Witch/Porter

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In the Globe Theatre Company's production of Macbeth, The Porter/ Witch was played by Paul Chahidi.

About Paul Chahidi

This is Paul's third theatre season at the Globe. He previously played Angelo in The Comdey of Errors, and last year was cast as Trinculo in The Tempest, however, he literally broke his leg hours before the first performance. Paul has appeared in productions for the Young Vic Theatre Company, Oxford Stage Company, Theatre Clwyd and Birmingham Repertory Theatre. He has also spent a season with the RSC. Paul's film work includes the role of Gavin in Notting Hill.

Click on the numbered links to follow Paul's journey as he creates and plays the character of The Porter/Witch in the Globe Theatre.

Paul Chahidi - Character Notes 1

These comments are the actor’s thoughts or ideas about the part as s/he goes through the rehearsal process – they are simply his/her own interpretations and may change frequently as the rehearsal process progresses.

Before rehearsals started, I talked to Tim (Carroll, Master of Play) about the idea of actors playing two characters. I think that the Porter is somehow linked to the witches, in this case the Second Witch. Similarly, the other witches could be linked quite intelligently to other characters throughout the play. I thought we could develop that idea.

The driving force behind my ideas for the witches has been to create a supernatural atmosphere, or a ‘spooky’ feeling, without the aid of lights dimming and darkness. (None of which are available in the daylight playing conditions of the Globe). We had to find a ‘strangeness’. We thought that it would be interesting to explore the idea of the witches being able to become different characters throughout the various stages of the play. The links between the characters of witches and the other characters they play might be ambiguous, so that the audience wonders if the Porter is really the Witch, or if the Third Witch is really the Captain. Alternatively this link could be made explicit. The witches seem to be the base characters, from which other characters develop.

The Porter’s scene is very strange. I had reservations about accepting the part. So often the Porter is played as the cheeky cockney ‘chap’, who appears in the middle of an intense tragedy. This is fine; it is one way of playing the role. However, so often it seems that the Porter is desperately trying to make old jokes funny. The jokes might have been funny when the play was written, and some of it is still funny now. However, I think that more than the comic aspects the ‘strangeness’ is the most interesting element of the scene.

In the middle of the action, the Porter appears and starts talking about hell and damnation. He stands alone and delivers a soliloquy to the audience, which I think is very spooky. He is almost like the Porter of the gates of hell. I wanted to explore the idea that it is as easy for him to be a real Porter as it is for him to represent Macbeth’s state of mind at that moment in the play. Macbeth has just committed the murder of Duncan and pressure is on him to disguise this fact. The actor playing Macbeth also needs to change his clothes and wash his hands - on a practical level the Porter’s speech gives the actor time to do this.

The murder has been committed and suddenly the Porter comes along. Shakespeare put him there for a reason, not just for comic relief; but also to throw into relief the themes of the play. I don’t think Shakespeare puts ‘comic scenes’ in a play without thinking about it, and this particular scene is in a very strange place. In the scene, everything seems to be very out of space and time. On one level the Porter can be seen to represent the state of Macbeth’s mind, his imagination. When Macduff and the others appear on the stage, the Porter seems to go back to being a ‘regular’ porter. The things he is talking about do give you the feeling that you are in the mind of Macbeth. I also want to explore the effect of the appearance of the Porter on Macbeth. I feel that the spookiness and strangeness of the Porter coming in at that particular point in the play is something to be explored. I think that this could link in well with the idea of the Porter also being one of the witches.

We are not completely sure what the witches will be like, but they are not going to be cackling crones. They might be rather seductive and comical! I think it will be our instincts and feelings in rehearsal rather than lots of research that will guide the development of the witches. We are not going to try to make the witches realistic or work out their historical bases. The importance of the witches lies in the atmosphere they create; the affect they have on other characters and the purpose they serve in the play.

We are working closely with Sian Williams (Choreographer). I think that the physical style of this production will inform everything, including the witches. We were looking at using ‘slinky’ music at certain points. An audience who go to see Macbeth so often see the lights going low, the dry ice starting followed by ‘howling’ sound effects when the witches are about to appear. I think that audiences can sometimes feel that the witches are not part of the story but more of a side-show.

