The general public knows him from successful television series paths home, I Mattoni or the currently airing Prima TV series 1.MISSION. Among the films in which Radúz Mácha appeared, we can mention, for example The case of two poets, Will Santa Claus come this year? and Lice. He is also pleased with his collaboration with the Summer Shakespeare Festival, where he and his fellow actors are celebrating their successful sixth season with the production. A lot of noise for nothing the legendary Jiří Menzel and the famous director duo Skútr created a Shakespearean romance last year Storm.
Radúz Mácha’s wife is ballerina Marta Máchová Drastíková, with whom they have two young children, Matilda and Hubert, and both are engaged by the National Theater in Prague.
Radúz, do you remember what it was like to be the main character in the production of Stefan Zweig’s famous novel, Impatience of the Heart, at the Estates Theater?
When Daniel Špinar offered me the role of Anton in The Impatience of the Heart, I confessed to him that I didn’t know the novel, so he told me what the role was. That everything depends on me and that I hardly go down stage. And allow me to prepare a lot of text. How nice it would be if I started learning the script during the holidays. And that he is waiting for a personal invention. Let me bring something of myself into this role. I immediately read the novel and enjoyed it immensely. And it was clear to me that now was the moment I had been waiting for at the National Theater for seven years. He has finally come!
What was the most difficult thing for you in this production?
Step out of the role several times for the performance. Honoring such an alienating Brechtian style effect, being able to separate the two positions. I had to work on that the most. I also tried to “steer” my experience. I had the first page of the script densely described with words from the comments: cramp, grease, Russian theater, good at the start, bulldozer, antiquity – which are crossed out in various ways and under slogans such as: Austria, lightness, colors, surprise, think about it above your head… Other I don’t have such densely described scenarios.
How important were costumes and design?
To understand the character of Anton, when I read him in the novel, I found him to be very characteristic of his solution to situations that he would not put up with. He always runs away like a little boy. He runs and runs. I was disappointed that it wasn’t in the script. But I didn’t know at the time that there would be a turntable on stage. I consider it a perfect idea to express all this. It actually depicts Hofmiller’s paralyzed consciousness, constantly spinning and shaking his head. There is no escape. And the costumes help us stylize the whole production, including the game. Already because the Austrians are pintlich.
How did the public react to the production?
I confess that I have never experienced anything like it to this point. After the premiere, many people came to see me and sincerely congratulated me. Many of them have also written and called me. They wanted to tell me about what they had seen in the production, how my role had affected them, that they had never seen me play like that before. It will of course please. It gives me energy. After the premiere, there were also very good reviews.
Being on stage all the time must be very exhausting.
The first public general and the preview took place on the same day. During the evening show, I was completely absent for about two minutes while playing. The brain shut down and then I don’t even know what I was doing for a few minutes and I said… But we’re done. I remember the end well. Then I just had to lie behind the curtain for a few minutes. Later I created such a ritual that before the start I took two grape sugars and drank cola. After the performance, it takes me some time to find rest from my emotions, and I also have a problem that I sometimes suffer from migraines. I have to expend a lot of energy, but it’s worth it. I am very happy for this opportunity and I know that I have to pay such a tax for it. And it is clear to me that something like this must not happen again.
Three years after the theatrical premiere, you were offered to turn Zweig’s novel into an audiobook. what was that?
I am really grateful to Supraphon for this opportunity. During the preparations, I was able to delve deeper into this amazing novel and find something new and inspiring to play in the upcoming stage reruns. The mic provides some privacy to the means of action. I consider the audio rendition of all the other secondary characters in their direct speech to be the most difficult. But overall, I really enjoyed the work, it filled me. I enjoyed recording the audiobook and reliving Anton’s entire story. No cuts, theatrical abbreviations and stylization. Just my voice, my book and my microphone. Nice challenge.
What do you think of the current popularity of audiobooks?
I listen to audiobooks more and more often as well as podcasts on longer walks, trying to clear my head of the dark thoughts that are causing the current difficult life with the coronavirus pandemic and now with war behind me. I’m really sincerely happy to have found my way to them as a creator. It’s actually another new acting discipline for me that I’m trying to master and improve. I listen to the most experienced, I learn technically and meaningfully to process the text during homework, I try to hear my own mistakes. It’s still a long way to go, but every other collaboration on the audiobook always takes me one step closer. Thanks for that!