16:45.320 --> 0:16:48.520
<v Speaker 1>you worked. You never would, you know, combine the two,

0:16:48.680 --> 0:16:50.600
<v Speaker 1>you know, the idea of enjoying a meal while you

0:16:50.680 --> 0:16:53.880
<v Speaker 1>talked about work, you continue the work of the meal or.

0:16:54.320 --> 0:16:57.120
<v Speaker 2>Usually not normally, we just talk about stuff we want

0:16:57.320 --> 0:17:01.640
<v Speaker 2>to talk about. It's not working over lunch. And everyone

0:17:01.640 --> 0:17:03.520
<v Speaker 2>goes out for a walk after lunch because we're near

0:17:03.600 --> 0:17:06.280
<v Speaker 2>Dulwich Park, so people go out, they wander off, they

0:17:06.320 --> 0:17:08.760
<v Speaker 2>get a coffee, they have all break but normally know

0:17:08.800 --> 0:17:12.240
<v Speaker 2>the conversation. Either we're silent. Sometimes sometimes we just need

0:17:12.240 --> 0:17:13.800
<v Speaker 2>a break and we will sit there. We're happy in

0:17:13.840 --> 0:17:16.960
<v Speaker 2>each other's company, just eating. We're very happy to say nothing.

0:17:17.680 --> 0:17:19.760
<v Speaker 2>Or we just chit chat about any old thing that's

0:17:19.800 --> 0:17:21.800
<v Speaker 2>nothing to do with work. Or we invite people to lunch.

0:17:21.840 --> 0:17:23.800
<v Speaker 2>A lot of the time there are a lot of

0:17:24.119 --> 0:17:27.800
<v Speaker 2>kids who want to see the studio who might not

0:17:27.840 --> 0:17:32.960
<v Speaker 2>otherwise experience what a studio is like. So we're busy,

0:17:33.080 --> 0:17:35.680
<v Speaker 2>but we're always stopping for lunch. So we say come

0:17:35.680 --> 0:17:38.960
<v Speaker 2>to lunch, so they come. They get the vibe. Everyone's

0:17:39.000 --> 0:17:41.520
<v Speaker 2>not panicking because they're not meant to be working. It's

0:17:41.560 --> 0:17:43.320
<v Speaker 2>a time for a break.

0:17:43.359 --> 0:17:45.399
<v Speaker 1>And you're quite solitary.

0:17:45.600 --> 0:17:48.000
<v Speaker 2>I love being on my own. I love reading. I

0:17:48.040 --> 0:17:50.360
<v Speaker 2>always draw when I read. I write when I read,

0:17:50.440 --> 0:17:53.840
<v Speaker 2>I draw, I have to underline. I can't read without

0:17:53.840 --> 0:17:56.120
<v Speaker 2>a pen in my hand. I love it on my own,

0:17:56.160 --> 0:17:57.920
<v Speaker 2>but I don't spend very much time on my own

0:17:57.960 --> 0:18:00.480
<v Speaker 2>because I have two children out and I have eight

0:18:00.520 --> 0:18:04.560
<v Speaker 2>people in my studio minimum, so I'm rarely on my own,

0:18:04.760 --> 0:18:06.360
<v Speaker 2>so I really cherish it when I am.

0:18:06.440 --> 0:18:09.720
<v Speaker 1>Because we were talking the other day about artists and alcohol,

0:18:09.880 --> 0:18:13.680
<v Speaker 1>and drinking and going out and being together in the

0:18:13.760 --> 0:18:17.080
<v Speaker 1>evening because so many artists are alone during the day

0:18:17.359 --> 0:18:19.720
<v Speaker 1>that then when it's sort of over, you want to

0:18:19.800 --> 0:18:22.680
<v Speaker 1>kind of go out to be out. Did you have

0:18:22.720 --> 0:18:24.960
<v Speaker 1>that period in your life before you had children you

0:18:25.040 --> 0:18:26.800
<v Speaker 1>were working and then partying.

0:18:27.080 --> 0:18:28.760
<v Speaker 2>Yeah, I mean I think the time when I moved

0:18:28.800 --> 0:18:31.600
<v Speaker 2>to London, when I was at early teens. You know,

0:18:31.760 --> 0:18:33.920
<v Speaker 2>it was magical. My boyfriend at the time was.

0:18:34.080 --> 0:18:34.960
<v Speaker 1>Sixteen is young.

0:18:35.080 --> 0:18:35.600
<v Speaker 2>I was young.

0:18:35.720 --> 0:18:37.560
<v Speaker 1>Well your parents were fine with that.

0:18:37.960 --> 0:18:41.399
<v Speaker 2>And not really no. Yeah, I was kind of determined

0:18:41.480 --> 0:18:45.080
<v Speaker 2>in what I wanted to do, and it was music.

0:18:45.359 --> 0:18:47.720
<v Speaker 2>My boyfriend at the time was a record producer and

0:18:47.760 --> 0:18:49.399
<v Speaker 2>a sound engineer, so I was with a lot of

0:18:49.480 --> 0:18:52.760
<v Speaker 2>musicians and I spent a lot of time in recording studios,

0:18:53.359 --> 0:18:57.200
<v Speaker 2>just observing how music is made, how tracks are recorded,

0:18:57.760 --> 0:19:01.400
<v Speaker 2>how music is edited. That was a really formative time

0:19:01.480 --> 0:19:05.160
<v Speaker 2>to get under the skin of recording in music. And

0:19:05.200 --> 0:19:07.679
<v Speaker 2>then when I was in Bristol, that was probably my

0:19:07.760 --> 0:19:11.480
<v Speaker 2>most party time. That was my hallucinogenic moment.

0:19:11.840 --> 0:19:13.760
<v Speaker 1>Tell me about then when you left home.

0:19:13.760 --> 0:19:16.680
<v Speaker 2>I was about sixteen and I fell in love with

0:19:16.720 --> 0:19:18.760
<v Speaker 2>a man who was twenty four. I did finish school.

0:19:18.800 --> 0:19:20.320
<v Speaker 2>But I spent a lot of time in London.

0:19:20.480 --> 0:19:23.880
<v Speaker 1>Has that a domestic situation? Did you live in a

0:19:23.920 --> 0:19:25.840
<v Speaker 1>house and have to cook and shop for yourself?

0:19:26.560 --> 0:19:28.680
<v Speaker 2>But we do. You know, we had hardly ever been

0:19:28.680 --> 0:19:31.040
<v Speaker 2>to a restaurant when we didn't go to restaurants ever,

0:19:31.080 --> 0:19:32.959
<v Speaker 2>we didn't have the money for kids in a restaurant,

0:19:32.960 --> 0:19:35.080
<v Speaker 2>and restaurants in England at the time, it wasn't the

0:19:35.080 --> 0:19:37.879
<v Speaker 2>same thing that we're talking about. Well, as I was

0:19:37.920 --> 0:19:40.320
<v Speaker 2>growing up in the seventies and eighties, we never went

0:19:40.359 --> 0:19:42.880
<v Speaker 2>to a I can remember going to a restaurant.

0:19:42.560 --> 0:19:45.000
<v Speaker 1>Once special occasion, or I think it.

