#Kathleen MacInnes

[davidtennantedits]

♪ Work it, I need a glass of water Boy, oh boy, it's good to know ya ♪

[donjuaninsoho]

What a blast💥 @donmarwarehouse

[denimbex1986]

'All new photos have been released for Macbeth at the Donmar Warehouse, starring David Tennant (Macbeth) and Cush Jumbo (Lady Macbeth)...

The cast also includes Moyo Akandé (Ross), Annie Grace (Musician & Gentlewoman), Brian James O’Sullivan (Donalbain/Soldier/Murderer & Musician), Casper Knopf (Macduff's Son/Fleance/Young Siward), Cal MacAninch (Banquo), Kathleen MacInnes (The Singer & ensemble), Alasdair Macrae (Musician & ensemble), Rona Morison (Lady Macduff), Noof Ousellam (Macduff), Raffi Phillips (Macduff's Son/Fleance/Young Siward), Jatinder Singh Randhawa (The Porter/Seytan), Ros Watt (Malcolm), and Benny Young (Duncan/Doctor). Donmar Associate Director, Max Webster’s production runs until 10 February 2024.

This production of Macbeth will use binaural technology to create an intense and unnerving 3D sound world, which the audience will experience through wearing headphones, placing them right inside the head of the central couple. Director Max Webster will collaborate with sound designer Gareth Fry, who previously used binaural sound for Complicité’s multi-award winning production The Encounter. Live music will come from an onstage Scottish folk band lead by Alasdair Macrae and featuring award-winning Gaelic singer Kathleen MacInnes.

The full creative team are Rosanna Vize (Designer), Bruno Poet (Lighting Designer), Gareth Fry (Sound Designer), Shelley Maxwell (Movement Director), Alasdair Macrae (Composer & Musical Director), Rachel Bown-Williams and Ruth Cooper-Brown of RC-Annie Ltd (Fight Directors), and Anna Cooper CDG (Casting).'

[birbfeeder2artisticboogaloo]

🌼🌷🌻 it's spring, so let's GET CHEEKY >:3c 🌻🌷🌼

[kaffilatte-moved]

🗻 song of the stone 🗻

[witchyautumns]

A selected playlist for this year's fall season ❤️

🇳🇴 Mari Boine - Vuoi Vuoi Mu 🇱🇹 Nine Lindens (Lithuanian Multipart Polyphonic Song) 🇳🇱 Heidevolk - Het bier zal weer vloeien 🇦🇹 Claudia Engelberger - Die Gedanken Sind Frei 🇫🇴 Eivør - Trøllabundin 🇷🇴 Sandra N – Spirit de dac 🏴󠁧󠁢󠁳󠁣󠁴󠁿 Julie Fowlis - Òganaich Uir a Rinn M' Fhàgail 🇭🇺 TÖRÖK Tilla orchestra - Határtalanság 🇮🇸 Krummavísur 🇫🇷 Nolwenn Leroy - Tri Martolod 🇸🇰 Hrdza - Nie tvoja 🇸🇪 Garmarna - Herr Mannelig 🇺🇦 Folknery - Karchata 🇩🇰 Myrkur - I riden så 🇮🇪 Liam Ó Maonlaí - Eleanór a Rún 🇫🇮 Tuuletar - Ievan polkka 🇫🇷 Arany Zoltán -Tourdion (Renaissance classic) 🇮🇹 Corte di Lunas - Scjaraçule maraçule (medieval song from Friuli) 🇧🇾 Kupalinka (traditional) 🇫🇴 Eivør - Í Tokuni 🇩🇪 Corvus Corax - Palästinalied 🏴󠁧󠁢󠁥󠁮󠁧󠁿 Madelgarde - The Stag & Sickle (Old English) 🇵🇱 Laboratorium Pieśni - Sztoj pa moru 🏴󠁧󠁢󠁳󠁣󠁴󠁿 Kathleen MacInnes - Gaol ise Gaol i 🇱🇹 Rasa Serra - Žalioj girioj, lygioj lankoj 🇲🇩 Drumul Dracului 🇫🇷 La Rioule des Compagnons du Monde - Gloire aux Moutons 🇬🇷 Απάνω στην Τριανταφυλλιά (On the rosebush) 🏴󠁧󠁢󠁷󠁬󠁳󠁿 Plethyn - Didlan 🇦🇹 Amarok Avari - Bärentanz 🇪🇸 Arany Zoltán - Non é gran cousa (medieval song from Galicia) 🇷🇺 Отава Ё – Сумецкая 🏴󠁧󠁢󠁥󠁮󠁧󠁿 Peter Bellamy - Oak, Ash and Thorn 🇸🇪 Jonna Jinton - Vargsången 🇭🇷 Svarica - Smrt u jeseni 🇮🇪 Liam Ó Maonlaí - Sadhbh Ni Bhruinneallaigh 🇳🇴 Rolandskvadet 🇮🇹 Gorö po popu (traditional zitera dance from Resia Valley) 🇩🇪 Faun - Diese kalte Nacht 🇸🇮 Zrejlo je žito (traditional) 🇱🇻 Tatjana Vucāne - 'Latvietes Mīts /Piedzimšana/Jaunība 🇸🇰 Hrdza - Stephen 🏴󠁧󠁢󠁳󠁣󠁴󠁿 Ella Roberts - The Bonnie Banks of Loch Lomond 🇷🇺 Oh, my dear sisters, Oh, my dear godmothers 🇫🇮 Sanni Halla - Nuku nuku nurmilintu

