New photos were posted on twitter and facebook from the Old Vic for Endgame. Pictures of Dan and the cast can be viewed at our Endgame Group on Facebook and our gallery.
THEATRE > 2020 | ENDGAME > BACKSTAGE OUTTAKES




New photos were posted on twitter and facebook from the Old Vic for Endgame. Pictures of Dan and the cast can be viewed at our Endgame Group on Facebook and our gallery.
Dan did this interview a while back so here is a clip of it and you can download the full podcast here at the BBC Website.
Which true crime podcast should Daniel Radcliffe (@HarryPotterFilm) listen to next..? đ¤
— BBC Sounds (@BBCSounds) February 21, 2020
đ§ @laurenlaverne's full @BBC6Music interview with Daniel Radcliffe and @Alancumming on Sounds đhttps://t.co/zOtA35kLV5 pic.twitter.com/s85yfa4LnX
Join Alan Cumming, Daniel Radcliffe and Jane Horrocks in conversation with Fiona Mountford as they discuss the process of staging Endgame and the challenges and highlights of playing Hamm, Clov and Nell.
When: March 13
Find out more and buy tickets at https://www.oldvictheatre.com/whats-on/2020/voices-off/endgame-cast-in-conversation
New photos have been added from Endgame’s Press Night After Party from yesterday. Photos of that and from Endgame and Rough for Theatre 2 can be viewed in the gallery.
Alan Cumming and Daniel Radcliffe Vs Jane Horrocks and Karl Johnson â who will win in the ultimate game of SAMUEL BECKETT OR EEYORE?
ENTERTAINMENT WEEKLY: When you signed on to the first season of Miracle Workers, there was always the plan to make it an anthology series. How did Simon decide on this Dark Ages setting and story line?
DANIEL RADCLIFFE: Simon is somebody who is a bit of a history nerd, and Simonâs brain looked at a lot of the potential situations in that world and just saw something he could make very, very funny. There is some stuff in the show that is really obviously heightened, that is very crazy, but itâs not that far off from the kind of stuff that was going on in medieval Europe. We have a goat on trial, and that is actually something that is completely true and something that happened with semi-regularity in medieval Europe. There really were animals put on trial for things, so itâs quite rich pickings for comedy.
The first season played with our common perceptions of the afterlife and God, and this is certainly a different take on the Middle Ages than weâre used to seeing â less Game of Thrones, more medieval sitcom. What do you most enjoy about the expectations or world this is subverting?
As you say, it complicates peopleâs notions of what these archetypes of certain characters would be, and Simon finds the means to subvert them. My character, for instance, is essentially a stupid prince in the way you might expect one to exist, but then we gradually watch him become more human as the series goes on. With how beautiful the sets are and how well lit it is, it has the look of Game of Thrones, but the jokes and the format of The Simpsons.
Itâs so fun to see this repertory company of actors shaking things up, taking on very different roles from season 1. Did you draw straws for them? How did that all shake out?
No, not at all. My one request, or the thing I was most excited about, was that we would actually all be on set together for this series, because certain structural things in the first [season] â I never had scenes with Jon Bass, for example, because he was on earth and I was in heaven. I was very excited to actually have the cast all combined for this series this time around, and get to do stuff with them. It was me, Steve, and Geraldineâs characters that I remember Simon talking about first. The joy of working with somebody like Simon is that I donât know if thereâs anybody else that I know well enough that I could just trust and be like, âWhatever you write for the next few years, I will be happy to perform.â I am in such awe of his ability. Iâve been in the writersâ room with him and watched him be forensic and amazing about a story in a way that I have admiration for. I feel very safe in his hands. I would pretty much do whatever he writes â I have to be careful saying that.
Your character has⌠I guess we could call it an affinity for ducks. What is one surprising thing you learned from working with live ducks?