Rather than the audience sitting back and thinking about how the witches’ scene has been done, I would like to produce scenes that instantly grab their attention and engage them. One way to do this is with movement and dance. I would like the audience to feel excited each time the witches appear.

I have always thought that Shakespeare juxtaposes very dark comedy with tragedy, and that quite often the two are indistinguishable. The tragedy is thrown into sharp relief by the so-called comedy and the balance between the two can change at any moment. This was what The Two Noble Kinsmen (which I appeared in last season) was like. One moment you were laughing, then feeling sad, and then in the middle of another sad moment you would find yourself laughing again! That was very good. There was a lot of ‘gallows’ humour. I think the Porter is the embodiment of that kind of humour. He almost acts in the same way as the fool in King Lear. They are like external voices talking to the audience, bringing everything to a universal level in an extremely bizarre but brilliant way.

We have got to find something effective for the supernatural element of Macbeth. I have an idea about ‘normal’ people becoming strange. You see this in horror films like The Exorcist and Roman Polanski’s Rosemary’s Baby (in which seemingly ‘normal’ people turn out to be involved in demonic practices). This appearance of ‘normality’ is what makes these films so disturbing. Everything the people do is laden with import and meaning. It would be interesting if we could explore and capture that effect for our witches.

We are considering using the yard in the first witches scene. Would you know if a witch were standing beside you? If someone you thought ‘normal’ was revealed to be a witch would you find this more frightening than if they had always appeared to be strange? The witches might be amongst the audience, indistinguishable in the crowd, or they may simply appear in some manner from the stage.

My main concerns, then, at the moment are :
• to find a company style and to develop a ‘physical vocabulary’
• to explore the link or thread between the Porter and the witches
• to find some effective method of communicating the supernatural nature of witches’ characters to the audience.

Activities

Double, Double
The idea that the witches will also appear as other characters is central to this production. Paul will play a witch, the Porter and Siward.
What other characters do you think could be played by a witch? Give reasons for your answers.

‘Spookiness’ at the Globe
There are no lights at the Globe. All plays are performed in daylight or in floodlight and the actors are lit in the same way as the audience. One of Paul’s main challenges is to make the witches spooky in daylight and without any special effects.
Look again at Paul’s ideas for making the witches spooky. Experiment with, or discuss ways he might do this. Do you like Paul’s ideas – do you think they will work? Or do you have other ideas of your own? Post your answers or any ideas on the discussion board.

Obvious or Hidden?
Paul is not sure if it should be made obvious to the audience that a witch is playing the Porter or if he should attempt to disguise this fact? Which will have the best effect on the audience?
Discuss Paul’s dilemma. You could maybe make a ‘for and against’ list and send it to Paul.

In the mind of Macbeth
Paul thinks that maybe the Porter’s speech can be best performed as if the character is part of Macbeth’s mind – giving a voice to all of Macbeth’s thoughts and imaginings after the murder.
Imagine you are Macbeth. What would be going through your mind after the murder of Duncan? You might wish to send Paul a list of words that describe Macbeth’s state of mind, or as group try to make a still/frozen picture which shows how Macbeth might be feeling. Paul would very much like to see any photographs of your pictures.

Witches in the Yard
One idea for the beginning of the play is that the witches should stand with the groundling audience in the yard.
Look again at the questions Paul asks about witches and ‘normality’ within his bulletin. Do you think the yard would be a good place for the witches to begin? What might be the problems with this idea? You can look at the virtual picture of the yard at www.shakespeares-globe.org/education (in the distance learning section) to give you an idea of what the yard looks like.

Paul Chahidi - Character Notes 2

These comments are the actor’s thoughts or ideas about the part as s/he goes through the rehearsal process – they are simply his/her own interpretations and may change frequently as the rehearsal process progresses.

In rehearsals we have been experimenting with new ideas and techniques. This afternoon we were looking at the ‘banquet’ scene, when Banquo’s ghost appears to Macbeth. In order to create a strange world on the stage, to fit in with the ghost’s appearance, we explored using stylised movements. The guests of the banquet were first spaced randomly around the stage. They began adopting strange body forms, firstly using the chairs that they were sitting on and then only using their body, creating a series of tableaux. The stylised movements ran as follows: the guests’ heads looking down, up, at Macbeth, twisting around and then suddenly snapping back to reality. It seemed to create an almost surreal and unnatural atmosphere.