image credit: Seniorita Verita (reblog here the original picture)

[thealogie]

q&a report q&a report (late but better than never) q&a report i didn't catch quiiiite everything in detail but i did my very best

we got: dt ros watt (malcolm) jatinder singh randhawa (porter) cal macaninch (banquo) casper knopf (fleance, the kid actor) alasdair macrae (musician, murderer) annie grace (gentlewoman, musician) and i think? kathleen macinnes (singer)

the last three people all shuffled in a bit apart from each other after the round of everyone introducing themselves by name and character was already over so i'm not sure i caught them all accurately. i'll refer to people by first names

during the introduction round i think casper started introducing himself and got kid applause so the audience ended up giving every single person a sped up little round of applause like a cute lil call and response rhythm between introduction - applause of very specific short length which was kind of funny. the cast joined in for each others as well and everyone made funny faces while applauding.

most questions were asked by the moderator

question: What did you think about the production when they first heard about it? cal was confused but intrigued. a lot of "not sure how it was going to work or feel like". when david and cush got on it the binaural audio wasn't yet firmly part of the concept but he was intrigued by the approach through trauma and how that affects the macbeths' relationship.

question: Wow was it for them with the binaural audio knowing the experience is different for the audience? what do they think? dt: we don't quite now how it comes together. the sounds are all cued off us actors, not the other way around. all i know is without Laura we would be fucked! (Laura = live sound mixing person) ros: we never quite know how it sounds for the audience, we were able to put on headphones and experience scenes we're not in in rehearsal, but i want to watch the whole thing! the cue speakers have some stripped down sounds and music that are relevant for the actors. but the audio choices enabled us to create intimacy jatinder: i think it makes the audience better able to relate to mental health struggles and trauma, giving what happens in the characters heads into your heads and relate it to your own experience. i think everyone here in the room has some of their own experiences with mental health and… voices in their head

question to the musicians: how does your work add to the concept and experience? kathleen (i think mostly, but the other musicians might also have weighed in): music enables us to place the text in a very Scottish place, but without getting in the way of the text. The headphones make it possible that it mixes with all the layers, balancing between music, sounds and lines is possible thanks to the technology. you can have loudly, energetically played music but then mix it at a level where it doesn't interfere with lines, when usually you would have to play quietly to let the text come through, which creates a different atmosphere. kathleen: i was advised to sing when nobody is speaking and turn that to humming when somebody is. so it was also very useful to have the glass box and always see what is happening on stage.