0:19:44.960 --> 0:19:47.240
<v Speaker 2>Was because the car broke down and we went and

0:19:47.240 --> 0:19:49.440
<v Speaker 2>it had red walls and the parmesan was off. That's

0:19:49.440 --> 0:19:52.840
<v Speaker 2>all I remember about a restaurant. So the first time

0:19:52.880 --> 0:19:54.960
<v Speaker 2>I really remember going to restaurants was when I was

0:19:55.000 --> 0:19:58.720
<v Speaker 2>sixteen and I met my boyfriend and he would take

0:19:58.760 --> 0:20:01.280
<v Speaker 2>me out in London to restaurants and we went to

0:20:02.000 --> 0:20:04.600
<v Speaker 2>Mister Wing and we ate duck pancakes. It's an Earl's

0:20:04.600 --> 0:20:10.080
<v Speaker 2>Court and Julie's restaurant and those were the rest and

0:20:10.160 --> 0:20:11.840
<v Speaker 2>I was like, wow, this is crazy.

0:20:12.000 --> 0:20:14.960
<v Speaker 1>Yeah, so you ate in restaurants and maybe cooked for

0:20:15.040 --> 0:20:16.120
<v Speaker 1>yourself or yeah.

0:20:16.160 --> 0:20:17.679
<v Speaker 2>Then I did do a bit of cooking, and I

0:20:17.720 --> 0:20:19.600
<v Speaker 2>would have been at university when I got your book.

0:20:19.680 --> 0:20:23.000
<v Speaker 2>I didn't have any furniture. I had a wooden palette

0:20:23.000 --> 0:20:25.160
<v Speaker 2>on the floor and I put cushions around it. And

0:20:25.200 --> 0:20:27.399
<v Speaker 2>I would try and make the River Cafe recipes. That

0:20:27.480 --> 0:20:28.760
<v Speaker 2>was when I first got the blue book.

0:20:29.160 --> 0:20:31.879
<v Speaker 1>And then you cooked your way through university? Did you

0:20:31.960 --> 0:20:33.160
<v Speaker 1>stay there? Yeah?

0:20:33.240 --> 0:20:35.720
<v Speaker 2>Yeah, and I did cook. Then I would eat veggie

0:20:35.760 --> 0:20:38.800
<v Speaker 2>burgers in the cafe. Vegetarian at that I wasn't. No,

0:20:38.920 --> 0:20:41.359
<v Speaker 2>I just like the veggie burgers. I wasn't vegetarian. Then

0:20:41.359 --> 0:20:43.600
<v Speaker 2>I would make chicken. I would do tie dinners, and

0:20:43.640 --> 0:20:46.560
<v Speaker 2>I would get the galangle and lime and coconut milk

0:20:46.640 --> 0:20:49.080
<v Speaker 2>and make chicken coconut milk soup. I would do that.

0:20:49.440 --> 0:20:51.560
<v Speaker 1>So when you left Bristol, and what did you do?

0:20:52.119 --> 0:20:56.320
<v Speaker 2>When I left Bristol, I had been writing, as you do.

0:20:56.400 --> 0:20:58.439
<v Speaker 2>I was doing an English literature degree, so I was

0:20:58.520 --> 0:21:02.080
<v Speaker 2>reading and writing, reading, reading, writing for three years. But

0:21:02.160 --> 0:21:04.720
<v Speaker 2>I also wanted to paint, so I painted a lot.

0:21:05.200 --> 0:21:08.320
<v Speaker 2>I painted my whole house, which was rented.

0:21:09.520 --> 0:21:10.920
<v Speaker 1>Murals on the walls.

0:21:10.800 --> 0:21:13.280
<v Speaker 2>Yeah wow. And it was a rented apartment, and it

0:21:13.320 --> 0:21:16.160
<v Speaker 2>had a shag pile carpet that I ripped off. It

0:21:16.200 --> 0:21:18.560
<v Speaker 2>was disgusting, had carpet all over the side of the bath.

0:21:19.080 --> 0:21:21.199
<v Speaker 2>So I took all the carpets away and painted on

0:21:21.240 --> 0:21:24.320
<v Speaker 2>the floor great big murals and painted a lot of

0:21:24.400 --> 0:21:25.399
<v Speaker 2>I made a lot of things.

0:21:25.480 --> 0:21:27.560
<v Speaker 1>Did your landlord ever stop by to visit?

0:21:28.040 --> 0:21:28.399
<v Speaker 2>No?

0:21:28.880 --> 0:21:29.280
<v Speaker 1>In trouble.

0:21:29.320 --> 0:21:30.600
<v Speaker 2>When I left, I had to put it all. I

0:21:30.640 --> 0:21:33.080
<v Speaker 2>had to get a new shag pile carpet, put it back.

0:21:33.640 --> 0:21:37.640
<v Speaker 1>So underneath some person's apartment, you should go back there

0:21:37.680 --> 0:21:43.399
<v Speaker 1>and lift up the carpet. Discovery and Michelangelo under under canvas,

0:21:43.480 --> 0:21:43.760
<v Speaker 1>you know.

0:21:46.000 --> 0:21:48.840
<v Speaker 2>Have a look in number one three five cotton brow

0:21:49.200 --> 0:21:52.200
<v Speaker 2>one three nine. I can't remember, but so I wanted

0:21:52.240 --> 0:21:56.280
<v Speaker 2>to make art there. And I went to Saint Martin's

0:21:56.680 --> 0:21:58.160
<v Speaker 2>and I did the foundation course.

0:21:58.640 --> 0:22:01.120
<v Speaker 1>After the university, I did it all back front. It's

0:22:01.160 --> 0:22:04.119
<v Speaker 1>not bad to have one education and then have another.

0:22:04.280 --> 0:22:05.800
<v Speaker 1>I wasn't ready to go to art school.

0:22:05.960 --> 0:22:09.160
<v Speaker 2>Although I'd always made art at school, I wasn't ready

0:22:09.200 --> 0:22:11.320
<v Speaker 2>to go to art school, not least because if you

0:22:11.359 --> 0:22:13.880
<v Speaker 2>went to art school you had to stay living at home. Yeah,

0:22:13.920 --> 0:22:16.720
<v Speaker 2>And I wanted to move. I wanted to live in Bristol,

0:22:17.600 --> 0:22:19.760
<v Speaker 2>so yeah, I went to Saint Martin's and had the

0:22:19.760 --> 0:22:22.959
<v Speaker 2>most you know, rich year of just I was. I

0:22:23.040 --> 0:22:25.480
<v Speaker 2>was a mature student by then. Everyone else was eighteen.

0:22:26.200 --> 0:22:28.200
<v Speaker 2>I was twenty one and quite old. So I did

0:22:28.240 --> 0:22:32.840
<v Speaker 2>everything there. You really got into photography, printmaking, sculpture, made

0:22:32.840 --> 0:22:35.360
<v Speaker 2>a lot of books. I sowed a book. I decided

0:22:35.359 --> 0:22:38.320
<v Speaker 2>a book had to be made completely stitched. And then

0:22:38.400 --> 0:22:40.840
<v Speaker 2>people kept saying to me, oh, you really should check

0:22:40.840 --> 0:22:42.200
<v Speaker 2>out this theater design course.

