Category Archives: Interview

Meet Our Music Director & Composer! An Interview with Samuel Fernandes Morais

Posted on by under Drama, Interview, Mystery Plays, York Mystery Plays 2026

As part of our series of talking to the creative team members who are new to HIDden, I had a talk with Samuel Fernandes Morais, who is both the composer of some new music for our show, and also the music director. I’m the daughter of a music director, so I have some familiarity with that work, but composition has always baffled me. How does one just… create songs? Samuel’s process is of course unique to him, but it was fascinating to learn even one person’s approach to something I can scarcely imagine doing! If you have songs going around your head, Samuel’s insights might be just what you need to start getting them on to paper! [Note: this interview has been edited for brevity.]

Tell me a bit about your background and how you got into music?

I did music history as one of the modules in college and that’s my first interaction with the more theoretical side of music. I’d started playing guitar when I was about thirteen- then I went to uni and did solo performance and composition. I really explored how wide I could compose, with different genres and ensembles. And then I did my master’s. In the last two years, I’ve become interested in soundscapes and music for screen as well as theatre. 

Did you grow up doing music or was it something you got into later in life? 

I didn’t get properly into music until about I was about 14 and that was when I begged my parents for a guitar. I actually didn’t like music from years one till six, because the teachers were very mean. It was only a bit later on that I taught myself how to play guitar, and then I decided to try bass because it’s almost the same thing. And then drums as well. And then at university I learned how to play clarinet as well in a group. So [there was] lots of trying out stuff. 

So are there other instruments you hope to pick up at some point in the future just for curiosity? 

I can make a sound on flute. I’ve tried violin, and I can kind of play piano. I’d really like to try cello- the sound is so warm and it’s bigger as well so it’s not as fiddly. I really love strings- I find them very challenging, but they’re really fun. It’s not challenging to write for them, but they can take up a lot of space [in compositions]- when I did my orchestral piece, I was like, “I’ve just written everything on the strings and I have sixteen more instruments to write for!”

So, what inspires you when it comes to creating songs? Where do you get the inspiration?

A lot of different places. It depends on what I’m writing for. One thing that always plays a big part is the rhythm and texture of it. I’m not as melody driven as [a musician] friend is, for example, and sometimes it’s harder for me to come up with a melody. Sometimes I have all these ideas swimming around in my head. It’s like trying to figure out a puzzle- what instrument gets what notes and who plays loudest. But mostly I get inspired by other music. I try to replicate it- not copy it, but se some of the same technique, or orchestration detail, or a chord progression that interested me.

There’s an element of self-teaching in that as well!

It was a lot of exploration but especially during uni, because I started out as a self-taught musician, so my impulse is to try and do it by myself every time when I want to try something new. My university course provided me with the resources and time to do that. My lecturers, they were more contemporary, so they pushed me to try things outside of my comfort zone.

What is the difference, composing for contemporary pieces versus composing for more classical pieces?

I’m still learning for classical because that’s not really my background. It’s a lot of rules and structures. I feel like contemporary is a bit more free of all of that. But I think I’m trying to find a balance between classical and writing new stuff, but sticking to the structure and trying to learn all that, which I’m still doing, to be honest…. Remembering all of [the rules], I find it a bit harder- because I came across them a bit later on it’s just harder to stick in my brain.

What got you interested in doing mystery plays specifically?

 in 2024

It was because I came across them when I was at uni. I was in the one in Chester. And then two years before that it was the Canterbury Choir Festival with my university, where we did Monteverdi’s Vespers and Eric Whitacre’s Lux Aurumque..  And one of my lecturers, David Lancaster, is really interested in medieval music. But [my interest] was really from the choir festival [in Canterbury]. 

How much of composing comes to you sort of organically and how much of it is, “oh here’s the melody I hear [in my head] but now I have to think about how to make that happen [on paper or with instruments]?

For example, when I was writing my orchestral piece, I started with the strings but I had a melody in my head so I wrote it down. Most of the time it’s just like that. Sometimes I have to really work for it- I’ll write something and then I have to really edit it, because it’s not as polished, but sometimes it just pops into my head. If I’m on my guitar I’ll just write something really random. And I’ll think, maybe I could move this note up or cut it in half. And then at the end, I’ve got a little bit of melody. So it’s like a process of concept and then revision and concept and revision kind of constantly. 

