There are always in a big story like this, going to be challenging scenes to stage staging a fight in a cinema, which involves 20 people. That takes an awful lot of rehearsal. Or you know, if you've got a dance number at the end of of scene three going into scene four, these are things which take a bit of time. Somebody giving birth on stage was a new one to me. That's really complicated. And in the Olivier Theater, which has audience, it's a thrust stage. You've got audience wrapped around you, not all the way around you, but you know, if I'm downstage in the Olivier, there's certainly to my right and left, as well as in front and above, so everybody can see everything. It's quite a challenge. It's interesting that the looking at it, you might think, oh, that's difficult for that actor to do, you know, to vocally manage all that shouting or to deal with blood on her dress or to deal with the themes of it. Actually, when you are creating something like that, it's just about how she hides the umbilical cord, or how we manage to secrete the baby under the bed in a way that can be delivered without it, it's all the practicalities of how you make that work. Once all those things are in place. 'cause an actor can't think about what they're doing, and what they're feeling until they're really, really on top of the physical aspect of it. So most of the rehearsal for that scene was really about making sure that it felt real, that the sight lines were looked after. That actress had not had a baby, though, shortly after the show finished, she did in fact have have a child with her British Jamaican husband, which is quite an interesting echo of the show. So we had to make sure that there were people coming in who had given birth, or had been witnesses at birth to make sure that it was believable to all the mothers in the house. 'Cause there's another thing if you've had a baby and you see it done on stage and you don't believe it, it takes you out of the story. So that scene in particular was quite a complicated one. It's also interesting that, you know, there's some funny lines in that as well. And you have to keep the audience on a balance of being really emotionally engaged with the really difficult situation that Horten is in, but also celebrating the kind of slightly mad nature of that scenario. Then of course it lifts off into the memory of Michael and the beauty of the Hummingbird speech. And then we're heading towards the revelations around Bernard's story and the real heart of the play coming out. And then the most difficult scene emotionally, which is the scene where Queenie asks Horten and Gilbert to take her child. And that's, you do preparation for it, but in the end, it's only really going to affect the audience if the actors are completely within it. And that made huge demands on the actress playing Queenie because it really requires her to fully inhabit the sort of devastating emotional truth of that scene. So building that up and taking our time through rehearsal and making sure we weren't getting there too early, so that the actress felt completely supported to be able to go on that journey, was a really careful step-by-step approach. It is, of course, followed by one of the worst examples of racism in the story. And again, difficult for the actor that has to deliver it, but very difficult for the actor that has to receive it. You know, in terms of staging as well, it's quite complicated because there's lots of key moments in that final scene where you want everybody to, we need to, Bernard needs to be in a strong position on stage to deliver that devastating racism and then you've gotta turn it round. So that Gilbert is absolutely the center of the picture for when he writes down exactly what Andrea Levy thinks about the world when he says, you know, the difference between you and me, is nothing, you are just white and I'm black so what. And it's very, very, a very, very powerful, beautiful writing. And of course is the thing that makes Horten finally fall in love with this person that she's accidentally ended up being tied to. So yeah, the pragmatics around the birth scene, all practical, the pragmatics around that big scene at the end all about how you support the actors through what's very challenging emotionally. And then we're running towards the end of the play beautiful final scene with Gilbert and Horten, which was just about getting them to take the time with it and to make sure it's really clear. Horten doesn't say, I'm now in love with you. She just puts the blanket on the bed, she kisses him and puts the blanket on the bed. It's gorgeous to direct that kind of scene. It's so beautifully written and the perfect payoff. And then we've of course, we've got the huge, huge, big moment where you remind everybody of the whole story and the theatrical gesture of the whole piece to come back to that very simple ending.