Week 2 – Shakespeare and Stoppard (Hamlet, Rosencrantz and Guildenstern scenes) – The Rehearsal Room

Nathan Agin

Hey everybody, Nathan here. Welcome back week two, hope you enjoyed week one. If you haven’t checked that out, go back. You’ll get the introductions of who everybody is. And the first great week of discussion back here for the second week of Shakespeare and Stopper work. We’re without our dramaturg today, but I know there’s still gonna be a lot of wonderful discussion and work ahead of us. So with that, I’m gonna get outta the way producer heads to the back of the theater, other stuff to do, and I’ll let all of you guys get to work. So I hope you have a great session. I’ll be listening in and I may not be able to check in at the end, but we will, we’ll see you soon if I, if I don’t see you at the end of the session. 

Geoffrey Wade

Great. 

Marcelo Tubert

Great, 

Geoffrey Wade

thank you. 

Well, hi guys. 

I, I wanted to, as I said before, I wanted to do this kind of round robin, thank, give everybody a chance to do everything. And today I’d like to get through, we did, it was Marcelo as Hamlet, Dan, you were doing Gilden Stern, is that right? 

And Nick was Rosen Crans. 

Daniel Cordova

Yes. Now I’m on Muted. Yes. I was Gild Stern. 

Geoffrey Wade

Oh, yeah, 

Daniel Cordova

I I get the two of them mixed up. 

Geoffrey Wade

You, 

Daniel Cordova

Gentle, gentle Rosen Stern. 

Nick Cagle

Dan. 

Geoffrey Wade

Dan was Gilden Stern. 

Daniel Cordova

Yes. 

Geoffrey Wade

Wait, Dan was Gild Stern. Right. And so Nick was Rosen Crans. 

So this is what I wanted to do. I I, I had this all written down on a piece of paper, which of course I’ve lost, but we’re gonna do it like, like volleyball, just, just sort of go around and from the list I had that now makes Nick Gilden Stern and Marcello Rosen Crans. 

Right. Does that seem, that’s right 

Marcelo Tubert

Here with me. 

Geoffrey Wade

Okay. That, that’s gonna be the first time through. And then we’re gonna go through all these scenes again with Nick as Hamlet and whoever the other two, whoever you haven’t played before. So we’re gonna go through it that way. 

I, I, I haven’t got a lot to say, oh, I’d like to do it in, in sort of the chronological order this time. So we’ll do the Hamlet two, two first, then the Rosen, Crans and Gilden are dead. Act two, the beginning of Act two, and then go to the, back to the Hamlet for the recorder scene. 

So that’s kind of the, the big format for today. And let, let me start, you know, by asking if anybody’s had any particular revelations about what we’re doing or thoughts or, you know, those wonderful shower thoughts we all get, or reactions to what, what we did last time. Anything, anything at all. We have, we have plenty of time. So let’s start just whoever, if anybody wants to speak, go ahead. 

Marcelo Tubert

I mean, what I’ve been thinking about has just that, trying to get into that head space, what hamlet this moment in his, his life, right? In this, in this with what’s happened and just trying to kind of, kind of figure out what is his, his emotional kind of through line, right? Through this, these, these seeds that we’re working on. 

I, I didn’t come up with any great conclusions, just that, just that, that, that confusion that he has. Just that, that he, he is driven, he, he’s, he’s driving these, these two guys to, for a confession and trying to get, I think maybe trying to get underneath their skin a little bit. And he uses, he cajoles them. He, as Gideon mentioned in one of the lines we were talking about, he’s buttering them up, finding different ways to, to attack them, to get to some kind of truth that he, he thinks he knows about what’s going on. 

Geoffrey Wade

G Good. I if, does anybody else have wanna jump in on that? ’cause I, I have, I have a couple of thoughts, but 

Daniel Cordova

I, I, I think I could kind of just tag onto that a little bit. I was just thinking this week, just even in, you know, personal interactions with people starting to think about, okay, how do I act with people that I haven’t seen in a long time that maybe, I don’t know, you know, are they maga heads or are they liberal? And, and, you know, my conversations with maybe somebody that I haven’t seen in years is, is maybe a little bit trepidatious at first to kind of see where do they stand before I kind of like take my stand as to how to, how to interact with them. Do you know what I’m saying? Yes. 

Geoffrey Wade

Does that Make sense? Yeah. Thinks 

Daniel Cordova

Marcello was saying about Hamlet, he’s kind of like a, he’s kind of trying to feel them out to see what, what, what part of the, what side of the line are these guys on as far as what’s going on in my life? And, you know, are they somebody I should trust because I knew them a long time ago, or, you know, or sorry, something else going on. 

Nick Cagle

I was thinking about the fact that right before the scene, he’s speaking with Polonius and, and there’s, there’s this level of distrust that he has. And I wonder how much of that carries directly into the next part with when his two friends walk on. And would it, would it have been different, had, had they just entered his world without him being right next to Polonius before he sees them again? 

Geoffrey Wade

Great. This is all great stuff that’s classic the moment before, right? 

Marcelo Tubert

Yep. 

Geoffrey Wade

Which we literally get to see often we have to kind of manufacture it for ourselves as, as actors. But, you know, I’ve always said that’s, that’s one of the parts, one of the things about playing a big part that makes them easier to play than small parts in some ways. Because since they’re fully written and you’re like on stage all the time, that a lot of the work has been done for you. 

Now, of course, you know, there’s a bigger line load and they’re physically more demanding, but in a way, big parts are easier than small parts sometimes. 

Marcelo Tubert

And 

Geoffrey Wade

there are no small actors. I know, I know, I know. 

Marcelo Tubert

Kenneth Morris says there are no small parts, only small paychecks. 

He said that to me once second, I 

Geoffrey Wade

tell you one thing, just, I, I do wanna get to these, but one thing I love about, you know, regional theater where, you know, everybody’s on the same favored nations contract, so I’m doing True West. And these, the two guys, the two leads have these massive line loads, extremely demanding that way, extremely demanding physically and particular for the guy who plays Lee, you know, these huge things. And, and I come on, I got about 14 lines, I think all together. And Amelia has one scene of maybe, you know, a half a dozen lines. And, and the joke is, of course, we’re making far more per word than they are because everybody’s making the same, they have to work so much harder. 

Anyway. 

Yeah, this is very interesting. Let, let me, let me start with some, my first reaction to what, to what you said, Marcelo, is he of course does, does have an emotional through line, but I think it always helps us to, to have thought about that. But what, what you can only ever play is what you are trying to accomplish, right? As you know, and, and the the great thing, you know, we all think, I’m sure we all know this, that the trick to not trick, I think the best way to approach Shakespeare is, is to think of it as problem solving all the, all the way through and, and putting things together. O of course, your character has a, has a given emotional state, but it’s the, the way to, I think help, help get you through the scene in, in the, in the first few goes anyway, is, is to, is to just try to get the information and put it together. 

And, and as I said, oh, hello darling. Yeah. As I said last week, the, the longer as a character you can put off, knowing what we all know from reading the whole play, the, the longer you can put off actually putting that puzzle together, the better. Because what we as audience members, and I think actors, what we enjoy is that, is that process of, of figuring things out. So 

Marcelo Tubert

It’s, yeah, it’s that discovery, that kind of line by line that leads you to the next thing that you’re listening, what they’re telling you. Oh, and you’re reacting to that. 

Geoffrey Wade

Exactly. And, and the more and the more you come in, again, as I said, I think at the, I think it helps everybody, if at the beginning of this first scene, everybody’s on a kind of clean slate. Rosen Kranz and Guild Stern have a, have an assignment. 

Hamlet has hi his self-assigned assignment, which is to find out if the ghost was telling the truth, right. 

To, to find out where he stands. And that’s why he’s put on this antic disposition. So he can, so he can do his detective work, as it were with impunity, Rosecrans and Gild Stern have a, have a different kind of assignment. But they too are trying to find out, I think genuinely what is going on without having made too much of a, 

what I want a, a pre preconceived notion of, of what’s wrong. 

Marcelo Tubert

Well, they, they live in a world of confusion. The two of them, I, I mean, they are trying always to figure it out, what a, you know, heads or tails is it 

Geoffrey Wade

Hundred, a hundred percent. They don’t really know. They’re trying to find their footing. And, and the, the best thing they have to go on is what would seem to be normal. And what they’ve been told sort of by the king is that he’s, you know, he’s, he’s frustrated by ambition. 

They’re these two strange, you know, frustrated ambition and frustrated love, you know, unrequited love or the, the melancholic lover and the, and the, the prince who isn’t in the position he should be. 

And, and these two, these two guys, Rosens and Gild stern are sort of covering the ambition side. Polonious will go at the potential. He’s mad because of love thing. 

But nevertheless, the, the, I think the, the slower things dawn on you guys, and the more genuinely can, we can believe that you were at least extremely friendly. They’re, they’re not, they’re, they’re not guys like in your class who, you know, you’re in the same, we’re all in the class of, you know, 73, but I don’t know 90% of those guys. I think, I think I, I think you knew each other. I think you, you got on well, I think they were reasonably good friends. 

So the, you know, what’s so appealing about Hamlet is, is his complexity. So he might find it a little odd that they’re there right at first. But, you know, as, as each of you approaches it, I, I think it will pay off for you more if you, 

if you discover that, that their true calling as you go through the scene, he gets very exp by the end of the scene. It’s very explicit. He says, I know the king and queen has sent for you. And I’m gonna, even, I, I’ll even tell you why, which of course is a clever way of short circuiting them. I’m gonna give you the reasons that you will report back. 

But so, so clearly, you know, you, as you, each of you does Hamlet, you have this wonderful journey through, through the scene. It starts with what’s going on and when it’s resolved, the scene is over. You know, it’s, it’s, it’s great. 

So yeah, Marcelo you asked, you know, is he trying to get at them, get under their skin? I, I think perhaps a little bit in the end, what I think what we really wanna save that for is the recorders scene where he is. 

Marcelo Tubert

Yes. 

Geoffrey Wade

You know, so, so I, I think you can perhaps be, I think Hamlet is, is perhaps disappointed in them. 

They’re, they’re not, they’re truly as, as friends to support him. He knows, he knows what their job is, but I think the level of their treachery let, let’s just give ourselves a, a place to go. 

Marcelo Tubert

Yeah. Lemme 

Geoffrey Wade

put it that way. 

Daniel Cordova

Can can I ask you something, Jeffrey, before we Sure. Jump into it. How do you take the, the lying? 

I think it’s lying. 2 55. None my Lord. But that the world’s grown honest, and the reason I ask is that it’s a little bit confusing lying. I mean, obviously we take it at face value ’cause he answers Oh, well that’s not really true, doomsdays near then. 

But the reason I ask is because I’m kind of wondering what r and g are, are how they’re presenting themselves to him. 

Are they saying that in, in like, Hey, you know, everybody’s just telling the truth now and, and I’m here and I’m an honest guy. Is is that what they’re saying? Or that, that everything’s treating us the way it’s supposed to? I don’t really, I don’t really know. I mean, I guess it’s maybe a Gideon question too. 

Geoffrey Wade

It, it might be. Let me see. 

Marcelo Tubert

Well, he answers, he’s, it’s an answer to what news, right? Yeah. Yeah. So news is not in the world’s, just, just goes on. I think that’s, I mean, for me, that’s how I see the word. Yeah. It’s not about honesty or, or, or, or deceit. It’s just to me is the, the world just just goes on as normal, you know, things happen. 

Geoffrey Wade

I, oops, I, I guess you, you guys can see me. I happen to have hemp. 

Daniel Cordova

Oh, nice. 

Geoffrey Wade

I happen to have this, which is this entire, that’s the whole play. This is what the pages look like. This here is the script and the, the denser stuff on the other side is his explication of everything. So let me, let me, 

Marcelo Tubert

What is that? Show me the cover of that book, Jeffrey. 

Geoffrey Wade

Yeah, it’s called William Shakespeare’s Hamlet edited and annotated by Gideon Rappaport. 

