Week 3 – Shakespeare and Stoppard (Hamlet, Rosencrantz and Guildenstern scenes) – The Rehearsal Room

Nathan Agin

Hi everybody, welcome back for week three of Shakespeare and Stopper. And as we continue looking at the friendship of Hamlet, rose, Krantz and Giler in both Shakespeare’s play Hamlet and Tom Stopper’s play Rose Krantz and Gild. Ern are dead. Looking at a couple scenes in one and one scene in the other. And yeah, really excited that, that this group continues to really get deep into what’s going on with these characters. If you’ve missed anything, this is your first time checking out one of these sessions. Go back either before or after this and watch weeks one and two. You know, really, I, I think you’ll be surprised and delighted with how much you know, the group can mine from this material and, and how much you might learn and, and take away and deepen your understanding and appreciation of the plays. So that’s it. 

Hi Nathan. I, I should always do that at the top, but rarely do I remember. 

So yes, I’ll be listening in to the group, hopefully be able to check in at the end. I’ll turn it over to our director, Jeffrey. And with that, I hope you guys have another great session. 

Marcelo Tubert

Thank you. 

You’re muted. 

Geoffrey Wade

I’m muted. Yes. Thank you Nathan. And hello everybody. And I always think I’m gonna be better organized and then at the last minute it’s like, oh, I forgot to do this. Anyway. 

Welcome, welcome, welcome. 

Let, let me start off. It’s nice to have you back, Gideon. 

Gideon Rappaport

Me too. 

Geoffrey Wade

And, and thank you. I think I thanked you personally, but for everyone, thank you for that. The email sort of setting the scene for us once again and, and reminding us of things we’d talked about before. 

It’s really great. 

It, it just, if for you other guys, if you’re interested, I’ll, I’ll send you this link. I found it’s a, it’s a story out of Smithsonian Magazine about the Folger Theater in the Folger Library, which has a small theater in it in Washington DC 

Folger was a a a man in the time, and if you don’t know if, if you do know, I’m sorry to to bore you with this, but Folger was a pretty much of a self-made man at the turn of the century and the time of the Robert Barons. He became the first, the president of Standard Oil. He and John d Rockefeller worked together. He became a very wealthy man, but he started off younger. 

Well, don’t do well. He started off younger, interested in Shakespeare. He, he, he bought a copy of a First Folio with money in this story anyway that he could Ill afford. He eventually built up the greatest, perhaps the greatest collection of Shakespeare in the world. Maybe rivaled by the British Library, something, who knows. But he has, what’s the number? I I said 83 First Folios 83 First Folios, which are the, the article is because the, the library is expanded by, they had to dig underground. They created a huge library underground. And they have one purpose-Built Shelf that displays all those books at once in a safe and observable way. 

It’s, it’s pretty amazing. I was very fortunate to be able to actually perform Hamlet at the Folger many years ago because Amherst College, where I went and where Folger went is the trustee for the place. And back in the seventies we would take one full one, one Shakespeare play a year down there, and we’d do it up in Amherst, then we’d do it down there. And so I got to do Richard the second down there and much a do and then play the title role in Hamlet. 

Nick Cagle

So 

Geoffrey Wade

it, it was a pretty amazing place. Then. They had lots of old costumes and books that you could see. You couldn’t actually handle them unless you were a scholar, of course. 

But it’s a, it’s an amazing place. And the idea of having 83 of these things, which apparently is roughly a third of all the first folios in the world. 

Gideon Rappaport

Yeah. Might even be more. 

Geoffrey Wade

More. Yeah. It’s a lot. There are only around 200. Anyway, that was a really interesting thing. 

So let me, let me ask again the way I did last week, you know, for you guys just to say hello and talk to each other and let us know if you had some thoughts or discoveries or read or saw something fascinating or interesting in this intervening week. 

And then we’ll take off and start to work on the text some more. So since you’re nearest to me on, on my screen, Dan, you wanna start us off? Do you have anything you wanna say? 

Daniel Cordova

I just think, you know, looking through the text again, I, you know, I did a little bit on, on Word and was, so I, I did have to kind of retype a few things. It kind of forced me to kinda look at some of the texts and I, I just think continuing with what we’ve talked about in the first two weeks, seeing that for all of the characters that, that there is a journey that none of them are in the same place at the end of these three scenes as they were at the beginning. 

And sometimes we forget that especially, you know, with some of the, I guess what we would say are the more supporting characters with Rose and Captain Guild Stern. A lot of times you think, you know, you see productions or you, or you, you hear things about them and, and it’s kind of one note because they represent something, you know, and, and so you don’t really sense the journey. But in going through it over and over and over again, you do sense that there’s such a journey for them and for Hamlet, you know, through all of these scenes. 

Geoffrey Wade

Excellent. Really good. Really good. And Actorly observation Stoppard helped us. I mean, it’s something we should all know anyway, but Stoppard really helped us out to, to know that for this play and all plays, I mean, 

Marcelo Tubert

Well it was, it was very, very clear this week about how the, the stopper play really informs their, their state that Rosa Krants and Gild Stern and Hamlet, that whole discussion about what they, they were doing. 

Just clarify. I had some clarity I think this week about 

Geoffrey Wade

good, Excellent. 

Marcelo Tubert

The Shakespeare of the, the language, the flow, I’m hoping it flows a little better than it has. And, but as, as Dan was speaking, I just realized how, how what a great gift that Rosa Kre, the, the stopper Rose Kress and Gild and Stir that scene really helps clarify a bunch of the stuff that we’ve been doing in The Yeah. In The Shakespeare. 

Geoffrey Wade

Good. Oh, I’m so glad I’m, that’s, that’s part of what I’d, I’d hoped for. But one thing I noticed from our work last week on here was the way, and, and I guess opera must have seen this or was the way, particularly in the, the second scene that there, the way Gild and Stern questions, Hamlet and the way Rosen Kranz does are different. They they’re different characters and 

Marcelo Tubert

Yeah. And to that, to that’s to that end. That’s what he goes, I was waiting for you to pounce. You Know? Yeah, 

Nick Cagle

yeah. 

Marcelo Tubert

We, 

Geoffrey Wade

you planned this thing and then you didn’t do it. It’s, you know, you let, you let me down. It’s, it’s, it’s really great. 

Nick Cagle

You Know, when, when dealing with Shakespeare, we don’t get, we don’t talk as much about subtext as you do and with other work because a lot of that is presented in the lines. And it’s, it’s fascinating to, to look at some of that subtext from Stopper’s viewpoint in this. And, and there’s a lot going on with the way that Gild and Stern shuts down when, when he’s cornered. And, and Rosen Krantz will continue to, to speak and the differences between the characters. And that’s my favorite part of this exploration. 

Geoffrey Wade

Great. Great. It’s, it’s, it’s really wonderful because, you know, so often they are lumped together or, you know, chunks of them, their, their stuff is cut. 

They’re, they’re sort of assumed to be only minor variations of really the same person or they’re there just for the joke. But they do have very active and legitimate lives going on. Great. 

Anything else? 

Gade, you got anything you wanna add to that, that email you Sent 

Daniel Cordova

out? I wanna add one more just 

Geoffrey Wade

Oh, yeah, 

Daniel Cordova

go ahead. Interesting note that I came across is that, you know, I have been in these weeks also looking at different productions on YouTube and, and such. And I noticed, I thought it was so interesting, I went and looked at the Olivier Hamlet from whatever that was, 1950 or 1948 or whatever. 

Geoffrey Wade

Yeah. 

Daniel Cordova

The Rose GR Guild were completely cut out of that production. Yeah. I’ve seen, I’ve seen Forton bras cut out. I’ve seen some other characters cut out, but I’ve never seen them cut out. And I thought that was, I kept waiting to go to the scene where they, where these guys come in and they’re, and they’re not in it at all. 

Geoffrey Wade

That’s interesting. I, I remember, this is one of the things for you guys, a a note that b before the start out I writing to Gideon about, you know, sort of the way we were gonna look at this, and I realized that one of the first things I said was that I don’t think this play can be encapsulated in one, you know, one catchphrase or Hamlet does X, y, Z because, you know, he wants to sleep with his mother or something there. 

I’m not saying his elements aren’t there, but you can’t do the play about that. You know, that’s the reason it’s such a great play. But one of the first things I I I’ve mentioned was that, that dreadful opening voiceover in Olivier’s Hamlet, where he calls it the story of a man who can’t make up his mind. Yeah. And I, This is 

Gideon Rappaport

the story 

Geoffrey Wade

of 

Gideon Rappaport

a man who could not make up his mind. 

Geoffrey Wade

Yeah. And I remember And the 

Gideon Rappaport

Greatest voice, 

Geoffrey Wade

the 

Gideon Rappaport

greatest Shakespearean voice ever. And it’s pure balderdash. 

Nick Cagle

It’s 

Geoffrey Wade

rubbish. I also remember the, the first time I saw that movie, and not probably the only ’cause, you know, I was a, a teenager or something, and I remember thinking, why is this place so great? ’cause it’s, it’s a really boring movie, I think. 

