Interviewer: I wondered why Tim chose A Midsummer Night' s Dream in the first place, was it particularly because he felt that text had resonance in India?
Quasar: I don' t know. I think it' s the other way around. It' s a play that he wanted to do for a while. If there' s anything I' ve learnt from Tim, or about Tim, it' s the fact that he doesn' t like seeing things in half measures. He wants to really dig it up, rake it out. So really early on his first thing was, the forest is not a happy place. And that' s how we went about this, we said ok, the forest is not a happy place, then what the hell is it? And then we started discovering the fairies and what happens to the lovers. And the whole design is boiled from that, the fact that the costumes fall apart and all of that. It' s quite an exciting thing and I think he had... he loves the play. Its bizarre, like I said when he told me first we were going to do A Midsummer Night' s Dream I was like no... because, I' m sorry but A Midsummer Night' s Dream is what we do in the seventh and eighth standard in India and it' s, you know, fairies and Puck, and you go through the typical preconceived notions, and immediately I just went ' oh no' . And then I was quite excited that when we went through the text and word, line by line by line, it suddenly really came alive, for me. And I' m still not saying its my favourite Shakespeare play. I was like yeah, yeah lets do King Lear, let' s do Hamlet, let' s do something where people die! But he was like, no, let' s do this, let' s see what happens with this and it' s really his belief, he really believes in the play and I think I believe that this production has come because of these actors. And if you take out three, any three from this ensemble, and you do the same play, it would have been a very different production. Because the influence that people would have come with would have been different. And it really is that. We put everything on the table, we shook the table a little bit for seven weeks, something' s stayed on something' s fell off, and every morning someone else would lead the session, the first session. So the dancers, Bharatanatyam would be lead for a week, then another marshal art then sword-fighting, then stick-fighting. Every morning someone else would lead so they were sharing their skills with the rest of the company. Some things the company took too, some things they didn' t. Some became very important influences in our work, some didn' t. And that' s just fascinating.