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Day 8: GET OUT!

Morning movement shenanigans. Rhythmic breathing and stomping created a charged space for groups of twos and threes to enter the circle and move and flow in a playful game of connection. Guided by a continuous rhythm maintained by people on the edges of the circle, the pairs would build upon the energy of the previous pair, seamlessly scooping up their physical offers and moulding it into constantly evolving physical dances/dialogues. I once had a director, Beau Hopkins, who would talk about unlocking demons. I don’t mean in a psychological sense; a demon in this context is an inner wild instinctual version of your being. I felt like I let my demon out in this game, and I saw my comrade’s demons too. It was very exciting and quite beautiful. I really feel we turned a corner this morning in coming together as an ensemble. To evidence this, we played keepy-uppy straight after and smacked our previous record of 46 out of the park with a new one of 120. Our connection has definitely hit a deeper level today.


In the afternoon we worked on a scene where Alsemero is led by Diaphanta to meet Beatrice in secret. We tried it blindfolded. It created a strange mix of kinkyness, confusion, and dread. It made me think about how little time Alsemero has spent in this rabbit warren even by the end of the play. Yet he ventures deeper, led through a maze of horrors, totally unaware, blinded by idealistic thoughts of romance, honour etc. I feel like this play is a horror film. If this were GET OUT, who out of the characters would I be screaming at to GET OUT from my cinema seat. Alsemero? I’m honestly not sure.


Afternoon continued. Seeing Beatrice reject Alsemero’s offer to duel Alonzo in situ, followed straight after by her recruiting Deflores to kill him, was very interesting for me. Alsemero’s act of service feels like one that allows him to be a hero and appear strong. Deflores’ act of service makes him seem evil, cowardly and conniving which ever way you slice it. But he doesn’t care. Which is the more effective service? Is one offer more selfless and the other more self-serving? I’m intrigued about the contrasting love languages of these three men.


Mylo McDonald (Alsemero)



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