We then tried seating the guests around the back wall up-stage, creating a six-foot gap between them and the dinner table. This was to see the reaction of the guests to Macbeth’s outburst at the appearance of Banquo. The guests in our improvisation seemed afraid to make eye contact with Macbeth.

I would like the students to consider the appearance of Banquo. How should he appear? We are considering flying him on to the stage upside-down – a bit like a carcass in a butcher’s shop.

I am enjoying exploring the different possibilities for playing the Porter. It is interesting as we are trying different configurations of his character and the scene. I’ve tried the scene in lots of different ways, for example as a surgeon delivering a lecture about anatomy to the audience. I used Jasper (Britton) played Macbeth as if he was my patient, or case study, simply sitting in a chair. As I delivered my ‘lecture’, I lifted up the different parts of Macbeth that I was talking about. I manipulated his movements; lifting him when I wanted him to walk and tapping his shoulder, when he tried to get up, to make him fall back into his chair. It was very funny; his attempts to stand up grew more frequent as I kept pushing him down.
I think that the purpose of the scene between the Porter and Macbeth is to show what is going on in Macbeth’s mind, the Porter seems to take the role of Macbeth’s interrogator. We explored this idea in a physical way, using chairs on stage to work around and use as props. I chased Macbeth around these chairs, and eventually he became trapped in a ‘corridor’ of chairs. It was tormenting for him as every-time he found an opening between the chairs I would appear. The chairs were like his mind, and I was his conscience, which he could not escape.

I am also playing a Witch. I want the witches to be fully integrated into the play, rather than being subsidiary to the plot. We have been experimenting with different ways to play the witches and exploring the ways in which we can make them strange, without trying to force the ‘strangeness’. The way that the witches speak, both individually and as a group, is important. During rehearsals, we created an exercise to explore this idea (and to experiment with unconventional openings for the play). The witches came forward on the stage to make an announcement, which might usually be written and shown on placards at the beginning of a performance: Welcome to the Globe. No flash photography and please make sure that mobile phones are SWITCHED OFF! The three witches all stood together, and we split up the words to the announcement so that each witch, in turn, said a syllable. It was a simple way of creating a very strange effect.

In rehearsals, we have also been working on an unusual representation of the ‘battle’ scene. The witches were on stage, sitting on chairs, and jazz music began. We began to click our fingers in time to the music, and without speaking; we began making movements and gestures. Finally, we started saying our lines, and the music carried on once we stopped. The actual representation of the battle was when the rest of the cast began rushing forward on stage, screaming. Waving their arms, carrying stones in their hands. This image was juxtaposed with the witches who sat still on their chairs, despite the commotion. The witches then stood up each carrying a bucket and began walking around the other characters. Together we chanted “When shall we three meet again, In thunder, lightning or in rain, When the hurley burley’s done…” Then, each witch spoke a line, e.g. “Where the place?” and took a stone from a person from the battle and dropped it into their bucket. The stones in our production represent life and each time someone dies in the play a stone will be dropped into a bucket. After the next line was said, another stone was dropped in a bucket. Slowly, all of the people in the ‘battle’ were killed.

The idea of such a representation stemmed from wanting to work in a non-literal way, to expose the audience to something they do not expect. Another idea is that the witches will wear big National Health Service spectacles and tuxedos. (NB: National Health Service spectacles are those given free by the state to those who need them. Traditionally these spectacles have been regarded as unattractive, although in recent years they have acquired a certain ironic cult status – think Clark Kent!) The cast is all wearing either black ties or black cocktail dresses!

The company is still trying to develop the style of the production. We want the whole play to develop in the same way as I have described the opening and battle scenes. It is an unusual way of working, but it is simply a matter of getting used to this style, and letting go of preconceived ideas.