What would you like people to know about composition as a process, as an experience? 

That it’s a lot of work and revision, revising melodies, rhythms and orchestration in search of what fits and feels right, because I think people sometimes think that musicians just do it on the first try, like it’s all in their head. But it’s not, it’s a lot of trial and error.

What do you think is the best the best thing about composing and what do you think is the worst? 

The worst is [when] you can’t find any notes or anything that fits- when you can’t come up with ideas- like composer’s block. Also, when I have to change a section in the middle and then everything feels like it doesn’t fit; everything feels really disorganised. But the best thing? I really do like seeing it get more and more complete. Just going from just a single melody to the whole thing. I compose over a large period of time sometimes, and just seeing it progress to get bigger and bigger, until it gets to the final product. 

I imagine getting to see something you’ve written, and other people are playing it, it’s got to be quite exciting! Do you get really attached to pieces that you’ve done?

It’s more that if I have to change them, I’m like, “No, that’s wrong, that’s not how it should be.” Sometimes a friend and I [will be] talking about it and I don’t take feedback in the best way because I really like how it sounds in my head. And [my friend says], “oh, but it would be better.” And for me it’s not better. A few of my lectures would say, “Your piece ends too abruptly”, but that’s because some of the stuff that I wrote was more like rock and pop for a band. And in my experience, that’s just how they end, because that’s my background, rock and pop, that’s what I learned on guitar first, and then they’re used to slower, longer endings on classical pieces. So that’s the two things I don’t like! 

Do you have a favourite genre to compose in?

I like to write textured music for rock bands, although classical and Romantic music are up there as well.

When it comes to listening to music do you have a favourite style? 

I’ve been really into musicals for the last two years. It started when I was kind of forced into being in a pit band at university for a new module that involved the musical theatre cohort- we did Carrie. I really liked the music though because it was more complicated than what I was used to and it’s what made me learn notation for guitar in a different context, as well as my sightreading skills. It all just forced me to another level and then ever since I thought it’s actually really good [music].

What is the next project after mystery plays?

I’m currently looking for entry-level producing jobs in theatres in London and trying to book work as a pit band guitarist/bassist. Apart from that, I’m working on a project with my friend [I mentioned earlier] to record classical music that was written by female composers, in addition to spin-off recordings of different themes, as one big project catalogue. I am also re-releasing my MA project called Backstage, and working on making all the pieces I composed for university ready to be released. I’m kind of catching up after my MA, to be honest, when I think about it. Just looking forward. 

It always takes a while to just get back on your feet after an MA. MA’s are hard!

Yeah. I really liked it, though. Especially my dissertation. I did it on music psychology and film soundtracks. It’s completely different from what I usually do. It’s on how music can help you overcome trauma by associating the soundtrack with the hero’s journey during the film, and then seeing how it relates to yourself… You know when some people, if they’re sad, they just listen to sad music because they’re sort of playing their feelings out, or some listen to happy music because they’re going to feel happy? It’s kind of that, and my goal with it was to take something that only formally exists in a clinical setting and propose a way to safely use it at home.

I know you grew up in Portugal- is it different musically? How much does it influence you?

I grew up on American and English music, so I’m not the best person to ask. There are a few Portuguese bands; they have this sound that’s kind of European, but it’s not as streamlined as in the UK and US. There’s a fairly big market for Portuguese music in Portugal, although t’s not the same as English. There’s a lot of hip-hop as well with younger people, but I just don’t like it. Music with Portuguese lyrics sound very cliched to me. Some of it you’re like, oh that’s nice… and then you forget about it. I left when I was 19, but I basically grew up with the internet, so I had access to all the music I wanted. On the radio, they’d all play just normal pop music as well. I think they have to have [some] Portuguese music [on the radio]. I’m not doing a good job of selling it!

You’ve got quite a diverse catalogue [of pieces on your website]; it doesn’t all sound the same. 

That’s one of the things [for which] I’m grateful from my uni course, because it allowed me to explore everything. I don’t think I would have done it otherwise. If I’d done another course I think I’d have been too busy. They actually gave us time to explore and find [different] styles. 

Of the pieces that you’ve written, do you have a favourite? 

I really like one of the movements of my classical piece, one or two of them. When I wrote it, the first and the last movement were originally the same movement. But I split it because I wanted to develop them all. But yeah, those two are my favourite. And then “Burn” from the EP. 

