1 00:00:00,400 --> 00:00:01,400 Speaker 1: Honestly and broadcasting. 2 00:00:01,440 --> 00:00:02,920 Speaker 2: We get excited when someone special. 3 00:00:02,920 --> 00:00:05,720 Speaker 3: We certainly do. We've been waiting a long time for this, 4 00:00:06,000 --> 00:00:08,680 Speaker 3: Arthur Miller's Pulitzer Prize winning Death of a Salesman who 5 00:00:08,720 --> 00:00:12,320 Speaker 3: is finally coming to the Crown Theater. It stars Emmy 6 00:00:12,600 --> 00:00:15,000 Speaker 3: Golden Globe and Tony Award winner. 7 00:00:15,640 --> 00:00:16,880 Speaker 1: You are, Nelly and Egott. 8 00:00:18,560 --> 00:00:28,960 Speaker 3: I'm obsessed with he got such good to see you, 9 00:00:29,440 --> 00:00:31,639 Speaker 3: so lovely to have you joined us in the studio. 10 00:00:31,840 --> 00:00:33,600 Speaker 1: It's nice to be here. 11 00:00:34,040 --> 00:00:38,600 Speaker 3: Yeah, so Willie Lowman, I'm Some of the names to 12 00:00:38,680 --> 00:00:42,199 Speaker 3: have played Willy Lowman over the years, Dustin Hoffman, Bryan Dennahey, 13 00:00:42,760 --> 00:00:45,800 Speaker 3: Philip the Great, Philip Seymour Hoffman, probably one. 14 00:00:45,720 --> 00:00:49,080 Speaker 1: Of his last sort of roles, George C. Scott. 15 00:00:49,880 --> 00:00:53,080 Speaker 3: I would imagine that as an actor, this is one 16 00:00:53,080 --> 00:00:55,720 Speaker 3: of those roles that is like, oh my god, I'm 17 00:00:55,760 --> 00:00:56,640 Speaker 3: going to be Willy Lowman. 18 00:00:57,000 --> 00:01:01,360 Speaker 1: Yeah, it's intimidating. It's intimidating. I've seen two of those. 19 00:01:02,240 --> 00:01:04,360 Speaker 1: I saw two of those. I saw Brian Danny do it, 20 00:01:04,840 --> 00:01:09,480 Speaker 1: and I saw Philip do it. And I've seen the original. 21 00:01:10,040 --> 00:01:12,400 Speaker 1: It was done by Lee J. Cobb, which I actually 22 00:01:12,400 --> 00:01:15,720 Speaker 1: think he's the best he's the greatest. Yeah. Yeah, the 23 00:01:15,880 --> 00:01:20,080 Speaker 1: old footage of the play, right o man. And what's 24 00:01:20,240 --> 00:01:26,320 Speaker 1: remarkable about him is that he looks like sixty and 25 00:01:26,480 --> 00:01:29,560 Speaker 1: I play thirty eight or thirty nine. I just always 26 00:01:29,560 --> 00:01:31,760 Speaker 1: looks like its like me. I always looked like an old. 27 00:01:31,560 --> 00:01:35,360 Speaker 2: Guy, did not look like I always an I walked 28 00:01:35,360 --> 00:01:37,920 Speaker 2: down though the event at Crown last week or two 29 00:01:37,920 --> 00:01:39,679 Speaker 2: weeks ago, and I walked in and there were posters 30 00:01:39,680 --> 00:01:40,640 Speaker 2: if you were everywhere. 31 00:01:42,000 --> 00:01:43,479 Speaker 1: No, it was off putting. 32 00:01:43,600 --> 00:01:45,759 Speaker 2: I'm going to be honest. There are dozens of them. 33 00:01:45,800 --> 00:01:48,320 Speaker 2: I couldn't avoid you. And as a fan that makes 34 00:01:48,360 --> 00:01:50,680 Speaker 2: me excited. But as a performer, what excites you about 35 00:01:50,720 --> 00:01:52,600 Speaker 2: a production like this? Is it just being involved in 36 00:01:52,600 --> 00:01:53,560 Speaker 2: something so legendary. 