I would like the students to think about the following points:
• How do you create ‘strangeness’ and ‘spookiness’ in daylight conditions? (Remember that the Globe is always fully lit whether by daylight or floodlight).
• How should the Porter be played?
• In the ‘Porter scene’, what is the right balance between the humour and the sinister aspects of the scene?

I think that one way to play the Porter is as a stand-up comedian, in the way that he is often played. However, why is he simply played like this if there is a spooky and sinister side to the character and scene? There is comedy, but the scene is also dark and brooding. This scene seems to be out of place and time in relation to the rest of the play. I do not think that he is simply the Porter standing in the castle; I think he is the Porter to the gates of hell. It is important to consider what Hell is. Is Hell a place or a state of mind? If it is a state of mind, then maybe it could be a representation of Macbeth’s state of mind.

At the moment we are leaving that scene ambiguous to provide the company with space to develop the idea in a broader way. This also takes the pressure off me, as an actor, to force the character of the Porter to be humorous. Even though the role is small, the expectation that the speech will be funny does make the role very difficult. Actors often try too hard to make it comic. I do not want to force the humour. I think the scene can be interpreted in other ways. However, it must contain a degree of humour, otherwise the language is not being done any served, as I believe one of the aims of the writing was to make the scene humorous.

The Porter scene is an example of the boldness of Shakespeare’s writing - he juxtaposes moments of humour with moments of tragedy. It is important to make this scene flow with the rest of the play, as it is an important scene at a key moment in the action.

Macbeth as a whole has many comical moments. One in particular is the Banquet scene, where there is a surprising potential for comedy. Macbeth goes berserk when he sees the ghost of Banquo. The guests are all watching him, and Lady Macbeth is getting anxious. Macbeth realises this, and is desperately trying to gain his composure despite all of the angst he is feeling. It can be quite humorous when the scene is played in this way.

Activities

Paul’s Bullet Point Questions
Look again at Paul’s questions above and try to answer them, give examples from the text to support your answers. Send your ideas to Paul.

Improvisation
The company improvised different approaches to the banquet scene in which Banquo’s ghost appears. Re read Paul’s notes on this scene then in-groups try improvising this scene. You should think about:
• Movement – how do the characters move? How might they sit? How might they spatially relate to one another.
• What is Macbeth’s reaction?
• What is the reaction of the other characters at the banquet?

Production Style
Paul’s bulletin contains much information about the intended style of the production. What do you think of the company’s ideas? How would you choose to design and or direct Macbeth?

Paul Chahidi - Character Notes 3

These comments are the actor’s thoughts or ideas about the part as s/he goes through the rehearsal process – they are simply his/her own interpretations and may change frequently as the rehearsal process progresses.

Last week we did a run through of Macbeth, which was very useful. I am reassured that the style we have developed for the production will work, however, things may still be changed, added or cut. We have cut ten pages of the text so far. Therefore the staging of the play is dynamic, not ‘fussy’, and certain scenes merge into each other. The ‘England’ scene (between Malcolm and Macduff) has been cut up and interspersed with other scenes.

I have been discussing the character of the Porter with Tim (Carroll, Master of Play). The Porter scene is not naturalistic in our production, unlike many other productions of Macbeth.

We are still pursuing the idea that the ‘Porter’ scene is a representation of Macbeth’s state of mind. I had an idea about how this scene could be staged. Macbeth stays on stage after the previous scene (when Lady Macbeth is telling him to wash the blood from his hands). Ten cast members come on and start clicking their fingers, however, Lady Macbeth responds as if the clicking is the loudest knocking in the world. Steadily the clicking grows louder. When the Porter comes on, the clicking changes to stones being dropped, with a loud bang, into tin buckets. We have a configuration at the moment of five chairs surrounding Jasper who is facing downstage staring into the audience (the chairs are brought on by the cast members, who then almost ‘melt away’) and I am at the other end of the stage with my back to the audience.