question about the porter scene: how did that come to pass, especially making a more modern version out of it? jatinder: decided together with max to just play it and see where it goes, starting with improvisation and then fleshing it out. there was an interest in finding a modern equivalent to the original jokes that audiences would perceive in a similar way as audiences back then would have related to the original jokes. the scene purposefully takes a bit of the intensity out - basically an emotional intermission in the middle of this really intense and dark journey. but my job was also in the end of the scene to bring the audience back into it.

question to david: What makes you come back to the big parts? dt: Well, Max had a good idea and I like Max. I liked the idea of the themes of PTSD and child loss and I like the donmar warehouse. i performed here 20 years ago, which is remarkable because i'm in my mid twenties right now! (laughs all around). there's something a bit magical about this space and doing an olympic event of a part like this one in this intimate of a space.

audience member question to Casper (kid): What is your favorite bit of the play? casper: my favorite bits are the murdering… or the attempt to murder. (laughs all around) But no, seriously. I like scenes where I'm not being killed and I'm having a conversation with someone that's not about death. different cast member (not sure who): -Is- there even a scene like that? (everyone laughs) dt, turning to Casper kind of conspiratorially: My favorite bit every night is the audience's reaction to your neck getting broken. (raised eyebrows, nodding to the audience with a wide grin) That's always something.

audience member question: Do you notice the audience being different in any way with the headphones compared to your experiences in other plays? different cast members answer in bits and pieces (sometimes i have a vague memory who it was…) ros: with the headphones sometimes people are louder, sometimes i feel like you are more connected and zoned in on us! maybe because you don't have the opportunity to talk to your neighbor maybe… somebody else: i feel like it's very quiet and there is somehow less coughing than usual. (laughs around) i don't know why that is!!

audience member question: What other productions of macbeth influenced this one: [here be the the answer part with david's ian mckellen impression, see the other post] musicians (i think annie): we came straight, literally no break, from the RSC's macbeth production so we really had to empty our brains. there was no break in between, but the music is very different and Max's vision also very different, so we really had to unlearn parts

audience member question: The physical theatre stuff, the witch swarm, how did that come about? ros: We really tried to think more of what would be a physical representation of the voices in somebody's head. Everybody in Macbeth's life is watching, taunting, staring at him. It was always more about the intention of the movement, what these voices want to do to him and less what the movement itself is.

THANK YOU for transcribing all of this. I love getting an explanation for what the swarm of witches were meant to represent! It really did feel like a dance/feeling more than a literal scene and it’s fun to know that was sort of the intent. (Also the neck snapping bit - I also loved the audience’s reaction to that every night.)

[buccaneeering]

For the ask game :)

3, 7, 9, 26, 34

Hi friend! Thank you for the asks! I love you!💛 How are you doing?

3 What was the last song you listened to?

Prior to answering

While answering:

7 What's your ideal number of blankets to sleep with?

Typically, one very thick/fuzzy one, accompanied by warm clothes(I get cold much too easily), currently a thick/double-layered one and a weighted one with my warm clothes.. 😅💛

9 When's your birthday?

I'm not keen on sharing my birthday, but it's already passed this year, if that's any consolation.

26 What are some seemingly childish things you like?

Some would probably consider this account childish, but, aside from that..

Mr. Rogers, How to Train your Dragon, Frog and Toad, Stop Motion(even just normal animated)movies, old commercial jingles, Jim Henson puppets(Labyrinth, Muppet's a christmas carol), lullabies, arcade games(?).

34 What's your favorite flower?

I've always liked the Lily of the Valley, but I truthfully couldn't tell you why! 😅

💛 All the best!

[niurd-main]

tagged by @fleeceyang, thank you darling!! sorry i remembered so late though 🤧

shuffle your favorite playlist and list the first 5 songs

you know i'm no good by amy winehouse

ar soudarded 'zo gwisket e ruz by rozenn talec + gilles servat

oran na cloiche by kathleen macinnes

pickle in the fridge by tj mack 😔

la traversata dell'estate by tiziano ferro LMFAO

honorable mention to the little dragon tiny desk home concert!!

tagging: @bwaldorf, @leoseazon, @forbidden-interlude, @waterz, @kimjunnoodle, @starchild--27, @zyx, or anyone who wants to!!