You can hear the pieces Samuel mentions, and much more of his work, at samuelfmorais.com. And you can hear his compositions for “The War in Heaven” at the York Mystery Plays on 28 June and 5 July! 

Meet Our Assistant Director! An Interview with Irem Saticioglu

Posted on by under Drama, Interview, Mystery Plays, York Mystery Plays 2026

Continuing with my [Laura-Elizabeth Rice, director for “The War in Heaven”] interviews with our creative team, I chatted with our assistant director Irem Saticioglu, about her journey into theatre and directing. People seem to come to directing from such different places- we all get here via a journey, and though both Irem and I were born outside of Britain, we both seem to have found that the personal journey has been more convoluted than the geographic one. Enjoy learning a bit about her route from puppet-phobic child to Assistant Director for a puppet-filled Mystery Play! [Note: this interview has been edited for brevity.] 

How did you get started in theatre?

I started doing student theatre in Glasgow, when I was studying at University of Glasgow. Then I had the opportunity to direct a small play; that’s what got me into directing. I had a lot of fun and I wanted to do that for the rest of my life. Then I finished uni and decided to do my master’s on theatre. My education wasn’t on theatre, [my degree] was zoology, so there was a big switch from biology science, STEM subjects to theatre. I did my theatre-making MA at University of York; during it and after graduation I’ve been doing theatre in York. This is my first time doing mystery plays, but I’m really enjoying it so far. 

What got you interested in the Mystery Plays?

I wanted to do mystery plays since I learned [that they] exist. It was during my MA because I wasn’t aware of anything like this in Glasgow, but since I learned about it I wanted to become part of it. I didn’t know if I could be a part of a directing team, I was thinking I would volunteer or do something [else] in it because it’s a big lovely festival and then I realized that maybe a [version of] directing is possible. I know a couple of the groups in it as well, and I know how they were passionate about it. And specifically with The War in Heaven, I think it’s the badass play of the entire group. I’m really interested in the idea of discovering Lucifer, by himself as a character, and Lucifer’s relationship with God and how that ends, how it doesn’t go well and an angel turning into a fallen angel and that being why the universe is created is a very interesting story to me. That’s why this one caught my eye.

Why did you get interested in directing specifically?

There was a student theatre society that I was already a part of, but I was doing stage management and helping with props, not getting too involved with the stories or the creative progress, and in one of the small festivals that we had, I tried to actually enter with my writing but I didn’t get picked and then a friend said,  “would you like to direct one of them, though, because we’re still allowing directors to say, oh yeah, I’m interested in that play,” and then I used it as [a springboard]. ‘If I can’t write I’m gonna direct’, was kind of my motto. I decided directing is better for me than writing. I can’t remember what happened in that process that took me from writing only, to [thinking] I should maybe direct, but I think it was the  making of something as a group that really got me, because [although] writing can be a group thing as well, most of the time you write something, give it to a group of people and then they perform it. Finding the best way of performing something is actually, for me, a more thought-provoking process than just sitting and writing something. So [the fact] that it’s collaborative is what got me, and the creative process is digging into something that’s already written, rather than creating something from zero to 100. Digging deeper into something is like solving a mystery: you need to solve that to get [somewhere]. What I mean is, I thought it was really fun but I didn’t know it was a feeling like that before I tried it.

What’s your first memory of theatre?

This is really funny because we have puppets [in our show]. My earliest memory is actually me being very afraid of puppets in a puppet theatre. I think I was five or four. It was one of those puppets with wooden arms and legs and I remember this puppeteer bringing the puppet to my lap- I started screaming. But [my first] positive memory of [theatre] was when I was like 13. We went to see a show in Istanbul. IIt was [a one-man production of] Diary of a Madman, from Gogol, Nikolai Gogol, a Russian dude. That play really got me. I just couldn’t believe something like that was possible and I remember at the end of it I was actually crying silently, I was staring at something and I was just crying, I wasn’t even aware that I was crying and then I went, “oh, I want to do this!” There was something that got me and I knew I didn’t want to do acting so it was more about, I want to be involved in this, I want to do something that has to do with this. 

You grew up in Turkey- we have a very international group, really! How does theatre differ from Turkey and the UK?