When I start to speak my lines as the Porter, I really want the words to go out to the audience, but at the same time I want to relate the words back to Macbeth as if I am having a conversation with him. Once my soliloquy is over, I let Macduff in through the gates. My character goes from a surreal scene, where he appears to be expressing the thoughts that are in Macbeth’s mind to a scene with Macduff in which he is just a Porter. While I talk to Macduff I move chairs around, as if I am a Porter clearing away after the night before and setting chairs out for the morning. At the end of this scene, the Porter gives a speech about “Lechery”. When Macduff asks, “Is thy Master stirring?” that is when Macbeth would normally come on stage. The function of the first part of the Porter’s scene is often regarded as a time filler, included in the play so that Macbeth can get changed and wash the blood off of his hands before his next scene. In our production Macbeth does not need to do that as there is no blood (blood is represented by gold thread) and he is on stage throughout the scene. At the end of the scene I simply tip the chair up that Macbeth is sitting on, as if it is weightless, and don’t I notice that anyone is in it. In this way Macbeth makes his ‘entrance’ back into the scene.

We want the audience to have fun and really enjoy the scenes with the witches. The costumes for the witches are the same for the other characters, but we will now be wearing glasses with misted lenses. The scene will not be like the traditional witches’ scene as there will not be any burning cauldrons, we cannot dim the lights and the witches will not be reacting in the usual way. There will also be some salsa dancing! I think that the way we are staging this scene will have a great impact on the first appearance of the heroes Macbeth and Banquo.

I do not know how the audience is going to react to this. Some people may be disappointed that the production is not realistic in its representation, however, I think that we are working in the right way. It will be thrilling if these ideas work, as they are so strong.

Activities

Act 4 Scene 3
The England scene or Act 4 Scene 3 in this production will be interspersed with other scenes. How might this work? What other scenes could be placed in between? Re read the scene looking for places where the scene could be broken into sections. What other scenes from the play could be placed in between your sections? Send your ideas to Paul so the company can compare your ideas with their own decisions.

Cutting a scene
The company has cut the text by approximately 10 pages. Look at Act 1 Scene 2. What lines would you cut from this scene and why?

Naturalism Vs Symbolism
This production of Macbeth uses symbolism, it does not aim to be realistic. Look up the word symbolism and naturalism in the dictionary. What type of approach to Macbeth would you take if you were directing a production?

Paul Chahidi - Character Notes 4

These comments are the actor’s thoughts or ideas about the part as s/he goes through the rehearsal process – they are simply his/her own interpretations and frequently change as the rehearsal process progresses.

First, I will answer some of the questions asked by the students. As to the pay of actors, they are well paid here, above the equity minimum, but other places do not pay quite so nicely! Television work pays well, but you have to make that decision as an actor whether or not you want to participate in that. The answer to the second question is that there will be three witches on stage at the end of the performance. The costumes will be modern, black tie and cocktail dresses.

The last question will take a bit more explaining. The question was “have you achieved your acting goals?” The answer is ‘not yet’. My goals are to do justice to the character, push the story forward, and to entertain. I really won’t know how successful I’ve been in achieving these goals until we receive the reviews. I also need to gage the audience’s reaction and find out what notes I have been given during the rehearsals through the previews. So, at the moment, I will say that I have not achieved all of my goals, but I am getting there.

Right now we are in the technical rehearsal process. For the last couple of days, we have started from the beginning and have tried to remember moves and the mechanics of the scene. There are many intricate moves in this show, which will be stunning if we are accurate. During these rehearsals, music was introduced for the first time. The improvised jazz really sets the mood. For instance, it makes the witches beguiling and seductive, but also slightly disturbing.

The witches are the ones that commit the murders, so they need to have an eerie quality about them. They wear glasses, promoting the weird image of the Blind Fates, as they commit their evil deeds. The murders do not involve blood or graphic violence, but are actually quite intimate and psychological. When we are killing Lady Macbeth, I dance with her and kiss her. I have no weapon to use in order to kill her. We really wanted to free ourselves from having swords, creating a more psychological approach. The play really focuses upon a psychological landscape by examining what is going on in Macbeth’s head. With this psychological approach, we want to elicit feelings from the audience. We do not know what their reaction is going to be, but hopefully if we remain consistent with our style, it will be a favourable one.

I think the biggest trouble I have had is moving from the small, intimate rehearsals onto the enormous Globe stage. You lose a lot of intimacy within the scenes during the process. I just have to remember the musical cues! It is nice to have a technical rehearsal because you usually have time to chat with the directors and the choreographers while the musicians are working. You have time to grab little bits.