Marcelo Tubert

Oh, it’s 

Geoffrey Wade

self 

Nick Cagle

Beautiful book. 

Geoffrey Wade

Published thing, I think. But I can stand in for him and I can actually read what he says about that word upright, virtuous, truthful and obvious an obviously ironic throwaway line from their point of view intended to evoke verbal wit, but to the audience hinting at moral obtuseness of these two spies for the king. So I, I think that’s, that kind of makes sense to me. It’s, it’s, it’s kind of a throwaway line. How you doing? Everything’s great. It’s good. Life is good. You know, it’s the way we answer when we’re not, it’s not 

Marcelo Tubert

Well, it’s, it’s, it is not an in-depth answer. 

Geoffrey Wade

Exactly. It’s not a commitment one. 

Daniel Cordova

It’s Interesting. Right. So then 

Geoffrey Wade

One way or the other, but 

Nick Cagle

it’s led 

Geoffrey Wade

irony. 

Nick Cagle

Sorry, 

Geoffrey Wade

Nick, say again? 

Nick Cagle

Oh, no, No, I’m sorry. I was just saying, I, I really like how Gideon recognizes that the characters will, will say and mean one, one thing with a line, 

Geoffrey Wade

but 

Nick Cagle

the meaning will register differently with the audience 

Geoffrey Wade

Yes. 

Nick Cagle

Than it, than it does with the character. And that’s so interesting because it, it, it could mean that line could mean something completely different to Rosencrantz than it does to the ear of the crowd. 

Geoffrey Wade

A ab Absolutely. I mean, we know, 

we know what we, what we think we know, you know, the first audience, I’m trying to think chronologically hasn’t had confirmation of the truth of the ghost yet. 

So it’s, it’s there, you know, as an audience, we’re kind of in the same suspended place that Hamlet is, you know, he’s been given this charge, but he has to, he has to know that it’s heavenly, not, not a devil. 

Marcelo Tubert

So other than the, just the throwaway part of which I, I totally get that, that what would be the opposite of that answer about the world’s grown on us, but the world is filled with muck and shit and 

Geoffrey Wade

Yeah, 

Marcelo Tubert

No, things are terrible. Life is, 

Geoffrey Wade

well, I, I almost, it it, I mean, in a contemporary thing, you’d say, yeah, it’s the same old, same old, you know, the world’s world’s, you know, same old. 

Daniel Cordova

Well, It’s almost like, 

Marcelo Tubert

it’s almost 

Daniel Cordova

like they’re saying to him, good morning. And Hamlet’s saying, is it good? Is it really good? I don’t think 

Nick Cagle

it’s good. Yeah, right. 

Daniel Cordova

Because he says then Doom Station here. ’cause your news isn’t true. 

Geoffrey Wade

Yeah. I, I, I think there’s a little, now this is just an, an acting thing, but I think there’s a de we we’re not dealing with verse, so it’s not a czu really. But I think then as doomsday near is as happened so often in Shakespeare is an answer to what’s gone right before. Right. That’s the sort of call and response of it, you know, because if everything’s great, then there’s only one thing that could happen after that. And, you know, the, the final judgment 

what, when he says, but your news is not true. 

What, what I, I think there’s a, there’s a real break there. I think he’s decided to change the conversation from witty banter about, you know, living in fortune’s privates, which seems to me just that it’s a bunch of guys, you know, how you doing? You know, I’m, I’m, I’m living in fortune’s crotch, it’s great, it’s wonderful, you know, 

Nick Cagle

it’s, 

Geoffrey Wade

it’s college boys stuff. But I think that, but, and buts and yets are I important in Shakespeare? I think he is, he at that point is gonna seize control of the conversation. 

And, 

and he’s beginning to sound them, you know, I think as, as you know, Marcelo, and partly an answer to your question, I think he knows that there, there’s some reason there, here wit Denmark’s a long way from Wittenberg. 

Marcelo Tubert

But Your news is not true. Meaning that, that things are not as good as as you 

Geoffrey Wade

Exactly. 

Marcelo Tubert

Good As you’re saying to me. 

Geoffrey Wade

Yeah. 

Nick Cagle

Mm. 

Geoffrey Wade

Exactly. That’s not true. You’re on unemployment, aren’t you? Why? What are 

Nick Cagle

you doing? 

Geoffrey Wade

Or whatever. It’s, I I, I think he, it’s, it’s a point where, you know, in, in sales or something where you take control of the conversation for a little bit. He’s, that’s what he’s beginning to do there. 

I I just wanna try to get to these other couple of questions. Dan, you said, how do you think you were thinking about how I react to someone I haven’t seen for a while? Should I trust them? And I think, I think that’s a perfectly legitimate way to initially greet them. 

I just, I I would encourage you to greet them as openly as possible, rather than as suspiciously as possible. 

Daniel Cordova

Yeah. 

Geoffrey Wade

Right. Yeah. Let let the suspicion that’s the, that’s where it, that, but is where it turns a little bit. It’s like, okay, okay, so what are you guys really doing here? Yeah, 

Marcelo Tubert

Let’s get real here for the moment. 

Geoffrey Wade

Let’s get real, let’s get real. Yeah. 

So, yes, I think, you know, you do, you haven’t, and and I think it hasn’t been that long since, since they’ve seen each other. It’s not a question of years. It might be a question of months, but, you know, it’s not long, not that long. 

So that, that’s a, again, a very good question. And, and Nick, you’re just before the polonious moment. 

Lemme take a quick look at that. 

I think, yeah, it, it probably, it’s, that’s stuff with Polonious, I’m sure its definitely got his antenna up. I mean, he is, he is, he’s a real sensitive lad anyway, but it’s got his antenna up. He does that punting about, or the, the, the suggestive stuff about don’t, don’t lose your daughter, you know, don’t turn your daughter into a whore and all that stuff. 

And he, he surely knows that the, the reason Ophelia’s been kept from him is because of Polonius. So that that does weigh on him. 

Nick Cagle

It’s interesting, I thought that he says these tedious old fools and then, then these two young guys come right on. 

Geoffrey Wade

That’s very good, you 

Nick Cagle

know? 

Geoffrey Wade

Yeah, very 

Nick Cagle

good. 

Geoffrey Wade

Yeah. That’s 

Nick Cagle

interesting. 

Geoffrey Wade

Yes. And he’s 

Nick Cagle

Sick of Polonius and Claudius and all this, and then there’s like this whole new game, this whole new Tactic that hurts whole. 

Geoffrey Wade

That’s right. And, and a whole new, you know, if we have this, what do we call it? 

Well, the, the, the things he hides behind. Hi, his, his madness is informed by either a dis surprised love or thwarted ambition. So the dis surprised love thing has just been happening with Polonius, and now we’re gonna get it a taste of the ambition side, right? 

Nick Cagle

Ah, 

Geoffrey Wade

so it’s, it’s, it’s keeping that balance going. And again, well, you know, the, and I’m gonna stop talking a second, believe me. But what’s, what’s fun about this character is the, those elements are true. 

I think he, he did love, he does love Ophelia, 

Nick Cagle

and, 

Geoffrey Wade

and you know, she’s caught up in these machinations. I think he has some sympathy for that. And then he, and then it, it, it tips him over into a kind of a, a, a passion, you know, in the nun, which what’ll happen in, in the nunnery scene. But that doesn’t mean his feelings for her were faults. The fact that he has some cause for ambition is not entirely put on. He, he does. I think we can, you know, he’s a prince. He’s been raised as a prince. He’s supposed to be the king. 

There’s a lot going on. A lot going on. Which is why he’s so wonderfully human. 

Let’s, so I think I’ve talked about all those things. 

There was such a good, 

good thoughts, you guys. 

I am going to make my screen much smaller. Just gimme a second here so I can have all this on at the same time. And 

let’s, let’s start with this first scene. And, and I think, let’s try to go through all three fairly, not not do the scenes quickly, but without a lot of discussion afterwards. Let’s, and then, and then talk about the, the three of ’em afterwards. Okay. 

Daniel Cordova

Sure. It’s, it’s this one and then r and then RG are dead and then three, two. Yeah. 

Geoffrey Wade

I mean, we don’t have to, you know, immediately go, but 

Daniel Cordova

No, I just wanna have ’em ready to go. 

Geoffrey Wade

Absolutely. That’s, that’s, that’s what we’ll do. All right. 

Give yourselves a second. I’m gonna mute myself and go when you’re ready. 

Nick Cagle

Should we start? Sorry, with Gild and Stearns, my honored Lord. 

Marcelo Tubert

I Think so. 

Nick Cagle

Yeah, we’ll go from there. Okay. 

My honored Lord, 

Marcelo Tubert

I’m most dear Lord, 

Daniel Cordova

My excellent good friends, how do thou gild and stern Rosen Krantz good lads, how do you both 

Marcelo Tubert

As the indifferent children of the earth, 

Nick Cagle

Happy that we are not over happy fortune’s cap. We are not the very button 

Daniel Cordova

Nor the soles of a shoe, 

Marcelo Tubert

Neither my Lord. 

Daniel Cordova

Then you live about her waist or in the middle of her favors 

Nick Cagle

Faith, her privately 

Daniel Cordova

In the secret parts of fortune. Almost true. She is a trumpet. What news, 

Marcelo Tubert

Not my Lord. But that the world’s grown, honest 

Daniel Cordova

Then is doomsday in the air. But your news is not true. 

Let me question you more in particular. What have you my good friends deserved at the hands of fortune that she sends you to prison? Hither 

Nick Cagle

Prison. My Lord 

Daniel Cordova

Denmark’s a prison 

Marcelo Tubert

That is the world one, 

Daniel Cordova

A goodly one in which there are many confines, wards and dungeons, Denmark being one of the worst. 

Marcelo Tubert

We think not so my Lord. 

Daniel Cordova

Why then is none to you for there is nothing either good or bad, but thinking makes it so to me it is a prison. 

Marcelo Tubert

Why? Then your ambition makes it one just too narrow for your mind. 

Daniel Cordova

Ah, God, I could be bounded in a nutshell and count myself a king of infinite space. Were it not for bad dreams, were it not that I have bad dreams, 

Nick Cagle

Which dreams indeed are ambition for the very substance of the ambitious is merely the shadow of a dream. 

Daniel Cordova

A dream itself is, but a shadow 

Marcelo Tubert

Truly. And I hold ambition of so ary and light equality that it is, but a shadow’s shadow 

Daniel Cordova

Then are our beggars bodies and our monarchs a outstretched heroes. The beggars shadows, shall we to the court for by my fa, I cannot reason 

Nick Cagle

We’ll wait upon you, 

Daniel Cordova

No such matter. I will not sort you with the rest of my servants for to speak to you like an honest man. I am most dreadfully attended, but in the beaten way of friendship, what make you at Elsinor 

Marcelo Tubert

To visit you? My Lord, no other occasion 

Daniel Cordova

Beggar that I am, I am even poor in thanks. But I thank you and sure difference. My thanks are too dear a Hey Penny, were you not sent for? Is it your own inclining? Is it a free visitation? Come, come deal justly with me. Come, come nay speak. 

Nick Cagle

What should we say, my Lord, 

Daniel Cordova

Anything but to the purpose you were sent for. And there is a kind of confession in your looks, which your monies have not craft enough to color. I know the good king and queen have sent for you 

Marcelo Tubert

What and my Lord 

Daniel Cordova

That you must teach me. But let me conjure you by the rights of our fellowship, by the constancy of our youth, by the obligation of our ever preserved love. And by what more dear a better proposer can charge you with all. Be even and direct with me. Whether or you were sent for or no, 

Marcelo Tubert

But say you Ah, 

Daniel Cordova

nay, then I have an eye of you. If you love me, hold not off 

Nick Cagle

My Lord. We were sent for I 

Daniel Cordova

will tell you why. So shall my anticipation prevent your discovery and your secrecy to the king and queen molt, no feather I have of late, but therefore I know not lost all my mirth, foregone all custom of exercises. And indeed it goes so heavily with my disposition that this goodly frame the earth seems to me a sterile promontory, this most excellent canopy. The air, look you, this brave ore hanging firmament, this majestical roof fretted with golden fire. Why? It appears nothing to me, but a foul and pestilent congregation of vapors. 