I don’t know a lot in terms of doing it. I can comment on it as as an audience member, because I’ve been an audience member for both Turkish and English theatre. I think the culture of going to the theatre is different: in the UK it’s a bit more- I can’t believe I’m saying this- it’s a bit more accessible, really. We always talk about how inaccessible arts are in the UK and how it’s getting harder; it’s the truth, it’s getting really hard [to afford to go to performances], but I think it’s even harder to do it [in Turkey]. It’s the class divide. You really don’t [go to the theatre] in Turkey if you are not that lucky in terms of financial situations. In the UK, you can actually be in the middle of a street and, “Oh yeah, they’re doing a play there, let’s go see that!”, like we’re doing now. You know, in the UK, there are opportunities like that. I think it’s less like that in Turkey. I think it’s a bit more focused on, “we need to make more money from this”. Even a very small, independent theatre company, they’re more focused on the money than the art. I don’t want to really say it’s always like that, but I think it’s a bit more accessible here with opportunities to be involved. We don’t have a lot of community theatre going on in Turkey.

Also when I’m in Turkey and I talk about doing theatre in the UK [the people I’m talking to] always go into Shakespeare, “oh my god how many Shakespeare shows have you done?” and I’m like, maybe one? I’ve done The Tempest and I was a stage manager. Meanwhile, we do new writing [more in the UK]. I’ve done so much new writing in the past couple of years. This- the mystery plays and the one I did before these [the Nativity with York Supporters Trust] are the [historical] texts that I’ve done, but the rest have been new writing, and I think it’s really nice in the UK that you get a lot of [that]. In Turkey you get translations of popular, classical plays, like you get Russian literature, Shakespeare, Tennessee Williams, some American classics; you get classic or well-known writing more than you get new writing. I know a lot of Turkish theatre makers, both professional and non-professional, who have moved into UK so that they are a bit more active in theatre because it gets really stagnant in Turkey. [They think], nothing new is happening, where do we go, what do we do now? They usually either create their own independent theatres so that they have artistic control and they get to pick what they’re doing and they’re not just doing whatever the big theatre people say, or they just go somewhere [else].

What’s your favourite show that you’ve worked on?

I think it was the first thing I did as a student. To this day, I think it’s the best thing I’ve done. We did a show called Eve Strong, an Adam-and-Eve and even a Harry Potter-esque play, about a girl called Eve- it was actually “Adam Strong” when we first started doing it, but we couldn’t cast any boys. [It had all] the tropes: the chosen one trope, and the wise elder trope, the villain, the romantic interest, and the parent of the hero telling them, “You have a purpose in life,” and guiding them through. We had all of those people in it and I had so much fun breaking down every single character, because they’re very classical characters, but you never really think about them, you just take them for granted. Like Harry Potter- we all know him but do we? I just loved that production. I loved working with it. It was the first time that I’d done any directing at all. We had a really nice group of people , everyone was so naturally funny and it just worked out. It is what got me into theatre and I still think it was the best thing I’ve done. My aim is do something better than that. My best memory is the first- everything was perfect in my first [show]. I feel like I need to up that at some point, I need to redo that or even do something better than that.

That one show, where everything’s perfect, you don’t get that very often.

Maybe this show will be the best one! I’m going to hope.

What’s your favourite part of directing?

I think it’s watching people. When the cast gets together for the first time and the second time and seeing the difference, becoming unified, they’re becoming one and they’re understanding, “we have a mission and it’s a nice mission, we chose this”. Having one goal, all together, turning into that harmonized mix of different characters, different people but still having one single goal and wanting it to be good. And discovering their personalities and what they do in real life. I really enjoy seeing that because, especially community theatre, it’s bringing people together. I love seeing that. They get more comfortable with each other, they become friends and as a director you’re the person who sees the entire process happening. Sometimes it doesn’t happen, sometimes people get together and they’re more, “okay we’re professionals, we’re just gonna do this”, so they don’t get to be friends, but when it does happen I really enjoy that. 

What do you find to be the most challenging part of directing?

