To really honor the material in its truest form and try to stay very available to a really pure interpretation. It heightened the sense of reverence to his legacy and wanting to hold the work sacred. SARA BAREILLES: (The Baker's Wife, Into the Woods): Because Into The Woods was the first production after passing, there was a lot of tenderness in and around the material. That is similar to doing a new work to introduce it to somebody. But the really fun thing is, when people haven't seen the work, and you know that for that night, for those few people, you're the one carrying the torch for that person who can then say that was their first. As everybody else has said so eloquently, when you do that right, you're doing it for people who've seen it 50 times and you hope that they enjoy it as one of the versions that they're seeing. At the same time, you're also owing it to a piece that's considered a classic to put your own twist on it and to add freshness to it. Now we both find ourselves in widely beloved Sondheim revivals. There's a number of fears and stresses to introducing something fresh and new and inviting people to expand to new work. I was in Dave Malloy's Great Comet of 1812 Sara was in and wrote Waitress. JOSH GROBAN (Sweeney Todd, Sweeney Todd: The Demon Barber of Fleet Street): The last time Sara and I were on Broadway, we were in two new works. Even with a revival like A Doll's House, these themes feel even more present. People in New York are seeing the show that just went through a breakup. I'm an Iranian immigrant, and so when the Iranians see the show, they think the show is about current-day Iran. But what's really cool with A Doll's House specifically - and why I think it's sadly still very relevant today - is that the themes that are so present-day are actually from Ibsen. Immediately when you say that you're playing Torvald in A Doll's House, everyone's like, "Well, I'm ready to hate him." You're battling with a lot of preconceived notions. But there's so much baggage with these characters because everyone knows these characters. So, I had to weirdly approach it like a new play. I was one of the only members that didn't know A Doll's House. When asked if similar examinations needed to take place at sites of other former Mother and Baby Homes, such as Bessborough and Sean Ross Abbey, Ms Maguire said “absolutely, without a doubt”.ARIAN MOAYED (Torvald, A Doll' s House): With our version, it's also tricky because it's a new adaptation, so it's also a new play. The real work will then start once all that material has been returned to the team’s headquarters and they start to identify how many individuals we are actually dealing with,” she said. “Their objective is to recover everything that is recoverable. That’s just going to take a huge amount of time” she told RTÉ's Morning Ireland show. “That is going to be a long process and they’re going to have to start DNA profiling, comparing that with samples from living relatives. Toni Maguire, a forensic archaeologist and anthropologist, said the actual number of babies buried in Tuam could be higher than the 978 identified by historian Catherine Corless through an examination of death certificates. “The gardaí will need to communicate with putative relatives and obtain their DNA with the appropriate consents,” to facilitate matches, he said. However, the existing DNA database in Ireland was “quite small”, he said. The planned work at Tuam follows legislation that came into effect last July, allowing for excavations of remains from the sites of former residential institutions.ĭr Steve Donoghue, who has a PhD in molecular pathology, said the use of advanced new DNA technology by State forensic investigators in the upcoming work was welcome. The “paramount” concern should be what relatives of those who were buried at the site wanted, he said. The more “straightforward” approach would be for relatives to come forward to volunteer a DNA sample, which could then be matched against the genetic profiles of remains, Prof MacHugh said. Large consumer genomic databases, such as those run by companies like 23andMe, would be “easier in principle” to find a match for samples, however they raised potential data protection or consent issues, he said. The main issue would be how to match those samples to potential living relatives, he said. This should allow for “very detailed genetic profiles from samples”, particularly from the petrous bone in the skull, he said.
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