0:22:42.359 --> 0:22:44.080
<v Speaker 1>A'd sat minds There was a.

0:22:44.040 --> 0:22:47.720
<v Speaker 2>Specific one called Motley Theater Design Course, which was run

0:22:47.760 --> 0:22:50.399
<v Speaker 2>by a ninety three year old lady called Percy Harris,

0:22:50.440 --> 0:22:52.159
<v Speaker 2>who's a bit of a legend in the world of

0:22:52.200 --> 0:22:55.080
<v Speaker 2>stage design. And I said, I don't really care about theater.

0:22:55.320 --> 0:22:58.000
<v Speaker 2>It's quite boring. I never sit through and was asleep,

0:22:58.080 --> 0:23:00.560
<v Speaker 2>or it's a music it's kind of embarrassing. Want to

0:23:00.720 --> 0:23:03.879
<v Speaker 2>do theater? And they said, no, no, just go and

0:23:03.960 --> 0:23:06.879
<v Speaker 2>check out this course. And I walked in and it

0:23:06.920 --> 0:23:10.480
<v Speaker 2>was this red room, smell of pot noodle. Definitely saw

0:23:10.520 --> 0:23:11.200
<v Speaker 2>a mouse.

0:23:11.040 --> 0:23:13.640
<v Speaker 1>And where was it. It was in the.

0:23:13.080 --> 0:23:16.960
<v Speaker 2>Scene dock of the theater Royal Drury Lane at the time,

0:23:17.000 --> 0:23:19.280
<v Speaker 2>there was Miss Saigon. So every night you would hear

0:23:19.280 --> 0:23:24.040
<v Speaker 2>the helicopter coming down, and it was just ten students,

0:23:24.280 --> 0:23:28.000
<v Speaker 2>pretty much feral, slightly smelly. They hadn't left that room

0:23:28.040 --> 0:23:28.440
<v Speaker 2>for a year.

0:23:28.640 --> 0:23:28.960
<v Speaker 1>Wow.

0:23:29.040 --> 0:23:31.840
<v Speaker 2>They were just in and they were making. They had

0:23:31.880 --> 0:23:34.399
<v Speaker 2>little model theaters, they were listening to opera. There was

0:23:35.160 --> 0:23:38.520
<v Speaker 2>references and photographs and painting stuck all over the wall.

0:23:39.200 --> 0:23:41.720
<v Speaker 2>And I felt, I thought, this is my tribe. I'm

0:23:41.760 --> 0:23:45.320
<v Speaker 2>happy and I've never really left that room. In a way.

0:23:45.359 --> 0:23:47.800
<v Speaker 2>Whatever I'm making, it's in a room. My room now

0:23:47.880 --> 0:23:51.520
<v Speaker 2>is kind of like that. It's covered in stuff, Piles

0:23:51.520 --> 0:23:54.439
<v Speaker 2>and piles of books, tons of little drawings and pictures

0:23:54.440 --> 0:23:58.160
<v Speaker 2>all over the wall, lots of little sculptures, quite magical,

0:23:58.160 --> 0:23:58.920
<v Speaker 2>lots of miniatures.

0:23:59.000 --> 0:24:02.040
<v Speaker 1>You have a beautiful voice. Did you sing? Do you know?

0:24:02.119 --> 0:24:04.160
<v Speaker 2>I did try and say occasion, I was so bad.

0:24:04.720 --> 0:24:07.400
<v Speaker 2>Funnily enough, I've learned to use my voice a bit now.

0:24:07.440 --> 0:24:11.320
<v Speaker 2>When I make sculptures, I speak in them. But about

0:24:11.400 --> 0:24:12.360
<v Speaker 2>tell me more about that?

0:24:12.440 --> 0:24:13.000
<v Speaker 1>What do you mean?

0:24:13.280 --> 0:24:15.720
<v Speaker 2>Well, there's a work that's on in Miami at the

0:24:15.720 --> 0:24:18.840
<v Speaker 2>moment called Forest of Us and it starts as a

0:24:18.880 --> 0:24:24.280
<v Speaker 2>small film with me talking. Really just noticing the similarity

0:24:24.359 --> 0:24:28.640
<v Speaker 2>between the shape of human lungs and the shape of trees,

0:24:28.960 --> 0:24:32.040
<v Speaker 2>and just observing that. Then the film comes apart and

0:24:32.080 --> 0:24:37.879
<v Speaker 2>you walk into a sculpture that reverberates that observation. But

0:24:38.440 --> 0:24:41.120
<v Speaker 2>when I first made these types of works in twenty sixteen,

0:24:41.920 --> 0:24:43.400
<v Speaker 2>I would never have used my voice.

0:24:44.000 --> 0:24:44.760
<v Speaker 1>Like a lot of people.

0:24:44.800 --> 0:24:47.200
<v Speaker 2>If I heard my voice on an answering machine back

0:24:47.200 --> 0:24:49.200
<v Speaker 2>in the day when we had answers, I've been back.

0:24:49.280 --> 0:24:51.439
<v Speaker 2>Oh God, I don't sound like that. That's weird. I

0:24:51.520 --> 0:24:55.119
<v Speaker 2>sound you know, that's terrible that I got used to

0:24:55.160 --> 0:24:59.280
<v Speaker 2>it when I used to read my children's stories when

0:24:59.320 --> 0:25:01.840
<v Speaker 2>I put them to sleep, and I got used to

0:25:01.920 --> 0:25:04.159
<v Speaker 2>the different quality of sound. If I had one of

0:25:04.200 --> 0:25:07.520
<v Speaker 2>their heads on my chest, my voice sounded different, and

0:25:07.560 --> 0:25:10.199
<v Speaker 2>I got used to that, and I kind of became

0:25:10.280 --> 0:25:12.760
<v Speaker 2>comfortable with my own voice around.

0:25:12.520 --> 0:25:18.360
<v Speaker 1>Then, stories and boys and theater and designing the story

0:25:18.400 --> 0:25:21.679
<v Speaker 1>of your growing up, decorating the cakes to going to

0:25:21.720 --> 0:25:25.600
<v Speaker 1>Bristol and cooking Thai food and putting murals under carpets.

0:25:25.640 --> 0:25:28.720
<v Speaker 1>It's all about discovery and trying to find the story

0:25:28.960 --> 0:25:32.280
<v Speaker 1>with the theme underneath it. And then food is the same.

0:25:32.520 --> 0:25:35.439
<v Speaker 1>You have the ingredients. You try and think how you

0:25:35.480 --> 0:25:38.800
<v Speaker 1>can respect the ingredient, the simplicity of the ingredient, if

0:25:38.840 --> 0:25:41.960
<v Speaker 1>you're a vegetarian, if you're vegan, if you're trying to

0:25:42.000 --> 0:25:45.000
<v Speaker 1>do something with or without. It always is that kind

0:25:45.040 --> 0:25:47.800
<v Speaker 1>of restraint which then leads to the richness, doesn't it.

