KNOT HEART - Almeida Theatre

In the Rehearsal Roomonto foil and if in fact the foil being used was large or deepenough for heroin. These conversations went on for the bestpart of an hour, with Michael allowing actors to go over thingsfor as long as was necessary. It’s occurring to me that whilstthis piece is very conversational in nature, the physical actionthat is there is so considered, so real and often so crucial tothe story being told that the actors have to get themselves asaccustomed to these physical transactions as they would theirlines.I watch Michael in the rehearsal room and see the ease atwhich he works. There is a real sense of letting the actorsmake choices. He does not dictate but suggests, gentlydrawing more from them as he delves deeper into the wordson the page. Immediately I notice that he is a director thatfocuses on the specifics of a scene. There is always more tofind, more to uncover and there is never any sense of thingsbeing hurried (although the control freak in me wonders if thispace can be maintained). There is also a balance betweenunderstanding what the actors need in order to feel connectedbut also a commitment to telling the audience what they needto know. It is the first time I hear the words, ‘in terms of thestory of the play,’ but it is certainly not the last and very soon itis coined as the director’s mantra (or Michael’s mantra at thevery least!).Abigail Cruttenden and Lisa Dillon inrehearsalPhoto: Matt HumphreyMy mother meets mydealer in a little café onUpper Street. And youknow she sometimes buyshim a cake. Apparentlyhe’s fond of meringues.LucyScene 9The actors are still unpacking a well of information this week.It’s one thing discussing things around the table, but nowtelling that story physically means some of the things thatwere discussed in theory have to be re-examined practically. Isaw this negotiation come up particularly whilst standing25Resource Pack: The Knot of the Heart