So let's start, let's look at this here. >> [LAUGH] >> [MUSIC] >> [FOREIGN]. >> Because it's really dangerous at some point, so. >> Right. Yeah, some of them looks very dangerous in fact. So, I'd like to welcome Christine Lagao. Do you recognize this? >> [FOREIGN] [LAUGH] [FOREIGN] It was it was here, it was [FOREIGN]. >> Tell us about your precise involvement. What were you actually doing there? >> [FOREIGN]. >> Now looking at those at those images. >> Mm-hm. >> It looks like it's an incredibly acrobatic strenuous show. >> Yeah. >> If I think back to my childhood performances and musicals a long time ago, we didn't have to do anything like this, so obviously things have changed in terms of what's expected of a musical performer. >> Yeah. >> Like yourself. >> Yeah. [FOREIGN]. >> And do you, did you need special training to do this? >> Yeah. [FOREIGN]. >> Now you've also worked in German municipal theaters-. >> Mm-hm. >> Statiata. So you have experience with working in that kind of environment and working in this, this, this environment where you perform every night, what-. >> Yeah. >> We call En Suite. >> Mm-hm. >> From your perspective, what are the major differences for an actor, or for a performer, working in this system? >> [FOREIGN]. >> Mm-hm. >> [FOREIGN]. >> Mm-hm. >> [FOREIGN]. >> Mm-hm. >> [FOREIGN] Yeah. [FOREIGN]. >> You've already, you've used a technical term which I've never heard before in this context to, to talk about roles as tracks. >> Yeah. >> Why do they use a term like that, I mean, obviously it has something to do with the system? >> [FOREIGN]. [FOREIGN]. >> Mm, hm. We have to talk about success, because it is a very successful kind of theater. It has a lot to do with the company you work for, stage entertainment. >> Yeah. >> Do you, are they kind of developing new forms, new procedures to make this kind of theater possible? >> [FOREIGN]. >> Okay. >> [FOREIGN]. >> What does it mean, for you as a performer, to play for 4,000 people instead of 500 people, I mean do, do you, does it affect you physically, are there things you have to do differently? >> [FOREIGN]. [LAUGH]. >> [LAUGH]. >> [FOREIGN] [LAUGH]. >> What, what struck me say looking at the cast list of the, of the premier, is how international the cast is from your experience is this a new, also a new aspect of this, of these kinds of mega musicals that the-. >> Yeah. >> That sort of ethnicity or, or, or, or nationality that doesn't seem to play any such a role anymore? >> [FOREIGN] [LAUGH]. >> [LAUGH]. >> [FOREIGN]. >> But even the speaking roles were not, was cast with German speakers. >> [FOREIGN]. >> It sounds like the, that the mega-musical then is, is, is very transnational as a, as a, as a form. >> Yeah, absolute. >> So you can actually circulate. >> Absolute. >> Between different cities, or. >> [FOREIGN] [LAUGH] [FOREIGN]. >> Yeah. >> [FOREIGN] Yeah. >> You, you've eh, emphasized the fact that Germany is in fact, a very important country, or a very important market. >> Yeah. >> Perhaps we should say for making musicals and of course, this is quite a new development, it would seem to me. >> Mm-hm. >> Or at least I would say, ten years ago, we, we had an occasional musical but nothing on this scale. >> Yeah. >> Just purely from your own experience having performed in, in a sense in both theater worlds why is it, have they become so successful? >> [FOREIGN]. >> Mm-hm. >> [FOREIGN]. >> Did you experience that when you were rehearsing a show that, that, that there's this emphasis on, on being identical to say the, the New York original I think it was. >> Mm-hm. >> [FOREIGN]. >> Mm-hm. >> [FOREIGN]. >> Mm-hm. >> [FOREIGN]