0:25:47.840 --> 0:25:49.720
<v Speaker 2>I think so when I think everything that you're just

0:25:49.800 --> 0:25:54.359
<v Speaker 2>describing there is also about seeking a very basic human

0:25:54.440 --> 0:25:58.200
<v Speaker 2>need for being participant in ritual. Yeah, and we were

0:25:58.200 --> 0:26:01.960
<v Speaker 2>talking actually a little earlier about river, caffe and ritual.

0:26:02.560 --> 0:26:04.960
<v Speaker 2>And you've got all the ingredients here for ritual. You

0:26:05.000 --> 0:26:07.040
<v Speaker 2>have the river, you have the fire, you have that

0:26:07.119 --> 0:26:10.360
<v Speaker 2>piazza of grass, And I think more and more it's

0:26:10.359 --> 0:26:13.400
<v Speaker 2>what we lack and it's what we seek. The storytelling

0:26:13.480 --> 0:26:17.000
<v Speaker 2>voice is another way of calibrating time. It's such a

0:26:17.040 --> 0:26:19.840
<v Speaker 2>tiny fragment of our existence as a species that we

0:26:19.960 --> 0:26:24.760
<v Speaker 2>calibrate time with a clock mechanical digital that's so recent.

0:26:25.080 --> 0:26:29.280
<v Speaker 2>It was always calibration by means of planet tree distance.

0:26:28.960 --> 0:26:30.880
<v Speaker 1>And when is the right time. When Richard was doing

0:26:31.000 --> 0:26:33.800
<v Speaker 1>Lloyd's they wanted to put a clock on the outside

0:26:33.800 --> 0:26:36.920
<v Speaker 1>of the building. How we went to Gane Tangley and said,

0:26:37.240 --> 0:26:39.679
<v Speaker 1>would you possibly design a clock. It was a real

0:26:39.760 --> 0:26:41.520
<v Speaker 1>whole long story, which is you had to call them

0:26:41.560 --> 0:26:44.080
<v Speaker 1>at a certain time of day, and somehow I was

0:26:44.160 --> 0:26:46.040
<v Speaker 1>very involved in this, and so I made the call

0:26:46.080 --> 0:26:48.119
<v Speaker 1>and you had to tell him right away what you wanted.

0:26:48.560 --> 0:26:50.800
<v Speaker 1>And so I said, mister Tangly, you know, this is

0:26:50.880 --> 0:26:52.760
<v Speaker 1>Richard Roger's wife, and we'd like to put a clock

0:26:52.800 --> 0:26:56.040
<v Speaker 1>on the outside of Lloyd's. Anyway, that's fantastic. I love

0:26:56.119 --> 0:26:59.399
<v Speaker 1>Richard Rogers's work, I love Lloyd's, I love insurance, I

0:26:59.440 --> 0:27:02.440
<v Speaker 1>love clock. This is a brilliant idea. And he thought

0:27:02.480 --> 0:27:04.280
<v Speaker 1>about it. We talked about it, and then he said,

0:27:04.320 --> 0:27:07.280
<v Speaker 1>there's there's just one thing that if I design a

0:27:07.280 --> 0:27:10.840
<v Speaker 1>clock for you, there's one condition. And I said what

0:27:10.880 --> 0:27:12.679
<v Speaker 1>would that be? And he said, the clock must not

0:27:12.760 --> 0:27:16.080
<v Speaker 1>tell the correct time. Wonderful, and you know, and they have.

0:27:16.200 --> 0:27:18.560
<v Speaker 1>Of course Lloyd's went next. You know, they weren't totally

0:27:18.800 --> 0:27:20.719
<v Speaker 1>but the idea that you could have a clock that

0:27:20.760 --> 0:27:23.679
<v Speaker 1>you knew as a you know, as a ritual, as

0:27:23.720 --> 0:27:26.719
<v Speaker 1>a consistent which which would not be correct. It is okay,

0:27:26.880 --> 0:27:29.160
<v Speaker 1>I'll meet you under the Lloyd's clock, but I don't

0:27:29.200 --> 0:27:30.640
<v Speaker 1>know what time that will be.

0:27:31.200 --> 0:27:34.040
<v Speaker 2>I think so I think these these other ways of

0:27:34.119 --> 0:27:37.080
<v Speaker 2>calibrating time that are not digital. And I think one

0:27:37.080 --> 0:27:39.159
<v Speaker 2>of the things I started doing. I was traveling a

0:27:39.160 --> 0:27:43.760
<v Speaker 2>lot too much for a while, and to sort of

0:27:44.160 --> 0:27:47.760
<v Speaker 2>earth myself, I would every morning when I would wake up,

0:27:47.920 --> 0:27:50.720
<v Speaker 2>I wouldn't quite know where I was. Straight away, I

0:27:50.720 --> 0:27:54.359
<v Speaker 2>didn't know, and I would just observe the light coming

0:27:54.400 --> 0:27:57.480
<v Speaker 2>through the gap in the two curtains, and for a

0:27:57.520 --> 0:27:59.320
<v Speaker 2>while I just say, Okay, I don't know anything else.

0:27:59.440 --> 0:28:01.480
<v Speaker 2>I just know that line of light. And I started

0:28:01.480 --> 0:28:04.760
<v Speaker 2>photographing them, and I've been doing it for about twenty years,

0:28:05.320 --> 0:28:08.200
<v Speaker 2>and I now I'm in a state where in the morning,

0:28:08.240 --> 0:28:10.800
<v Speaker 2>even if I wake up at home, I don't have curtains.

0:28:10.800 --> 0:28:13.720
<v Speaker 2>I have blinds. So what you see are these two.

0:28:13.560 --> 0:28:14.360
<v Speaker 1>Squares have light.

0:28:14.440 --> 0:28:18.600
<v Speaker 2>Two yeah, beautiful squares of light. And actually the door

0:28:18.760 --> 0:28:20.680
<v Speaker 2>doesn't quite shut probably, so I often get a line

0:28:20.720 --> 0:28:23.120
<v Speaker 2>of light through the door and I just sit with those.

0:28:23.160 --> 0:28:25.320
<v Speaker 2>I set my alarm twenty minutes before I have to

0:28:25.359 --> 0:28:28.399
<v Speaker 2>get up, which is what time normally I get up

0:28:28.400 --> 0:28:30.840
<v Speaker 2>around seven point thirty. But I try to just have

0:28:30.960 --> 0:28:33.520
<v Speaker 2>that moment with the lines of light, like a sort

0:28:33.560 --> 0:28:35.520
<v Speaker 2>of you know, the room is a sun dial.

0:28:46.640 --> 0:28:49.680
<v Speaker 1>The River Cafe is excited to announce the return of

0:28:49.720 --> 0:28:54.200
<v Speaker 1>our Italian Christmas Gift Boxes, our alternative to the traditional

0:28:54.240 --> 0:28:57.120
<v Speaker 1>have the The gift boxes bring you all of our

0:28:57.160 --> 0:29:01.880
<v Speaker 1>favorites from the River Cafe, kitchen, vineyards and the designers

0:29:01.960 --> 0:29:05.280
<v Speaker 1>from all over Italy. They're available to pre order now

0:29:05.440 --> 0:29:12.560
<v Speaker 1>on Shop the River Cafe do co UK. Tell me

0:29:12.600 --> 0:29:15.160
<v Speaker 1>about the most recent or most interesting set you've done,

0:29:15.200 --> 0:29:17.240
<v Speaker 1>that you've worked out. Do we call them sets? Do

0:29:17.240 --> 0:29:18.280
<v Speaker 1>you still call themselves?