There’s a point zero, where you start for the first time, and there’s point ten, which is your goal- between zero and ten for me it is hard to navigate myself and not get lost in the tiny details. I have a general idea of what should happen and then perfecting it, so not getting caught with small details at the beginning is what I struggle with, so in the point one to point ten, before five is where I struggle, because it kind of happens by itself after that point- people know what to do. You have a basic blocking, you go into polishing and do costumes and puppets and the other things come in and it kind of happens by itself, because if you have a good group of people who know what they’re doing and you know what they should do when, it just comes together naturally. But before that point, where you’re not sure that it’s going to [seem like] random things, that’s gonna look all scattered, that’s what I struggle with. Not getting caught up with the smallest details, and not letting myself be upset about these small things as well. Sometimes I don’t know if [everything] is working out, and it gets to that point where you see, okay it’s actually happening. I’ve had it many times and I know this time it’s gonna happen again, but I need to know that it’s fine… It feels like it a director’s [form of] imposter syndrome. “Oh, can I do this? Am I doing this correctly? Is this gonna figure itself out? Or should I do more of this?” You’re literally not sleeping at all, but you’re [wondering], should I do more? The answer is no. You’re doing fine. But yeah, it’s the imposter syndrome. And every show is a new show, so each show will have a thing of its own as a problem, and just accepting that is helpful.

Meet Our Puppet Director! An Interview with Catherine McRae

Posted on by under Design, Interview, Mystery Plays, York Mystery Plays 2026

Recently, I [Laura-Elizabeth Rice, director for “The War in Heaven”] sat down with Catherine McRae, our puppet director, to discuss making and working with puppets. HIDden has never really worked with puppets before, so this has been an exciting addition to our productoin. I’m deeply grateful for all the work Catherine is doing, as the puppet demons really are adding a lot to our Hell, and also for everything that I’m learning from her along the way. I want to preface this interview by candidly admitting that I probably didn’t know enough about the incredibly nuanced world that is puppetry as we started this show, and Catherine’s contributions have not only therefore been vital to the success of our puppets, they’ve also made me grow in perspectives as well. I hope you’ll find this interview as utterly fascinating and eye-opening as I did! [Note: this interview has been edited for brevity.]

So tell me about your background and what got you started in all of this. 

My background is as an actor, drama facilitator, puppeteer. And I’ve been interested in storytelling in one way or another for as long as I can remember. I did all the stuff you would expect- youth theatre, amateur dramatics, and went to uni to study it and uni was where I was formally introduced to puppetry. Since graduating, I’ve had various life experiences, which have led me to focusing on specific types of puppetry or specific communities I want to work with. 

What got you into theatre in the first place? 

I was very, very lucky that theatre was never uncommon or strange to me. My parents introduced me to theatre quite young so the option to get involved in theatre was always there for me. And I never lose sight of the fact that that is an enormous privilege, to have a family that are able to regularly take their kids to the theatre. Growing up, I also got to meet lots of different people from different backgrounds, which highlighted to me that actually, you are in quite a privileged position to just think that going to the theatre is a normal thing to do because there are clearly lots of people who don’t!

Why puppets specifically?

I grew up in the late 90s, early noughties, so there was quite a lot of puppetry around, particularly in British children’s television, because although you did get animation and CGI, it wasn’t anything like it is today. So [puppets] have always been in my life to some extent. The thing I find interesting about puppets is the reaction you get from other people. It’s often a very strong reaction- sometimes it’s a negative reaction, and sometimes it’s a positive reaction- but you always get a very strong reaction to puppets so as someone who’s interested in stories and storytelling, that was an interesting tool. And I also found myself focusing on puppetry for adults, [which] has an additional challenge…. You generally have to do a lot of work beforehand to suspend their disbelief and get them to believe in the puppet on stage, but when you do it, you end up with some really powerful pieces of theatre. I’ve seen productions that have used puppets to talk about really hard-hitting topics like the benefit system…. it gives you a way in to difficult topics that people may not connect with as much.

So what do you think it is about puppets that makes people react so-?

I use the word viscerally; whether good or ill- I think it depends on whether you hate them or like them. There’s a lot of iconography around puppets being in horror films and used for nefarious means, so I can understand the fear around puppets. And particularly the background [puppets] had: when shadow puppets were being made in places like China, [historically] it was an alchemist who would do them, so there was a sense of magic and something ethereal about them. If you like them, there’s something quite innocent about them, something quite open and vulnerable… and I think people respond to that really well.

When is the earliest puppetry that we’re aware of? I assume it’s going way back…

Something like 87 BC… they have always been around in some shape or form, particularly shadow puppetry. Then you’ve got marrionettes, which are a type of puppetry that came much later. There’s a lot of different types of puppetry that have originated from different spaces over time, but puppetry as a whole is something we’ve always been doing. 