What a piece of work is a man? 

How noble, in reason how infinite in faculties inform and moving, how express and admirable an action, how like an angel in apprehension, how like a God, the beauty of the world, the paragon of animals. And yet to me, what is this quintessence of dust manites, not me, no. Nor women, neither though by you are smiling, you seem to say so, 

Marcelo Tubert

My Lord, there was no such stuff in my thoughts. Son, 

Daniel Cordova

Why did you laugh then when I said, man, delights not me 

Marcelo Tubert

To think, my Lord, if you delight not in man, what lter an entertainment the players shall receive from you. We coded them on the way. And here there are, and here there are they coming to offer you service. 

Geoffrey Wade

Good, guys. So let’s now go to the r and g 

Marcelo Tubert

Nine One 

Geoffrey Wade

And and 

Nick Cagle

sorry, what page is that in, in the RNG script again? 

Geoffrey Wade

In the script it’s page 42. I’m not sure what page it is in the PDFI 

Nick Cagle

see 42 

Geoffrey Wade

probably in the twenties, I think. Got it, 

Nick Cagle

got it. 

Geoffrey Wade

Okay, 

Daniel Cordova

where Did you wanna start? 

Geoffrey Wade

Let’s start with gentlemen, you were welcome to Elsinore and skip the polonious hamlet stuff. So it it’ll be those couple of lines. Gentlemen. You’re welcome. All elsinore and what, my lord, I’m mad, but north northwest and I know, I know. Hawk from a handsaw. 

Give yourself a a nice pause before starting Golden stern. Hmm. Yes. What I thought you Yes. Everybody Clear on that? 

Daniel Cordova

Yeah. 

Geoffrey Wade

Okay. Excellent. Dan, just give yourself a couple seconds and start up again. Yeah, 

Daniel Cordova

I’m just getting it on my screen. Just set up here. So 

there it is, 

gentlemen, you are welcome to elsinore your hands. Come then thence of welcome is fashion and ceremony. Let me comply with you in this gob, lest my extension to the players, which I tell you must show fairly outwards, should more appear like entertainment than yours. You are welcome. But my uncle, father, and aunt mother are deceived 

Nick Cagle

In what my dear Lord 

Daniel Cordova

I am. But mad north northwest when the wind is southerly, I know a hawk from a handsaw. 

Nick Cagle

Hmm. 

Marcelo Tubert

Yes. 

Nick Cagle

What 

Marcelo Tubert

I thought you 

Nick Cagle

No. 

Marcelo Tubert

Ah, 

Nick Cagle

I think we could say we made some headway. You think 

Marcelo Tubert

so? 

Nick Cagle

I think we could say that. 

Marcelo Tubert

I think we can say he made us look ridiculous. 

Nick Cagle

We played it close to the chest, of course. 

Marcelo Tubert

Question and answer. Old ways are the best ways. He was scoring off of us all down the line. 

Nick Cagle

He caught us on the wrong foot once or twice perhaps. I thought we gained some ground, He 

Marcelo Tubert

murdered us. He 

Nick Cagle

might’ve had the edge. 

Marcelo Tubert

27 3. And you think he might’ve had the edge? He murdered us. 

Nick Cagle

What about our evasions? 

Marcelo Tubert

Oh, our evasions were lovely. Were you sent for? He says, my Lord. We were sent for, I didn’t know where to put myself. 

Nick Cagle

He had six rhetorical. 

Marcelo Tubert

It was question and answer. All right, 27 questions. He got out in 10 minutes and answered three. I was waiting for you to delve. When is he going to start delving? I asked myself 

Nick Cagle

And two repetitions, 

Marcelo Tubert

Hardly a leading question between us. 

Nick Cagle

We got his symptoms, didn’t we? 

Marcelo Tubert

Half of what he said meant something else and the other half didn’t mean anything at all. 

Nick Cagle

Thwarted ambition, a sense of grievance. That’s my diagnoses. 

Marcelo Tubert

Six rhetorics and two repetitions leaving 19, of which we answered 15. And what did he he and what did we give him in return? 

And what did and what did we get in return? He’s depressed. Then mark’s a prison and he’d rather live, in a nutshell, some shadow play about the nature of ambition, which never got down to the case, the cases. And finally, one direct question, which might have led somewhere and led in fact to his illuminating claim to tell a hawk from a Hansel, 

Nick Cagle

When the wind is southerly, 

Marcelo Tubert

Wonder where those clear 

Nick Cagle

And when it isn’t, he can’t. 

Marcelo Tubert

He’s at the mercy of the elements. 

Geoffrey Wade

Good. Let’s cut it there. 

Very good. Very good. 

Just gimme one second, but and then we’ll go on to whatever the next one is. The 

whatever. It’s Act three. 

Scene two. 

Marcelo Tubert

Three. Two. Yeah, 

Geoffrey Wade

just, just one second. 

Nick Cagle

I love to think of Tom Stopper coming up with this play. 

Geoffrey Wade

It’s, it’s, it’s a work of, you know, it’s extraordinary. It’s a work of genius. It’s great. 

Nick Cagle

It is, 

It’s fun because you see Rosen Krantz and Giler played many different ways in many different productions and films of Hamlet. And you know, there’s the, the sort of dumb guy version. There’s the, the, you know, the college friend version I’ve seen them played where they’re quite smart. You know, where, where one of them is quite smart and one of them isn’t. And 

it, it’s interesting to see, I loved Stopper’s impression of these characters. 

Marcelo Tubert

Well, again, in that scene, Rosen Krantz is really like, just fuck me. 

Geoffrey Wade

Yeah, 

Marcelo Tubert

we, we, That was just horrible. 

Geoffrey Wade

Let’s, well, all, all right, let, let’s, I said we were gonna go through, but let, let’s just talk about this for a second. ’cause I had some thoughts, but as you guys were doing it, which was terrific. 

Here’s, here’s my thought, at least for the way this scene goes. 

Rosen Kranz is the, the two of ’em are like lost souls because they don’t know where they are and they don’t know what they’re supposed to be doing. Right? They’re in this limbo, this, this unknown place. 

And I think they have different ways of dealing with the kind of exist existential fear. Literally, they don’t know what their existence is. They don’t know who they are. People call ’em by different names. They’re not sure. I mean, it’s, they sort of have no, nothing firm to stand on. And I, I think we’ll go through this again, but perhaps you can experiment with the thought just for now anyway of Rosen Crans perhaps being, I dunno, le less a person of the mind perhaps than Gild Stern. 

He’s really upset and terrified and unhappy at the way this has gone because he, he thought because of what told him before that they were gonna get a lot of information and that, and they would then know where they stand. You know it. 

Marcelo Tubert

Yeah, There’s a frustrat. I mean, I just decided, just, I’m gonna pull out the stuff from me on this. I’ll just try this first time through. 

Geoffrey Wade

Yeah. I, I, I think that’s, 

Marcelo Tubert

I 

Geoffrey Wade

think he’s, you know, if you will, he’s, he’s somewhat more childlike or, or, you know, he’s, he’s a, a more emotional guy. 

Marcelo Tubert

Little tan, Little tantrum ish. 

Geoffrey Wade

Yes. Let’s, let’s try that. And, and Gilden Stern, who, he’s he’s quite defensive in this scene, isn’t he? I noticed Nick, he’s he’s defending his, he’s saying, no, no, it worked out fine. We, we forget a, we we know a lot. We know a lot. 

And the Rosen Krants going, no, we don’t, we know been, we dunno a thing. 

So I think Giler is is equally 

frantically in a, he’s his frantic nature’s, perhaps more subdued, holding on to this idea of, of reason, this sense that things can be figured out. We, we actually did make some progress here, and Rosen Kranz is, is calling him on it. 

I don’t wanna do the scene again now, but perhaps bear that in mind the next time we go through. 

Marcelo Tubert

Yeah. 

Geoffrey Wade

So good. Let’s, let’s carry on to the, to the recorder scene. 

And Nick, you start us off again when you feel like it. 

Nick Cagle

And what, what line are we, is this that we start on? 

Geoffrey Wade

This starts with good my Lord vouch. Save me a word with you, which is 3 23 I think. Three 20. 

Nick Cagle

There. It’s 

Geoffrey Wade

okay. 

Nick Cagle

Good. My Lord vouch. Save me a word with you, 

Daniel Cordova

Sir. A whole history. 

Nick Cagle

The king sir. 

Daniel Cordova

Hi. What of him 

Nick Cagle

Is in his retirement? Marvelous distempered 

Daniel Cordova

With drinks, sir. 

Nick Cagle

No, my Lord, with color, 

Daniel Cordova

Your wisdom should show itself more, Richard, to signify this to the doctor, for, for me to put him to his pation, who perhaps plunge him into more color. 

Nick Cagle

Good. My Lord. Put your discourse into some frame and start not so wildly from my affair. 

Daniel Cordova

I am Tam sir, pronounce 

Nick Cagle

The queen. Your mother in most great affliction of spirit has sent me to you. 

Daniel Cordova

You are welcome 

Nick Cagle

Nate. Good. My Lord. This courtesy is not of the right breed. If it shall please you to make me a wholesome answer, I will do your mother’s commandment. If not your pardon. My return shall be the end of my business. 

Daniel Cordova

Sir, I cannot. 

Marcelo Tubert

What my Lord 

Daniel Cordova

make you a wholesome answer my which disease. But sir, such answer as I can make you, you shall command, or rather as you say, my mother, therefore no more. But to the matter my mother, you say, 

Marcelo Tubert

Then thus she says, your behavior have thus, then thus she says, your behavior have struck her into amazement and admiration. 

Daniel Cordova

Oh, wonderful son, that can so astonish a mother. But is there no sequel at the heels of this mother’s admiration? In part 

Marcelo Tubert

She desires to speak with you in her closet until you go to bed. 

Daniel Cordova

We shall obey where she 10 times our mother. Have you had any further trade with us? 

Marcelo Tubert

My Lord, you wants to love me 

Daniel Cordova

And do still by these pickers and Steelers. 

Marcelo Tubert

Good my Lord. What is your cause of distemper? You do surely bar the door upon your own liberty if you deny your grief to your friend. 

Daniel Cordova

Sir, I lack advancement. How 

Marcelo Tubert

can that be when you have the voice of the king himself for your succession in Denmark? 

Daniel Cordova

I, sir. But while the grass grows, the proverb, proverb is something musty. 

Ah, the recorders, let me see. One to withdraw with you. Why do you go about to recover the wind of me as if you would drive me to, into a foil, into a toil? 

Nick Cagle

Oh my Lord. If my duty be too bold, my love is too unmanly. 

Daniel Cordova

Do not well understand that. Will you play upon this pipe? 

Nick Cagle

My Lord, I cannot. 

Daniel Cordova

I pray. You 

Nick Cagle

Believe me, I cannot. 

Daniel Cordova

I do beseech you. 

Nick Cagle

I know. No touch of it. My Lord. 

Daniel Cordova

It is as easy as lying. Govern these vintages with your fingers and thumb give it breath with your mouth and it will discourse most eloquent music. Look, you. These are the stops. 

Nick Cagle

But these I but these cannot I command to any utterance of harmony. I have not the skill. 

Daniel Cordova

Why Look you now, how unworthy a thing you make of me. You would play upon me. You would seem to know my stops. You would pluck out the heart of my mystery. You would sound me from my lowest note to the top of my compass. And there is much music, excellent voice in this little organ. Yet cannot you make it speak spla? Do you think I am easier to be played on than a pipe? Call me what instrument? You will though you can fret me. You cannot play upon me. 

Marcelo Tubert

Why are you so angry? 

Daniel Cordova

I don’t know. My dad 

Nick Cagle

died. 

