Gallery
| Video | Location | Description | |
|---|---|---|---|
|
The Antipodes |
|||
| AN_1_1 | Act 1 | Martha's entrance to Barbara | Watch video |
| AN_1_2 | Act 1 | Exploring Martha's mood-swings | Watch video |
| AN_1_3 | Act 1 | Barbara's response to Martha's approach | Watch video |
| AN_1_4 | Act 1 | "I guess her grief" | Watch video |
| AN_1_5 | Act 1 | Exploring if the scene between Martha and Barbara could be both disturbing and funny | Watch video |
| AN_1_6 | Act 1 | Is Martha playacting for attention? | Watch video |
| AN_1_7 | Act 1 | The direction that Martha "weep" | Watch video |
| AN_1_8 | Act 1 | Martha and the "wanton maid" | Watch video |
| AN_1_9 | Act 1 | Martha becomes proactive in the scene and the power-centre shifts | Watch video |
| AN_1_10 | Act 1 | Creating spatially a divided visual focus in 1.3. | Watch video |
| AN_1_11 | Act 1 | "Sure hell's above ground then in jealous husbands" | Watch video |
| AN_1_12 | Act 1 | The Doctor's travels | Watch video |
| AN_1_13 | Act 1 | Marginalising Joyless | Watch video |
| AN_2_1 | Act 2 | Staging the arrival of Joyless and family at Letoy's house | Watch video |
| AN_2_2 | Act 2 | Diana's initial uncertainty how to respond to Letoy | Watch video |
| AN_2_3 | Act 2 | Joyless seeks companionship with the audience and with Blaze | Watch video |
| AN_2_4 | Act 2 | "Un /Merited" | Watch video |
| AN_2_5 | Act 2 | Letoy's status | Watch video |
| AN_2_6 | Act 2 | Diana grows attracted to Letoy | Watch video |
| AN_2_7 | Act 2 | Stage pictures to create the first sequence in the Antipodes | Watch video |
| AN_2_8 | Act 2 | A first run-through of the opening scene in the Play-within-the-play | Watch video |
| AN_2_9 | Act 2 | The entrance of the pregnant Waiting-Woman | Watch video |
| AN_2_10 | Act 2 | In search of a kind of heightened realism | Watch video |
| AN_2_11 | Act 2 | Staging the opening of the play-within-the-play with its onstage audience | Watch video |
| AN_2_12 | Act 2 | A new positioning for the onstage audience | Watch video |
| AN_2_13 | Act 2 | Peregrine is now free to roam at will in the playing space | Watch video |
| AN_2_14 | Act 2 | Martha interrupts the play-within-the-play | Watch video |
| AN_2_15 | Act 2 | A textual issue resolved by the actors | Watch video |
| AN_2_16 | Act 2 | The elderly schoolboys excite Peregrine's humanity | Watch video |
| AN_4_1 | Act 4 | The ducking of the Man-Scold: with the women played by women | Watch video |
| AN_4_2 | Act 4 | The women in charge of the ducking become factionalised | Watch video |
| AN_4_3 | Act 4 | Men as the Women in charge of the ducking: too manly? | Watch video |
| AN_4_4 | Act 4 | Women again cast as in charge of the ducking but with a younger victim | Watch video |
| AN_4_5 | Act 4 | The men dress as women to play the ducking scene | Watch video |
| AN_4_6 | Act 4 | The women dressed in the same clothes that the men wore take charge of the ducking | Watch video |
| AN_4_7 | Act 4 | The scene for the three courtiers | Watch video |
| AN_5_1 | Act 5 | Joyless's soliloquy | Watch video |
| AN_5_2 | Act 5 | Barbara and her news | Watch video |
| AN_5_3 | Act 5 | A full run-through of the opening scene of Act 5 | Watch video |
| AN_5_4 | Act 5 | Pace and implied meanings in the scene for Barbara and Joyless | Watch video |
| AN_5_5 | Act 5 | The attempted seduction with a genial Letoy | Watch video |
| AN_5_6 | Act 5 | A physical Letoy and a dignified Diana | Watch video |
| AN_5_7 | Act 5 | A man in the role of Diana | Watch video |
| AN_5_8 | Act 5 | Diana finds a tone of light-hearted scorn | Watch video |
| AN_5_9 | Act 5 | Diana questions Letoy's status as an aristocrat | Watch video |
| AN_5_10 | Act 5 | Letoy tries to engage with the audience and win their complicity | Watch video |
| AN_5_11 | Act 5 | Diana fearlessly stands her ground | Watch video |
| AN_5_12 | Act 5 | Diana breaks Letoy's physical hold on her | Watch video |
| AN_5_13 | Act 5 | Diana's quiet but absolute self-control | Watch video |
| AN_5_14 | Act 5 | Could two men play the scene of the seduction and achieve a sexual energy and tension? | Watch video |
| AN_5_15 | Act 5 | Diana discovers her true father | Watch video |
| AN_5_16 | Act 5 | Should Diana move within the scene of discovering her true father and where to? | Watch video |
| AN_5_17 | Act 5 | Might the sequence be played as a send-up of reconciliation scenes? | Watch video |
| AN_5_18 | Act 5 | A final attempt at a tone poised between the grave and the comic in 5.2. | Watch video |