0:29:18.280 --> 0:29:20.240
<v Speaker 2>Well, you might call them a stage sculpture. I mean

0:29:20.280 --> 0:29:24.800
<v Speaker 2>I think historically set design hierarchically, Yeah.

0:29:24.800 --> 0:29:26.400
<v Speaker 1>Tell me about set design, well.

0:29:26.760 --> 0:29:32.040
<v Speaker 2>It sometimes has been perhaps regarded as something decorative or something.

0:29:32.600 --> 0:29:35.640
<v Speaker 2>So the only reason I am a little bit particular

0:29:35.680 --> 0:29:37.760
<v Speaker 2>about the words I used to describe it is it

0:29:37.840 --> 0:29:41.080
<v Speaker 2>just helps people to recognize that objects can be protagonists,

0:29:41.440 --> 0:29:44.680
<v Speaker 2>that environments can speak, that places speak, that you know,

0:29:44.800 --> 0:29:46.800
<v Speaker 2>a cup if it's picked up in this particular way

0:29:46.880 --> 0:29:50.320
<v Speaker 2>under a particular like can you know, be vocal about

0:29:50.320 --> 0:29:53.320
<v Speaker 2>stuff in the way that mountains can and rock scan

0:29:53.440 --> 0:29:57.200
<v Speaker 2>and stream scan, you know, and animals can. That's why

0:29:57.240 --> 0:29:59.239
<v Speaker 2>I use stage sculptures a bit just to kind of

0:29:59.640 --> 0:30:03.560
<v Speaker 2>provoke a little bit, but a recent one. There's one

0:30:03.560 --> 0:30:05.840
<v Speaker 2>out on at the moment actually at the Gilgod Theater

0:30:06.560 --> 0:30:08.320
<v Speaker 2>for The Crucible, a.

0:30:08.360 --> 0:30:11.080
<v Speaker 1>Book that we all if you're American and you grew

0:30:11.200 --> 0:30:14.360
<v Speaker 1>up in high school in America, we all with the Crucible.

0:30:14.400 --> 0:30:17.240
<v Speaker 2>Tell me about the Crucible and this up well, when

0:30:17.320 --> 0:30:20.080
<v Speaker 2>you enter the space. It was at the Olivier Theater

0:30:20.280 --> 0:30:22.560
<v Speaker 2>at the National and now it's at the Gilgud Theater.

0:30:23.120 --> 0:30:26.440
<v Speaker 2>When you enter the space, it already confronts you because

0:30:26.440 --> 0:30:30.840
<v Speaker 2>it is a living box of water pouring, and in

0:30:30.880 --> 0:30:33.880
<v Speaker 2>the Gildgod particularly, it's somewhat unnerving because the gil Good

0:30:33.920 --> 0:30:39.360
<v Speaker 2>is a beautiful ornate iced cake of a proscenium Edwardian theater.

0:30:40.360 --> 0:30:43.000
<v Speaker 2>So it makes you anxious straight away to see this

0:30:43.120 --> 0:30:46.600
<v Speaker 2>water pouring like is there a giant leak? That it's

0:30:46.640 --> 0:30:51.200
<v Speaker 2>pretty powerful, and it already helps heighten the atmosphere. You know,

0:30:51.200 --> 0:30:53.600
<v Speaker 2>there's always that terrible moment when you go in a

0:30:53.640 --> 0:30:55.760
<v Speaker 2>theater and you've bought your popcorn or whatever. You sit down,

0:30:55.880 --> 0:30:58.760
<v Speaker 2>the seats are uncomfortable. You're with a friend. You're not

0:30:58.800 --> 0:31:00.560
<v Speaker 2>sure that they're going to like it. They might find

0:31:00.560 --> 0:31:02.960
<v Speaker 2>it boring, because theater can be crap, you know, and

0:31:03.040 --> 0:31:06.520
<v Speaker 2>crack theater is some of the crappiest thing you can imagine.

0:31:06.200 --> 0:31:07.320
<v Speaker 1>Because it's hard to do well.

0:31:07.440 --> 0:31:10.520
<v Speaker 2>So if you sit down and you've got all those anxieties,

0:31:10.520 --> 0:31:11.960
<v Speaker 2>will it be good? Will it be bad? Will I

0:31:12.000 --> 0:31:15.760
<v Speaker 2>be bored? If already there's a gesture that's confident, that

0:31:15.840 --> 0:31:18.800
<v Speaker 2>already says I'm going to look after you, I'll keep

0:31:18.840 --> 0:31:21.640
<v Speaker 2>You're safe, You're safe with me, then it's a bit

0:31:21.720 --> 0:31:24.360
<v Speaker 2>like a restaurant. You walk in and the colors are

0:31:24.400 --> 0:31:28.040
<v Speaker 2>being chosen, people already relax, And I think what happens

0:31:28.080 --> 0:31:30.800
<v Speaker 2>is people become already tuned in a little bit to

0:31:30.840 --> 0:31:33.160
<v Speaker 2>the vibration of the gesture.

0:31:33.480 --> 0:31:35.920
<v Speaker 1>Have the sets usually lit then before you when you

0:31:35.960 --> 0:31:38.280
<v Speaker 1>sit down, you can see what it's going to be.

0:31:38.840 --> 0:31:40.200
<v Speaker 1>Is it dark, going to light?

0:31:40.480 --> 0:31:44.400
<v Speaker 2>And well, it varies, but I'm trying to, I guess,

0:31:44.400 --> 0:31:47.320
<v Speaker 2>increase the porosity between the feeling of walking into the

0:31:47.360 --> 0:31:51.640
<v Speaker 2>Turbine Hall or the Serpentine and the feeling of walking

0:31:51.640 --> 0:31:56.160
<v Speaker 2>into the Gilgod Theater. And I think if you walk

0:31:56.200 --> 0:31:58.840
<v Speaker 2>in there's already a sculpture there, you engage in a

0:31:58.880 --> 0:32:01.800
<v Speaker 2>different way, and then of course the music begins, and

0:32:01.840 --> 0:32:04.640
<v Speaker 2>in this case, it's Caroline Shaw has done this extraordinary

0:32:04.880 --> 0:32:08.720
<v Speaker 2>work with an extraordinary musical director as well. And these

0:32:08.800 --> 0:32:12.800
<v Speaker 2>voices begin and they are cost you and you don't

0:32:12.840 --> 0:32:15.320
<v Speaker 2>have time to worry anymore. You're grabbed.