Geoffrey Wade

Yeah. Good. Why is he so angry? It, it’s, he’s he’s a real emotional boy at this point 

Daniel Cordova

Because he finally knows what’s going on. I mean, he is finally got confirmation of what’s going on. 

Geoffrey Wade

He’s got confirmation of what’s going on. He knows from, from this point on. It’s not a, a question anymore. It’s, it’s how to execute. 

So he doesn’t Yeah, that’s right. The, the, the play has turned. 

It’s going to the, let’s see, the, those, the, those double soliloquy come shortly after this, right? 

Nick Cagle

Mm. 

Geoffrey Wade

Oh, bloody hell. 

Nick Cagle

And in walks polonious at the end of this scene again. 

Geoffrey Wade

Yes. 

Where? Oh God, I’m sorry. 

That’s that. Where is, oh, here we go. 

Just let me look for a second. 

Well, According to, 

according to Gideon, the real turning point of the play comes, 

where is it? Oh, yes. Here. 

It doesn’t have a line marking in this one, but it it’s the, these double soliloquies, when Hamlets thinks he can kill Claudius, who’s at prayer. And Claudia has his confession afterwards when he e explicitly says he did it. So everyone now knows for, I mean, everyone in the audience knows for sure 

Daniel Cordova

that’s right after this scene. Right? It’s 

Geoffrey Wade

right after this scene. 

Daniel Cordova

Yeah. 

Geoffrey Wade

And Gideon’s 

Daniel Cordova

his rank. That’ll, 

Geoffrey Wade

that’s right. But just before that, Hamlet has, has his Now might I do it Pat? Now he is a praying and now I’ll do it at which, and there’s this one word in a whole line passage where he says, and if I kill him now, am I revenge to take him while he’s purging his soul when he’s, you know, ready to go to heaven. 

And then he takes nine syllables to come up with the word no. At which point he sort of condemns himself. Hmm. Because he decides that he’s going to decide 

he’s going to punish Claudius by sending him to hell. And that’s a decision he really shouldn’t have made. That’s a way too short way of explaining what Gideon does at some length. But I’ll let him talk about that another time. 

But yes, we’re, we’re, we’re at the sort of pivot point of the whole, of the whole play. 

And Hamlet is, I mean, he’s, he’s high as a kite, I think in this scene. 

There’s an le let’s lemme just say a few things about this last one and then I’ll talk about some others. 

There are interesting things here. 

He’s a hamlet is obviously playing with them in this vouch Sickney word, a whole history. The king, whatever he’s distempered Oh, with drink and no, he is collar. Well, you should see a doctor. He’s, he’s really, this is almost Noel Cowardy quick until it gets to the point where Gildan Stern says, Jesus settle down. 

He of all people, Giler is one that says, put your discourse into some frame. Right. Which is 

Nick Cagle

basically 

Geoffrey Wade

settle down and starting a wild so wildly from my affair, which I think may is a little bit of an embedded stage direction. I think Hamlet is physically moving around all over the place. 

Marcelo Tubert

What, What line is that? 

Daniel Cordova

3 35 

Nick Cagle

Mm. 

Marcelo Tubert

Yeah. 

Geoffrey Wade

Yeah. Is that right? I have to go back 

Marcelo Tubert

Discourse into some. Yes. It’s starting not so wild into My paper. 

Geoffrey Wade

Yeah. Not that we can do it here, but that’s, it’s something to bear in mind. I think that that informs Hamlet’s state of mind and his physicality and everything about him at this particular moment. 

And Hamlet, you know, replies very quickly, I’m tame, I’m calmed down. Right? And, and then he starts using these big words like pronounce and 

amazement. Oh no, I don’t know. 

Using the word pronounce is, it’s a little formal. He’s, he’s really, he’s still kind of, he’s he’s toying with them. He’s playing with them. 

Nick Cagle

Yeah. And it’s 

Geoffrey Wade

interesting, 

Nick Cagle

I feel like this is a moment where Gildan Stern on 3 42 is, is trying to be straight up with his, his old college buddy. 

Geoffrey Wade

Yeah, I think he is. And I think it’s a, I think it’s very good, Nick. He’s giving him a fair warning. It’s like 

you, you’re, I I know you’re just goofing around, but the the stakes are, are are way high here. And Yeah, he says, I’m, I’m about ready to leave. 

Nick Cagle

Yeah. 

Marcelo Tubert

We can wrap this up. Right? It’s just, 

Nick Cagle

It’s very straightforward. 

Geoffrey Wade

I I, yeah. It’s very straightforward. 

Marcelo Tubert

Tell me the deal. Wrap this up. 

Nick Cagle

And 

Geoffrey Wade

I think it’s interesting that I, I think Giler might be, again, as perhaps the quicker of the two. 

He, he’s, he doesn’t, when Hamlet says, sir, I cannot, it’s, it’s Rosecrans who says what? 

And it’s not, it’s not a, it’s not, what did you say? It’s what can you not do, my Lord. Right. 

Rose? See that line 3 47? 

Nick Cagle

Yeah. You could almost play it a as as I mean, if, if as Gild and Stern is actually, I feel trying to help him. 

Geoffrey Wade

Absolutely. A absolutely. I think that’s, that’s the way to, that’s the best way into all these scenes. Both these scenes. 

Nick Cagle

Yeah. 

Geoffrey Wade

Certainly the, the first one, you know it, that’s great. That’s great. I I totally endorse that. 

But perhaps you’ve sort of had it gild. Ander. Yeah. When you say if’s, not my pardon? Your pardon. In my return will be the end of my business. He’s basically saying I’m about to leave. I’m gonna leave. I I beg your pardon? I’m going, 

Nick Cagle

I’m trying to save your life. 

Geoffrey Wade

Yeah. 

Nick Cagle

And if you don’t want me to, fine. Yes. It’s interesting. 

Geoffrey Wade

That’s good. Len says, sir, I cannot, and Rosecrans says, what? 

That’s it. What what can you not do? Make you a wholesome answer? I’m crazy. 

And, and I think Hamlet, you can just about play with them as crazy as you wanna be. You can, you can, whoever’s doing Hamlet, Dan, you, you can kind of cycle in and out of, of literally making fun of them and then going, no, I’m good, I’m good, I’m good. Go ahead. Right. 

For, for example, a a wonderful son that comes can astonish a mother, exclamation mark. 

I, I think, you know, if, if ELA is almost going, oh my God, I’m such a good boy. That’s great. Great news. 

Anything else? 

You know, and, and Hamlet, I think you can, you know, leave him, leave him, leave him hanging there for a second. So what else? And then, you know, he use, here’s another, here’s where he uses another word, like impart as a, like proceed. You know, instead of, you know, more usual word. 

The, so the, the more you’re explicitly toying with them, Dan. 

Daniel Cordova

Yeah. 

Geoffrey Wade

And or, or whoever’s doing Hamlet. I, I think the better it is. Gild and Stern loses his patience by just saying, well, I’m gonna, I’m gonna piss off. I’m leaving. I’m not gonna do anything. Rosen’s approach is to say, come on man, we’re we used to hang out, we’re friends. You, you, you loved me. 

And, and, and, and he, in his own own way, Rosen Grant is trying to help him. He says, what, what is the problem? You’re, you’re gonna end up in prison if you’re not careful. 

Right. Tell me, tell me how I can help you out. 

Right. 

His, his, he’s a little more of the therapist approach. 

What, when is this raises? Oh, just a little later on. When, when we get to this part about 

Hamlet saying play upon this pipe, I cannot, I pray you, I believe I cannot sif I don’t a touch of it. It’s easy as lying. That’s, you know what, in in, in Greek drum, we used to call it stick athea. Right. It’s just big, big, big. It comes one right after the other. And I think the temperature rises quite quickly as it as it goes along with Gilden Stern again. And Gild and Stern’s more the one who sort of loses his temper. He, I don’t know how to play it. I can’t play it. I don’t know how to fucking play 

Nick Cagle

upfront. Yeah. 

Geoffrey Wade

And, and I, I think Hamlet, you might be able to undercut him. Well, it’s easy. It’s easy as what you’re doing. Yeah. 

And then, and I know I’m sort of orchestrating this, but just sort of give you guys permission. I think Hamlet, this speech, you really kind of lose it. I, I’d be careful of hitting all the pronouns as you go 

Daniel Cordova

through my Yeah, Dan. 

Geoffrey Wade

Yeah. 

I think the key word why keyword. By by look, you know, how unworthy a thing you make of me, you know, thing in me sort of have sort of equal value. 

Daniel Cordova

Yeah. You 

Geoffrey Wade

play upon me. You seem to know my stops. You pluck the heart out of my mystery. It’s, it’s not me. It’s these things you wanna do to me. You wanna finger me, you wanna play me? Like, you can’t even play this stupid little stick. 

I think call me. 

His blood is a, is a strong, it’s like yeah, about as strong as you can get, as one can get. 

And it’s like, what, what, what the hell do you think of me? 

Daniel Cordova

Yeah. I think he’s playing that, that word game really from the, it as easy as well even before that, right. When he is asking him to play the pipe. But then he is that whole, it’s, it’s all like kind of still pretending to be like, oh, going over the top on, on being crazy on the it as easy as lying go these vintages, blah, blah, blah. Why look you now all of that. And then I think it’s a break at he’s done making those jokes and he says, blood, do you think I now he’s like, he’s explaining what he just got done saying. Yeah. 

Geoffrey Wade

So I think 

Daniel Cordova

there’s kind of a break after You cannot make it speak. 

Geoffrey Wade

Sure. 

Daniel Cordova

Do you think And then he’s serious, those last, those last two lines, you know? 

Geoffrey Wade

Yeah. I think he’s serious. I personally, I think he’s furious. 

Daniel Cordova

Yeah, exactly. But I mean, you know, I think he’s playing crazy that whole piece before it, he’s kind of being silly with him, with them until he gets to the slut, you know? 

Geoffrey Wade

Good. Sure. 

Daniel Cordova

He’s Just really like, yeah. 

Geoffrey Wade

Don’t you 

Daniel Cordova

get what I’m saying? You idiot. 

Geoffrey Wade

Just, I’m just gonna go back a little bit back to the, the Rosen and Gilden Cerner dead. 

Oh, Rosen Kranz. This is, this is the Stoppard scene. 

Marcelo Tubert

Yes. 

Geoffrey Wade

This, this is, oh, it’s actually stage direction where Rosen Kran says question and answer. Old ways are the best ways. He was scoring up a salt all down the line. That’s when I wrote that down. He gives you the derisively, or I wrote actually kind of dripping with contempt. I, I think it’s, that’s an example of Rosen Crans is, you know, I thought you were gonna get us out of it. I thought you had this plan 

Nick Cagle

and it 

Geoffrey Wade

was bullshit. You chickened out. So, you know, 

Marcelo Tubert

Can’t believe what you just did. I was expecting Yeah. 

Geoffrey Wade

And 

Marcelo Tubert

you didn’t do it. 

Geoffrey Wade

Yeah, exactly. Oh, we’re supposed to do it. This you question Nancy. We’ll, everything will be fine. 

You are, where is it? You’re welcome. 

Marcelo Tubert

You’re welcome. Is in the, in the Shakespeare. Not in this, I don’t think. 

Geoffrey Wade

No, there’s something 

Marcelo Tubert

You’re welcome. It’s, it’s back on the, on the, on the Shakespeare. 

Pardon? I don’t think it’s here. 

Geoffrey Wade

Well, I, I 

Marcelo Tubert

It’s in the it’s in the, lemme see Here. 

Geoffrey Wade

Oh no, I’m s yeah, yeah, you’re right. I’m sorry. I was looking at the Yes. I, I, i looking at the wrong place here. Yes. That was a, a reference to that last, that that recorder scene 

Marcelo Tubert

That’s line up 3 41. 

Geoffrey Wade

Yeah, that was just Dan. I think, you know, the more, what is it, the more genuine that is, it’s like, oh, this is great. What a great present. Thank you. Thank you so much. You know, end of conversation. But to get back to Rosen Crans and Gilden Stern. 