37 00:01:53,720 --> 00:01:58,280 Speaker 1: Well, I hadn't done a play. I mean I started 38 00:01:58,280 --> 00:02:03,000 Speaker 1: out in theater probably I did my first seven years 39 00:02:03,000 --> 00:02:06,080 Speaker 1: of my career in theater and very little film or 40 00:02:06,120 --> 00:02:11,800 Speaker 1: TV or anything. And then it switched over because in 41 00:02:11,840 --> 00:02:16,320 Speaker 1: your thirties to start going, I need a couch, I 42 00:02:16,320 --> 00:02:19,120 Speaker 1: need a TV nothing but fitter doesn't pay. Usually it 43 00:02:19,200 --> 00:02:21,919 Speaker 1: doesn't pay that well, especially when you're doing off off 44 00:02:22,160 --> 00:02:25,280 Speaker 1: broad And then I started off Broadway, got to off 45 00:02:25,320 --> 00:02:27,840 Speaker 1: Broadway and then finally got to Broadway. And even on 46 00:02:27,919 --> 00:02:33,720 Speaker 1: Broadway it pays okay, but compared to film and television, 47 00:02:34,480 --> 00:02:39,280 Speaker 1: we can really make a few quid. And so I 48 00:02:39,360 --> 00:02:41,480 Speaker 1: went off, and you know, I started doing some movies 49 00:02:41,480 --> 00:02:43,840 Speaker 1: and had a bit of success there, but I'd make 50 00:02:43,880 --> 00:02:46,760 Speaker 1: a point of going back every couple of years and 51 00:02:46,840 --> 00:02:50,360 Speaker 1: doing a play. And then I ended up doing a 52 00:02:50,400 --> 00:02:55,240 Speaker 1: series that went for seven years, and then I never 53 00:02:56,160 --> 00:02:59,200 Speaker 1: I stepped away from theater completely, and I had never 54 00:03:01,040 --> 00:03:03,880 Speaker 1: The last time I did theater was probably ten years ago. 55 00:03:04,560 --> 00:03:07,760 Speaker 1: I did a Broadway production of something in New York, 56 00:03:09,120 --> 00:03:15,359 Speaker 1: and I thought me, probably not going to do it. 57 00:03:15,639 --> 00:03:18,040 Speaker 1: You know, I'm sixty five now, probably not going to 58 00:03:20,440 --> 00:03:23,960 Speaker 1: you know, I probably I'll stick with TV and film. 59 00:03:23,120 --> 00:03:31,040 Speaker 1: And this came up and these producers approached me about 60 00:03:31,040 --> 00:03:36,280 Speaker 1: it and I read it, and I had the good 61 00:03:36,320 --> 00:03:40,680 Speaker 1: fortune of working with Arthur Miller when he was alive 62 00:03:41,640 --> 00:03:45,480 Speaker 1: on View from the Bridge, and it just reminded me 63 00:03:45,640 --> 00:03:48,040 Speaker 1: of what a great experience I'd had on that. And 64 00:03:48,080 --> 00:03:49,640 Speaker 1: then I read Death of for Salesman because I hadn't 65 00:03:49,640 --> 00:03:52,960 Speaker 1: read it in a long time, and I went, I 66 00:03:53,040 --> 00:03:55,880 Speaker 1: just I cannot pass this up. When am I going 67 00:03:55,960 --> 00:03:59,720 Speaker 1: to get you know, I've funny, you know, I'm clocking 68 00:03:59,760 --> 00:04:03,840 Speaker 1: up the miles on the old meter. How much time 69 00:04:03,960 --> 00:04:06,720 Speaker 1: have you got left to do what you'd like to do? Yeah, 70 00:04:06,760 --> 00:04:12,480 Speaker 1: And as soon as I got back into it, I thought, 71 00:04:12,480 --> 00:04:15,080 Speaker 1: why did I ever leave this? Yeah? Yeah, it's the 72 00:04:15,120 --> 00:04:17,760 Speaker 1: reason I got into it. Yeah. The movies and TV 73 00:04:18,680 --> 00:04:22,400 Speaker 1: they've just become not all of them, a lot of 74 00:04:22,440 --> 00:04:27,320 Speaker 1: them have just become product. You know, they've got so 75 00:04:27,360 --> 00:04:33,400 Speaker 1: many different channels and out, you know, different different places 76 00:04:33,440 --> 00:04:36,000 Speaker 1: to so many streamers, so many streamers that they're just 77 00:04:36,040 --> 00:04:38,839 Speaker 1: need materials. So half the stuff you read, it's just 78 00:04:40,000 --> 00:04:44,080 Speaker 1: it's unactable. I mean, it's not all Boys Wallows Universe. 