1
00:00:00,400 --> 00:00:02,720
Speaker 1: The Woman in Black has honored His Majesty's Theater from

2
00:00:02,800 --> 00:00:05,760
Speaker 1: May thirty until June nine. You can get your tickets

3
00:00:05,800 --> 00:00:08,680
Speaker 1: through the Woman in Black dot com dot au. At

4
00:00:08,720 --> 00:00:11,319
Speaker 1: the start of the show, John Waters is with us.

5
00:00:11,360 --> 00:00:12,720
Speaker 1: Good morning, Welcome.

6
00:00:12,680 --> 00:00:14,840
Speaker 2: Good morning, good John.

7
00:00:14,920 --> 00:00:18,880
Speaker 1: I have seen this described as the most terrifying theater

8
00:00:19,200 --> 00:00:22,400
Speaker 1: experience there is. I thought that was Drinks at the Bar,

9
00:00:22,520 --> 00:00:25,400
Speaker 1: but Edie tell us about The Woman in Black.

10
00:00:26,040 --> 00:00:29,360
Speaker 2: Well, it's a player that's been going for years and

11
00:00:29,440 --> 00:00:32,840
Speaker 2: years in since it started in England thirty six seven

12
00:00:33,479 --> 00:00:36,120
Speaker 2: something like that years ago, stayed in the West End

13
00:00:36,200 --> 00:00:38,479
Speaker 2: for the second longest run of all time after The

14
00:00:38,479 --> 00:00:42,320
Speaker 2: mouse Trap. Well. I think the reason for this success

15
00:00:42,320 --> 00:00:45,680
Speaker 2: of this play is that it's an amazingly accessible play

16
00:00:46,000 --> 00:00:50,320
Speaker 2: to everyone. I think it's a great way to introduce

17
00:00:50,360 --> 00:00:54,400
Speaker 2: people to theater if they're not really accustomed to going

18
00:00:54,440 --> 00:00:57,120
Speaker 2: to see anything other than the big musical. You know, yes,

19
00:00:57,920 --> 00:01:02,600
Speaker 2: and it grabs people. It's very direct and immersive for

20
00:01:02,680 --> 00:01:05,880
Speaker 2: an audience, and it's two actors on stage telling a story,

21
00:01:06,000 --> 00:01:09,360
Speaker 2: inspiring the audience to use their imagination in certain parts

22
00:01:09,920 --> 00:01:13,720
Speaker 2: until we get them really really involved in the story.

23
00:01:13,760 --> 00:01:16,679
Speaker 2: And then there are a few twists and turns, which

24
00:01:17,160 --> 00:01:19,560
Speaker 2: can be quite sort of alarming at times, but that's

25
00:01:19,640 --> 00:01:23,000
Speaker 2: part of the fun really, although it's a serious story,

26
00:01:23,280 --> 00:01:27,360
Speaker 2: and so the seriousness of the story kind of gradually

27
00:01:27,400 --> 00:01:30,600
Speaker 2: increases as the play goes on. But it's very great

28
00:01:30,720 --> 00:01:34,080
Speaker 2: little workout for two actors, I mean, Daniel Person and

29
00:01:34,120 --> 00:01:38,880
Speaker 2: myself are all flat out all the time. And it's

30
00:01:38,880 --> 00:01:41,440
Speaker 2: written in a very beautiful language too, which is a

31
00:01:41,480 --> 00:01:44,480
Speaker 2: slightly archaic sort of the English of the early of

32
00:01:44,520 --> 00:01:45,680
Speaker 2: the nineteen twenty six.

33
00:01:46,640 --> 00:01:50,480
Speaker 1: I love me some Gothic, So yeah, it's got that.

34
00:01:50,480 --> 00:01:53,160
Speaker 1: Because this is a ghost story, really, yeah.

35
00:01:52,880 --> 00:01:56,280
Speaker 2: Yes, so it is. And we tell the story in

36
00:01:56,320 --> 00:01:59,280
Speaker 2: a rather unique way, as I am a man who's

37
00:01:59,320 --> 00:02:02,520
Speaker 2: had these horrible experiences thirty years ago and I've never

38
00:02:02,560 --> 00:02:05,160
Speaker 2: been able to properly tell people about them. And I

39
00:02:05,240 --> 00:02:07,360
Speaker 2: hire a young actor to help me tell the story.

