Two major newspaper pieces highlighting Sydney Theatre Company’s Waiting For Godot, starring Hugo Weaving and Richard Roxburgh, have appeared since the last entry. As usual, online versions and print versions differ slightly, so I’ll share both.
Weaving and Roxburgh, Waiting For Godot rehearsals. Photo: Lisa Tomasetti, The Australian
Richard Roxburgh compiled an insightful, frequently hilarious rehearsal diary for The Sydney Morning Herald. The print edition (under the cut, identical text) also featured an extra photo for their weekend magazine (Spectrum) cover story. Our Sydney Correspondent Yvette (LyridsMC) was kind enough to send me some preliminary photos and has sent the full article, which I’ll scan when I receive it. The Australian, meanwhile, interviewed both Roxburgh and Hugo Weaving for their Weekend Australian cover story; the online version of the article, which features a new rehearsal photo (above) and some images of classic Godot productions, can be read here. The print version is below. (Note: WordPress readers should right-click images, then click, “Open image in a new tab” to see full-sized versions.)
Here’s a digital version of the article’s photos:
Photo: Ingvar Kenne
Photo: Marco del Grande
Meanwhile, the Sydney Morning Herald also shared another photo of Hugo from James Brickwood’s Godot promo sitting:
In Other Hugo News:
The actress/model Kalia Prescott shared some classic pics taken while The Matrix was filming circa 1998; I’ll include her caption:
“Dinner at PRIME with Keanu Reeves, Hugo Weaving and the rest of The Matrix cast. I was making Keanu draw with me, even though he had wanted to write me a poem. Hehe. They were the best movie family.”
And David Wenham shared an anecdote with Australian Director’s Guild Conference about the pitfalls of moving from acting to directing Hugo Weaving and Josh McConville in The Turning (as quoted in TV Tonight):
“I could see when they were on slightly unstable footing. I could tell when they were absolutely flying and confident. I could read them like a book. Which was fantastic that I could read the signs.
“And it’s this: when we’re in rehearsal talk as much as you like, but when you’re actually shooting, at the end of a take if the director wants to go again, in terms of direction I love a very quick, succinct, sharp direction. So we go as quick as possible into the next take.
“It’s the thing that kills me as an actor. There’s too much time to exist between one take and the next.
“I’m so hyper-aware of everything that’s going on, even if it’s a technical thing and the light needs to be moved. If the light’s moved and the First Asst. Director isn’t calling it to go into the next thing, or I can see people drifting off … it annoys me. I want to be kept in the zone.
“Otherwise it’s like going back to square one to start up again. Direction from the director shouldn’t be a long-winded conversation at this point. At previous rehearsals, talk till the cows come home. But once you’re actually engaging an actor on set, just a few simple words.
“I found myself once with Hugo doing what I hated. I started to explain…. and he said ‘Yes, fine got it!’ I suddenly realised I’d become a director.”