Daniel Cordova

Yeah. 

Geoffrey Wade

Which is what happens, you know, when you try to, in any Shakespeare play, when you try to make it into one thing, it, it, a you won’t succeed and the things you have to do to make it fit into your mold will almost inevitably make it less interesting. Anyway. Yes. 

That, that movie baffled me. I, I remember watching and thinking, why is this the greatest play ever written? I, 

Gideon Rappaport

The movie was all about the bed Yeah. Bedroom. And it was because of Shahs. Olivier came under the influence of Ernest Jones who’d written about Freud and was using Hamlet as Oh 

Nick Cagle

wow. 

Gideon Rappaport

A kind of test case about the application of Freudian ideas to literature. And Olivier just got possessed by that. And so the whole movie was cut just to focus on. And the, the problem is that Olivier is such a great actor that he delivers those speeches absolutely magnificently. And they go so far out and beyond the, the idea of Hamlet being in love with his mother, the edible complex. But he kept bringing, but as a director of the movie, he kept bringing it to focus in on that. And it was, it’s, it’s just a, a failure as a result. 

Geoffrey Wade

Yeah. Very interesting. All right, well, today I want to try this thing I, I mentioned earlier, but last week I think about trying to, we may not get all the way through every scene with all of you, but I, I want to give everybody a, a a taste of this, which is a, a, a a little technique that helps us work with Zoom, where I’m gonna ask you to take the script, whether it’s here or, or on the screen, and take the line, look at it, then look directly into the camera so that you’re looking at the person to whom you’re speaking and say the line, don’t look down until you’re finished with the line. 

Don’t look down in the middle of the line. So I, I’m just gonna start right here. 

I’ll start with the Hamline. So it’s a little bit longer my excellent. Good friends. 

How does thou gild and Stern, ah, Rosen Crans good lads. How do you both, and the idea is the people in this case, the two of you, the people who aren’t speaking, look directly at the screen so that you, so that you’re watching the person you you’re listening to. Right. 

Don’t go down. Don’t do we all try to do this as an actor, right? We try to be ready with our lines. So as we know the other guy’s getting to the end of his line, we go down so that we can pick up our, I don’t want that. I want you to, to stay with the person on the screen until they’re finished talking. Then go down to your script. It makes, it makes for slow going. But it’s, it’s a way to, particularly in this medium, I mean, this is also kind of old fashioned acting school thing, but particularly in this meeting, medium, it gives us a chance to, to connect. I mean, it’s already hard enough. We’re not in the same room. 

We can’t actually look at each other. So that, that’s the, that’s the exercise we’re, we’re all gonna do at some point today. 

One other thing I want to do, and this is something I I like to do with directing. 

I, I want to give you sort of my, my breakdown of the scenes. My, the, the beats. I, I like to go through and literally draw, you know, a line like through the script, right. 

And this just helps me when I’m, again, this is my technique, but I’m in charge. So we’re gonna do it this way, draw a line, and then I like to give a title to the, to the, to the beat or the, that we’re working on in, in the first case 

Marcelo Tubert

Tablet. Because that way I can make the note on the tablet. ’cause I have it now up on the, my screen and I can’t do that. And I left my written, printed out script at the doctor’s. So I was just gonna get my tablet and I can make notes on 

Geoffrey Wade

Yeah, go ahead. We’ll, we’ll wait for you. Hang on. 

Daniel Cordova

I wonder if Marcello’s doctor is is rehearsing While 

Nick Cagle

What I was, 

Daniel Cordova

while he’s away, 

Gideon Rappaport

I hope Marcello isn’t curing people at the same time, or I hope he is curing people if he’s trying. 

Geoffrey Wade

Yeah. 

Marcelo Tubert

There you guys, I’m hear you talking about me. Okay. I’m back 

Nick Cagle

g Gideon, can we get your book on Amazon? 

Gideon Rappaport

Yes, it 

Nick Cagle

is. On all 

Gideon Rappaport

Amazon or Barnes and Noble or through any bookstore? You can special order. 

Nick Cagle

All right. Thank you. If 

Gideon Rappaport

Nick, if you need ISPN or any specific info, just email me and I’ll send back whatever you need. 

Nick Cagle

You got It. Perfect. Need to get it. I, 

Geoffrey Wade

as, as long as we have a little pause here, I, I’ll, I’ll, I’ll give a, a shout out a shill for Gideon’s other book, which is more general. It’s called Appreciating Shakespeare. 

And this one has all the plays in it. 

Gideon Rappaport

No, it has 

Geoffrey Wade

22 0 22. It has a lot of plays in it. 

Gideon Rappaport

And if 

Nick Cagle

you order 

Gideon Rappaport

it now you get this dust cover instead of the cover list version that 

Geoffrey Wade

Jeffrey 

Gideon Rappaport

has. ’cause he got an earlier edition. It 

Geoffrey Wade

has a terrific be beginning with chapters, like more general things. 

What’s so great about Shakespeare? Shakespeare, the Man, what was the state of the art in Shakespeare’s theater? Did people really talk like that? What is poetry for? So there’s, there’s general stuff and then there are 

es but there’s a chapter for each of those 22 plays, which obviously doesn’t deal with the, the play in any, anything remotely like the detail that the Hamlet does. But it’s extremely good. You should, 

Marcelo Tubert

I’m, I’m all set up. 

Geoffrey Wade

Okay, great. 

Gideon Rappaport

Thank you Jeffrey. I appreciate that very much. Well, 

Geoffrey Wade

that’s good. I mean that’s for, you know, I, I hope, you know, three or four people may actually watch this on YouTube so that 

Gideon Rappaport

Yes. Yeah. May 

Geoffrey Wade

maybe, maybe we’ll make a, a few sales for you. But it’s, it’s extremely readable. It’s, it is a, a certain degree of academic, but it’s, it’s, it’s readable. It doesn’t, it’s not like taking a, a torturous class in rhetoric. Anyway, anyway, let’s get to this, this, I’m looking at the first Hamlet scene and starting with Guild Stern’s line, my honored Lord. And I call this first beat greeting friends. 

You’ll see, I try to make all the, give us an, an active verb in, in all of these and keep ’em fairly short. So greeting friends, and as we have already discussed several times, I firmly believe, and I think it works better if these are really friends who are really greeting each other genuinely. 

So if you wanna write that down, if you don’t, we can go over this later. But it gives us a little, a little pathway through. 

Then at line 2 55, after line 2 55 

hamlet’s, then is doomsday near, that’s the end of the first beat. 

The next one is, I kind of cheated here, but I won’t, I wrote discovering why they’re here, plus planting the seed of ambition 

that beat goes through. 

Marcelo Tubert

Hang on a Second, hang on two seconds. 

Geoffrey Wade

Sure 

Marcelo Tubert

Why they’re here. And then what was the second half 

Geoffrey Wade

Planting the seed of ambition. 

And I leave these a little vague because it can be up to you to determine who, who is actually doing this planting of that seed. You might even wanna put ambition in quotation marks. 

Good. 

This goes through 

again, the middle of Hamlet’s line, which starts at 2 87. 

No such matter. I will not sort you with the rest of my servants for to speak to you like an honest man I most dreadfully attended. That’s the end, the new beat starts with. But in the beaten path of friendship, what make you at Elsinor? 

And I just wrote, and I just put down pressing the question. 

By the way, feel free to, you know, we’ll go through these again. 

You can use this as a, as an initial guidepost. We can refine them, make them more useful to you. It’s just so that we have active things going on in these beats for us to start with. This is a actorly kind of thing, right? That goes through line three 15 Gilden Stearns, my Lord. We were sent for, 

and the next beat starting with, I will tell you why, I will tell you why 

my, my little titles are getting a little longer, I’m afraid. I wrote neutralizing them with known facts. 

Mm 

Nick Cagle

hmm. 

Neutralizing, 

Geoffrey Wade

Neutralizing. 

And then as a sort of parenthetical thing, I wrote Irresistibly leads to Self-examination. And again, this, this incorporates the, the dual, the way this, this speech that begins, you know, I will tell, I’ll tell you why. So, you know, you don’t, you’re not gonna get in trouble with the king and queen. And he lists the, the, the fairly standard symptoms of a, of a melancholic man 

Marcelo Tubert

Irresistibly leads to 

Geoffrey Wade

Self-examination. 

Nick Cagle

And which line does that section go to? 

Geoffrey Wade

Well, 

Nick Cagle

sort of, 

Geoffrey Wade

I think it starts with what a piece of work is a man. 

Nick Cagle

Hmm. 

Geoffrey Wade

Now that’s a little debate, we’ll, we’ll get into in a minute. But it, it starts with that section as he begins to consider what a, a man is or other a man or capital m man. 

So 

Gideon Rappaport

the other one ends after 

Geoffrey Wade

It, it ends with 

Gideon Rappaport

Congregation of vapors. 

Geoffrey Wade

Yes. 

I just think it gets a little more inner there. 

And that’s, that carries through to the end of 

the end of that scene. 