40
00:02:07,400 --> 00:02:10,520
Speaker 2: And what he does is we're in a supposedly deserted

41
00:02:10,639 --> 00:02:12,520
Speaker 2: theater and Nieces, we're going to make this into a

42
00:02:12,560 --> 00:02:14,440
Speaker 2: sort of play and we're going to perform it, and

43
00:02:14,440 --> 00:02:16,359
Speaker 2: you're going to play all the other people that came

44
00:02:16,400 --> 00:02:19,040
Speaker 2: into your life, and I'll be the young you. And

45
00:02:19,120 --> 00:02:21,080
Speaker 2: so we launch into this thing, and we sort of

46
00:02:21,240 --> 00:02:23,160
Speaker 2: go in and out of that where he stops occasionally

47
00:02:23,160 --> 00:02:25,040
Speaker 2: and says, how you're doing, And I say, it's horrible.

48
00:02:25,520 --> 00:02:29,639
Speaker 2: I'm trying to exorcize these demons by acting them out,

49
00:02:29,639 --> 00:02:31,600
Speaker 2: and it's quite a traumatic experience.

50
00:02:32,040 --> 00:02:34,359
Speaker 3: It must be a very different experience working with it's

51
00:02:34,360 --> 00:02:36,840
Speaker 3: a two person play as opposed to a full ensemble

52
00:02:36,880 --> 00:02:39,320
Speaker 3: or a larger cast. I just rely so much on

53
00:02:39,360 --> 00:02:39,680
Speaker 3: each other.

54
00:02:39,880 --> 00:02:42,919
Speaker 2: Yes we do, and we need to be, you know,

55
00:02:43,000 --> 00:02:46,120
Speaker 2: like perfectly in sync with everything that we move. We

56
00:02:46,160 --> 00:02:50,320
Speaker 2: move the props around, we change costumes. It's highly choreographed

57
00:02:50,360 --> 00:02:52,919
Speaker 2: in that respect. The lighting is amazing. There's a beautiful

58
00:02:53,440 --> 00:02:58,079
Speaker 2: soundscape which helps with creating the atmosphere here the sounds

59
00:02:57,520 --> 00:03:00,919
Speaker 2: of traffic, you hear, the sounds of the wide open

60
00:03:01,040 --> 00:03:05,119
Speaker 2: marshes and birds singing. And the setting of the story becomes.

61
00:03:05,400 --> 00:03:07,840
Speaker 2: It moves to the north of England where it's in

62
00:03:07,880 --> 00:03:11,320
Speaker 2: a sort of bleak, isolated house, the typical sort of

63
00:03:11,360 --> 00:03:16,080
Speaker 2: old house that you might think as a few ghosts around,

64
00:03:16,760 --> 00:03:19,000
Speaker 2: and then gradually the story emerges.

65
00:03:18,880 --> 00:03:20,959
Speaker 1: On the subject of that you know, sort of cast

66
00:03:21,120 --> 00:03:23,960
Speaker 1: size that you just touched on looking through a glass onion.

67
00:03:24,040 --> 00:03:25,920
Speaker 1: If I May famed for a moment is one of

68
00:03:25,960 --> 00:03:29,280
Speaker 1: the one of the greatest things to have ever graced

69
00:03:29,400 --> 00:03:31,440
Speaker 1: the stage. Being on your own?

70
00:03:32,440 --> 00:03:32,880
Speaker 2: Is that?

71
00:03:33,320 --> 00:03:35,280
Speaker 1: Can that be a blessing and.

72
00:03:35,200 --> 00:03:39,520
Speaker 2: A cur I guess in some ways, you know you can.

73
00:03:39,600 --> 00:03:42,240
Speaker 2: It's sort of easily correct your own little mistakes or

74
00:03:42,280 --> 00:03:46,520
Speaker 2: glitches if you're seven. I tried not to, but it

75
00:03:46,640 --> 00:03:49,960
Speaker 2: wasn't any experience for me. I deliberately created that. I mean,

76
00:03:50,000 --> 00:03:54,000
Speaker 2: of course I had the fabulous Stuart Derrieta, yes, various times,

77
00:03:54,080 --> 00:03:56,840
Speaker 2: different bands and things, but I was I was standing

78
00:03:56,840 --> 00:03:59,280
Speaker 2: in a spotlight doing all the talking myself, and it

79
00:03:59,440 --> 00:04:02,160
Speaker 2: was kind of a test for me. Actually, I think

80
00:04:02,200 --> 00:04:04,280
Speaker 2: when I first put it together, I thought, let's see

81
00:04:04,280 --> 00:04:06,880
Speaker 2: if I can do this, and you know, I caramem off.