[cruelsister-moved2]

my feminine woman smashes uhh renee from mew mew power, piper from charmed, morgana from bbc merlin, gwen from bbc merlin, this one gaelic folksinger and radio broadcaster called kathleen macinnes, sandy denny, bert jansch (bert jansch is a feminine woman to me), hayley williams

[ferromagnetiic]

Translation: The Stone that my grandmother And grandfather used to talk about Has returned as it left My brave Stone And I don't care whether it's in Kerrera, Challendar or Calvay As long as it's in Steep, rugged Scotland To be put in a place of refuge Which will conceal it safely So that they can't, they won't manage to Remove a single fragment of it The Stone that was lost to us Let us swear by our hand Each and every one of us That we will allow nothing to endanger The man who unloosed it And dared to rescue it From an unpleasant place If they lay hands on him We'll need to be strong And strike a blow for him Using steel The Minister was so sorrowful When he woke that morning His eyes bleary As he turned out Walking the floor Sighing and praying And looking at the nook When he'd found the Stone missing There was much pacing And running 'round the floor And all he could say was "Where did the Stone go?" And, "By the Holy Mother What will I do tomorrow I know the Queen Will be beside herself" Said he, looking deathly pale "I'd never have believed It could have been raised from the floor By someone no bigger than a wasp Something is to happen to me And Heaven help me The man who unloosed it Must be as strong as a horse".

[denimbex1986]

'The Donmar Warehouse production of William Shakespeare’s Macbeth officially opens at the London venue December 15 following previews that began December 8. Performances are scheduled to continue through February 10, 2024.

David Tennant (Lobby Hero, Good, Doctor Who) stars in the title role with Cush Jumbo (Hamlet, The Good Fight) as Lady Macbeth. Max Webster directs.

The Scottish play also features Moyo Akandé as Ross, Annie Grace as Musician and Gentlewoman, Brian James O’Sullivan as Donalbain/Soldier/Murderer and Musician, Casper Knopf as Macduff's Son/Fleance/Young Siward, Cal MacAninch as Banquo, Kathleen MacInnes as The Singer and ensemble, Alasdair Macrae as Musician and ensemble, Rona Morison as Lady Macduff, Noof Ousellam as Macduff, Raffi Phillips as Macduff's Son/Fleance/Young Siward, Jatinder Singh Randhawa as The Porter/Seytan, Ros Watt as Malcolm, and Benny Young as Duncan/Doctor.

The production uses binaural technology to create a 3D sound world, which the audience experiences through headphones, placing them inside the head of the central couple. Director Webster collaborated with sound designer Gareth Fry, who previously used binaural sound for Complicité’s The Encounter.

Live music comes from an onstage Scottish folk band led by composer and musical director Alasdair Macrae and featuring Gaelic singer Kathleen MacInnes.

The creative team also includes designer Rosanna Vize, lighting designer Bruno Poet, movement director Shelley Maxwell, fight directors Rachel Bown-Williams and Ruth Cooper-Brown of RC-Annie Ltd., and casting director Anna Cooper.'

[krenenbaker]

✨️When you get this ask you have to put 5 songs you listen to, post it, then send this ask to 10 of your favorite followers (positive vibes are cool)🎶

I've got a few of these, so I'll answer each with 5 songs from different genres I like :)

[kaffilatte-moved]

🛡️ oh son of john, son of james 🛡️

[celtic-cd-releases]

https://www.katiemacfarlane.com/

https://www.facebook.com/katiemacfarlanemusic

https://katiemacfarlane.bandcamp.com/

https://open.spotify.com/album/7v1qVUQQAXItx5Vs97lQcR

[moss-flesh]

i listen to this song when im sad. here take it :)