[Laughs] Itâs unfortunate to say that the one thing I learned about them is that they smell worse than youâd expect, but there was a lot of duck sâ happening when youâve got multiple ducks on set, and it is a very distinctive smell. Karan Soni will confirm that once youâve smelt it, itâs a smell you can identify anywhere, and as soon as theyâre around youâre like, âOh, the ducks are here.â Theyâre quite hard to train. Originally it was going to be geese, and they were like, âNo, geese are a nightmare. Thatâs not going to happen.â We had three ducks that were the main ducks â they were called in British film terminology the hero ducks â and they would be brought to set. They were very good. You would set them in a certain spot and they would kind of do what they were told, and then you would get the other ducks on set and itâd be like, âOkay, letâs see what happens.â
It sounds like a bit of a clusterduck.
[Laughs] Yes, you could say that. I canât believe I never thought of that in 10 weeks of filming!
How would you describe Chauncley, and in particular his relationship with his father? What journey can we expect this season?
At the beginning, Chauncley is intensely lonely and psychotically stupid. Heâs an individual who has no empathy or self-awareness whatsoever, and the journey throughout â he meets Alexandra, Geraldineâs character, and she begins to open him up to a new world and between her and Karan, he gradually learns he does not have to follow in his tyrannical fatherâs footsteps. [She] helps him become more human and nice toward the end.
You and Geraldine have an easy rapport and natural chemistry. Is that story one of friendship or her making you more politically aware?
That friendship grows and maybe blossoms into something else, but Chauncleyâs obviously not very good at that. He doesnât really know what to do with these new feelings. But it is also about her just making him realize that there is life outside of the castle, and there is life outside of the line of murderous tyrants that he comes from. He does not necessarily have to follow in their footsteps. I would say that she learns stuff from me, but I donât think she does â I think I just kind of help out at key moments, but itâs very rare that Iâm speaking out as a character. Chauncley does not have a lot of speeches, bless him.
This is the first project youâve done since Harry Potter where you got to have that experience of coming back together as a group to tell a story with deepened relationships and familiarity with one other â but now with the added element of taking on a new set of characters. If you had the luxury of doing that on Potter, which character would you have wanted to jump into?
Oh God, I guess Lupin and Sirius Black are both incredibly cool characters. Though I have to say, itâs also [because] I probably am biased a little because I love both the actors [David Thewlis and Gary Oldman] that played them. But yeah, Iâd probably have to say one of those two.
Youâve been in rehearsals for Endgame on the West End, and I saw Alan Cummingâs photo with your directorâs notes saying, âActors fried.â Youâve done classic musical theater, Martin McDonagh, Peter Shaffer. Where does Beckett rank in difficulty level for you, in terms of language and approach?
Right up there at the very top. Itâs tough, and Iâm so glad Iâm subjected to it with Alan and with [director] Richard Jones. Itâs an amazing team that Iâm getting to work with. Itâs really tricky material, and it requires a lot of precision. Hopefully, it will come out right. But youâre definitely talking to me at a period of rehearsals where Iâm like, âOh my God.â It really is the hardest thing Iâve done.
Prince Chauncley is a bit more song-and-dance than warmonger. Do you want to do another musical, and if so do you have one in particular you want to do?
I would love to do another musical, but you have to genuinely commit for a long time. Thatâs not the case with plays, normally. You generally have to commit for a lot longer, and then you have to really love it. You have to absolutely know going in. You have to love doing that show, and be able to love it for a year. So I definitely want to do a musical again, but Iâm not going to do it until Iâm sure of that.
Dan was on Live with Kelly this week. I posted a few clips from the show on our Miracle Workers facebook group. On the show he talked about Miracle Workers, Endgame and Potter. Those clips can be seen below also hoping to post the full interview soon. The clip they played with the interview was from Miracle Workers it was a clip with the bard and his playlist. Picture of Kelly and Ryan with Dan is below.
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Sorry about the lack of updates been sick with the flu, but we have new scans for you from TV and Satellite Week and Radio Times, more rehearsal pics from Endgame and a few graphic edits contributed by members which I will be posting soon.
Daniel Radcliffe & Alan Cumming join Lauren to talk about their new production of Endgame at the Old Vic in London. You can listen to the interview at the BBC Website.
New photos from the Old VIc of Daniel’s new play Endgame. Endgame premieres January 27.