82
00:04:07,120 --> 00:04:09,680
Speaker 2: Of course I chose some great material to work with.

83
00:04:09,920 --> 00:04:13,400
Speaker 3: Yeah, and that man, that man, Lennon Moman. I went

84
00:04:13,440 --> 00:04:15,120
Speaker 3: back and saw the show two nights later. John. It

85
00:04:15,240 --> 00:04:16,000
Speaker 3: was that damn good.

86
00:04:16,520 --> 00:04:17,520
Speaker 2: Thank you doing that.

87
00:04:18,040 --> 00:04:19,800
Speaker 3: I know you had that love for sixties music. How

88
00:04:19,839 --> 00:04:21,920
Speaker 3: much fun was Radio Luxembourg for you doing all of

89
00:04:22,000 --> 00:04:24,320
Speaker 3: those not just the Beatles but all that other stuff.

90
00:04:24,600 --> 00:04:26,440
Speaker 2: Yeah, look, it was great. It was read to I

91
00:04:26,560 --> 00:04:28,960
Speaker 2: thought Okay. I have a love for the music of

92
00:04:29,440 --> 00:04:32,480
Speaker 2: my teens and early adulthood, the British rock of the

93
00:04:32,680 --> 00:04:35,440
Speaker 2: nineteen sixties, and so I just put the show together

94
00:04:35,560 --> 00:04:38,960
Speaker 2: Radio Luxembourg. It's actually a baby boomer's dream. I think

95
00:04:41,760 --> 00:04:43,840
Speaker 2: there's a set list that includes, you know, all the

96
00:04:43,920 --> 00:04:47,960
Speaker 2: classics of the Kinks, and there's a Rolling Stones track

97
00:04:48,000 --> 00:04:50,240
Speaker 2: and a Beatles track. But I've sort of steered away

98
00:04:50,320 --> 00:04:53,440
Speaker 2: from those making bands in order to concentrate on some

99
00:04:53,600 --> 00:04:57,080
Speaker 2: of the others and tracks that you don't normally hear

100
00:04:57,279 --> 00:04:59,960
Speaker 2: done live. I mean, we do something in the air

101
00:05:00,120 --> 00:05:02,440
Speaker 2: stander Clap Newman, which has played on radio a lot,

102
00:05:02,520 --> 00:05:07,240
Speaker 2: but it's fantastic to do live, and so I get

103
00:05:07,320 --> 00:05:10,000
Speaker 2: to sing the songs that I really loved, you know,

104
00:05:10,640 --> 00:05:12,800
Speaker 2: Chris Filo's out of Time, which is a song that

105
00:05:13,000 --> 00:05:15,960
Speaker 2: I have saw him sing at Elpie Island and Trickenham

106
00:05:15,960 --> 00:05:18,440
Speaker 2: when I was sixteen years old, and it's great.

107
00:05:19,440 --> 00:05:23,200
Speaker 1: John having a career that has spent theater, film and TV.

108
00:05:23,839 --> 00:05:26,480
Speaker 1: Would asking you which is your favorite be asking you

109
00:05:26,720 --> 00:05:29,640
Speaker 1: like asking you would choose your favorite child. I guess

110
00:05:29,720 --> 00:05:32,600
Speaker 1: favorite child, Yeah, I guess it depends on what the

111
00:05:32,839 --> 00:05:33,600
Speaker 1: project is.

112
00:05:34,880 --> 00:05:38,160
Speaker 2: Yeah, it does and it also it's some I mean,

113
00:05:38,720 --> 00:05:42,200
Speaker 2: having a few strings to my bow. The ideal world

114
00:05:42,279 --> 00:05:44,560
Speaker 2: for me is one in which I can just you know,

115
00:05:44,760 --> 00:05:48,200
Speaker 2: alternate between things and just keep keep up with all

116
00:05:48,279 --> 00:05:51,080
Speaker 2: of them, not have to give up any one of them.

117
00:05:51,920 --> 00:05:54,360
Speaker 2: I'd like, after a run of a play like this

118
00:05:54,880 --> 00:05:57,560
Speaker 2: to go back to some green works. It's available, some

119
00:05:57,720 --> 00:06:00,480
Speaker 2: film and TV. And because I know that, I'm going

120
00:06:00,600 --> 00:06:04,280
Speaker 2: back touring with the band doing Radio Luxembourg starting in January,

121
00:06:04,400 --> 00:06:07,800
Speaker 2: doing in the Eastern States tour and hopefully that will

122
00:06:07,880 --> 00:06:09,679
Speaker 2: lead to bring it up West.