No, I just had written down what I already talked about that Rose Kranz is fear and dis I’m not gonna talk anymore. I’ve already said it 

Marcelo Tubert

said enough. 

Geoffrey Wade

I’ve said enough. 

Let me go back to the, the first scene. 

Hamlet, 

Nick Cagle

I do have a question. Oh, sorry, go ahead. Jeff. 

Geoffrey Wade

Hamlet, early on, when you say sent you to prison hither, I think you need to lift the word prison. Not hither, it’s prison. 

And 2 71. Who has a line about ambition? 2 71. 

Oh, Crans Rose Kranz. Here. Here’s another example to me of, I think of Rosen. Kranz is slightly more emotional and, what’s the word I want? 

He, he sort of gets carried away and almost childlike quality. When, when he says why, then it, why then it’s your ambition. Right? It’s like, I, I know the answer for you, 

Nick Cagle

but 

Geoffrey Wade

I think you can fold in something. Enthusiasm. 

Nick Cagle

Yeah. 

Geoffrey Wade

He’s enthusiastic. Where Gilden Stern is considered so that, that seemed like a place where you can jump on it. And also, 

Nick Cagle

Yeah, it’s almost like they’re hoping it is ambition. They would love to be able to go back and report that 

Geoffrey Wade

A hundred percent. And rosecrans at line two 80, when you say truly I hold ambition. So area in light of quality. It’s, but a shadow. Shadow that’s they’re, they’re verbal gymnastics. The, the, the witty stuff is getting so complicated. Now. 

Hamlet will top even that, but then he goes, okay, enough of this. But I think Rosen Crans, I think when Hamlet says a dream itself is, but a shadow Rosen Crans go. Yeah, that’s right. That’s right. You know, let let his enthusiasm come through 

and 

Daniel Cordova

Yeah. They’re just, 

Geoffrey Wade

they’re 

Daniel Cordova

kind of extending each other’s metaphors. Right? 

Geoffrey Wade

Exactly. 

Daniel Cordova

Yeah. 

Geoffrey Wade

And, and happy to be doing it. Happy that they’re on the right track. What they think. Now, Hamlet, I know I mentioned this, but your the but in, but your news is not true. 

There’s a bunch of buts in here. I suddenly realized 

bigger than I am. 

Marcelo Tubert

What line are you at there, Jeff? 

Geoffrey Wade

This is 2 94. 

Marcelo Tubert

But I 

Geoffrey Wade

thank you. You 

Marcelo Tubert

No, 

Geoffrey Wade

were you not sent for? So there’s a, there’s a, a change there. 

Were you not sent for, is it your own inclining? Is it a free visitation? Come, come deal justly with me. Come, come. Nay speak. 

I think you need to give them an opportunity to answer each one. 

Put ’em, put ’em on the spot. Wait, wait for an answer. 

Maybe inclining and visitation run together, but then deal justly with me. Wait for a second because you do it again. Come on, come on. Say something. But give him a chance not to have said anything. Right? 

Daniel Cordova

Yeah. 

Geoffrey Wade

And that, that leads you into, what should we say? 

Just tell me what you’re here for. 

Daniel Cordova

Yeah. Where 

Geoffrey Wade

the purpose 

here. But, but let me con you by the rights of fellowship, by the constancy. 

There’s another one, but in the deepen, but 

I’m sorry. 

Nevermind. But, but in the beaten way of friendship, right. There’s somewhere where you say that, I can’t remember the, the, the exact line. 

Daniel Cordova

Did, I think that’s actually earlier 

Nick Cagle

That the free visitation stuff, or is that No, 

Geoffrey Wade

there it is. It’s line two 90. 

Daniel Cordova

Yeah. 

Geoffrey Wade

My, I’m most dreadfully attended, but in the beaten path of friendship. What make you at Elsinore? 

I, I, I, again, I think give them a ch 

what I wrote was go deeper. I, I think, I think Hamlet, you’re sort of settling in into yourself, as it were. 

You’re, you’re giving them a chance to say what what they’re really there for. 

Daniel Cordova

Yeah. And I think there’s, I mean, three or four times when he asks them the question, but he, he prefaces the question by referencing their friendship. Yeah. He does it three or four times in a row. 

Geoffrey Wade

Exactly. And, and each, each of them has to, he says, but in the beaten path, friendship, what are you doing here? Right. And, and then he says, but I thank you. Were you not sent for anything to the purpose? You’re, you’re not, you know, you’re not good enough at what you’re doing. I, I can see what’s going on. He, he keeps giving them 

Daniel Cordova

Yeah. 

Geoffrey Wade

A chance to get out of it. 

Here’s a, here’s a little thing you don’t have to do, but you might want to in your, what a piece of work is, man. 

Daniel Cordova

Yeah. 

Geoffrey Wade

And I know there’s some debate about this, so I’m gonna let you do it any way you want. 

Daniel Cordova

I, 

Geoffrey Wade

I believe it is what a piece of work is, man. But you can do it. But what piece of work is, man, I just think it’s harder to say. 

There’s some scholarly debate about that. 

Nick Cagle

Hmm. But 

Geoffrey Wade

just before that, 

and this I stole from some other hamlet, but Earth seems to me a sterile promontory that most excellent canopy of the air, look, you this brave or hanging firmament, 

rather than just throwing that away, why don’t you check in to see if they’re actually doing what you’re telling them to do? 

Hmm. 

Daniel Cordova

The look you Part especially Yeah. 

Geoffrey Wade

The look you is this excellent canopy. Look, you 

Daniel Cordova

look, 

Geoffrey Wade

look at this, look at this. Right. So just, just connects with them a little bit what a piece of work is. A man. I think, 

Nick Cagle

You know, one, one thing is as I’m looking through it, is it’s interesting to see when they’re lying and when they’re telling the truth. 

And I’m not sure that guilt, it seems that Rosencrantz does most of the lies in these scenes. I could be wrong. I was just noticing that right now he actually answers a couple of things and his answers are not true. 

Geoffrey Wade

I 

Nick Cagle

haven’t Gone through though each line with this, but I was just noticing that Gild Stern seems to be making an effort to be as honest as he can the whole time. 

Geoffrey Wade

Good. Go with that. 

I am going to, 

I, I, yeah. I think there’s something to that r rather than have you three do this one again. I’m going to switch it so that Nick gets a chance at Hamlet. 

Now 

Marcello will be Guild and Stern. 

Is this right? And Dan goes, goes to Rosecrans, right? 

Daniel Cordova

Yeah. 

Geoffrey Wade

Okay. Let’s just take like, just a, a couple of minutes, like five minutes just to stretch yourselves a little bit. ’cause I know this is a long time to sit, so I’m just gonna stretch and get myself a drink of water and let’s go back at six, I don’t know, six 18. 

Sound good? 

Okay. 

Okay. Okay. 

All righty. Oh, waiting for Daniel 

Marcelo Tubert

righty then. 

Geoffrey Wade

All righty then. 

Hey Nick, I’m sure we talked about this, but where do you live in Hawaii? 

Nick Cagle

I live on Kauai. 

Geoffrey Wade

Kauai, 

Nick Cagle

Yeah, on the North Shore. It’s sort of the furthest out of the five main islands. 

Marcelo Tubert

Yeah, it’s that’s the ka is at the end of the road, right on your island. 

Nick Cagle

That’s right. Yeah. Yeah. I just took my, my kids there yesterday to go play for a little bit. Yeah. 

Marcelo Tubert

And then you have that, the big where they shot. I’m gonna wash that man right outta my hair. 

Nick Cagle

That’s right. That was right, right down the street. 

Marcelo Tubert

Oh, Is that right? How they be? 

Nick Cagle

Yeah, we, we sing it often. My, the mountain in the background is called Ana, which means gift in Hawaiian, and it’s my daughter’s middle name. Oh, 

Geoffrey Wade

That’s sweet. 

Nick Cagle

Yeah. I grew up, my dad, my dad was a surfer and I grew up coming over here a lot in my youth. And we, we, my wife loved it. And we just ended up over here. 

Marcelo Tubert

Wow. Fantastic. Yeah, we went to the house once across the street from that bay right in the middle there 

Nick Cagle

Across, yeah. Ha Lei. I live right by Honley Bay. 

Marcelo Tubert

Oh, yeah, I know exactly where that is. Beautiful. 

Nick Cagle

Yeah. Yeah. It’s a good spot. It feels far away from all you find people though. 

Marcelo Tubert

It’s kind of remote, man. 

Daniel Cordova

I’ve been up that way, but I’ve been, I, when I stayed in on Kauai, I stayed down in Poipu the opposite end of the island. 

Nick Cagle

Yeah. It’s really nice down there. 

Daniel Cordova

Yeah. 

Nick Cagle

It’s a little Rainier where I am. I’m on the far north shore, so it’s a little wetter up here. 

Marcelo Tubert

One of my favorite spots of all the islands. It’s just that area. Wow. 

Geoffrey Wade

And you 

Daniel Cordova

have that big, that big rain shadow mountain that like keeps the rain on one side and not the other. 

Nick Cagle

Yeah. Wale. 

Daniel Cordova

Yeah. 

Marcelo Tubert

We were trying to figure out how we could set up a little kiosk at the, at the beginning of the, of the, of the road there at Ke to be able to make enough money to live there short. 

Nick Cagle

Elizabeth Taylor’s brother used to have a big sort of camp there that was like a hippie commune in the seventies. Yeah. 

Marcelo Tubert

In one Of those canyons going on the, on the trip on the nal. 

Nick Cagle

Yeah. Yeah. It’s a good spot. You guys are welcome. Anytime come visit. Oh 

Geoffrey Wade

Good. I thought you’d never ask. Okay, 

Daniel Cordova

That’s it. Next 

Geoffrey Wade

accomplished for directing this thing. That’s all. 

Daniel Cordova

Next week we’re gonna do it all in person over there. 

Nick Cagle

I 

Marcelo Tubert

book a flight right Now. 

Geoffrey Wade

Would that 

Nick Cagle

be Cool? There’s some fly fishing here, Marcello, way up in the mountains. There’s some trout. 

Geoffrey Wade

I Was about to say, I was about to say, how could you live there, Marcello? There’s no fly fishing, but I guess 

Marcelo Tubert

Well, there is, and also the flats. There’s some great flats and you can fish for bonefish 

Nick Cagle

and Yeah, 

Marcelo Tubert

there’s no, there’s some great fly fishing in Hawaii. 

Geoffrey Wade

Oh, okay. 

Nick Cagle

Indeed. 

Geoffrey Wade

Alright. That’s always, that’s always the thing, isn’t it? When you, when you, when you think about, oh, I’ll just retire, or, or you know, the guys who are gonna rob a bank or whatever, it’s always gonna, you’re gonna set up a little shack, a little palm shack on the beach, right. Just serve drinks and live on the beach. That’s what everybody wants to do. 

Oh, dear. 

Marcelo Tubert

That sit, sit on the beach and read Shakespeare, right? Yeah, 

Geoffrey Wade

yeah, 

Nick Cagle

Yeah. Absolutely. It could use a Shakespeare festival over here, though. That would be neat. 

Marcelo Tubert

Get it going, man. 

Nick Cagle

Yeah, 

Geoffrey Wade

Yeah. You got the, the infrastructure. All right, let’s, let’s give Nick a a chance to incorporate all these notes that I’ve been 

Nick Cagle

given, 

Geoffrey Wade

but, but each time through it gets more interesting. So all, all I would say is, you know, it, enjoy it and, and feel free to, you know, play the, play the extremes of what we’ve been talking about. As you get more comfortable with these lines and with how these people seem to be, if, if you have an impulse, go, go, go far with it. 

Daniel Cordova

You know, 

Geoffrey Wade

so funny voices and 

Nick Cagle

everything. 

Marcelo Tubert

Seriously, 

Geoffrey Wade

You’re welcome in some of this. But e even this first time through, you know, this whole section, you know, your, your initial greeting was, was great. It sounded more like three old friends. And, and also, you know, we’re on mic, so feel free to make it very conversational. There’s no, I picked stuff with no verse, so we’re, we’re easy that way. Right. 

