Sarah Snook

And so it really meant that I had to make... sharp and considered decisions quite early. And part of that was created out of doing a lot of voice work with Geraldine Cook, my voice coach in Australia, and working on what timbre and tone and pitch and speed, pace, et cetera, each of the characters had, and accent, as well as what physicality came from that. It's very much a physical thing.

sensation of each character sits somewhere differently in my body.

sensation of each character sits somewhere differently in my body.

sensation of each character sits somewhere differently in my body.

Yeah, I don't know how I keep them straight. Someone asked me actually the other day, have you ever gotten them confused? And I said no, because it was true. And since then, I have twice gotten them confused. Wow.

Yeah, I don't know how I keep them straight. Someone asked me actually the other day, have you ever gotten them confused? And I said no, because it was true. And since then, I have twice gotten them confused. Wow.

Yeah, I don't know how I keep them straight. Someone asked me actually the other day, have you ever gotten them confused? And I said no, because it was true. And since then, I have twice gotten them confused. Wow.

There were two instances on stage that I did the slightly wrong voice for the wrong character, and Kip happened to be in the audience on one of those shows, and he didn't notice, so that was good. It was in a kind of chaotic moment, which I was aware of, but no one else was, so that was a good cover, at least.

There were two instances on stage that I did the slightly wrong voice for the wrong character, and Kip happened to be in the audience on one of those shows, and he didn't notice, so that was good. It was in a kind of chaotic moment, which I was aware of, but no one else was, so that was a good cover, at least.

There were two instances on stage that I did the slightly wrong voice for the wrong character, and Kip happened to be in the audience on one of those shows, and he didn't notice, so that was good. It was in a kind of chaotic moment, which I was aware of, but no one else was, so that was a good cover, at least.

I think the process of finding it in the body with the voice and the physicality really helped because when I come to perform them, you know, the Basil, for instance, is very, the tone of his voice or the The temper of his voice, perhaps, is quite brittle.

I think the process of finding it in the body with the voice and the physicality really helped because when I come to perform them, you know, the Basil, for instance, is very, the tone of his voice or the The temper of his voice, perhaps, is quite brittle.

I think the process of finding it in the body with the voice and the physicality really helped because when I come to perform them, you know, the Basil, for instance, is very, the tone of his voice or the The temper of his voice, perhaps, is quite brittle.

Basil Horwood, yeah. He's the artist. So he sort of sits quite on the gum ridge, just behind the teeth. And there's something centralized, I guess. Like, it's very focused down and right. It's hard to explain, actually, now that I'm thinking about it. And there's quite an obvious clue for Lord Henry where... the narrator says, said Lord Henry languidly.

Basil Horwood, yeah. He's the artist. So he sort of sits quite on the gum ridge, just behind the teeth. And there's something centralized, I guess. Like, it's very focused down and right. It's hard to explain, actually, now that I'm thinking about it. And there's quite an obvious clue for Lord Henry where... the narrator says, said Lord Henry languidly.

Basil Horwood, yeah. He's the artist. So he sort of sits quite on the gum ridge, just behind the teeth. And there's something centralized, I guess. Like, it's very focused down and right. It's hard to explain, actually, now that I'm thinking about it. And there's quite an obvious clue for Lord Henry where... the narrator says, said Lord Henry languidly.

So there's quite an expansive quality to Lord Henry and There's something that's very somewhat like molasses, like he's very juicy. And also something about aristocratic British men who are able to hold court and speak widely on subjects. Lord Henry has quite a deep voice, but they actually have quite a range of pitch in their voices.

So there's quite an expansive quality to Lord Henry and There's something that's very somewhat like molasses, like he's very juicy. And also something about aristocratic British men who are able to hold court and speak widely on subjects. Lord Henry has quite a deep voice, but they actually have quite a range of pitch in their voices.

So there's quite an expansive quality to Lord Henry and There's something that's very somewhat like molasses, like he's very juicy. And also something about aristocratic British men who are able to hold court and speak widely on subjects. Lord Henry has quite a deep voice, but they actually have quite a range of pitch in their voices.

And if you listen to Stephen Fry, he's talking up right at the top level of his pitch and then right down at the bottom in the same sentence. And it really holds your attention. And that was something we really wanted to find for Lord Henry.