What’s the best project that you’ve done? What’s your favourite among things you’ve worked on? 

A show I did for my dissertation when I was at university about fan culture and mental illness. I was doing a lot of the work myself and putting in the hours for that. There’s lots of other things I’ve done since that I’m very proud of. But I’d say that one is was sort of a big one, so to speak. 

What is the best thing about puppets and what’s the worst?

I think the best thing about puppets for me is getting to play with them [puppets]! I’m one of those people who, when I see a puppet, and I start playing with a puppet, I find it very hard to put it down. On several occasions, we’ve been playing with puppets, and someone has said, leave the puppets, come and sit down. And everybody else would dump their puppets and go and sit down. I would walk over with my puppet still breathing, still acting, and sit it on my lap as if it was listening to the conversation because I couldn’t put it down… I’d say the worst thing about working with puppets is that people have a lot of misunderstandings about puppetry and what is required to make a good piece of puppetry, it can sort of be trivialized and turn into people seeing puppets as glorified props and actually it’s a lot more complicated and requires a lot more skill than that!

I was really fascinated when you had [our puppet] Beelzebub in the rehearsal “breathing.” I know you’d mentioned breathing and I was thinking [of] our breathing and seeing you move him I realised he also breathes! I think my next question follows on from that- what do you think people should know about puppetry that they don’t know?

It’s more complicated than it looks, definitely. With certain types of puppetry people [realise] it’s complicated quite quickly. There are other types where people think it’s easy, but in practice, it’s actually really complicated. With shows like War Horse, the amount of physical stamina you need in order to do that is often understated…! Anyone can pick up an object and make it talk, but if you want people to believe it’s not a piece of paper talking, that takes a lot more work and a lot more skill.

 What are the biggest challenges in working with puppets? 

It would be the same kind of thing. Particularly if I’m the one puppeteering them it’s making sure that I get the support that I need. It’s not so much of a thing on this [project] because I’m not going to be operating the puppets so I can ensure that the actors are actually having enough time with [them] and they are getting the direction from me, but there have been times [when I’ve] needed that sort of guidance- when you’re behind the puppet often you’re not seeing what the audience is seeing, so having that outside eye is really helpful. The real challenge is the misunderstandings that other creatives can have about puppets and how that shows up in the rehearsal space.

Do you have a favourite puppet that you’ve ever made or worked with? 

Hopefully it’ll be one I’m making currently! 

Do you get emotionally attached to them once you’ve made them? 

You definitely get emotionally attached if you’re working with them and performing with them. But I think the connection is sometimes a bit different. A lot of the shadow puppetry I’ve done, for example, has been on film…. and it’s a lot more of a practical mindset. Obviously, there’s elements of creativity in there, but in terms of the emotional connection, it’s much more practical. Whereas if you’re having to physically inhabit something for a period of time you’re going to get emotionally attached…. There’s a difference between types in how you relate. I think particularly when you’re having to infuse an object with a character it’s-  I’m going slightly off topic here but I did a module at university, between the creative writing  and acting students. [We were] studying a play where a character kills another charecter, and there was this very strong divide of the writers going, “This person is evil, this person brings this girl to a place with the intention of killing her.”  The actors very much went, “No, this person is triggered during the conversation. Yes, he does a horrible thing, but ultimately he’s not an evil person,” and … the conclusion I came to was that writers can write particularly evil characters without inhabiting them, whereas if you have to inhabit that person night after night, you have to really think about what their thought process is and so you have to come up with some rationale for why you do evil things. All of that to say that when you’re having to really get into the character… there is that emotional attachment because you’ve been through it with that puppet or with that character.

Do you have any advice for anybody who wants to know more about puppets or get involved with them?

 I’d say just start playing with stuff. [Don’t assume] that you have to have a full-size Jim Henson-style puppet in order to start. It’s something that you can just play with. Practising the technique is super easy. Just grab whatever you’ve got and try and infuse it with a character. And there are some brilliant resources out there on puppetry. A lot of people will do a beginner’s course on puppetry. But also there’s a book called A Practical Guide to Puppetry by Mark Down that’s got lots of stuff about puppetry. I’d also say go and see as much puppetry as you can…. I guess it’s the same for every creative art: See it and do it. 