Daniel Cordova

Just as we jump into it, I was just thinking it would be funny if once again, where they’re coming from Gil Stern and, and Rosen Krantz, maybe they, they’re trying to outdo each other and Gild Stern says, my honored Lord. And, and then Rosen Krantz is trying to pop him by saying, my most dear Lord. You know what I mean? They’re Still having those word plays going on before they get there. 

Geoffrey Wade

Yeah. And, and, and even very good. And even the next thing as the indifferent children of the earth happening that we’re not over that he’s, he’s, they’re, 

Daniel Cordova

They’re trying to outdo each other a little bit, 

Geoffrey Wade

Correcting each other or, or whatever. But absolutely there’s that constant competition going on. It’s very, very good. 

Okay. 

Marcelo Tubert

We ready? 

Geoffrey Wade

Can remember the assignments. So yeah, 

Marcelo Tubert

I am Are 

Nick Cagle

we gonna just do the first scene and then stop? Or, or would you like to keep going through the other scenes? 

Geoffrey Wade

Let’s, let’s try to keep going pretty much through the other scenes. I mean, 

Nick Cagle

we’ll 

Geoffrey Wade

have to, we’ll have to kind of stop, but, 

Nick Cagle

okay. I, 

Geoffrey Wade

I’ll try not to 

Marcelo Tubert

try, 

Geoffrey Wade

I’ll try to do that. We’ll 

Marcelo Tubert

do The first scene and then we’ll go do the stop part. 

Nick Cagle

Ah, 

Geoffrey Wade

It’s a hard stop. Yeah. All right, lads. 

Marcelo Tubert

My honored Lord, 

Daniel Cordova

My most dear Lord. 

Nick Cagle

My excellent good friends, how dust thou gild and stern, ah, rose and krantz good lads. How do you both 

Daniel Cordova

As the indifferent children of the earth, 

Marcelo Tubert

Happy in that we are not over happy Unfortunates cap are not the very button 

Nick Cagle

Nor the soles of her shoot, 

Daniel Cordova

Neither my Lord. 

Nick Cagle

Then you live about her waist or in the middle of her favors. 

Marcelo Tubert

Hey, her private suite 

Nick Cagle

In the secret parts of fortune. Almost true. She is a trumpet. 

What news? 

Daniel Cordova

None my Lord. But that the world’s grown, honest 

Nick Cagle

Is doomsday near, but your news is not true. Let me question more in particular. What have you, my good friends deserved at the hands of fortune that she sends you to prison, hither 

Marcelo Tubert

Prison by the Lord. 

Nick Cagle

Denmark’s a prison 

Daniel Cordova

Then is the world one A 

Nick Cagle

goodley, one in which there are many confines, wards and dungeons, Denmark being one of the worst? 

Daniel Cordova

We think not so my Lord, 

Nick Cagle

My then is none to you. For there is nothing either good nor bad, but thinking makes it so to me it is a prison. 

Daniel Cordova

Why then your ambition makes it one just too narrow for your mind. 

Nick Cagle

Oh God. I could be bounded in a nutshell and count myself a king of infinite space where it not that I have bad dreams, 

Marcelo Tubert

Which dreams indeed are ambition for the very substance of the ambitious is merely a shadow of a dream. 

Nick Cagle

A dream itself is, but a shadow 

Daniel Cordova

Truly. And I hold ambition of so ary and light equality that it is, but a shadows shadow 

Nick Cagle

Then are our beggars bodies and our monarchs and outstretched heroes. The beggars shadows, shall we to the court for by my Faye, I cannot reason 

Daniel Cordova

We 

Marcelo Tubert

wait upon You. 

Daniel Cordova

We’ll wait upon you. 

Nick Cagle

Oh, No such matter. I will not sort you with the rest of my servants for to speak you like an honest man. I am most dreadfully attended, but in the beaten way of friendship, what make you at Elsinore 

Daniel Cordova

Isn’t you my Lord. No other occasion 

Nick Cagle

Bigger than I am. I am even poor and thanks. But I thank you. I’m sure, dear friends, my thanks are too dear a hi, a hey Penny. 

Were you not sent for? 

Is it your own inclining? Is it a free visitation? 

Come, come deal justly with me. Come, come nay speak. 

Marcelo Tubert

What should we say? My Lord, 

Nick Cagle

Anything but to the purpose you were sent for. And there’s a kind of confession in your looks, which your modesty have not craft enough to color. 

I know the good king and queen have sent for you 

Daniel Cordova

To, to what end my Lord 

Nick Cagle

That you must teach me. But let me conjure you by the rights of our fellowship, by the constancy of our youth, by the obligation of our ever preserved love. And by what more dear a better proposer can charge you with, can charge you with all, be even and direct with me. Whether you were sent for or no 

Daniel Cordova

What, say you. 

Nick Cagle

Nathan, I have an eye of you. If you love me, hold not off 

Marcelo Tubert

My Lord. We were sinful. 

Nick Cagle

I will tell you why. So shall my anticipation prevent your discovery and your secrecy to the king and queen. Molt, no feather I have of late, but where for I know not lost all my mirth, foregone all custom of exercises. And indeed it goes so heavily with my disposition that this goodly framed the earth seems to me a sterile promontory, this most excellent canopy. The air, look you, this brave or hanging firmament, this majestical roof fretted with golden fire. 

It appear nothing to me, but a foul and pestilent congregation of vapors. 

What a piece of work is a man. 

How noble, in reason how infinite and faculties inform and moving, how express and admirable in action, how like an angel in apprehension, how like a God, the beauty of the world, the paragon of animals. And yet to me, what is this quintessence of dust? 

Man delights, not me. No. Nor woman neither. 

So by your smiling, you seem to say so, 

Daniel Cordova

My Lord, there was no such stuff in my thoughts. 

Nick Cagle

Why did you laugh then when I said, man, delights not me 

Daniel Cordova

To think my Lord, if you delight not in man, what lent an entertainment do, the players shall receive from you. We coded them on the way. And here are they coming to offer you service. 

Nick Cagle

She The place the king should be welcome. His majesty shall have tribute on me. The adventurous night shall use his foil and target. Are we stopping there? 

Marcelo Tubert

There’s the stop point. 

You’re muted. Jeff. 

You’re muted. Jeffrey. 

Nick Cagle

Still muted Jeff. 

Marcelo Tubert

Yeah. 

Geoffrey Wade

Yeah. There you’re, 

Nick Cagle

you can 

Geoffrey Wade

hear me cursing then? Yes. 

We, we stop. 

Just for your reference, Nick, if you’re looking at a whole script, it’s, it’s after we coded them on the way and here they come to offer you service. And that’s, 

Nick Cagle

thank you. 

Geoffrey Wade

So that’s three 40, I believe. 

Yeah, it’s getting really nice you guys. 

Let’s just carry on and we’ll talk some more later. So let’s carry on to the stop bar again, starting with Hamlets. Gentlemen, you are welcome to Elsinor. 

Nick Cagle

Gentlemen, you are welcome to elsinor your hands come then 

thence of welcome is fashion and ceremony. Let me comply with you in this garb. Less to my extent, to the players, which I tell you must show fairly outwards. Should more appear like entertainment than yours. 

You are welcome. But my uncle, father, and aunt mother are deceived In 

Marcelo Tubert

what my dear Lord 

Nick Cagle

I am, but mad north, northwest. And when the wind is southerly, I know a hawk from a handsaw. 

Marcelo Tubert

Hmm. 

Daniel Cordova

Yes. 

Marcelo Tubert

What 

Daniel Cordova

I thought you ah, 

Marcelo Tubert

We can say we made some headway. 

Daniel Cordova

You think so? 

Marcelo Tubert

I think we can say that. 

Daniel Cordova

I think we can say he made us look ridiculous. He 

Marcelo Tubert

Made it close to the chest. Of course. 

Daniel Cordova

Question and answer. Old ways are the best ways. He was scoring of us all down the line. He 

Marcelo Tubert

Caught us. He caught us on the wrong foot once or twice perhaps. But I thought we gained some ground. 

Daniel Cordova

He murdered us. 

Marcelo Tubert

He might have had the edge. 

Daniel Cordova

27 3. And you think he might have had the edge? He murdered us. 

Marcelo Tubert

What about our evasions? Oh, 

Daniel Cordova

our evasions were lovely. Were you sent for? He says, my Lord, we were sent for, I didn’t know where to put myself. 

Marcelo Tubert

He had got six rhetorical. 

Daniel Cordova

It was question and answer. All right. 27 questions. He got out in 10 minutes and answered three. I was waiting for you to delve. When is he gonna start delving? I asked myself 

Marcelo Tubert

And two repetitions. 

Daniel Cordova

Hardly. We a leading question between us. 

Marcelo Tubert

We got his symptoms, didn’t we? 

Daniel Cordova

Half of what he said meant something else and the other half didn’t mean anything at all. 

Marcelo Tubert

Worded ambition, a sense of grievance. That’s my diagnosis. 

Daniel Cordova

Six rhetorics, two repetitions leading 19 of which we answered 15. And what did we get in return? He’s depressed. Denmarks a prison. And he’d rather live in a nutshell, some shadow play about the nature of ambition, which never got down to cases. And finally, one direct question, which might have led somewhere and led in fact to his illuminating claim to tell a hawk from a handsaw. 

Marcelo Tubert

But when Southern 

Daniel Cordova

And the weather’s clear 

Marcelo Tubert

And when it isn’t and when it can’t, 

Daniel Cordova

He’s at the mercy of the elements. Suddenly 

Geoffrey Wade

Mer mercy of the element. Yeah, mercy of the elements is, is the end. 

Daniel Cordova

Yeah. 

Geoffrey Wade

And that was, that was actually a, a great reading. A 

Nick Cagle

it’s, 

Geoffrey Wade

it’s like, oh, now I figured something out after all of that. 

Delightful. Let’s, let’s go on to the recorder 

Marcelo Tubert

On. Okay, 

good. My Lord, about to save me a word with you, 

Nick Cagle

Sir. A whole history. 

Marcelo Tubert

The king, sir. 

Nick Cagle

Aye sir, what of him 

Marcelo Tubert

In his retirement marvel in his, in his retirement. Marvelous distempered 

Nick Cagle

With drinks, sir, 

Marcelo Tubert

Oh my Lord, with color. 

Nick Cagle

Your wisdom should show itself more. Richard, to signify this to the doctor, for, for me to put him to his purgation, would perhaps plunge him into moral color. 

Marcelo Tubert

Good. My Lord. Put your discourse into some frame and start not so wildly from my affair 

Nick Cagle

By Tam, sir, pronounce 

Marcelo Tubert

The queen. Your mother in most great affliction of spirit had sent me to you. 

Nick Cagle

You are welcome. 

Marcelo Tubert

Nay good, my Lord, nay good, my Lord. This courtesy is not of the right, is not of the right breed. If it shall please you to make me a wholesome answer, I will do your mother’s commandment. If not your pardon. In my return shall be the end of my business. 

Nick Cagle

Sir, I cannot. 

Daniel Cordova

What my Lord 

Nick Cagle

Make you a wholesome answer. My wits diseased. But sir, such answer as I can make you shall command, or rather as you say, my mother, therefore no more. But to the matter. 

My mother. You say 

Daniel Cordova

Then thus she says, your behavior has struck her into amazement and admiration. 

Nick Cagle

Oh, wonderful son, that can so astonish a mother. But is there no sequel at the heels of this mother’s admiration? 

In part 

Daniel Cordova

She desires to speak with you in her closet. There you go to bed, 

Nick Cagle

We shall obey. Was she 10 times our mother? Have you any further trade with us? 

Daniel Cordova

My Lord, you once did love me 

Nick Cagle

And do still by these pickers and steelers. 

Daniel Cordova

Good my Lord. What is your cause of distemper? You do surely bar the door upon your own liberty if you deny your griefs to your own friend. 

