Q: Thanks very much for talking to nus.org.uk today. We loved the play and can’t wait to see it. At first it’s confusing, a series of repeated conversations with subtle changes. Given the repetitiveness of the dialogue, as actors, what drew you to the piece?
Rafe Spall: When I first picked it up I thought I’d printed it out wrong! I was sure there was some sort of mistake. I’ve worked with Nick Payne before, so I know he’s a really good writer. Then I looked at it and saw it was about quantum physics and I was concerned it was going to be a little dry, I was thinking its not for me, I don’t understand that stuff. But then I realised it has this extraordinary heart and core of emotion in it which I’m really interested in as an actor. To write an existential play with romantic themes in it is quite an achievement.
Sally Hawkins: Yeah, it’s beautiful. It was sort of an excuse to understand a bit more about the subject matter and only Nick Payne could put that subject matter in a play and do it beautifully. When I first read it initially, I got that I’ve got no idea how you would do it feeling. I was quite scared by it. Even on the first day of rehearsals I felt really nervous. It makes you work. The repetitive nature of it is great but also challenging - to learn the tiniest subtleties in each dimension, it’s those differences that make you step forward into another dimension. But we didn’t have any idea how we were going to do it.
RS: The first stage direction is a change in font which donates ‘a change in universe’. What does that mean, I thought, what the bloody hell does that mean?
Q: Those differences are so subtle but so important to the play, how do you make those differences obvious to an audience and did the final staging surprise you?
RS: I had no idea how it was going to be staged and when I asked that question to the director, he had no idea either. So it was a blank canvass and we discovered it together. We had a brilliant movement specialist who’s been brilliant in working out how you stage a change from one universe to another.
SH: You want to keep it simple, but clear as well.
Q: And because the conversations are quite repetitive the changes have to happen very quickly, don’t they?
RS: The designer has been so helpful with the storytelling.
SH: Yes, and the lighting and sound all working together is critical.
RS: I’ve been told by people who’ve seen it that it’s quite a thrill to see two people doing that.
Q: We have one more question for Sally. Before 2010’s national demonstration, we spoke to the original Made in Dagenham women who are really supportive of our work. As we’re now heading towards #demo2012 on 21.11.12, how important do you think it is for young people to stand up for what they believe in?
SH: That’s fantastic that you spoke to them! It’s so critical really, it’s so important. If there is something that’s not right you have to stand up to be heard and fight for your cause. I think it’s that passion to make sure that you’re heard that is critical. And in the time of Made in Dagenham they didn’t have areas to exploit like blogs and twitter and things. There’s such force in strength in numbers. You have to let people know what they’re entitled to, the injustice of certain situations and the cuts, because you need to have that stage. It’s brilliant to have that.
RS: I agree with Sally!
Constellations by Nick Payne is at the Duke of York Theatre from Friday 9 November 2012.