Marcelo Tubert

And what is, what is that new title there from? What a piece of work is a man? 

Geoffrey Wade

Well, that, that’s the, the, the whole thing is neutralizing of with known facts. I just think that at that point in that speech, he, because of the type of person he is, because of his character, he, he slips into a, a, an almost, 

I don’t wanna say this. 

I, well, I, I I put self-examination, it, it becomes much more interior. 

I think the first part of that speech is a little bit of a, of a show. But he, it, it leads him inevitably irresistibly for Hamlet for a person who’s given to that kind of interior life. 

Gideon Rappaport

We can also talk about how the content of the first part evokes the, the second part. 

Geoffrey Wade

Yes. 

Gideon Rappaport

There’s a, there’s a, there’s a melancholy detachment in the first part that’s kind of official. 

And then he exemplifies that in this contrast between what he recognizes a man is and how he feels about man, which is negative. And that’s, that’s a combination of what you said of self-examination and performance for their sake. ’cause it’s kind of classic melancholia. 

Geoffrey Wade

Exactly. Now, the, 

the, the Rose and Crans of Gild and Stern are dead scene which follows. 

I only have, the whole thing to me is, is one beat. 

And, and this is, this is fun. 

Th this is actually the script I used years ago when I got to do this play. And the only thing I’ve written here for the whole thing is getting Hamlet’s message. 

I’m not sure I’m entirely happy with that. We might come up with something better, but whatever it is is, it’s really just one one thing that happens in that, 

in that scene, 

Gideon Rappaport

you Could call it failing to get the message they want. 

Geoffrey Wade

Yeah. 

The, yeah, the, you make it getting hamlet’s message, but then you fail. That’s, that, that’s something that it’s more accurately if you could trying to do something. Yes. 

Gideon Rappaport

Got it. 

Geoffrey Wade

You can act that. Right. 

Gideon Rappaport

Got it. Got it. Okay. I don’t wanna give away any 

Geoffrey Wade

Gil 

Nick Cagle

Stern succeeds. 

Geoffrey Wade

Yeah, there’s, 

Nick Cagle

there are 

Geoffrey Wade

many variations in these, these are just things, things to get us going. And, and let me just give you this then in the last scene, the, the, the recorder scene. 

Marcelo Tubert

Hang on just a second. 

Geoffrey Wade

Sure. 

Marcelo Tubert

Okay, 

Geoffrey Wade

So starting at the top, which is line 3 23 about, I think Gilden Stern’s line. Good. My Lord vouch, save me a word with you, which is where we’re starting the scene. I call what’s, what’s coming now determining the atmosphere, which is true for all the characters, right? Hamlet’s trying to determine something. Why are they here? He doesn’t know why they’re here. 

There is a weird, as we’ve again said many times, a weird charged atmosphere overall, the two Rosen and Gilden stern have been given a, a job to do. But they’re dealing with a guy who seems, you know, high as a kite. And so I just think the beginning determining atmosphere, it’s like, you know, walking into a room and what’s the temperature of the room? What’s going on here? How can I, how can I do what I’m supposed to do? 

That’s that, that just goes through line 3 52, 3 53 Hamlet’s speech. Or rather, as you say, my mother, therefore no more. But to the matter, my mother, you say starting with Rosecrans line, Rosecrans is line. Then thus she says, I call this next beat delivering the message. 

This is where you actually get to say what you’ve been charged with. 

That’s a pretty short one because it ends with Hamlet’s line. Have you any further trade with us? 

I mean, you’ve delivered the message. 

Nick Cagle

Hmm. So 

Geoffrey Wade

that beat is fulfilled. Have you any further trade with us? 

Marcelo Tubert

Yes. What is that line number? 

Geoffrey Wade

That would be 360 2 

Marcelo Tubert

Y. Yes. Got it. 

Geoffrey Wade

Then starting with Rosen Kranz line, my Lord, you once did love me. I’ve just called this pressing the case. You might be able to come up with a better the case name for it. But it’s, it’s the, again, the, the tone shifts. It becomes more personal. 

The the first part, you know, delivering the message. Here’s the message from that we’ve been told to give you, he keeps dicking around with you. It’s like, come on man, let, let, let’s, let’s talk as, as old friends or however you wanna do it. But I call it pressing the case because there is a slight shift there 

Gideon Rappaport

And, and a shift from Gilden Stern to Rosencrantz. 

Geoffrey Wade

Yes, exactly. Gild Stern, who’s who I think we’re determining as we go along as sort of slightly more fact-based or more, he’s more the, the, the head and Rosecrans is throughout a little more, the, the heart, a little more emotional. 

So there’s pressing the case for Rosecrans, but also Hamlet begins to press his case. ’cause he really knows, everybody’s determined where everybody stands at this point. 

I only have, I have that going through Hamlet’s line line 3 72, I serve oil, the grass grows, the proverb is something musty. 

Again, we could almost think of that as the end of the scene, but now we have a whole new beat. Oh, the recorders. Let me see one, and I call this from this until the end of the scene taking command, because Hamlet is now fully in charge. He’s, he’s toying with these two, like a, a cat with a couple of really wounded, pathetic mice. He’s, there’s no more testing the atmosphere. There’s no one more wondering where people stand. 

He, he’s, he’s taking command as himself. He’s gonna put them in their place. 

There’s no more question about where everybody stands in everybody’s regard anyway, taking command 

and, you know, taking command can involve all kinds of things. It can be putting them down. It can be, you know, dismissing them. It can be physically hitting them as I think I I told you I stole from N Nicole Williamson. I don’t know. I, I should see if that one’s on, 

you know, on YouTube or something. 

Anyway, so that’s how I’ve broken these down. 

It’s a little something to guide us. 

Now 

everybody’s had a chance at every role. 

So I am inclined to go back to our, our, our assignments the first time through. Okay. Which, if that’s okay with you all. 

Marcelo Tubert

Great. 

Geoffrey Wade

And that would be 

Marcelo Tubert

Hamlet? I was doing Hamlet, 

Geoffrey Wade

yes. Marcelo is Hamlet, 

Nick Cagle

Rosen Kranz. 

Geoffrey Wade

Nick is Rosen, Kranz and Dan as Gilden Stern. 

So let’s just try this. I’m going to actually get off completely. I’m gonna close down my, my video camera so you guys can just deal with each other. 

Marcelo Tubert

I’ll and Do this, this exercise, right? 

Geoffrey Wade

Yeah. We’re gonna do this exercise now. Sorry. We’ll do this exercise now. And you know, if I think you’re beginning to wander, I’ll, I’ll stop. You know, if, if I see your eyes not staying engaged with each other, all, all the way through, I’ll, I’ll stop you and, and, and we’ll go back and pick it up, 

see what you think. I’m not gonna try to prejudge it. It gives you time to really think about what you’re saying and say it without an, an obligation to go quickly or to pick up your cues or anything or anything like that. Right. The, the whole point of it is to really en enjoy these words. So I’m going to go off camera, but I will be listening and still have my audio on. 

So let’s all take a breath and shake shoulders out and start 

Daniel Cordova

my honored Lord, 

Nick Cagle

My most dear Lord. 

Marcelo Tubert

My excellent good friends. How does thou gilded, stern, ah, rose and krantz good lads. How do you both 

Nick Cagle

As the indifferent children of the earth, 

Daniel Cordova

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

Geoffrey Wade

Right. I’m gonna stop. I’m gonna stop you Dan. 

Daniel Cordova

Yeah. 

Geoffrey Wade

You’re very thoughtfully going, going down to pick up the last 

Daniel Cordova

Yeah, 

Geoffrey Wade

I can just see your eyes going down. It’s, it’s a very good start by the way, this is a very difficult exercise. So let, let’s do, is it happy in that I’m not over happy? Yeah. 

Daniel Cordova

Okay. 

Geoffrey Wade

Yep. 

Daniel Cordova

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

Marcelo Tubert

Nor the soles of her shoes, 

Daniel Cordova

Neither my Lord. 

Marcelo Tubert

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

Nick Cagle

Sorry, can we go back? I think we, I I missed a line and then we’ve switched. 

Marcelo Tubert

Oh, that was my, my my mistake. 

Nick Cagle

No problem. No problem. Yeah, 

Geoffrey Wade

That, that was e Excellent Dan, way to go. Yeah, it’s very hard. Let’s do happy and then we are not over happy. Sure. 

Daniel Cordova

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

Marcelo Tubert

Nor the soles of her shoes, 

Nick Cagle

Neither my Lord. 

Marcelo Tubert

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

Daniel Cordova

Faith, her private, we 

Marcelo Tubert

In the secret parts of Fortune. Oh, most true. She’s a trumpet. 

What news? 

Nick Cagle

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

Marcelo Tubert

Then is doomsday near. But your new that your news is not true. 

Let me question, let me question more in particular. 

What have you my good friends deserve that the hand of fortune that sends you, I can’t get this whole piece. 

Geoffrey Wade

You, it’s okay if you can only pick up four words, that’s fine. 