79 00:04:44,920 --> 00:04:50,160 Speaker 1: It is not all Boys Swallows universe. Yeah, and most 80 00:04:50,200 --> 00:04:52,200 Speaker 1: of it's pretty average and pretty bad. And even if 81 00:04:52,240 --> 00:04:54,279 Speaker 1: it's good, you have to look at the people that 82 00:04:54,320 --> 00:04:58,120 Speaker 1: are doing it, and they have an unbelievably fantastic knack 83 00:04:58,160 --> 00:05:02,320 Speaker 1: of taking something good just hacking it to Pisa. So 84 00:05:02,440 --> 00:05:04,000 Speaker 1: you know, you read discript me, oh this is good, 85 00:05:04,040 --> 00:05:06,480 Speaker 1: and then you see it and you go, who edited this? 86 00:05:07,160 --> 00:05:10,040 Speaker 1: I've got some mouse trying to get it cheese or something. 87 00:05:10,080 --> 00:05:13,760 Speaker 1: It just dropped it. Yeah. 88 00:05:13,800 --> 00:05:17,000 Speaker 3: So but I guess it affords you the opportunity to 89 00:05:17,080 --> 00:05:17,520 Speaker 3: then do it. 90 00:05:17,640 --> 00:05:24,479 Speaker 1: Does it does? And then you know I came. I 91 00:05:24,560 --> 00:05:27,320 Speaker 1: came out to do it. And the other connection I 92 00:05:27,360 --> 00:05:30,279 Speaker 1: had with it was that Neil Armfield, who's the director. 93 00:05:31,080 --> 00:05:35,880 Speaker 1: We'd done a movie or two together before, and we 94 00:05:35,960 --> 00:05:39,359 Speaker 1: had talked about the prospect of doing theater together. And 95 00:05:39,400 --> 00:05:42,080 Speaker 1: when I heard he was going to direct, it's just 96 00:05:42,240 --> 00:05:44,440 Speaker 1: not even there was no question that it was not 97 00:05:44,440 --> 00:05:51,600 Speaker 1: going to be he has and you know, he's probably 98 00:05:51,600 --> 00:05:55,159 Speaker 1: one of the best theater directors in the country. Sure, 99 00:05:56,279 --> 00:05:58,320 Speaker 1: I'm probably one of the best directors in general. I 100 00:05:58,360 --> 00:06:06,520 Speaker 1: think he's very he's very specific, and he did something 101 00:06:06,560 --> 00:06:09,480 Speaker 1: with this play that takes it out of the ordinary 102 00:06:10,360 --> 00:06:15,480 Speaker 1: what I call kitchen table drama. He's opened up the stage, right, 103 00:06:15,520 --> 00:06:19,719 Speaker 1: so okay, you're much more involved in the whole community 104 00:06:20,480 --> 00:06:23,880 Speaker 1: instead of being a kitchen table drama. So it has 105 00:06:23,960 --> 00:06:26,440 Speaker 1: more scope, which is why we can do it at 106 00:06:26,440 --> 00:06:31,560 Speaker 1: the casino. Yeah. Yeah, the set's quite beautiful. But he 107 00:06:31,720 --> 00:06:34,880 Speaker 1: solved a problem that that's always been there with that play, 108 00:06:35,480 --> 00:06:37,240 Speaker 1: is how do you open it up and how do 109 00:06:37,279 --> 00:06:40,040 Speaker 1: you not have it in the traditional everyone's packed tight 110 00:06:40,040 --> 00:06:42,320 Speaker 1: in the kitchen just good in a three hund of 111 00:06:42,360 --> 00:06:44,840 Speaker 1: three theater, it's not good in when you've got a 112 00:06:44,880 --> 00:06:45,640 Speaker 1: thousand three theater. 113 00:06:46,080 --> 00:06:50,600 Speaker 3: It's not to be discounted that it's not a doddle physically. 