Another concern I am facing is with my character of the Porter. With a lot of the lines I really have no idea what to do. I am neutral at the moment. I hope to get ideas from the audience during the performance in order to embellish the character.

Paul Chahidi - Character Notes 5

These comments are the actor’s thoughts or ideas about the part as s/he goes through the rehearsal process – they are simply his/her own interpretations and may change frequently as the rehearsal process progresses.

We had our first performance and I was extremely nervous. We really didn’t know what the audience’s reaction was going to be to a show like this one. As the Porter, I really needed to experience an audience’s reaction in order to develop my character. Right now we’re developing the acting as we go along, cementing things with each performance. It was a real joy to do this for a new audience. We had been performing for each other for so long that we didn’t know if anyone else would understand the ironies within the scenes. The fantastic thing was that they picked up on the irony and laughed, but also listened.

It was really simple for me to use Shakespeare’s words in this style of performance. I didn’t have to explain the language for it explained itself with the actions that I performed. For instance, when I am talking to Macbeth about Hell, saying that his castle is ‘too cold for Hell,’ I’m setting up empty chairs. I give these chairs life by pretending that certain people are sitting in them, all the while explaining to Macbeth that these will be his companions in Hell or perhaps mere facets of his personality. By presenting it in this style, we give life to the scene.

The response of the audience was amazing at the end of the first show. We went all the way back to the dressing room and then were told that we needed to return to the stage for another bow. It will probably never be like that again, but it was fantastic.

As to changes, we are constantly trying to tighten scenes in order to define certain moments. We also have to remember to play the scenes more to the sides of the stage because upstage centre is not always the best place. Although the stage is quite large, it’s actually a really intimate space. We have to remember to embrace that intimacy by delivering the lines to our audience. We need to work on our group movements and musical cues as well, so that they can be more precise.

Certain highlights that focus upon the gallows humour of the production have arisen out of the performances. One moment that particularly works is a scene that involves Jasper (Britton, Macbeth) and I. After the murder of Duncan, Jasper adopts this demonic voice in order to say his lines about sleep… ‘sleep no more’. It is quite a comical moment, but it also shows his altered mental state. I use this same voice later as the Porter to say something to Macbeth, providing the audience with a creepy reference to the previous scene.

My main focuses for this production will be cementing the technical aspects and developing the character of the Porter. As the Porter, I have to set a lot of chairs. If they’re in the wrong places it could ruin the scene, so I’m trying to memorise exactly where each one is supposed to be placed. Once I get my head around that, then I can relax. Once I relax, I can develop the Porter’s character more and more with each performance.

Paul Chahidi - Character Notes 6

These comments are the actor’s thoughts or ideas about the part as s/he goes through the rehearsal process – they are simply his/her own interpretations and may change frequently as the rehearsal process progresses.

When you are working on the Globe stage you are aware of people surrounding you from all directions. Due to this, it is very important to use the sides of the stage as well as the front. There is no particular symbolism or meaning behind acting at the sides. The pillars on the stage are not used to separate or divide scenes. However, as an actor you are very aware of the pillars because if you stand directly behind them or diagonal from them, you cannot be seen. At the Globe the actors can get very close to the audience (those in the Yard), as we often come up to the end of the stage. In Macbeth the witches ‘shimmy’ along the edge of the stage doing a salsa dance; we have to be very careful not to tread on people’s hands.

In discussions it did come up that the sides of the stage were not being used enough. However, people are now using them more fully. Jasper and Eve are experimenting with where they say their speeches on stage. Previously, they were predominantly acting out to the front of the theatre; however, now they are using the corners, or climbing on to the table (where the guests are sitting in a frozen pose). There are many examples in the play when characters are still on the stage, but they are not part of the particular scene. Another example of this is when Jasper (Britton, Macbeth) says the speech “this supernatural soliciting…” whilst moving round, right towards upstage. Jasper stands right next to Terry (McGuinty, Duncan/Doctor), almost touching him, but they are not part of the same scene. This is similar to when Macbeth freezes on stage and Malcolm and Macduff come on and talk about him while he is still on stage.