Marcelo Tubert

That’s it. Okay. That’s, 

Geoffrey Wade

that’s all. I’m not asking you to, to do a memorized thing just as much as you can get and then go back 

Marcelo Tubert

and then come back. This from the top. 

Geoffrey Wade

It’s really good. Yeah. 

Marcelo Tubert

Then doomsday is near, but your news is not true. 

Let me question more in particular. 

What have you my good friends deserve that deserve that? The hands of fortune that she sends you to prison. Either 

Daniel Cordova

Prison. My lord. 

Marcelo Tubert

SA prison 

Nick Cagle

Then is the world one, 

Marcelo Tubert

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

Nick Cagle

We think not so my Lord. 

Marcelo Tubert

Why then? There’s none to you. 

For there is for, there is nothing either good or bad, but thinking makes it so. 

Oh, makes it so to me it is a prison. 

Nick Cagle

Why then your ambition makes it one, 

Geoffrey Wade

it 

Nick Cagle

is too narrow for your mind. 

Marcelo Tubert

Oh God. I could be bound in a nutshell and count myself the king of infinite space. Were not that I have bad dreams, 

Daniel Cordova

Which dreams indeed are ambition 

for the very substance of a dream. 

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

Marcelo Tubert

A dream itself is, but a shadow 

Nick Cagle

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

Marcelo Tubert

Then are our beggars bodies and our mon and our monarchs and outstretched heroes. 

The beggars shadow, shall we to the court or by my fa I cannot reason 

Geoffrey Wade

Just, I’m sorry, one, one more time through that one Marcela. That’s a tough one. 

Marcelo Tubert

Then our, then our, our beggars bodies 

and our mon then our, our beggars bodies and our monarchs and outstretch heroes. Beggar outstretched heroes. The beggar shadow shall read to the court for by my Faye, I cannot for by my Faye, I cannot reason. 

Nick Cagle

We’ll wait upon you, We 

Daniel Cordova

wait upon you. 

Marcelo Tubert

No such matter. 

I will not sort you with the rest of my servants or to speak to you like an honest man. 

I am most dreadfully attended. 

But in the but in the beaten way of friendship. 

What make you at Elseum 

Nick Cagle

To visit you, my lord, no other occasion 

Marcelo Tubert

Beggar that I am and even poor. And thanks, but I thank you. 

But I thank you and sure dear friends, my thanks. 

My thanks are too dear. 

My thanks are too dear. 

My my thanks are too dear. Hey, Benny, were you sent for? 

Is it your own incline? 

Is it free visitation? 

Come, come deal justly with me. 

Come, come nay speak. 

Daniel Cordova

What should we say? My Lord, 

Marcelo Tubert

Anything but to the purpose you were set for. 

And there’s kind of a confession in your looks, which are, which are modest, have not craft enough to color. Wanna do that again? Yeah, 

Geoffrey Wade

Do it again. It’s great. Do it. This is going extremely well, guys. I just wanna reassure you the, the, the way the text is emerging, but really take your time. Even if you only get two or three words so that you, you can deliver right to them. And you guys are doing a great job of watching him. The way you’re all watching each other is great. It’s very generous and difficult. So start that again. 

Marcelo Tubert

Can You cue me in please? 

Daniel Cordova

Yeah, I got 

Geoffrey Wade

it. 

Daniel Cordova

What should we say, my Lord? 

Marcelo Tubert

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

I know the good queen, the good king and queen have sent for you 

Nick Cagle

To what end my Lord 

Marcelo Tubert

That you must teach me. 

Let me conjure, 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. And and what by more dear, a better proposer can charge you with all, be even and direct with me. Whether be even and direct with me. Good. Whether you were sinful or not, 

Nick Cagle

but say, you 

Marcelo Tubert

may I have an eye of you. If you love me, hold that off 

Daniel Cordova

my Lord. 

Nick Cagle

Lord, 

Daniel Cordova

we were sent for 

Marcelo Tubert

I will tell you why. 

So shall my anticipation prevent your discovery 

and your secrecy to the king and queen m move better. 

I have of late, but I know where, where 

I have of late, but therefore I know not lost all mym foregone, all foregone, all custom of exercise. 

And indeed it goes so heavily with my disposition that this goodly frame here seems to me a sterile, sterile promontory. 

This most, this most excellent canopy. The air, look you look you this brave or hanging firmament, 

this majestic roof threaded with golden fire. 

It appears why it appears nothing to me, but a foul and pestilent congregation of vapors. 

What a piece of, what a piece of work is, man. 

How noble in reason, how infinite in 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 abandon. 

And yet to me, what is this quintessence of dust? 

Man delights. Not me. 

No, no woman neither. 

Oh, well, while you’re smiling, you seem to say so. 

Nick Cagle

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

Marcelo Tubert

Why did you laugh then 

when I said a man delights not me 

Nick Cagle

To think my Lord, 

if you delight not in man, 

what lentin entertainment, the players shall receive from you, 

we coded them on the way. And hither, are they come and hither? Are they coming to offer you service? 

Geoffrey Wade

Good, good guys. It’s, it’s difficult, isn’t it? But yeah, 

Marcelo Tubert

It’s so interesting. 

Geoffrey Wade

It’s so interesting. And I think just from listening to that, the, it it forces you to do what we’re always trying to do, which is pick out operative words. Those are the words, you know, when you’re looking at them, those are the ones you remember. There was one in particular, just as an example, Monticello, and you said there’s a kind of confession in your looks, you know, it just naturally emerged in this wonderful, it, it, it was just great, you know? 

Marcelo Tubert

Yeah. It, you know, it, it’s so interesting too in this speech of the, when I will tell you why social, my anticipation through that and as I went on and on, there was some emotional thing that stirred in me that was unexpected and wonderful. 

Geoffrey Wade

This, this is wonderful. This is wonderful. And I’m so glad you said that. ’cause I, I’m sure everyone else did. I certainly picked up that that was happening. And it 100% confirms my belief that if you, if you get the thoughts right, the emotions will come unbidden. I mean, you could hardly get through that speech 

Marcelo Tubert

Unbidden. I mean, it was like, 

Geoffrey Wade

And, and it’s, it’s like magic. So that’s wonderful that you said it and, and you discovered it because it’s something that I have 

Marcelo Tubert

found. It came, it came so unexpectedly and out of left field. 

Geoffrey Wade

Yeah. 

Gideon Rappaport

I cannot tell you how often I’ve worked with student actors who don’t know what to feel or how to say something until they understand exactly what the words mean and, and focus. And then it comes and, and it’s magic. 

Marcelo Tubert

Yeah. I mean, here he is, right? We’re, he starts talking about the, the earth, the, the air, the things around him and how overwhelming the whole thing is. And, and, and the, the world is a beautiful place because of, of the, it just, It’s 

Geoffrey Wade

a, a great piece of writing the way it progresses from, I, I’m, I’m sure literary people can make a better, you know, prey of how it proceeds from, from, from the general to the specific. But that’s also what, what I, what I said about the way he starts in this very conventional description of melancholy, you know, sort of disease almost. 

And, and it actually begins to affect him. He, he turns more and more inner. He goes from, from the world and, and the sky to, you know what this, look at this amazing masterpiece of, of everything of the this 

Marcelo Tubert

I’m the 

Geoffrey Wade

masterpiece of the universe, 

Marcelo Tubert

Right? And it feeds into his, you see his melancholy then? Yeah. You see the mely, 

Geoffrey Wade

Then you see actual melancholy. Yeah. 

Gideon Rappaport

And Then, and then they laugh. They’re not getting it 

Marcelo Tubert

Like a what the fuck, what 

Geoffrey Wade

is fuck 

Marcelo Tubert

wrong with you? 

Geoffrey Wade

Exactly. Which again is another piece of, of, you know, drama of, of that’s great writing, because that’s 

Marcelo Tubert

the 

Geoffrey Wade

kind of thing that, that’s the kind of thing that endears us to characters. 

Marcelo Tubert

Yeah. Because then what it hit me about, like, what is wrong with you, wrong with you, with, you know, he’s, he’s been in this thing and then he laughed, thought, what the fuck? Yeah, that struck me. Yeah. 

Daniel Cordova

I, i I just wanna say also I think this exercise not only informs the individual connecting with the words, it informs the, the relationship. Because looking at the eyes of the speakers, looking in marcello’s eyes, 

Geoffrey Wade

his 

Daniel Cordova

words impacted me so much more than when we would do it. You know, just read through. And a lot of the time, like, you know, Jeffrey would say, we’re looking for our next line. We’re not really listening to him. We’re not really connecting. We’re in this exercise even as the listener to, to something. You’re getting so much more out of, out of the scene. 

Geoffrey Wade

Great. I I I am I am delighted that this is working for you. E especially, I mean, I, I I can’t tell you how happy you’re, you’re as it was happening Marcelo, I was thinking, oh, that’s you. I’ll be able to talk about, you know, my, 

Marcelo Tubert

yeah. And, and 

Geoffrey Wade

The secret it’s, anyway, 

Marcelo Tubert

The other thing that struck me too about this exercise is that it is an exercise that, I think you mentioned it before in trust. 