What kind of things go into creating puppets, designing them, ideas, processes? 

It changes, depending on the project…. When you’re making a puppet you have to think: what is the style of the production, are you making cute or scary puppets, animals or humans, performing indoors or outdoors, is it a large group or a small group- that will then impact how big your puppet needs to be, what types of materials you need, who’s actually puppeteering them. There’s quite a lot that goes into it. 

Thank you so much! This was so interesting! I’ve definitely learned a lot, I’m sure I’ll learn a lot more as the show goes on!

If you’d like to learn more about Catherine’s work, please follow her on Instagram (@cathymcraee). And come see The War in Heaven’s puppets live on 28 June and 5 July with the York Mystery Plays!

Making Mischief – An Interview with a ‘Mankind’ cast member

Posted on by under Interview, Mankind, News, Production

As we continue to get ready for our upcoming Mankind revival, we sat down to have a chat with one of our actors. Kate Thomas is playing Mischief, one of the demonic, vice characters of the play. She’s worked with HIDden in the past, as well. Kate is also a proper medievalist who studies Anglo-Saxon literature and liturgy, so she has a unique perspective on acting in medieval dramas. (She’s also our go-to person for tricky Latin advice!)

How did you get interested in medieval drama?

I studied English Literature as an undergrad at Durham, and during my second year I got into medieval literature and started going down that path. John McKinnell did ‘Hickscorner’ in my third year, just as I was starting to really focus on medieval lit, and I got interested. So when I came to York to my MA in medieval literature in 2005, I joined the Lords of Misrule, the grad school’s medieval drama group. I was hoping they’d be part of the 2006 Mystery Plays – that was part of why I joined – but they didn’t do it that year. I had to wait until 2010, when I was one of the Lords waggon crew cast.

What sort of roles have you done?

Let’s see… Going way back, I was Sylvius in As You Like It, and I was Starveling the Tailor in Midsummer Night’s Dream. I was a villager in Penumbra Mortis – that was probably my favourite play with Lords, although it wasn’t my favourite role. I was the evil witch, Kalla, in Eyrbyggja Saga. And of course I was an angel in 2014 for The Baptism. Actually, I do really like Mischief, I think it’s been most interesting.

What do you find most challenging and interesting about playing Mischief?

He’s kind of evil, really! It’s a welcome change. It’s fun trying to figure out how to play him, because it’s not always clear. I’m doing it as a sort of seductive, sophisticated, feminine figure – a femme fatale almost. Being a death figure helps it make sense, it really works in some of the more sinister moments, but it doesn’t always go so easily with bits where I get frightened or intimidated or I’m mucking around, but it adds some layers to the scarier bits. I can intimidate the Vices with how I kill people – they’re not on that level.

It’s a chance to be evil in a more complicated way. This is a very enigmatic character, it’s not just “I’ll go around killing people”. In some ways because it’s not realistic drama, that makes it more difficult to interpret. I mean, it’s not Iago, who’s enigmatic, but clearly wants to hurt people, but he’s still a person, he has motivations, whereas with Mischief there’s the question of whether or not this even is a human being. It’s almost cartoonish – not in a silly way, but it’s a type, it’s not subtle. But it’s not simplistic or unmotivated, it’s just that the motive is a bit beyond human, whereas the Vices aren’t evil in the same way.

Do you have a favourite scene?

The one after their initial attempts to lure Mankind have gone wrong, when I’m going off and being frightening, and when we’re putting our heads together and plotting. I like the scheming.

You’ve done a fair bit of both medieval and Shakespearean characters. Do you see a difference between Shakespeare & medieval, from an acting standpoint?

I think the real question is what the continuity is! I find it hard to believe that the Shakespearean era wasn’t influenced by other sorts – but that’s when it started going into theatre, wasn’t it? When it went indoors. I think that’s the big change, moving in to places where people had to pay to watch, rather than public spaces. But as an actress it wouldn’t occur to me to treat them differently!

What do you see as the place of medieval drama in modern theatre repertoire?

Hopefully people like it! I like to see it included as much as possible, I don’t like the idea that it could be “out of date” or impossible for people to appreciate today, I don’t do moving on like that. People’s experience should be as wide as possible, not just with drama but with everything.

You’ve worked with HIDden before, what keeps you coming back?

You never know what the next role is going to be like, there’s always something interesting and different about it.