114 00:06:50,760 --> 00:06:54,919 Speaker 3: It is a three hour play. So you know, I 115 00:06:54,920 --> 00:06:58,320 Speaker 3: guess you've got to carefully pace yourself for the run 116 00:06:58,400 --> 00:07:00,599 Speaker 3: to know, because it's Mattinee as well. 117 00:07:00,760 --> 00:07:06,560 Speaker 1: With Arthur's stuff, you cannot phone it in. You have 118 00:07:06,640 --> 00:07:09,000 Speaker 1: to mean when I work with them, to be on 119 00:07:09,040 --> 00:07:11,120 Speaker 1: your game. He was very you know, I loved him 120 00:07:11,160 --> 00:07:14,520 Speaker 1: because he was just such a blunt human. But n 121 00:07:14,960 --> 00:07:18,000 Speaker 1: you know, oh, he'll haunt you if you don't. I mean, basically, 122 00:07:18,040 --> 00:07:25,480 Speaker 1: his his his his. His opinion always was, if you 123 00:07:25,720 --> 00:07:29,520 Speaker 1: just say the words, if you just say the dialogue 124 00:07:29,720 --> 00:07:32,680 Speaker 1: as quickly as just get it out as quickly as possible, 125 00:07:33,320 --> 00:07:35,360 Speaker 1: this other thing will take over and it will come 126 00:07:35,400 --> 00:07:38,520 Speaker 1: to life. And that's what happens how fast you do it. 127 00:07:38,560 --> 00:07:41,920 Speaker 1: This emotional stuff starts to he writes that. Okay, so 128 00:07:41,960 --> 00:07:43,400 Speaker 1: when you read it on the page, it's a bit 129 00:07:43,400 --> 00:07:46,440 Speaker 1: bare bones looking. It doesn't do many stage directions or anything. 130 00:07:46,840 --> 00:07:51,680 Speaker 1: But if you play the dialogue with much commitment, as 131 00:07:51,760 --> 00:07:55,520 Speaker 1: much and as quickly as possible now that I think 132 00:07:55,560 --> 00:07:58,720 Speaker 1: we've got it down to under three hours, but that's 133 00:07:59,200 --> 00:08:02,200 Speaker 1: kind of rare. Yeah, and that's going for you can 134 00:08:02,200 --> 00:08:04,960 Speaker 1: think you're going full you know, full tells on it. Yeah, 135 00:08:05,560 --> 00:08:08,320 Speaker 1: because it is a it is a what I like 136 00:08:08,400 --> 00:08:11,400 Speaker 1: to call an energetic play. There's a lot going on 137 00:08:13,760 --> 00:08:18,120 Speaker 1: and you know, so we started in Melbourne and the producers, 138 00:08:18,160 --> 00:08:20,040 Speaker 1: I guess you know, wanted to see how it went, 139 00:08:20,120 --> 00:08:23,400 Speaker 1: and went well enough for us to take it to Sitney, 140 00:08:23,920 --> 00:08:25,800 Speaker 1: did well enough for us to now come to Perth. 141 00:08:26,600 --> 00:08:29,440 Speaker 1: So I'm hoping that you know, we can get the 142 00:08:29,760 --> 00:08:32,080 Speaker 1: lovely people of Berth to come out for a. 143 00:08:32,120 --> 00:08:34,800 Speaker 2: Night and come and see someone who can't wait wait 144 00:08:34,800 --> 00:08:37,839 Speaker 2: the classic production. They will these themes, you know, the 145 00:08:38,400 --> 00:08:41,280 Speaker 2: struggle with work and expectations of your children, all of things. 146 00:08:41,480 --> 00:08:43,560 Speaker 2: It was seventy five years later, they're all as relevant today. 147 00:08:43,800 --> 00:08:45,600 Speaker 1: You know, you want to pull its for it and 148 00:08:45,640 --> 00:08:48,080 Speaker 1: that's seventy five years ago. And that's a really great 149 00:08:48,120 --> 00:08:52,520 Speaker 1: point from you, is that people think, you know, it's 150 00:08:52,520 --> 00:08:54,400 Speaker 1: an old creaky It's not an old creaky play. None 151 00:08:54,400 --> 00:08:57,520 Speaker 1: of his stuff is old creaky because it deals with 152 00:08:58,400 --> 00:09:02,320 Speaker 1: themes in society and in our family. This one probably 153 00:09:02,440 --> 