0:32:15.600 --> 0:32:17.720
<v Speaker 1>Do you work with a director from the very first,

0:32:18.240 --> 0:32:20.840
<v Speaker 1>when he starts or she starts thinking about how the

0:32:20.840 --> 0:32:23.560
<v Speaker 1>play is going to be directed? Because I do that

0:32:23.600 --> 0:32:25.840
<v Speaker 1>with a book. We don't write the recipes and then

0:32:25.920 --> 0:32:30.080
<v Speaker 1>talk to the photographer and the graphic designer. We all

0:32:30.480 --> 0:32:33.880
<v Speaker 1>sit around the table and think, what is every page

0:32:33.960 --> 0:32:35.920
<v Speaker 1>going to be? How are we going to photograph this

0:32:36.080 --> 0:32:38.000
<v Speaker 1>before we even cook it, or how are we going

0:32:38.040 --> 0:32:41.360
<v Speaker 1>to make the page make you want to cook a

0:32:41.360 --> 0:32:45.800
<v Speaker 1>recipe and make it clear. So it all starts with that.

0:32:45.960 --> 0:32:47.440
<v Speaker 1>And is that the way it is with you?

0:32:48.000 --> 0:32:50.480
<v Speaker 2>With Lindsay Turner, she's the director of the Crucible, and

0:32:50.520 --> 0:32:51.960
<v Speaker 2>she and I have worked together now for quite a

0:32:52.000 --> 0:32:54.120
<v Speaker 2>long time, for ten years. Actually, I spend quite a

0:32:54.120 --> 0:32:56.040
<v Speaker 2>lot of time on a farm in Sussex and she

0:32:56.120 --> 0:33:01.959
<v Speaker 2>came down there oka tell me that I haven't I

0:33:01.960 --> 0:33:04.200
<v Speaker 2>only just got I haven't done much with it yet.

0:33:05.560 --> 0:33:07.800
<v Speaker 1>What do you want to do? This is a diversion

0:33:07.840 --> 0:33:09.080
<v Speaker 1>from the Crucible.

0:33:08.680 --> 0:33:12.959
<v Speaker 2>But well, my dream would be that the people in

0:33:12.960 --> 0:33:16.160
<v Speaker 2>my studio who are on computers a lot of the time,

0:33:16.960 --> 0:33:19.480
<v Speaker 2>I would really like it that on a Friday or

0:33:19.480 --> 0:33:21.960
<v Speaker 2>maybe once a month or what often we can do it,

0:33:22.360 --> 0:33:24.640
<v Speaker 2>they would come to the farm and put their hands

0:33:24.640 --> 0:33:27.120
<v Speaker 2>in the earth. And it's just a visual symmetry as well.

0:33:27.160 --> 0:33:29.960
<v Speaker 2>If these hands are on computer keys all the time

0:33:30.200 --> 0:33:34.120
<v Speaker 2>and these imaginations are everywhere, but the nature of our practices,

0:33:34.160 --> 0:33:35.840
<v Speaker 2>they're making models, but a lot of the time they're

0:33:35.880 --> 0:33:38.560
<v Speaker 2>on computers, and I think it be beautiful for them

0:33:38.560 --> 0:33:42.160
<v Speaker 2>to be hands in earth, you know, helping to grow

0:33:42.200 --> 0:33:46.840
<v Speaker 2>the food that we then eat. That would be the dream. Yeah,

0:33:46.880 --> 0:33:48.200
<v Speaker 2>that's the dream. So that's what we're great.

0:33:48.240 --> 0:33:50.840
<v Speaker 1>It takes time. We went to the farm with So I.

0:33:50.760 --> 0:33:52.480
<v Speaker 2>Went to the farm with Lindsay and we sat and

0:33:52.520 --> 0:33:56.360
<v Speaker 2>we read the Crucible. We just read the whole thing aloud.

0:33:56.680 --> 0:33:59.280
<v Speaker 2>And that's what we always do, is we read it

0:33:59.520 --> 0:34:03.240
<v Speaker 2>so that play exists between us. We just share the parts,

0:34:03.960 --> 0:34:07.440
<v Speaker 2>so that before we start, even before talking about.

0:34:07.320 --> 0:34:09.279
<v Speaker 1>Was it her idea to put it on? Was it her?

0:34:09.680 --> 0:34:11.080
<v Speaker 1>She brought it to the nation.

0:34:11.480 --> 0:34:13.400
<v Speaker 2>She had the vision to do it, and she had

0:34:13.400 --> 0:34:16.279
<v Speaker 2>a really clear vision for how she wanted to do it.

0:34:16.560 --> 0:34:19.879
<v Speaker 2>But even after that first reading, we started to say,

0:34:19.880 --> 0:34:21.920
<v Speaker 2>what if. What if the first scene was just this

0:34:21.960 --> 0:34:26.520
<v Speaker 2>group of girls sitting at the back of the congregation muttering,

0:34:26.560 --> 0:34:28.440
<v Speaker 2>and then one of them gets slapped and we just

0:34:28.440 --> 0:34:30.680
<v Speaker 2>see them from the back. So we sort of conjured

0:34:30.719 --> 0:34:33.040
<v Speaker 2>the first scene and that led to the environment and

0:34:33.040 --> 0:34:34.520
<v Speaker 2>the sculpture around it.

0:34:34.560 --> 0:34:37.480
<v Speaker 1>Would you direct yourself? Would you say I can do both?

0:34:37.640 --> 0:34:41.280
<v Speaker 2>Yeah? I sometimes do, especially with the music, and sometimes

0:34:41.760 --> 0:34:44.960
<v Speaker 2>but I really like the collaboration with the director. I

0:34:45.040 --> 0:34:48.000
<v Speaker 2>direct the materials and the you know how the life

0:34:48.280 --> 0:34:51.840
<v Speaker 2>video and the materials might coalesce, and she directs the

0:34:52.000 --> 0:34:54.400
<v Speaker 2>performers and the cast, and it's a lot of directing

0:34:54.400 --> 0:34:57.520
<v Speaker 2>of different material and human things.

0:34:57.800 --> 0:34:59.640
<v Speaker 1>Do you go where do your players aren't? Do you

0:34:59.680 --> 0:35:03.919
<v Speaker 1>go often to see it? And how this said once?

0:35:04.080 --> 0:35:06.640
<v Speaker 2>Yeah, I'm normally onto, I'm normally onto the next thing,

0:35:06.680 --> 0:35:09.440
<v Speaker 2>but I love to go back. Yeah, you know, especially

0:35:09.520 --> 0:35:11.239
<v Speaker 2>towards the end, towards the final night.

0:35:11.640 --> 0:35:13.840
<v Speaker 1>What was it like working with Beyonce then from the

0:35:13.880 --> 0:35:16.480
<v Speaker 1>Crucible to Beyonce or was a Beyonce to the Crucible?

0:35:16.640 --> 0:35:19.360
<v Speaker 2>Well, I've been working with her for a long time

0:35:19.440 --> 0:35:24.080
<v Speaker 2>because we started in twenty fifteen. Oh yeah, that's a

0:35:24.239 --> 0:35:29.000
<v Speaker 2>very big team, lots of extraordinary collaborators over time all

0:35:29.000 --> 0:35:32.680
<v Speaker 2>over the world and a massive production and also with

0:35:32.840 --> 0:35:35.759
<v Speaker 2>able test Fay the weekend so his stadium show was

0:35:35.800 --> 0:35:37.640
<v Speaker 2>also happy at the same time, so there was one

0:35:37.760 --> 0:35:42.120
<v Speaker 2>night where you could go and see Beyonce the weekend

0:35:42.719 --> 0:35:45.520
<v Speaker 2>or another place near England, which is really good.