Nick Cagle

Sir, I lack advancement. 

Daniel Cordova

How can that be when you have the voice of the king himself for your succession in Denmark? 

Nick Cagle

Hi sir. But while the grass grows, the proverb is something musty. Oh, the recorders. Let me see. One to withdraw with you. 

Why do you go about to recover the wind of me as if you would drive me into a toil? 

Marcelo Tubert

Oh My Lord. If my duty be too bold, my love is too unmanly. 

Nick Cagle

I do not well understand that. Will you play upon this pipe? 

Marcelo Tubert

My Lord, I cannot. 

Nick Cagle

I pray. You 

Marcelo Tubert

Believe me. I cannot. 

Nick Cagle

I do beseech you. 

Marcelo Tubert

I know. No touch of it. My Lord. 

Nick Cagle

What is as easy as lying? Govern these vantages with your fingers and thumb, give it breath with your mouth and it will discourse the most eloquent music. Look you. These are the stops. 

Marcelo Tubert

But these cannot I command, but these cannot I command to any utterance of harmony. I have not the skill. 

Nick Cagle

Why look you how unworthy a thing you make of me. You would play upon me. 

You would seem to know my stops. You would pluck out the heart of my mystery. You would sound me from my lowest note to the top of my compass. And there is much music, excellent voice in this little organ. Yet can, yet cannot you make it speak splu. 

Do you think I’m as easy to be played on as a pipe? Do you think I am easier to be played on than a pipe? 

Call me what instrument? You will that you can fret me. You cannot play upon me. 

Geoffrey Wade

Oh, great guys. Just coming along so nicely. I I just, something Nick, I was hearing just now I’m going backwards a little bit. But that last speech was terrific, the way you turned on blood. 

Although it’s, it’s not, you know, actual verse. He still gives you these great words to work with, played on in a pipe. 

He gives you lots of plosives and fricatives and all those, all those good consonants. 

So be sure to use them. That’s all I can say. You can really use those words coming Emil though you can fret me. You cannot play upon me. It’s, it’s, you know, it’s great, it’s great language. 

Nick Cagle

I kept running into breathing problems that I was noticing. Like if I was to do this on a stage, I would have to really plan my breaths, 

Marcelo Tubert

I 

Nick Cagle

think Yeah. 

Geoffrey Wade

On 

Nick Cagle

those full stops. ’cause some of ’em are quite long when you’re, you know, it’s interesting. 

Geoffrey Wade

Y yeah. And, and I think he’s in such a, again, in such a state and, and we’re not dealing with verse, so you can breathe whenever you like. But 

yeah, there’s definitely a, a breath after easy to be played on than a pipe. Call me an instrument. You will, you can take a breath there. 

Nick Cagle

Yeah. 

Geoffrey Wade

Threaten me. You cannot play upon me. I mean all, all of them. I think he’s really at the top of his range. So when we go through it again, feel free to, you know, go as far as you can. Everyone was doing a terrific job that time of, of, I don’t know, letting yourselves go, which is good. 

Daniel Cordova

It’s, It’s interesting because when you do it on, you know, when you do it on Zoom or any, I mean, it’s almost like with any kind of a like, you know, closeup film or, or, or video, you know, acting. It’s like you, you, you tend to want to be still and act, you know, just without a lot of gesturing and, and stuff. So, so it’s, there’s a temptation not to go too far, you know? 

Geoffrey Wade

Yes. And and that’s, I I understand that, but as, as of, you Know 

Daniel Cordova

what I’m just saying, it’s like, it’s like we have to kind of like let ourselves go a little bit like you as though you were on stage, right? 

Geoffrey Wade

Yeah, Exactly. Exactly. It’s, it’s a, it’s a smaller, you know, picture, but it takes the same amount of emotional energy, if you will. 

No such matter in the first scene. Nick, I keep forgetting to, 

so we’re going back to the beginning here, 

Daniel Cordova

2 87. 

Geoffrey Wade

2 87. Is that where he says no such matter? 

Daniel Cordova

Yeah. 

Geoffrey Wade

Yes. Yes. 

Nick Cagle

Oh yes. No. Such 

Geoffrey Wade

matter, No such matter. It it’s weird. It’s not, 

it, it’s not a case of Oh, forget about it. It’s like, oh no, no, I’m not, it, it’s, I’m not gonna treat you that way. 

You’re my friend. You’re not my service. 

Nick Cagle

It’s interesting. Like it is. And he’s not necessarily telling the truth right there. Right. So he’s not very well attended. 

Geoffrey Wade

He is, he is well attended. 

Nick Cagle

He is well attended. Okay. I 

Geoffrey Wade

I, 

Nick Cagle

I 

Geoffrey Wade

think, I mean the people he, the people we see him with who are his inferiors, which would be Horatio and the guys on the Battlement, right. 

He is actually quite straightforward with Horatio. He is completely honest. And, and Horatio is completely honest with him. 

The, the, the, the people he deals with who are his attendance are actually really good. Yeah. 

So that’s, yeah. He’s, he’s winding him up a little where he says, 

yeah, he’s, he’s making, again, he’s he’s painting a picture for them of 

Nick Cagle

Yes. 

Geoffrey Wade

Of his discontent 

Nick Cagle

and Saying, my respect for you, I would hold you too. And the highest level of respect. 

Geoffrey Wade

Yeah. 

Nick Cagle

I see. 

Geoffrey Wade

Again, you know, he’s, he’s a little bit keeping his enemies close. I mean, 

Nick Cagle

yeah, 

Geoffrey Wade

he knows, I don’t think he knows how much of an enemy, I don’t think he’s determined quite how much of an enemy they are, because as far as we know in this scene, they’ve come to be information gatherers later. They, they will become, you know, in that recorders scene when it’s clear that they’re completely in the employee of the king and queen. 

I think he, he loses it with them. But here, 

Marcelo Tubert

well, I mean, he’s testing them, right? He’s, he’s just a, he, 

Geoffrey Wade

he’s testing ’em. And, and he knows, I mean, he, he’s able to say in the end, look, I know something. He says it, you, you have to teach me. You have to tell me what’s going on. And, and I, I, I implore you by, you know, the bo bonds of friendship by what we’ve gone through together, by the fact that we’re all the same age. You know, just, Just I 

Daniel Cordova

think that there’s a, I I don’t mean to cut you off, Jeff. 

Geoffrey Wade

No, No, go ahead. No, I, 

Daniel Cordova

I think that there’s, you know, especially in this first scene that we are doing at this point, he still does not have confirmation that the ghost is, is evil or good Right. Or honest. Right. Right. And he doesn’t like his uncle, but he doesn’t have any evidence yet that he killed old Hamlet. So I, I think, you know, in this scene he’s still kind of like, well, I could be wrong about these guys. Maybe they just got, you know, somebody paid their way to come to Elsinore. But as the scene goes on, he’s getting more and more information that’s getting him closer to all of these Yeah. Suspicions being true. 

Right. 

Geoffrey Wade

E exactly. And 

Daniel Cordova

they’re, It’s just peeling it closer and closer. It’s like he’s kind of giving them the opportunity, the out Yeah. The opportunity to, to say No, no, no, no. We, we came, we, we, we, you know, we sold our bicycles so that we could get money to come to you. See, you what I mean? He’s giving them all these opportunities to not be at the service of the king and queen. And, and yet they can’t get there. Right? Yeah. And, and they, I I think they feel like they have to be honest with him because they can’t lie. They’re all, they’re childhood friends, you know, tribal lie. But they, he sees through it. 

Geoffrey Wade

He sees through it a a and, and his as, as you, as you said earlier, Nick, and we all know he, he asks them three or four times, come on, come on, tell me, tell me 

Daniel Cordova

Yeah. You’re my 

Geoffrey Wade

Friends and be even and direct with me. Mm. 

Just tell me whether you were sent for, that’s all. It’s all he is asking. And Rose kind of, it gives it away. It’s like, what do we do? What are we supposed 

Nick Cagle

to do? 

Geoffrey Wade

And Gilden Stern, who I think Rosecrans Rosecrans turns to Gilden Stern because he figures Gild Stern will have a better solution than going Yeah, yeah. We present for, yeah. The, the longer we can live in, in not quite knowing where, where we are in the scene, but for Hamlet and, and the lads the better. Right. But more information is gathered as we go through the scene. Yeah. 

Daniel Cordova

I Mean, that’s what I think that there’s a progression of, of hamlet’s understanding of the situation throughout this first scene. 

Geoffrey Wade

L let me, 

let me just, so no such matter. 

We, we’ve, we’ve got that it’s no, I, I wouldn’t treat you that way. The word is Haney, like, 

Nick Cagle

yeah, I caught myself. 

Geoffrey Wade

Haney. If you haven’t got a, if you haven’t got, if you haven’t got a penny, Haney will do. 

Nick Cagle

Haney, 

Geoffrey Wade

Haney, Haney. 

Marcelo Tubert

There’s no ed on The there. An ed 

Geoffrey Wade

To what end? I don’t know what the line that is. 

Nick Cagle

To what end? My 

Daniel Cordova

3 0 5. 

Nick Cagle

3 0 5. 

Geoffrey Wade

Thank you. I know the good queen, good queen, good king and queen of cent for you. I think, again, this, this can be Rosen Crans a little more innocent. He’s like, well, why would they do that? 

Right. He’s not very good at this. 

So a little more innocent on that. 

Yeah. What say you, the more unsure that is, the better the, the more rosecrans lives in innocence, I think the better. 

Nick Cagle

I feel like every Time they get close to getting caught gild and stern goes quiet. 

Geoffrey Wade

Yes. Yeah. 

And I, I just because you did it, I suddenly got it. This, this thing about Rosecrans laughing when he says Manda light’s, not me, Rosen Kran sort of can’t, he’s here’s what he thinks is a sort of slightly dirty joke or something. Slightly. 

Daniel Cordova

Yeah. And, 

Geoffrey Wade

and he just laughs He’s that guy. Right. So you, you decide how much you’re laughing at that. 

I mean, I, I think he just comes up with an explanation real quick. I think he is laughing. Well, you, you decide. Is he laughing at the slightly, slightly dirty joke of Manites? Not me. 

You, are you with me? Yeah. 

Daniel Cordova

Yeah. I, I I mean, I think he has, I I mean obviously it, it’s almost a stage direction, right? Because 

Geoffrey Wade

Yeah, 

Daniel Cordova

He says though by you’re smiling, you seem to say so 

Geoffrey Wade

Then Why 

Daniel Cordova

did you Laugh? 

Geoffrey Wade

Yeah. 

Daniel Cordova

But there’s obviously, there’s some reaction to the Manites, not me. Yeah. 

Geoffrey Wade

And, and I, again, again, I think it’s part of Rosen Crans is sort of more innocent, more direct nature that 

Daniel Cordova

Yeah. 

Geoffrey Wade

And laughs at the joke and is able to get himself out of it that first. Now moving on to Rosa Grands Gold Center dead Nick, that first speech, which is still the play gentleman, you’re welcome to Elsinore your hands. Come on. 

And this, it’s interesting what, what, what he says. What, what do you think he’s saying there? I mean, I know what I think he’s saying. What do you think he’s, what do you think Hamlet is saying with giving hands the perce of welcome, all of that. 

Nick Cagle

What does a pance mean? 

Geoffrey Wade

The outside appearance. 

Nick Cagle

Ah, okay. Well that, that will help my inform my decision. ’cause I had no idea what that word was. I was like, what? 

It’s fashion and ceremony. I, I, I understand. Now 

Geoffrey Wade

let Me, let me double check that. But I’m pretty sure that because he has all these image, this imagery of dressing, you know, being dressed a certain way, 

Nick Cagle

Which I, which I tell you must 

Geoffrey Wade

Yeah. 

Nick Cagle

It’s all about appearances, isn’t it? He is talking about fashion and ceremony. 

Garb. 

Geoffrey Wade

Yeah. 