I think that the witches have become ‘slicker’. Throughout the play you can pick up on the resonance of the witches and the eerie theme. Characters such as the porter, the captain, the murderer of Banquo, and the two murderers sent to kill Macduff and Lady Macduff can be said to have a loose connection with the witches. This idea is strengthened by the fact that the actors who play the witches also play other characters (I play a witch and the Porter). You can differentiate between who is supposed to be represented on stage by the fact that the witches wear glasses and the other characters we play do not.

There has been a debate on how explicit we should be, and how much we should leave ambiguous. There is always a fine line between over explaining and under explaining. It is important that the play does not become obscure and confusing. During the re-rehearsal week we will be looking at which parts of the play are clear and which are not. I think that some people may have felt constricted by the stylisation of the play. I have not felt like this. I feel that the stylisation has actually opened up lots of possibilities, as you do not have to be literal with the representation. It does mean that we can do some of the things that we have done.

A lot of people do not read the reviews of the play. I have read some. I saw some fairly critical reviews. I did not feel too upset because I feel confident about the show, but it is difficult for the director. However, these are the views of the critics, but there are also the views of the audience. The theatre is completely full for all performances. They are not leaving and there is a positive response. If you are doing a show that is interesting, experimental, daring, and positive then you have to be prepared to take the ‘flack’ for it. It must be consistent. I think that Tim has been consistent with his imagery and his symbolism and the way he has directed it. The cast has been very committed. It is a large cast of fourteen and within that you have people with different tastes and ideas, but we have all worked very well together.

Jeannette Nelson (Master of Voice) said that the play has improved vocally, which means that the cast is getting used to the way they use their voice in the space. I think that you are at an advantage if you are a man, as a deeper voice projects further. However, the women here have very powerful voices. It is difficult, as we have to talk over the music.

The ‘Porter’ speech is going well. I am finding the comic pauses. I feel less worried about where to set the chairs as I now know where they should go. I set them out quickly when the time comes to talk to Macduff, so that I do not distract from the language. I am really enjoying performing this scene with Macbeth on stage.
I think that the upcoming re-rehearsal will be very interesting. I look forward to seeing what Tim (Carroll, Master of Play) decides he wants to focus on and what the cast wishes to focus on. I think that we will have to decide if the witches are controlling the play too much and if they need to take a back seat. We need to keep hold of the notion that Macbeth does have free will. If he is a complete marionette of the witches, then it will take away from the drama. We have to find a balance. The witches do control things to a certain extent; however, they are mostly offering a potential or possibility. Macbeth takes this and that sets off the chain of events.

The classic notion of a tragedy is that you must have some control over your fate. That is pure tragedy. In this day and age people’s ideas on the supernatural and religion have changed. It is the ‘human’ drama and tragedy that people want to relate to. I am wondering how the witches are coming across to the audience.

We are now developing an idea of what works and what does not. The story has to be of primary importance to the production. Even if things work, if they do not push the story forward, then I do not think that we should use them.

Paul Chahidi - Character Notes 7

These comments are the actor’s thoughts or ideas about the part as s/he goes through the rehearsal process – they are simply his/her own interpretations and may change frequently as the rehearsal and performance process progresses.

If I had to make a choice between playing either the Witch or the Porter I think I would choose the Porter as I find him more interesting. I think that his scene is stranger and I find playing him to be more challenging. If I could pick any part to play in the whole production I think that it would have to be either Banquo or Macduff, as it would be a challenge to explore ways to make them stand out from other characters. Although, I should also say that Macbeth is a great part.

I was conducting some research on the curse of Macbeth for an interview. I read that at its premiere, King James I was not very happy about the representation of the witches (he disapproved of witchcraft). One of the rumours surrounding the play is that the incantations in it are real spells. Therefore, at the time that it was first performed, it may have been risqué to present the witches in a realistic form.

I have been thinking about how far it is possible to make Macbeth a puppet of fate. I think that he has to have some free will. If he doesn't, I don't think that modern audiences would find the character as interesting because I don't think that people believe in the idea of predestined fate in the same way that they used to. I don't think that people would believe the story if the witches had control over everything.