In trust in meaning that if you only get through, ’cause I was so worried, I was trying to get the whole line to get the whole through thought. But it’s not that, it’s 

Geoffrey Wade

not That at All. 

Marcelo Tubert

That’s not it. So that I was started picking up two or three words only and then coming back down and still the stuff stayed with me. And I, a a as we, as we moved through this thing, I, I, I think I trusted more and more, which then allowed this moment to happen unexpectedly. Ms. Great. 

Gideon Rappaport

Okay, 

Geoffrey Wade

you 

Gideon Rappaport

Guys, you’re having a lot of fun. And now I’m gonna drop the hammer a little 

Geoffrey Wade

bit. 

Marcelo Tubert

Good, good. 

Geoffrey Wade

Okay. 

Gideon Rappaport

Marcello, you, you are, you got the exercise and it worked in the way Jeffrey wants, but you are losing the precision of the words between seeing what they say and saying them. So for example, you changed shoe to shoes. 

Marcelo Tubert

Yeah, I had several of those, which I realized when I went back to the 

Gideon Rappaport

Right. You said free visitation instead of a free visitation. You left out the nay, then you said exercises, you said exercise, 

Geoffrey Wade

exercise 

Gideon Rappaport

instead of exercises. So I just, it’s just a general note about those examples, how tempting it is for the mind 

Nick Cagle

to 

Gideon Rappaport

jump on. The word we think must be there rather than the actual word that’s there. And when you break it up like this Yeah. 

Marcelo Tubert

It, 

Gideon Rappaport

it reveals itself. 

Marcelo Tubert

So Gideon, yes. Not to, not to fight you because I, I don’t ever fight. I just, and I and, and not, but 

Gideon Rappaport

Okay. 

Marcelo Tubert

Is I think in, in, in, in the spirit of the exercise. 

Gideon Rappaport

Yes. 

Marcelo Tubert

Because if, if I’m gonna be, we’re gonna just now say we’re gonna do it again, but not that exercise. I’m going to be much more careful as I’m reading through this to make sure that I honor the words as written. But I would less worried about it. Not not worried, but less worried about it in trying to stay with the exercise. 

Gideon Rappaport

I completely 

Marcelo Tubert

Bringing out other, other things. 

Gideon Rappaport

I completely understand. I support you. I’m not complaining. I just want you to know that that was happening. That’s all 

Marcelo Tubert

you Were bringing down the hammer. 

Gideon Rappaport

Yeah. 

Marcelo Tubert

Thanks Man. 

Gideon Rappaport

And there are a couple other things I wanted to say from, from hearing this line 2 86 is 

two Yeah. Gold grants and Gilson, both of them. So I think, I think Daniel said, we’ll wait upon you and I think Nick said we’ll wait upon you. And neither of those is right. 

Daniel Cordova

It should be the weight. 

Gideon Rappaport

You have to hit the weight. You have to hit the weight. 

Marcelo Tubert

Yes. 

Gideon Rappaport

And then the one other one was 3 42. That was who was that Rosencrantz? 

Here, there. No. We’ll, 

Geoffrey Wade

We coded them on the way 

Gideon Rappaport

To offer you service. Mm. 

Nick Cagle

Yeah. 

Gideon Rappaport

I want to hear offer and service and not you. 

Nick Cagle

I hit the pronoun. 

Gideon Rappaport

Yeah. 

Geoffrey Wade

Yeah. 

Nick Cagle

Okay, 

Gideon Rappaport

Good. That’s it. 

Marcelo Tubert

Can you 

Geoffrey Wade

hang, 

Marcelo Tubert

hang on just a second ’cause I wanna make this note. What line was that, Gideon? 

Gideon Rappaport

Which one? 

Marcelo Tubert

The last one. 

Gideon Rappaport

Oh 3 42 either. Are they coming to offer you service? So 

Marcelo Tubert

3 42. 

Gideon Rappaport

It’s A krants line. 

Marcelo Tubert

Yeah, I just wanna, because when I do rose krants, I want have that. Yeah, good. 3 42. Hang on two seconds here. 

Gideon Rappaport

See the last line of this, of the seeing of the b of the beat. 

Marcelo Tubert

So you wanna hear offer, 

Geoffrey Wade

Offer and service 

Gideon Rappaport

Offer in service, not you. 

Marcelo Tubert

Yes. Well, of course, you 

Daniel Cordova

know, 

Geoffrey Wade

I I I have a, and and again, this, I’m not, I, I realize the, the nature of the exercise, but I still wanna pick out a couple of things. This would be around, this is Rosen Kranz and Gilden Stern around line 2 52. 

2 51 and two 50. So Hamlet, then you live about her waist are in the middle of her favors. 

I think we, 

Marcelo Tubert

Yes, yes. I think 

Geoffrey Wade

We need to lift middle a little bit so that you then gilden need to lift privates. 

Gideon Rappaport

Yes. 

Geoffrey Wade

Right. 

Gideon Rappaport

I agree. And you 

Marcelo Tubert

live, I have, 

Gideon Rappaport

I have one other thing where antithesis will help too. And it’s, it’s there. It’s line 2 82. 

Marcelo Tubert

Can we just go back to that line? Sure. Then, then you live about her waist or is the, or an or I mean, you, you live about her waist. 

That 

Geoffrey Wade

is the, or is as if you were saying that is to say 

Marcelo Tubert

That is to say the middle. Yeah. 

Geoffrey Wade

It’s not a different thing. It’s, 

Marcelo Tubert

yeah, yeah, yeah, yeah. Lemme 

Geoffrey Wade

give you another phrase for it. 

Marcelo Tubert

Yeah. 

Gideon Rappaport

And favors is the complex word. Right. So it means her generosity to you, but it also means the way she looks or the way she’s shaped. 

Right. So, so it becomes a sexual innuendo 

Geoffrey Wade

The way boys do. And what was the, what was the antithesis you wanted to 

Gideon Rappaport

Yes, line 2 82 

Marcelo, this was giving you trouble. And I think the reason is you want to bring out the antithesis between bodies and shadows. The, the bodies cast shadows. 

Marcelo Tubert

Yes. 

Gideon Rappaport

So A shadows shadow. So then he concludes then are our beggars physical bodies and our monarchs and outstretch heroes are the beggars shadows. So it’s, it’s an inversion, right? The, the beggars and the monarchs and outstretch heroes are opposites. The lowest and the highest, and the lowest turn out to be bodies, and the highest turn out to be merely shadows. 

Marcelo Tubert

So it’s, it, it’s then our, our beggars, then our, our beggars bodies and our monarchs and outstretched heroes. The beggars shadow. 

Gideon Rappaport

Yes. So you are bringing out bodies versus shadows, 

Marcelo Tubert

The bringing out bodies, the beggars bodies, the heroes, the beggars shadows. 

Gideon Rappaport

Yes. So in, in other words, I don’t wanna hear beggars as if it were possessive. It’s not the bodies of the beggar. 

Marcelo Tubert

No, It’s the beggars bodies 

Gideon Rappaport

Then are our beg our beggars, our bodies and our heroes are their shadows 

Marcelo Tubert

Beggar’s bodies, and our monarchs not stretch heroes. The beggars shadows. 

Gideon Rappaport

Yes. There you go. Okay. 

Nick Cagle

I have a question regarding the exercise. 

Geoffrey Wade

Sure. 

Nick Cagle

For me, are you guys positioning, like, when I do this, it’s impossible for me to con connect with the other actors because all I’m doing is saying a line to a green dot, and I’ve moved you guys over to the side because in order for me to connect with the other actors, I can’t look at the camera at the same time. 

Marcelo Tubert

I agree. That’s 

Nick Cagle

The 

Marcelo Tubert

difficulty. 

Nick Cagle

What this is doing for me is removing, it’s, it’s showing me what not to do, but making it, I’m not sure it’s, it’s helping me connect with the words or with the actors. So should I move my picture to another location or do you have, have you set up the actors right in the middle, Dan or 

Marcelo Tubert

I, I, you know, I have, just to piggy piggyback on that, I have the same deal because basically I’m reading to the green dot, and then when you guys are talking to me and I’m trying to connect with you, I am not, I have it also to the side. So I am going mostly auditory. 

Nick Cagle

That’s what’s it’s helping with auditory, but, but making but 

Marcelo Tubert

removing 

Nick Cagle

connection 

Marcelo Tubert

entirely. I’m exactly there with you on that. 

Geoffrey Wade

Hmm. 

Nick Cagle

That’s just what I was noticing. 

Daniel Cordova

So for me, I have the screen with all of the windows as the main screen for me and the text in a smaller window to the right that I scroll up and down. 

But when I’m speaking, I’m looking into the dot, right? Yeah. And then when I’m not speaking, I’m trying to focus on the eyes of the speaker. 

Nick Cagle

Oh, okay. That’s what, that’s a good idea. That’s a good idea. All right. Because then you can look at the, you look at 

Marcelo Tubert

That 

Daniel Cordova

person, it feels like that person’s speaking to me. ’cause they’re looking at the dot. 