123
00:06:10,839 --> 00:06:14,120
Speaker 1: Yeah, I'm guessing that's the key to your longevity and

124
00:06:14,200 --> 00:06:17,280
Speaker 1: your enthusiasm is to keep it mixed up, keep it.

125
00:06:17,760 --> 00:06:22,279
Speaker 2: Yeah, that and a desire to keep paying the rent.

126
00:06:22,440 --> 00:06:26,120
Speaker 3: Bringing up of course, selfishly, we want to hear you

127
00:06:26,160 --> 00:06:28,679
Speaker 3: do the small places and in Perth on the stage

128
00:06:30,839 --> 00:06:34,120
Speaker 3: with your vast career. Who are the people which performances,

129
00:06:34,680 --> 00:06:37,160
Speaker 3: you know, be it doing Lenin and Blastman or whatever.

130
00:06:37,320 --> 00:06:39,360
Speaker 3: Is it that people that come up to your approach

131
00:06:39,400 --> 00:06:41,440
Speaker 3: and start talking about or is it play school kids

132
00:06:41,480 --> 00:06:42,200
Speaker 3: former play school?

133
00:06:42,400 --> 00:06:44,800
Speaker 2: Well, yeah, there's a lot of place school kids, I mean,

134
00:06:45,360 --> 00:06:48,080
Speaker 2: who are now many of them in their forties and

135
00:06:50,800 --> 00:06:53,760
Speaker 2: that's that's incredibly rewarding actually to think that you are

136
00:06:53,839 --> 00:06:57,440
Speaker 2: a part of somebody's early childhood and they remember you

137
00:06:57,839 --> 00:07:00,600
Speaker 2: very solidly because it was a mental to them at

138
00:07:00,600 --> 00:07:02,560
Speaker 2: the time. So that was kind of the you know,

139
00:07:02,760 --> 00:07:05,000
Speaker 2: it started as something I did on the side as

140
00:07:05,279 --> 00:07:08,200
Speaker 2: a sort of pause between acting jobs, and then it

141
00:07:08,320 --> 00:07:10,480
Speaker 2: became a little bit more important to me than that.

142
00:07:10,720 --> 00:07:13,920
Speaker 2: And I suppose the thing that I first did that

143
00:07:14,360 --> 00:07:17,720
Speaker 2: made me sort of nationally recognizable was the ABC TV

144
00:07:17,880 --> 00:07:21,640
Speaker 2: series Rush about the gold Rush era, and that can

145
00:07:21,720 --> 00:07:25,440
Speaker 2: name early to mid seventies, and that was a fabulous

146
00:07:25,640 --> 00:07:29,360
Speaker 2: experience in acting some beautifully written scripts about Australian history,

147
00:07:29,960 --> 00:07:32,520
Speaker 2: which was was a lesson in history for me as

148
00:07:32,600 --> 00:07:35,560
Speaker 2: well because I came from England a few years before that,

149
00:07:35,720 --> 00:07:38,640
Speaker 2: not really knowing that much about Australian history.

150
00:07:39,320 --> 00:07:43,240
Speaker 1: Well, there is a reason why this is second only

151
00:07:43,320 --> 00:07:46,360
Speaker 1: to the longest running play in the West End after

152
00:07:46,440 --> 00:07:50,360
Speaker 1: The Mousetrap, and we all find out at His find

153
00:07:50,400 --> 00:07:53,400
Speaker 1: out why at His Majesty's Theater from May thirty until

154
00:07:53,480 --> 00:07:55,760
Speaker 1: June nine. You can get tickets through the Woman in

155
00:07:55,880 --> 00:07:58,440
Speaker 1: Black dot com dot au. John Waters, thank you for

156
00:07:58,560 --> 00:07:59,920
Speaker 1: joining us, Thank.

157
00:07:59,760 --> 00:08:00,400
Speaker 3: You be there.

158
00:08:00,520 --> 00:08:03,400
Speaker 2: Or be squat, so I'm looking forward to it. Yeah.

159
00:08:03,560 --> 00:08:05,360
Speaker 3: Mine, and was a pleasure to hear that voice.

160
00:08:05,480 --> 00:08:07,600
Speaker 2: Thank you guys, thanks jus Yeah