0:35:45.440 --> 0:35:48.560
<v Speaker 1>To see that on Monday, Yeah, way to see that.

0:35:49.239 --> 0:35:52.120
<v Speaker 2>I tell you what's fun about that is it's a

0:35:52.239 --> 0:35:56.319
<v Speaker 2>really divided audience. It's an audience who loved theater but

0:35:56.400 --> 0:35:58.600
<v Speaker 2>might not always be so interested in football. Yeah, it's

0:35:58.600 --> 0:36:01.360
<v Speaker 2>an audience who really might not normally set for in

0:36:01.400 --> 0:36:04.080
<v Speaker 2>a theater but love football, like my son who doesn't

0:36:04.120 --> 0:36:07.000
<v Speaker 2>like theater but likes football. So Ludo will come for that.

0:36:07.440 --> 0:36:09.719
<v Speaker 2>And at the beginning there's a little shiftiness like am

0:36:09.719 --> 0:36:11.880
<v Speaker 2>I going to hate this? How's it going to be?

0:36:12.440 --> 0:36:16.600
<v Speaker 2>And by the end, yeah, everyone is crying and singing

0:36:16.680 --> 0:36:19.640
<v Speaker 2>Sweet Caroline together and it's a bit like we've been

0:36:19.680 --> 0:36:23.560
<v Speaker 2>talking a little bit about national assemblies and how they

0:36:23.640 --> 0:36:25.880
<v Speaker 2>might form a new kind of form of governance and

0:36:25.920 --> 0:36:29.480
<v Speaker 2>new ways to participate in democracy, and actually at the

0:36:29.600 --> 0:36:32.880
<v Speaker 2>end of that it gives you hope that actually, given

0:36:32.960 --> 0:36:38.240
<v Speaker 2>the right stimulus and the right materials and environment, people

0:36:38.360 --> 0:36:40.480
<v Speaker 2>can find common ground.

0:36:40.960 --> 0:36:43.560
<v Speaker 1>In the pandemic. When we close the River caf If

0:36:43.600 --> 0:36:46.360
<v Speaker 1>you don't ask me what's important in the city, I

0:36:46.360 --> 0:36:52.319
<v Speaker 1>would have said, you're a theater of concerts, parks, playgrounds, hospitals.

0:36:52.440 --> 0:36:54.800
<v Speaker 1>You know, put restaurants way down. But you realize it

0:36:54.920 --> 0:36:58.759
<v Speaker 1>going to see what you're just describing, or to come

0:36:58.840 --> 0:37:01.000
<v Speaker 1>perhaps to a restaurant and see people you might not

0:37:01.080 --> 0:37:04.239
<v Speaker 1>have seen for years that you pump into or that

0:37:04.320 --> 0:37:06.759
<v Speaker 1>you're again the thing of being taken care of, that

0:37:06.800 --> 0:37:10.560
<v Speaker 1>you can walk in and feel that you know it's

0:37:10.600 --> 0:37:12.640
<v Speaker 1>going to be okay. You might have had an argument

0:37:12.760 --> 0:37:15.920
<v Speaker 1>or been stuck in traffic, or lost your job, or

0:37:16.000 --> 0:37:19.200
<v Speaker 1>getting divorced or getting married, or you know, happy things

0:37:19.280 --> 0:37:21.480
<v Speaker 1>are saved up for months to come, but that somehow

0:37:21.520 --> 0:37:23.839
<v Speaker 1>when what you want, and I think what I want

0:37:23.880 --> 0:37:26.640
<v Speaker 1>both of us, is to have somebody walk through the

0:37:26.640 --> 0:37:28.720
<v Speaker 1>door and feel it's going to be okay and leave

0:37:29.280 --> 0:37:30.800
<v Speaker 1>feeling better than when they arrived.

0:37:31.440 --> 0:37:33.440
<v Speaker 2>I think so, and I think it comes back to

0:37:33.520 --> 0:37:36.640
<v Speaker 2>ritual and the passing of time, because if you've been

0:37:37.480 --> 0:37:41.040
<v Speaker 2>working intensely, and you walk into a restaurant and you

0:37:41.200 --> 0:37:42.840
<v Speaker 2>know that there's going to be a new rhythm to

0:37:42.880 --> 0:37:45.319
<v Speaker 2>the rest of that day. First, it's going to be

0:37:46.040 --> 0:37:50.040
<v Speaker 2>the ritual, the welcome, the formalities, the choosing the glass

0:37:50.040 --> 0:37:53.080
<v Speaker 2>of whatever you're going to drink, the course one, the

0:37:53.160 --> 0:37:56.560
<v Speaker 2>course too. This is a clock in itself, the same

0:37:56.560 --> 0:38:00.319
<v Speaker 2>when you go to the theater. And actually, now after

0:38:00.360 --> 0:38:04.600
<v Speaker 2>having become temporarily extinct, all of my practice was temporarily extinct.

0:38:04.640 --> 0:38:07.840
<v Speaker 2>Me and Jack, we both have devoted our lives to

0:38:07.920 --> 0:38:11.279
<v Speaker 2>mass gatherings. Yeah, and suddenly mass gatherings were weapons of

0:38:11.280 --> 0:38:11.960
<v Speaker 2>mass destruction?

0:38:12.280 --> 0:38:12.719
<v Speaker 1>Did you do?

0:38:13.520 --> 0:38:19.240
<v Speaker 2>Panicked? Talked a lot on zoom, became a radio station.

0:38:19.840 --> 0:38:21.480
<v Speaker 2>Would have been better to shut up and go off

0:38:21.520 --> 0:38:22.840
<v Speaker 2>and do a sabbatical, but didn't.

0:38:23.000 --> 0:38:24.919
<v Speaker 1>But we didn't know. I spent every day.

0:38:25.200 --> 0:38:26.759
<v Speaker 2>Jack looked at me, he said, as you're like a

0:38:26.840 --> 0:38:30.440
<v Speaker 2>mad sort of ringleader doing zooms. He said, just leave

0:38:30.480 --> 0:38:32.600
<v Speaker 2>your people alone. They're happy to have some time off.

0:38:33.040 --> 0:38:35.799
<v Speaker 1>But somehow the contact at some point, wasn't it what

0:38:35.880 --> 0:38:38.000
<v Speaker 1>I felt? Well, how we feel now?

0:38:38.719 --> 0:38:40.759
<v Speaker 2>Like the other day going to the weekend's concert where

0:38:40.760 --> 0:38:45.480
<v Speaker 2>it's eighty no screens, eighty thousand people singing together, one

0:38:45.560 --> 0:38:50.480
<v Speaker 2>five h eight man holding eighty thousand people in a stadium.

0:38:51.000 --> 0:38:52.400
<v Speaker 1>We look, we're pinching.