Nick Cagle

Which I tell you must show fairly outwards. I think he’s saying that he understands that the shell of them is different than what’s on the inside. 

Geoffrey Wade

Well, I’ll, he, he, 

he, he’s, he’s saying that he’s making a show of, of welcome. I 

Nick Cagle

see. You are, you are welcome. 

Geoffrey Wade

You are welcome. 

Nick Cagle

But I’m, 

Geoffrey Wade

And, and I don’t want, I don’t want people to think you’re not as welcome as the players. And, 

Marcelo Tubert

And what is the yours re refer to appear like entertainment than yours. Which I tell You, 

Geoffrey Wade

I, I want, I want to, I want to, he says the, 

Marcelo Tubert

I Would do this guard 

Geoffrey Wade

The outward appearance of welcome is, is making a show, but it’s fashion, it’s ceremony, it’s shaking hands and you know, of sharing a drink or something. 

And I want to do that. I wanna make that show with you in this garb so that when I do the same thing to the players, it doesn’t look like I’m welcoming them more than I’m welcoming you. 

Daniel Cordova

Right, exactly. 

Nick Cagle

I see. I was thinking of it the opposite Way, but No, no, I understand. It’s his show, not their show. 

Geoffrey Wade

Yes. 

Daniel Cordova

He’s, He’s saying, I need to show everyone that, that I am as I am welcoming you, as at least as much as I would welcome the players. ’cause I’m about to welcome them. Yeah. Really. 

Geoffrey Wade

I’m really happy 

Daniel Cordova

to 

Geoffrey Wade

see them 

Daniel Cordova

Really, really passionately. And, and so take my hands so that everybody sees that, that I am genuinely welcoming you guys here. 

Geoffrey Wade

Yeah. And, and again, there’s this mix, I think for him, for Hamlet of, because he says it twice. I mean, he’s, I, I, I can’t get around. He says, gentlemen, you’re welcome to Elsinore. I’m gonna shake your hands. I don’t want anybody to think that I’m not, you know, I know we’ve had a little discussion here. I know you’re working for the king and queen, but I even, I’ve even, I know you’re working and I, I don’t want you to sort of get called out. Right. So your secrecy will molt no feather. I’m kind of, I’m kind of doing a favor. You’re welcome. You’re welcome. I’m gonna make a show. 

I don’t want you to, people to think that they’re more welcome. And the last thing he says is, you are welcome. 

And I, and I think the stress might be on r 

Nick Cagle

That’s interesting. 

Geoffrey Wade

And again, you, you, you decide. 

Daniel Cordova

And then I think also that, that’s a clean cut between that and then it’s like almost an afterthought. Oh. But my uncle, father and aunt mother are deceived. 

Geoffrey Wade

Yeah. I think that, and here it’s, 

Daniel Cordova

It’s not part of the previous stuff. 

Geoffrey Wade

Absolutely. 

Nick Cagle

Yeah. 

Geoffrey Wade

This is, this is my, my personal take on it. I think there’s a almost a sort of wink in that. I think he says, you’re welcome to elsinor, dah, dah dah da da, all this thing about welcome. And then, you know, Dick and Matthews always talks about old, old information. The word welcome when it comes around here two sentences later is old information. So what you wanna stress is you really are welcome. 

Nick Cagle

Ah, 

Geoffrey Wade

and, and it’s almost, it’s almost an aside to them. It’s, but don’t, but I’m onto you. 

I don’t know. I, I, you know, I’m, I’m only crazy some of the time. 

Right. I, I think there’s a little, it’s almost like a wink and a, a nudge there. But yes, there’s a, a definite break, as Dan said, between you’re really welcome and that last little thing. 

Marcelo Tubert

And when, when he says, I am, but Mad North Northwest is mad there. Crazy. I am, 

Geoffrey Wade

yeah. Mad, mad throughout this play. When it they say mad, they mean insane. What we would call insane. Not or crazy, not angry. 

Nick Cagle

And 

Marcelo Tubert

is that a juxtaposition that when the wind is suddenly, that he has a different take on it, right? Yeah. That he he will, he would hard for my hands off. 

Geoffrey Wade

It’s, it’s kind of gibberish. He’s saying, listen, I’m only mad when the wind’s blowing one way. 

Marcelo Tubert

It goes the other Way, 

Geoffrey Wade

it’s going the other way. I know 

Marcelo Tubert

what, 

Geoffrey Wade

I know what’s up. Mm. 

But really, he knows what’s up the whole time. 

Nick Cagle

Yeah. 

Daniel Cordova

Kinda saying, Hey, I might be crazy in the morning. That doesn’t mean I’m crazy in the afternoon 

Nick Cagle

Part-time. Crazy. Yeah. I’m 

Geoffrey Wade

part-time crazy. Let me, so that, that first speech, that’s the way that goes, Dan, your, your both you guys in that scene, Dan and Marcelo, that was, that was terrific. That seems playing. I don’t know. I had to be muted because I was laughing my ass off. 

Nick Cagle

Me too. 

Geoffrey Wade

Right. It’s, as these differences emerge between the two of them, it, it becomes quite funny. 

But again, it’s not, you know, it’s funny because Rosecrans is desperate to find out to, to find a place to stand on. And Gilden Stern is desperate to defend what he thinks he’s already standing on because that’s, that’s the way they hold off chaos and living in a world without order or, or even names. 

But that’s, that’s where the comedy comes in as we all know that what’s funny in comedy is the, is the tragedy behind it. So, but just really good work, 

Marcello, in this last scene 

Marcelo Tubert

is 

Geoffrey Wade

Oh yeah. Gilden Stern, you said, know my Lord with collar Line three 30 

Marcelo Tubert

Call. Yes. 

Geoffrey Wade

E everybody’s, everybody in this scene is operating at a sort of high pitch at this point. Because the, the, the triumph for Hamlet and the disaster for the king and the court, that’s just happened with the, the play within the play and people running off all directions and clearly a lot of excitement going on in the court. 

I I think when Hamlet says, with drinks, sir, 

Marcelo Tubert

No, my Lord with collar. Right? 

Geoffrey Wade

Yeah. It’s with what the fuck is the matter with you, 

Marcelo Tubert

Frank? It’s 

Geoffrey Wade

So I think this is, again, this is, is this is why I think it’s so important that they, they actually be kind of old friends at the beginning. It’s 

Marcelo Tubert

like, buddy, 

Geoffrey Wade

what is, are, are you blind or stupid? No, with collar man, the more direct that is, I mean, it’s a little, you know, you’re on the verge of, of insubordination. You, you’re talking to a prince in a pretty kind of borderline way, but you have orders from the king. So, so you, 

Marcelo Tubert

this is this, 

Geoffrey Wade

this is what will give us the, the ammunition for that. Those last lines. When, when Gudden Stearns, no, I can’t play this fucking, I can’t play it. Well, you are a bastard. Why then why are you treating me like a pipe? Right? 

Marcelo Tubert

Yeah. You, 

Geoffrey Wade

you both get to a certain, but anyway, with collar, I think he be, can even begin to lose your patience with him there. Line 3 47 Hamlet. 

Sir, I cannot 

Nick Cagle

Oh, thank you. 

Geoffrey Wade

Throughout, throughout Shakespeare, when it’s cannot, the, the stress is, is always on the first syllable. 

I I’m sure there’s an exception somewhere, but 98% of the time it’s cannot. 

Nick Cagle

Mm. 

Geoffrey Wade

What my Lord, you got that. That was great. And Nick advancement line 360 8. 

In your answer to, to Rosecrans who says, you know, what’s the cause of your distemper? I think, sir, I lack advancement. This is like the 10th time I’ve told you. Right. I think how much Oh, 

Nick Cagle

I see. 

Geoffrey Wade

I, I think just to give yourself a slightly different color there. 

Nick Cagle

Hmm. 

Geoffrey Wade

It’s like, you idiot, how many times do you have to tell you? 

Nick Cagle

Hmm. 

Geoffrey Wade

It just, I mean, it, it just occurred to me this time when you guys are going through it, we have one minute to go. So I’m gonna stop. Obviously I think it’s wonderful the way you guys are finding these different colors now. Colors and colors and, I don’t know, we, we can go over a minute or two. Does is does anybody have a 

Marcelo Tubert

I have got some 

Geoffrey Wade

Observation or a complaint or anything. 

Marcelo Tubert

Yes. Complaints about everything. It’s, it’s interesting. I, you know, I sometimes I, I start and stop and I have to go back because you know that right now, as, as, as I’m still not totally familiar, even though I’ve worked on it, that line surprised me. They, they come upon me and I’m not dying. What? Wait, I gotta go. 

Geoffrey Wade

Yeah. 

Marcelo Tubert

Lemme see this. 

Geoffrey Wade

That’s, that’s fine. That’s, that’s why we’re, we’re doing it this way also. I, I’ve, I’ve made it a little harder if you all by having everybody do every part. But I think it’s, I think it’s paying interesting dividends already. 

Marcelo Tubert

Yeah. You just gotta pay attention to everything now. 

Geoffrey Wade

Yeah. 

Marcelo Tubert

Not bullshit, bullshit, bullshit. My, 

Geoffrey Wade

My line. It’s like, I’m gonna have to say that next time through. 

Daniel Cordova

Just one second thing I noticed is that I, I, I had had the question last week, the, the line, I know a hawk from a handsaw and why that’s such a weird line. And then I looked it up during this week, A handsaw is a, is Elizabethan for a different kind of a bird than a hawk. 

Nick Cagle

Oh, a handsaw 

Daniel Cordova

is like a heron. 

Geoffrey Wade

Oh, 

Daniel Cordova

He know. I can tell two different kinds of birds if I was hunting. 

Nick Cagle

Oh, well thank 

Geoffrey Wade

you. I cannot believe all these years, I’d never bothered to look that 

Nick Cagle

up. Me too. 

Geoffrey Wade

I’m a little embarrassed. But 

Nick Cagle

You know, 

Daniel Cordova

it’s like the, the hunter goes out and, and she’s like saying if the wind is one way, I, I can’t tell the birds apart, but when the wind’s the other way, I can tell the birds apart. 

Nick Cagle

Wow. 

Marcelo Tubert

That 

Geoffrey Wade

actually makes it seem s slightly less, completely mad. 

Daniel Cordova

Which is 

Geoffrey Wade

insane. So that’s good. Thank you. Thank you for 

Nick Cagle

naming 

Marcelo Tubert

That. 

Daniel Cordova

Probably. That’s a Gideon probably something he would’ve brought up. Yeah, 

Geoffrey Wade

he would’ve, he would’ve, well he, he may watch this. I, I don’t know. But once again, I, I’m enjoying this immensely and we will continue next week. 

Continue to, to mix it up. Yep. 

And do, do look at it again. Because what I’m gonna try to do next week is a thing that Dan, you may remember we did of, of trying to look at who you’re speaking to on the screen as you do it much more where, where you, you look at the script and no matter how much or how little you, you look at the script, then look up so that you’re looking in the person’s eyes and the person who’s listening has to, has to be looking too. 

It’s 

Marcelo Tubert

Put on my screen. This is the first time in these rehearsals that I’ve not put it on my screen. 

Geoffrey Wade

Ah, 

Marcelo Tubert

But I will for next week. 

Geoffrey Wade

Well, you, you can or not, I mean, you can do it on, you can still do it reading, but the, the point is, whether it’s on your screen or you’re holding it, I want you to be able to look at each other. It’s a very slow way of working, but it, the connections you can make, particularly on Zoom, where it’s very difficult and you’re, you can’t really pick up cues quite as much as you’d like to. 

It. It’s, it’s a sort of luxurious way to work. Since we have all this, we have another, you know, four hours of work to do on this. So, 

Marcelo Tubert

Hey, I have got to go. My kids, my friends. Yes. 

Geoffrey Wade

Yes. It’s wonderful, wonderful seeing you all. See you next week. Five o’clock. 

Nick Cagle

Thank you so much. Thanks 

Geoffrey Wade

guys. Thank you.