00:09:06,720 Speaker 1: more so than it's about you know, we've got these 154 00:09:06,760 --> 00:09:09,960 Speaker 1: strange people moving in, so it's about immigration. We're people, 155 00:09:10,000 --> 00:09:12,640 Speaker 1: strange people moving in the neighborhood. And then you've got 156 00:09:12,720 --> 00:09:16,320 Speaker 1: the expectations of fathers and their sons, especially their elder sons. 157 00:09:17,720 --> 00:09:20,240 Speaker 1: That's in general. I mean, if you're a whack, you know, 158 00:09:20,679 --> 00:09:22,440 Speaker 1: your father wants you to be a lawyer or a doctor. 159 00:09:22,600 --> 00:09:30,040 Speaker 1: That's it. Mine died and you know, most of the 160 00:09:30,080 --> 00:09:32,480 Speaker 1: kids I grew up with who were of you know, 161 00:09:32,600 --> 00:09:37,960 Speaker 1: Italian or Greek or Mediterranean descent, they expect their parents 162 00:09:38,040 --> 00:09:41,320 Speaker 1: were working class, but they really wanted the kids to 163 00:09:41,320 --> 00:09:43,520 Speaker 1: move up the ladder and they felt like Australia was 164 00:09:43,559 --> 00:09:46,160 Speaker 1: the place you could do and whether you liked it 165 00:09:46,240 --> 00:09:48,040 Speaker 1: or not, it was something you were interested or not. 166 00:09:48,480 --> 00:09:50,800 Speaker 1: That's what they were interested in. So there was a 167 00:09:50,840 --> 00:09:53,240 Speaker 1: lot of pressure. I remember me when I was growing 168 00:09:53,320 --> 00:09:56,760 Speaker 1: up with my dad. It's a tarner pressure. And you 169 00:09:56,880 --> 00:09:58,320 Speaker 1: only got one of us to fold. You've got my 170 00:09:58,320 --> 00:10:03,880 Speaker 1: youngest brother to fault, became a doctor, but the other 171 00:10:04,760 --> 00:10:08,079 Speaker 1: myself with my other brother, we you know, we failed 172 00:10:08,120 --> 00:10:08,840 Speaker 1: to make the grade. 173 00:10:09,160 --> 00:10:12,000 Speaker 3: Yeah, and it's a universal story too. It's not just 174 00:10:12,040 --> 00:10:13,760 Speaker 3: a commentary on the American dream. 175 00:10:14,400 --> 00:10:17,440 Speaker 1: Yeah, translates to I mean, I mean I was born here, 176 00:10:17,520 --> 00:10:19,960 Speaker 1: I grew up here. I had exactly the same kind 177 00:10:20,000 --> 00:10:22,840 Speaker 1: of situation with my father, who was not happy with 178 00:10:23,080 --> 00:10:26,240 Speaker 1: choices I was making in my life, and I had 179 00:10:26,240 --> 00:10:28,520 Speaker 1: to move ten thousand miles away. Basically I have my 180 00:10:28,520 --> 00:10:33,200 Speaker 1: own life. That's how intense it can get. Yeah, but 181 00:10:33,679 --> 00:10:39,680 Speaker 1: I think it's the most done play in China. Get 182 00:10:39,720 --> 00:10:42,960 Speaker 1: out of Here really Yeah, Wow, the Middle is extremely 183 00:10:43,000 --> 00:10:46,080 Speaker 1: popular in China. I didn't expect and this is the 184 00:10:46,080 --> 00:10:49,720 Speaker 1: most done production in China. This is like it's done 185 00:10:49,720 --> 00:10:54,160 Speaker 1: in China, Korea, it's done in Europe everywhere. Yeah, but 186 00:10:54,320 --> 00:10:56,920 Speaker 1: even in Asian countries. The dynamic works. 