Nick Cagle

Yeah. ’cause I, I keep addressing the dot and listening to you guys, but I’m like, I have no idea what you’re doing. So 

Marcelo Tubert

I 

Gideon Rappaport

No Dan Daniel’s right. For this exercise. You’ve got to be looking at them when they’re talking. Then look at your lines, then speak to 

Nick Cagle

Got it. 

Geoffrey Wade

Dot, that’s, that’s 

Nick Cagle

exactly 

Geoffrey Wade

Right. Thank you. 

Nick Cagle

That clarifies It. Yes. 

Marcelo Tubert

That helps me too, Nick. 

Nick Cagle

All Right. 

Geoffrey Wade

Yeah, 

Nick Cagle

that’s all I needed. Thank you. 

Geoffrey Wade

Okay. Just, just one other thing. And this, this is a kind of an acting note. This is a, a choice I would make Marcello at line two 90. 

You can take it or leave it. 

The, the beginning of this beat. So this is line two 90, but in the beaten path of friendship, what make you at Elsinore? 

It, it is the beginning of this, this new beat that we have called 

Marcelo Tubert

Pressing the Question, 

Geoffrey Wade

pressing the question. And for my money, I’d like it if it were more upbeat or if, if there was the feeling of, of a new energy of, I don’t, I’m not exactly sure how to express this, but with with no, no added suspicion or, 

Marcelo Tubert

yeah, No, yeah. Just, Hey, whatcha 

Geoffrey Wade

okay? Okay. So we’re, we’re, we’re, we’re done bantering about, about girls in their private, 

Marcelo Tubert

what’s going on? 

Geoffrey Wade

That was funny. So what are you guys doing here? Yeah. So that we have somewhere to go, right? 

Marcelo Tubert

Yeah. Yeah. 

Geoffrey Wade

Again, this is a, this is a, it’s an acting thing. And and these are plays. Yeah. If you’re too suspicious at the beginning, you got nowhere to go. 

And, and as I as I’ve said, I think now a number of times, the longer the longer character can put off his or her discovery, the the better. 

You know, the longer you can be willing to live in insecurity or unsureness, particularly when you have a whole scene now. I mean, we’ve got, 

Marcelo Tubert

oh, I like that 

Geoffrey Wade

you’re gonna ask them another two times. Now. Come on guys, you know, and but the, the third time you’re gonna conjure them by these, you know, three or four different things by our youth, by the 

Marcelo Tubert

Friendship. What? But the way of friendship, what makes you to el? No. 

Geoffrey Wade

Yeah. Yeah. What are you doing here? Good, good. To keep that casual. 

I I, I wanna give everybody a, a, a chance at this before today. 

So I’m, I’m not gonna go through. 

Marcelo Tubert

Yeah. Why don’t we switch, do this first scene again And just 

Geoffrey Wade

Yeah. Let’s, let’s do the first scene again with, with, let’s see. The second group was Dan is Hamlet. Marcelo is Rosen Kranz, and Nick is Gilden Stern, right? 

Marcelo Tubert

Sure. 

Geoffrey Wade

Let’s, let’s try it and see what we discovered. Now that we’ve had notes and things, I, I’ll go away Again, try to do that technique of when you’re speaking, you actually have to, I’m, I’m, you have to look at the, at the camera. Okay. 

Nick Cagle

It’s 

Geoffrey Wade

when you’re listening that you need to be looking at the person. Right. And, 

Nick Cagle

got it. 

Marcelo Tubert

I really hate to look into other actor’s eyes when I’m on stage, you know, 

Daniel Cordova

Because you don’t know what’s gonna happen, right? Because 

Geoffrey Wade

that’s, I’m 

Daniel Cordova

gonna forget My 

Marcelo Tubert

Distracting, 

Nick Cagle

And, 

Geoffrey Wade

and you’ve all seen how hard it is now, there’ll be long pauses when I mean, you suddenly can’t remember. Oh, is that my line? Then you can look down. But also, you know, it’s that acting exercise of you don’t speak until you’ve received the energy from the other person. Anyway, it, it really is going very well. So, I’m gonna go away. I’m gonna stay on audio though, and keep my eye on you. And let’s start again with Nick. Start us off. 

Nick Cagle

My honored Lord, 

Marcelo Tubert

My most dear Lord. 

Daniel Cordova

My excellent good friends. How dust gild and stern, ah, Rosen Krantz good lads. How do you both 

Marcelo Tubert

As, as the indifferent children of the earth, 

Nick Cagle

Happy That we are not over happy on fortune’s cap. 

We are not the very button 

Daniel Cordova

Nor the souls of her 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 privates, who faith her privates, we 

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. Not my Lord, but that the world’s Gideon is coming into my, here we go. I’m sorry. 

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

Daniel Cordova

Then is doomsday mi. 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? 

Geoffrey Wade

Good, good. Start. Start That speech over. Yeah. Yeah. And be willing, be willing to not look down 

Daniel Cordova

Boss. Yeah, 

Geoffrey Wade

it’s really Good. Carry on 

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

Denmarks 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? Well, 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, it’s too narrow for your mind. 

Daniel Cordova

Oh God. I could be, 

oh God, I could be bounded in a nutshell and call myself king of infinite space. Were it not that I have bad dreams, 

Nick Cagle

Which dreams indeed are ambition 

for the very substance of the ambition, excuse me, 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 so airy and light, a quality that it is, but a shadows shadow. 

Daniel Cordova

Then our, our beggars bodies and our monarchs and outstretched heroes. The beggars shadows, shall we to the court for by my fate, 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 Elsinore? 

Geoffrey Wade

Start again. Do that speech again. 

Daniel Cordova

Yeah. 

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

Bigger than I am. I am even poor in thanks. But I thank you and sure dear friends, my thanks are too dear a Hany, 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

Watch. 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 modesty have not craft enough to color. Lemme try that again. 

Geoffrey Wade

Yeah. 

Daniel Cordova

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

Geoffrey Wade

I’m gonna, I’m gonna stop you. 

Daniel Cordova

Yeah. 

Geoffrey Wade

Do it, do it again. 

Daniel Cordova

Okay. 

Geoffrey Wade

Take Dan. Just take a little of the pressure off yourself. 

Daniel Cordova

Okay. 

Geoffrey Wade

Just, just allow this to be a little more conversational. 

Daniel Cordova

Okay. 

Geoffrey Wade

You’re Working harder than you have to. 

Daniel Cordova

Okay. 

Geoffrey Wade

Okay. 

Daniel Cordova

Can, can you do the what should we say, my Lord? Yes. 

Geoffrey Wade

Gilden stern. Yeah. What should we say? My Lord, 

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

To what end my Lord 

Daniel Cordova

That you must teach me, but let me conjure you by the rights of our fellowship 

Geoffrey Wade

Once again. 

Daniel Cordova

Okay. 

Geoffrey Wade

You were, you read that whole line. 

Daniel Cordova

Yeah. 

Marcelo Tubert

To what end? 

Daniel Cordova

Go ahead. Go ahead. 

Geoffrey Wade

Yeah. Marcel, give him the line To what? End my Lord, 

Marcelo Tubert

To what? End my Lord. 

Daniel Cordova

That you must teach me 

Geoffrey Wade

good. 

Daniel Cordova

But let me con you by the rights of our fellowship, by the constancy of our youth, by the obligation of our ever preserved love, and 

hang on, this is a tough phrase. 

Geoffrey Wade

Just a couple words at a time. 

Daniel Cordova

Yeah. And by what more dear a better proposer can charge you with all. 

Marcelo Tubert

Well, You know, you know what happens? Just, I’m feeling your pain, Dan, because what happens is we wanna connect all the thought of that line. But in this exercise, I, I do, like Jeff is saying, I think just take the pressure off and just say a little, even though it may not make 

Daniel Cordova

Yeah. 

Marcelo Tubert

Total sense because you’re breaking it up. It It, yeah. 

Daniel Cordova

Just that, that one thing is so awkward to me by what? More dear, a better proposer can charge you with all. But I’m gonna get it. Don’t worry. I’ll just take it one piece at a time. 

Geoffrey Wade

Yeah. It, it’s, there’s a, there’s a little break after dear. There’s a little break after proposer. 

Gideon Rappaport

Can I help with, can I help with meaning a little bit maybe. 

Daniel Cordova

Sure. 

Marcelo Tubert

Always. 

Gideon Rappaport

By what more valuable a better proposer can charge you with by what? Better argument of someone who argues better than I do can, can request it of you. 

Daniel Cordova

Okay. 

Gideon Rappaport

Does that make sense? 

Daniel Cordova

Yeah. 

Gideon Rappaport

So dear means precious, right? Valuable in this case, more valuable thing than rights of fellowship. Competency of youth, obligation of love. Or something even more valuable that I could persuade you with. 

Daniel Cordova

Okay. Yeah. That’s great. 

Gideon Rappaport

Or someone better Than me could persuade you. 