0:38:52.000 --> 0:38:54.239
<v Speaker 2>Ourselves, just thinking a few years ago this felt like

0:38:54.280 --> 0:38:58.320
<v Speaker 2>it would never happen again. And for me, it's so vital,

0:39:00.080 --> 0:39:01.799
<v Speaker 2>one of the most important things we do, I think,

0:39:01.800 --> 0:39:03.400
<v Speaker 2>as humans being together.

0:39:03.560 --> 0:39:06.840
<v Speaker 1>Yeah, well, let's talk about this book. Yeah, let's definitely

0:39:06.880 --> 0:39:09.120
<v Speaker 1>talk about this book. I want you to describe this

0:39:09.920 --> 0:39:11.960
<v Speaker 1>people who are listening about what we have at the

0:39:11.960 --> 0:39:13.960
<v Speaker 1>table between you and myself.

0:39:14.120 --> 0:39:17.880
<v Speaker 2>So what's sitting in between me and Ruthie right now

0:39:18.200 --> 0:39:22.800
<v Speaker 2>is a book. It's a small twenty two centimeter square

0:39:23.160 --> 0:39:26.399
<v Speaker 2>by about I'm going to say about eight centimeters thick,

0:39:26.480 --> 0:39:29.600
<v Speaker 2>so it's a chunky object, and it's got a hole

0:39:30.360 --> 0:39:33.480
<v Speaker 2>cut out of the front. And then in the following

0:39:33.520 --> 0:39:38.160
<v Speaker 2>pages are more offset holes, and around the holes are

0:39:38.239 --> 0:39:41.480
<v Speaker 2>drawn the names of everyone who's ever participated in any

0:39:41.520 --> 0:39:45.759
<v Speaker 2>of the collaborative works that I've made over time. Then,

0:39:45.960 --> 0:39:50.880
<v Speaker 2>as you unfold its thousand pages, there are seven hundred

0:39:50.920 --> 0:39:54.600
<v Speaker 2>images mainly of a sort of parallel series of works

0:39:54.600 --> 0:40:01.520
<v Speaker 2>that I've been making for thirty years, small paper sculptures, paintings, drawings,

0:40:01.760 --> 0:40:04.440
<v Speaker 2>and then Finally, by the end there's fifty thousand words

0:40:04.440 --> 0:40:07.080
<v Speaker 2>in it as well of text of commentary, and then

0:40:07.080 --> 0:40:10.279
<v Speaker 2>by the end there are pictures of most of about

0:40:10.280 --> 0:40:12.880
<v Speaker 2>one hundred and twenty projects. So it's like doing a

0:40:12.920 --> 0:40:14.480
<v Speaker 2>big end of year tax return.

0:40:14.560 --> 0:40:15.879
<v Speaker 1>How long did it take you to.

0:40:16.680 --> 0:40:19.080
<v Speaker 2>I started it seven years ago, and then my first

0:40:19.080 --> 0:40:21.600
<v Speaker 2>deadline was four years ago, so I've been missing deadlines.

0:40:21.640 --> 0:40:24.919
<v Speaker 1>Really have four extra extra years of work.

0:40:24.960 --> 0:40:25.359
<v Speaker 2>That's it.

0:40:25.560 --> 0:40:28.200
<v Speaker 1>This is a very good way of putting it. I

0:40:28.239 --> 0:40:30.440
<v Speaker 1>had you stop four years ago, the book might have

0:40:30.480 --> 0:40:32.439
<v Speaker 1>stopped a lot of beautiful work.

0:40:32.600 --> 0:40:33.200
<v Speaker 2>This is true.

0:40:34.040 --> 0:40:36.879
<v Speaker 1>That's a bit. It's available in your local bookstore. It

0:40:36.960 --> 0:40:41.120
<v Speaker 1>is all good bookstores are online, yeah, and Amazon.

0:40:41.239 --> 0:40:45.200
<v Speaker 2>It's sitting number one, but number one best in artist monographs, and.

0:40:45.200 --> 0:40:47.840
<v Speaker 1>It's published by terms in Hudson. And it's a beautiful,

0:40:47.920 --> 0:40:53.040
<v Speaker 1>beautiful object, beautiful book, and it's showing beautiful work. So yeah,

0:40:53.480 --> 0:40:56.279
<v Speaker 1>to the next one. If we go back, if we

0:40:56.440 --> 0:41:01.320
<v Speaker 1>like ritual, tradition and consistency. If you think about food,

0:41:01.360 --> 0:41:04.279
<v Speaker 1>it's a question that I always ask at the end

0:41:04.480 --> 0:41:07.759
<v Speaker 1>of what has today been a wonderful conversation. Food is

0:41:08.040 --> 0:41:10.399
<v Speaker 1>we have when we're hungry, when we're tired. When, as

0:41:10.440 --> 0:41:13.040
<v Speaker 1>you say, you need protein, when you need energy, when

0:41:13.080 --> 0:41:15.520
<v Speaker 1>you want to feed your children or be fed. It's

0:41:15.560 --> 0:41:18.799
<v Speaker 1>also comfort. What would be a food you might go

0:41:18.920 --> 0:41:20.040
<v Speaker 1>to for comfort?

0:41:20.800 --> 0:41:24.080
<v Speaker 2>It is my cheese and tomatoes on top. It is.

0:41:24.680 --> 0:41:26.239
<v Speaker 1>It is. It's mainly tomatoes and.

0:41:26.360 --> 0:41:29.120
<v Speaker 2>Red peppers and with a bit of cheese on top,

0:41:30.040 --> 0:41:32.719
<v Speaker 2>and you know, some really good outive oil, some salt

0:41:32.760 --> 0:41:36.360
<v Speaker 2>and pepper. Make two slices of it, just bake it, yeah,

0:41:36.440 --> 0:41:37.919
<v Speaker 2>and then maybe a little glass of wine.

0:41:37.920 --> 0:41:40.239
<v Speaker 1>Would that if we're going to the wine and the

0:41:40.360 --> 0:41:43.799
<v Speaker 1>cheese and tomatoes, that sounds like a very very comforting meal.

0:41:44.160 --> 0:41:46.919
<v Speaker 1>Thank you for today, Thank you for my friend think.

0:41:47.040 --> 0:41:54.040
<v Speaker 1>Thank you. If you like listening to Ruthie's Table for

0:41:54.640 --> 0:41:58.279
<v Speaker 1>would you please make sure to rate and review the

0:41:58.360 --> 0:42:03.239
<v Speaker 1>podcast on the iHeart Rate app, Apple Podcasts, Spotify, or

0:42:03.280 --> 0:42:10.479
<v Speaker 1>wherever you get your podcasts. Thank you. Ruthie's Table four

0:42:10.520 --> 0:42:14.160
<v Speaker 1>is produced by Atomai Studios for iHeartRadio. It is hosted

0:42:14.160 --> 0:42:18.080
<v Speaker 1>by Ruthie Rodgers. It's produced by williem Lensky. Our executive

0:42:18.120 --> 0:42:21.640
<v Speaker 1>producers are Zad Rodgers and Fay Stewart. Our production manager

0:42:21.640 --> 0:42:22.600
<v Speaker 1>is Caitlin Paramore.

0:42:23.120 --> 0:42:32.120
<v Speaker 2>Special thanks to everyone at the River Cafe,