187 00:10:57,559 --> 00:11:01,760 Speaker 3: Yeah, you know, I would imagine we know that expectation 188 00:11:01,840 --> 00:11:06,040 Speaker 3: and all that stuff, and that's all in there, and 189 00:11:06,240 --> 00:11:07,520 Speaker 3: you know it's. 190 00:11:07,040 --> 00:11:10,680 Speaker 1: About pride and when do you let that go and 191 00:11:10,960 --> 00:11:14,679 Speaker 1: when you let somebody be there? And it's also raging 192 00:11:14,960 --> 00:11:19,880 Speaker 1: a guy, you know, Willie, who's in serious decline. You know, 193 00:11:20,120 --> 00:11:23,920 Speaker 1: probably I never know whether this is like a Tale 194 00:11:23,920 --> 00:11:27,560 Speaker 1: from the Grave. River made up my mind, was the 195 00:11:27,600 --> 00:11:32,920 Speaker 1: Tail from the Grave? Or is in He's definitely in 196 00:11:34,160 --> 00:11:37,160 Speaker 1: the mid stages of Alzheimer's for sure, which I think 197 00:11:37,160 --> 00:11:39,160 Speaker 1: a lot of that's very hard for children, which I 198 00:11:39,200 --> 00:11:42,280 Speaker 1: think a lot of families have to deal with now. Yeah, absolutely, 199 00:11:42,480 --> 00:11:49,840 Speaker 1: you know my generation, it's quite common and it's tough 200 00:11:49,880 --> 00:11:56,880 Speaker 1: when it happened, very tough. That's a terrible jab. No. 201 00:11:56,960 --> 00:11:59,480 Speaker 3: I think most of us have experienced that. 202 00:11:59,720 --> 00:12:04,199 Speaker 1: Yeah, it's very difficult to see someone that you knew 203 00:12:05,000 --> 00:12:10,680 Speaker 1: as kind of like a vital, you know, in charge 204 00:12:10,720 --> 00:12:14,600 Speaker 1: of life person to not knowing which door to go through. Yeah, 205 00:12:14,760 --> 00:12:15,720 Speaker 1: it's very difficult. 206 00:12:16,240 --> 00:12:18,520 Speaker 2: So many people go through that fundamental thing right now. 207 00:12:19,160 --> 00:12:22,200 Speaker 1: We all know multiple people who go through and it's not. 208 00:12:22,200 --> 00:12:23,560 Speaker 2: Them, it's their children going through. 209 00:12:23,679 --> 00:12:25,760 Speaker 1: Yeah. Yeah, yeah, I mean listen, I think if you're 210 00:12:26,720 --> 00:12:29,200 Speaker 1: if you're my grandmother had it. 211 00:12:29,559 --> 00:12:31,959 Speaker 3: My grandmother had it too, but. 212 00:12:32,000 --> 00:12:34,480 Speaker 1: She would pop out once in a while, she came 213 00:12:34,480 --> 00:12:37,840 Speaker 1: out for a visit. Yeah. Yeah. It's almost like they're lockdown, man, 214 00:12:38,000 --> 00:12:39,600 Speaker 1: and that there's an opening and they come out and 215 00:12:39,640 --> 00:12:41,040 Speaker 1: they're normal for like three minutes. 216 00:12:41,160 --> 00:12:44,280 Speaker 3: Yes, I know your name, everything, and then they go, oh, 217 00:12:44,480 --> 00:12:48,040 Speaker 3: they're gone again. If they go, it's very difficult. We 218 00:12:48,080 --> 00:12:50,440 Speaker 3: would love to keep you here. All we all have 219 00:12:50,520 --> 00:12:54,160 Speaker 3: to go before you go. Is it true you were 220 00:12:54,160 --> 00:12:56,719 Speaker 3: rejected from drama school? And have you ever gone back 221 00:12:56,760 --> 00:12:59,240 Speaker 3: and done a pretty woman and said big mistake? 222 00:12:59,600 --> 00:13:02,480 Speaker 1: Huge? No? No, no, no, I wasn't. I wasn't. That 223 00:13:02,559 --> 00:13:05,040 Speaker 1: story has always been blown out of proportion, makes a 224 00:13:05,040 --> 00:13:08,560 Speaker 1: great story. I don't know it. Listen, Nina. It's typical 225 00:13:09,600 --> 00:13:12,920 Speaker 1: that you have to go, you know, probably three times 226 00:13:13,000 --> 00:13:15,240 Speaker 1: before they let you in. And I got there the 227 00:13:15,240 --> 00:13:17,640 Speaker 1: first time and I was just young and impatient, and 228 00:13:17,679 --> 00:13:19,319 Speaker 1: I made it down to like the last couple of 229 00:13:19,400 --> 00:13:22,040 Speaker 1: hundred or whatever it was, and the guy said to me, 230 00:13:23,440 --> 00:13:26,880 Speaker 1: we don't think you're quite ready because you don't have 231 00:13:26,920 --> 00:13:29,040 Speaker 1: the right vocal quality. You don't have this, you don't 232 00:13:29,080 --> 00:13:31,480 Speaker 1: have that. And I said to him, well, if I 233 00:13:31,480 --> 00:13:33,600 Speaker 1: had that, I wouldn't need to come here. What I 234 00:13:33,679 --> 00:13:38,840 Speaker 1: and I meant it good? That isn't that what? Therefore? Yeah, 235 00:13:38,960 --> 00:13:40,960 Speaker 1: I said, if any were those things, I wouldn't need 236 00:13:41,000 --> 00:13:43,280 Speaker 1: to come here. And that was it. Out the door 237 00:13:44,120 --> 00:13:46,920 Speaker 1: and I just walked out that door and I thought, 238 00:13:47,000 --> 00:13:50,800 Speaker 1: I'm not going to get anywhere here. Everything back then, 239 00:13:51,240 --> 00:13:56,680 Speaker 1: I always felt like Australia had a very low glass ceiling, 240 00:13:57,720 --> 00:14:01,920 Speaker 1: especially if you're an ethnic background. And I think maybe 241 00:14:01,960 --> 00:14:03,520 Speaker 1: it's I don't know. I haven't lived here long enough 242 00:14:04,000 --> 00:14:06,840 Speaker 1: to know if it's changed, but it seems like it's 243 00:14:06,920 --> 00:14:10,120 Speaker 1: changed a little bit, a little bit. But I still 244 00:14:10,160 --> 00:14:17,240 Speaker 1: think that I think Australia is a bit stuck. I 245 00:14:17,240 --> 00:14:19,120 Speaker 1: think they need to become a republic. And it's going 246 00:14:19,120 --> 00:14:21,280 Speaker 1: to make me a lot of enemies, but I really 247 00:14:21,280 --> 00:14:21,960 Speaker 1: feel like they need. 248 00:14:21,840 --> 00:14:25,880 Speaker 2: To become a republic time in history, isn't it. 249 00:14:26,720 --> 00:14:28,760 Speaker 1: I mean, I think the thing I've been part of 250 00:14:28,800 --> 00:14:31,160 Speaker 1: the Commonwealth has always robbed them a part of their 251 00:14:31,200 --> 00:14:36,320 Speaker 1: identity and there their place in the world as Australia 252 00:14:36,640 --> 00:14:41,680 Speaker 1: and being part of an antiquated, broken down thing that 253 00:14:41,840 --> 00:14:44,000 Speaker 1: serves no. Since the old girl got, I like the 254 00:14:44,040 --> 00:14:49,400 Speaker 1: old girl, but since the old girl went, you know, 255 00:14:49,600 --> 00:14:54,040 Speaker 1: no disrespect the childs. But no, it's it's especially, isn't it. 256 00:14:54,040 --> 00:15:00,320 Speaker 1: It's it's not what it was. Well, they're just waiting 257 00:15:00,360 --> 00:15:03,360 Speaker 1: for they just waiting for the revolution to go. Which 258 00:15:03,400 --> 00:15:03,680 Speaker 1: could be. 259 00:15:05,200 --> 00:15:07,920 Speaker 3: Tickets for Death of a Salesman at Crown Theater a 260 00:15:08,040 --> 00:15:11,880 Speaker 3: through Ticketmaster. It starts August fifteen through to August twenty nine. 261 00:15:12,000 --> 00:15:14,760 Speaker 3: Get in quick. It's been a pleasure to have you 262 00:15:14,800 --> 00:15:15,440 Speaker 3: with us this morning. 263 00:15:15,480 --> 00:15:18,120 Speaker 1: Thank you, good to see you, and my apologies to 264 00:15:18,120 --> 00:15:21,840 Speaker 1: all the Commonwealth people. They'll enjoy it. They'll be on 265 00:15:21,880 --> 00:15:24,120 Speaker 1: the text line. You know best.