Geoffrey Wade

Good? 

Gideon Rappaport

Yes. 

Geoffrey Wade

Yeah. Yeah. 

Gideon Rappaport

Okay. 

Marcelo Tubert

Well, I’ll lead you in. 

Daniel Cordova

Yeah. Thank you. 

Geoffrey Wade

What end? Yes. 

Marcelo Tubert

To what end my Lord 

Daniel Cordova

that you must teach me. But let me con 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 you were sent for or no 

Marcelo Tubert

what? Say you 

Daniel Cordova

nay than I have an eye of you. If you love me, hold. Not off 

Nick Cagle

My Lord. We were sent for 

Daniel Cordova

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. 

And wherefore I know, not lost all my mirth, 

forgotten 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 vapor. 

What a piece of work is, man. 

How noble, in reason, how infinite in faculties informed and moving, how expressed and admirable in action. How, like an angel, an apprehension, how like a God, the paragon of animals, 

the beauty of the world, the paragon of animals. 

And yet to me, what is this quintes of dust? 

Man delights, not me. 

No. Nor a woman. Neither though by you’re smiling, you seem to say So. 

Nick Cagle

Rose Krantz. Is 

Marcelo Tubert

that me, my Lord? 

Geoffrey Wade

Yes. Yes. 

Marcelo Tubert

I’m sorry. That was, I had already, my Lord. There was no such stuff in my thoughts. 

Daniel Cordova

Why did you laugh then when I said, man, the delight’s not me 

Marcelo Tubert

To think, my Lord, if you delight not in man, what lent an entertainment the players shall receive from you. We coded the, we coded them on the way. And hither and hither. Are they coming to offer your services, offer you services 

Geoffrey Wade

One more time to offer you service. 

Marcelo Tubert

Service, yes. 

I, I think my Lord, if you delight not in man, 

what lent in entertainment, the players shall receive from you. 

We coded them on the way. 

And here are they coming to offer you service. 

Geoffrey Wade

That’s it. Good. 

Here we are. We’re back. It’s hard. It’s 

Daniel Cordova

tough. 

Geoffrey Wade

You’re, you’re next Nick. 

Nick Cagle

I, I see the value and hate it at the same time. 

Geoffrey Wade

It’s, I I just wanna, I just wanna say a couple of things, Dan. What’s, what’s wonderful is the way operative words are emerging and, and words have, 

Daniel Cordova

I’m with you. I just have to plug in my computer before it 

Geoffrey Wade

die. 

Daniel Cordova

Okay? And I’m listening. 

Geoffrey Wade

Can you hear me okay? Yeah. 

Daniel Cordova

Yeah. 

Geoffrey Wade

The way things have have weight and color, it’s, it’s great. It’s because, because of the way we’re going through it. 

Who, who has the line? 

Well, all right. A another general note before I find this exact thing. 

These questions that Hamlet has for the lads where you sent forward, is it a free visitation, da da da. There’s, there’s a, a number of questions like that. 

And I think there’s another that’s, that’s not really a question. Well, it is, it’s a question yourself. What, what is this ants of dust? I think particularly in the, as we go through it, but particularly in the context of this exercise, you can make those real questions and wait for an answer. Wait for an answer. 

You know, maybe if, if you’re saying it, come off the camera and have a look at them, are you gonna say anything? Because on stage, I think this is great fun. They’re, they’re not rhetorical questions. They’re real questions. And these two guys are not able to answer. They’re not able to come up with anything which we’ll learn later. You know, you know, 

Daniel Cordova

So when you’re talking about 

Geoffrey Wade

that Rhetorical questions, 

Daniel Cordova

When you’re talking about that, you’re talking about what have you deserved that fortune sends you to prison? That question. Yeah. There’s a couple of those, right, 

Geoffrey Wade

Right from the start. He does have 27 questions in here. 

Daniel Cordova

What make you at Elsinore? 

Geoffrey Wade

Yeah. Why, what, why? Whatcha you guys doing? 

Daniel Cordova

Where we sent forward? Is it going inclining? All of those. 

Geoffrey Wade

All of those. But especially as it gets towards the end, 

Nick Cagle

re visitation, 

Geoffrey Wade

bega them, even poor. And thanks p My thanks are too dear a hape Haney, by the way, HAPE knee, two syllables. 

I, in, in my script, I would put a, a little break, a zu after two. My thanks are two. Dear ney. 

Daniel Cordova

Hate Me. 

Geoffrey Wade

Let, let him, that’s kind of the end of a, a little beat there. And you go into, were you not sent for Yeah. 

Marcelo Tubert

It occurred to me, Jeff, and this time, this time through as I was listening, and I’m looking at those lines of this approach that you had talked earlier. ’cause this is one of those things, like Fred, you know, let’s have a beer. Yeah. Tell, I mean, because, ’cause I, I did it a little more, a little more ominous in the attack. But I think this is part of that. If, if he’s, you know, you get more, more with honey than with 

Geoffrey Wade

A hundred percent. And, and it, it progresses. It’s, 

Marcelo Tubert

yeah. 

Geoffrey Wade

It, were you not sent for. 

Daniel Cordova

So my 

Geoffrey Wade

Did you really come here on your own? 

Daniel Cordova

My, my my take on all of that, by the way, and, and Gideon can maybe, or, or Jeffrey can, can either verify or, or, or set me straight, is that it’s not like, first of all, they don’t live in, in Elsinor. They live further enough away that they had to come to Elsinor, right? 

Geoffrey Wade

Absolutely. 

Daniel Cordova

And that even though they were childhood friends, that they’re not in the same status, that they would have the money to just come to a royal wedding. Right? That it’s go, how could you get here? You get, I mean, what, you know, this is 

Geoffrey Wade

an 

Daniel Cordova

expensive trip or something like that, right? Is it a free visitation? Are you doing it on your own? 

Geoffrey Wade

Y yes. I think free is not in the sense of paid for, or, you know, free in 

Daniel Cordova

terms 

Geoffrey Wade

of money. But have you come, have you come freely? I I think, you know, they’re university buddies, so they, they’re, they, they have enough wherewithal, enough, you know, cash to, to move around. It’s, 

Gideon Rappaport

they’re gentlemen. They’re gentlemen. They’re 

Geoffrey Wade

gentlemen. But they’re 

Daniel Cordova

not of the Same, they’re not of the same group as Horatio, 

Gideon Rappaport

right? 

Daniel Cordova

No, No, 

Geoffrey Wade

no. 

Gideon Rappaport

But Morally 

Daniel Cordova

he’s their college buddy. And, and then Rose Gilster are guys they grew up with. He Grew up with, right. Or I would say, 

Gideon Rappaport

I would say, I would say grammar school through high school buddies. 

Daniel Cordova

Yeah. 

Gideon Rappaport

Or Rosecrans and Gilden, stern and college and grad school. Buddy is Horatio. 

Daniel Cordova

Okay. 

Geoffrey Wade

Okay. 

Gideon Rappaport

Okay. And I would also say they gentlemen, so they have enough money. That’s not the point. Free visitation simply means free willed. Are you coming by your own free will or are you called? 

Daniel Cordova

Yeah. 

Geoffrey Wade

Yeah. Okay. I mean, I just, I think this, I mean, I find this section fascinating. Were you not sent for, is it your own inclining? Is it a free visitation? Three questions come, come deal justly with me. He waits again. Come, come nay speak. 

Nick Cagle

Ah, yeah, 

Geoffrey Wade

you, you get, you get a, you get a really nice arc there. It starts. 

Daniel Cordova

So 

Geoffrey Wade

whatcha guys doing here? 

Daniel Cordova

Four. 

Geoffrey Wade

Did you come here on your, and each, each one of ’em, you know, you can ratchet up a little bit. 

So you gotta start low enough. So you got, you got some ratcheting to do. 

And gilster the best thing he can say, well, what, what do you want me to say? And he says, 

Nick Cagle

well, 

Geoffrey Wade

anything, Jesus, I can tell by the way you look. 

Gideon Rappaport

They don’t wanna answer. They don’t want to answer. 

Geoffrey Wade

That’s, that’s kind of the climax, you know, if you wanna look at a little, little ladder that you’re climbing here, but the, the, I just think dramatically, the more time you give them to answer and they don’t, the more you build the tension. Right? 

Gideon Rappaport

Give 

Geoffrey Wade

a real answer. Just gimme a real, just talk to me, talk to me. You’re like a, you’re like a salesman. You know, tell me what you need. Or, or, you know, it’s, it’s, it’s it’s rhetoric. It’s, it’s, so just, that’s just one thing I wanted to point out. But I do, again, I want to, I wanna salute you for the way you using words, the way you said prison, Dan was terrific. 

Where is it? 

Oh, in, in this, this little stick the, this little back and forth at the beginning, 2 64. 

Again, Dan, the way he picked out prison was great. 

Rosen Kranz, then it’s the world one, right? World is the operative word there. 