I find that when I am performing on the Globe stage I do have to think about where I am standing. I try not to worry too much because I know that it is all right to be in most areas of the stage. I particularly like to be in the corners. I try to remember to stand either just upstage or downstage of the pillars because the area in between is a rather weak position. I always try, where possible, to move the action out to the sides of the stage and I do this with both the Porter and the Witch. I like to get myself to one area of the stage, such as a corner and stay there for a while. I find that if you move around too much it can become quite distracting to the audience.

About three weeks ago the Macbeth Company went into a period of re-rehearsal. This week was used to make minor changes to the production. For example, we have decided not to swing the platform anymore. We have tried to simplify the action in order to clarify our ideas. One of the main criticisms that we had about the production is that the first half contains too many images for the audience to process. There are more moments now when Macbeth is left alone on the stage. Previously, the witches had been on stage with him, but we all agreed that it is clearer if they are not there. We are trying to have only the necessary characters on stage at any given time in order to avoid muddling our audience. Another change is that Duncan now leaves the stage before he is murdered, leaving more to the audiences' imagination, which I think is a very good change.

We have just had a weeks holiday and when we got back it seemed as though everyone was buzzing with energy throughout the first few shows. I found that I didn't get my sudden resurgence of energy until I had been back a week. I am finding that at the moment my energy comes in ebbs and flows. At this point in the season I am not radically changing anything. I sometimes experiment with the intonation of a line, but this is really just in order for me to keep what I am doing fresh, without throwing anyone else off their performance.

We now only have one month left performing Macbeth. This season has gone so quickly!

In the previous two seasons that I have performed at the Globe, each Company has always performed two plays. This year we have only done one, but ironically everyone seems to be feeling more tired this year than normal. I think that this is because previously we didn't have any time to think about how tired we were because we were working too hard. I do miss the complete change of pace that you used to get working on a different play with a different director. The second show was always so much more relaxed than the first because the cast had all got to know each other and had become comfortable working on the Globe stage. However, it is very nice not to be working every single day.

Paul Chahidi - Character Notes 8

These comments are the actor’s thoughts or ideas about the part as s/he goes through the rehearsal process – they are simply his/her own interpretations and may change frequently as the rehearsal and performance process progresses.

We have come to the end of the season and I feel that yet again this year I have learnt much that I can carry forward into any future seasons at the Globe. I feel that the more I work at the Globe, the less of a mystery the use of voice on the stage becomes. I now believe that any actor can be heard in the Globe theatre, as long as they think about speaking their lines clearly and being aware of the audience and the need to talk directly to the audience.

The Globe stage is a very exposing space to work in. There are no lights or special effects to hide behind. The attention is all on the actor. If you don’t make very clear, strong, consistent choices about your character then your character will come across as confused and the audience will not engage with you. As an actor, if you like speaking language and the study of very simple relationships then it is a wonderful place to work. I find the audience inspiring. But, you do have to be aware that you are on an enormous colourful stage and that you are trying to make your mark on it. For this reason your performance has to be quite bold. If it is bland you will be swallowed by the stage. The Globe stage makes big demands on the actor. Your focus has to be very clear because your eyes are almost acting as spotlights to the audience. The focus is with the performer that the others on stage are looking at. At every moment in the play it has to be decided where the focus is. This is the director’s choice. Everything at the Globe boils down to these types of choices. Every year I find that I feel more relaxed about performing on the Globe stage. It is starting to come naturally.

I understand that you are currently in rehearsal for a production of Macbeth. My advice to you is to make sure that you enjoy it and to really try things out in rehearsal. However, it is important to always base your choices on what is written in the text. Remember that these plays were written to be performed and I am sure that Shakespeare would have wanted people to try wild things with them. It is always better to try something that is over the top in rehearsal and then tone it down than to not have the ideas in the first place. Don’t be afraid of trying things. Try and look for the tragic moments in the comic scenes and the comedy in the tragic scenes. The humour in Macbeth is very oblique and often ignored. Don’t shy away from it. The humour helps to create the peaks and troughs in the language and the images. Be inventive and enjoy it. Remember that all Shakespeare is doing is telling a story. You are storytellers.

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