Gideon Rappaport

Yes. I had 

Geoffrey Wade

the 

Gideon Rappaport

same note. And, 

Geoffrey Wade

and again, Rosen Kranz, it was a little, you know, poor old rose and Kranz, Denmark being one of the rest. Well, we think not so my Lord. They’re actually the pronoun I think does work for you. Right. 

Marcelo Tubert

Hang on just a second. So then it’s the world one, right? The way I’m, I’m still back there. 

Geoffrey Wade

Yes. Well, that’s world one. That’s like two, 

Gideon Rappaport

Let’s say C3, three, 

Geoffrey Wade

Yeah. 

Marcelo Tubert

So that’s two. And then, and then what’s the one that you were just mentioning? 

Geoffrey Wade

I think at 2 66? I think it’s, we think not so, my Lord. 

I don’t know. That’s a field of choice. You can go with what you want, but I, I think it’s 

Marcelo Tubert

As oppo. Did I say something else? We think Not. 

Geoffrey Wade

So I think you said we, we think not so we 

Marcelo Tubert

think not 

Geoffrey Wade

so I salute you for going for the verb, but 

Marcelo Tubert

We think not so. Oh, you’re saying we we think not so my Lord. Yeah. 

Geoffrey Wade

I 

Gideon Rappaport

think either We, either that or not. 

Geoffrey Wade

Yeah. I, I I like the we ’cause it’s like you’re trying tojo him out of his Yeah. His lonely position over there. 

Gideon Rappaport

They both, they both work. 

Geoffrey Wade

They both work. Whoever on 2 76, substance versus shadow. That bit was very good. I think that’s, that was you, Dan again, you really got that 

Oh, antithesis there. 

2 84. 

Oh, 2 84. I think after that the, 

oh no, I’m sorry. It’s guild and stern, Guild and Stern at 2 76, you say, which dreams indeed are ambition for the very substance of the ambitious is merely the shadow of a dream, which guild and stern nicely done on that. 

At 2 83, no, two 80. 

Fuck. What am I looking at here? 

Oh, yeah. Hamlet at about 2 84. 

Then our, our beggars bodies and our monarchs and outstretch heroes. The beggars shadows. Give yourself a little break there. It’s like, this is, this is the end of the word play. 

There’s another little, okay, that, that, that’s enough of that. Let’s let this Right. There’s a little break there. 

And yeah, 2 95 I’ve talked about. There’s, there’s definitely a break there. Before you go into, were you not sent for 

Marcelo Tubert

Hape? Hey, penny. Hey, Penny. 

Geoffrey Wade

Knee 

Nick Cagle

hape, 

Geoffrey Wade

knee hape, knee 

Marcelo Tubert

Hape, 

Geoffrey Wade

Hape. And then knee your leg joint there. 

Marcelo Tubert

Knee, yeah. Hape 

Geoffrey Wade

knee. 

Marcelo Tubert

Oh, I gotcha. 

Geoffrey Wade

Oh, and this is, this is just me. But I think that the world is a sterile promontory just sounds better in my ear than sterile. 

Daniel Cordova

Yeah. I didn’t know about, I was gonna ask about that. Also, almost 

Geoffrey Wade

Three syllables. I 

Daniel Cordova

didn’t know if One was more British and one was more American, or if it just sounds better sterile. 

Geoffrey Wade

It, it’s, I I’m, I’m, I’m sure we could debate it till the cows came home. It’s just, it’s a 

Gideon Rappaport

stronger vowel. 

Geoffrey Wade

It’s a stronger, yeah. To make that eye long and almost make it three syllables. There’s certainly a diff th at the end stair aisle. 

It, it, it just, it helps the word emerge. 

Nick Cagle

Gideon, can I ask a question? 

Gideon Rappaport

Yeah. I’ll just say the British, the aisle is British and the ill all is American. Yes, 

Geoffrey Wade

yes. 

Nick Cagle

I don’t understand the line then, are our beggars bodies and our monarchs and outstretched heroes. The beggars shadows. 

Gideon Rappaport

Okay, so go back a line. 

Marcelo Tubert

So what line is that, Nick? Line 

Gideon Rappaport

two. Starting at line two 80. Try to make this clear. 

Nick Cagle

I I’ve never understood It. 

Gideon Rappaport

I have, I hold ambition of so airy, empty and light insignificant equality that it’s not even just a shadow, it’s the shadow of a shadow. 

Nick Cagle

That’s 

Gideon Rappaport

that line. If that’s case, if ambition is the shadow of a shadow, then our beggars who have no ambition versus our monarchs and outstretch heroes have ambition. 

Nick Cagle

Oh. 

Gideon Rappaport

So the monarchs and outstretch heroes are merely the shadows of the beggars, because the beggars have no ambition. So for them, I’m getting, I’m getting IC stuff in it. 

If so, 

Nick Cagle

it’s about ambition. 

Gideon Rappaport

If yes, if ambition is so light that it’s merely a shadow’s shadow, then we can say that our beggars are the bodies and our monarchs are the beggars shadows. 

Nick Cagle

Thank you. Thank you. 

Gideon Rappaport

Did that work? I don’t even know. 

Nick Cagle

Yeah, that’s much clearer for me. Thank you. 

Gideon Rappaport

Alright, Good. 

Marcelo Tubert

I can’t wait to play that back on YouTube. 

Gideon Rappaport

I have about six of my own I wanted to point to. May I You’re Jeffrey, you’re muted. 

Geoffrey Wade

Damn it. I just wanna add one tiny thing to that Gian. Yeah. As, as it helps, if you think then are, and take the hour out of the OUR, the hour out of that line, and you go, then you could say then beggars are bodies and monarchs are shadows. 

Gideon Rappaport

Are the beggars shadows? 

Geoffrey Wade

Yes. Are the beggars shadows? 

Nick Cagle

Oh yeah, that makes sense. Yeah. The, 

Geoffrey Wade

the Hour 

Nick Cagle

amazing. Are 

Geoffrey Wade

power 

Gideon Rappaport

Is just neutral. It’s just 

Geoffrey Wade

Yeah. 

Gideon Rappaport

General. 

Daniel Cordova

And 

Geoffrey Wade

It’s 

Daniel Cordova

also like, you know, only a thing of substance can cast the shadow. 

Nick Cagle

Oh, nice. 

Daniel Cordova

You know, the beggars are the only, he, you know, he does this throughout the play where he talks about, you know, the, the beggar can go through the, the gut of the king and all that stuff. 

Nick Cagle

But 

Daniel Cordova

where he is saying, 

Nick Cagle

you know, 

Daniel Cordova

the beggars are the bodies, or the only thing of substance, and the idea of becoming a king or a prince or in the court, that’s just, just, that’s just, you know, airy and light. 

Gideon Rappaport

It’s just what 

Daniel Cordova

a 

Gideon Rappaport

beggar, it’s just what a beggar would imagine. But it’s not real. Yeah. 

Daniel Cordova

It’s a dream. Right. 

Nick Cagle

That’s 

Gideon Rappaport

what ambition is. I 

Nick Cagle

see. 

Geoffrey Wade

And the, the, the, the difficulty of this is exactly why he takes a little break and goes, dudes, let’s go get a drink. Let’s go into 

Nick Cagle

the 

Geoffrey Wade

court. ’cause I I, this we’ve reached a point of nonsense here. 

Gideon Rappaport

It’s got so convoluted. I don’t wanna do this anymore. 

Geoffrey Wade

Yeah. Okay. You, yeah. 

Gideon Rappaport

So 2 63, you already said this, but I just want reinforce then, is the world one denmark’s a prison? If Denmark’s a prison, the world is a prison. Okay, 

Marcelo Tubert

then Is den is the world one? 

Gideon Rappaport

Yes. Two 70. I don’t know, Jeffrey, if this is what you meant, you liked, I heard, I think it was Dan say to me, it is a prison. And I just wanna ask which is, which in Word is more interesting is, or prison. 

Geoffrey Wade

Oh, no, I, I I 

Gideon Rappaport

You were talking about the earlier version. 

Geoffrey Wade

I, I think the, earlier when you said Denmark’s a prison. 

Gideon Rappaport

Yeah. That’s, that Was 

Geoffrey Wade

No, that definitely here, to me it’s a prison. Yes. 

Gideon Rappaport

Hit prison 3 0 8, 

every preserved not preserved because it’s not poetry. So there’s no need to put the ed on it. 

Geoffrey Wade

Right. 

Gideon Rappaport

Three 12 

Hamlet, na. Then I have an eye view that is to the audience, that meaning that’s an aside, and then you turn back to them. If you love me, hold not off. So you’re confessing to us that now you’re onto them and you’re gonna keep an eye on them, but you’re not telling them that. Yes. Does that make sense? 

Nick Cagle

Indeed. Yes. 

Gideon Rappaport

Okay. 3 21, 

what is this? Oh, you hit my, instead of disposition, it’s not, it’s not so heavily with my disposition as opposed to someone else’s. It’s so heavily with my disposition, my, my attitude, my mood. 

Yes. 

Geoffrey Wade

Yes. 

Gideon Rappaport

Okay. 3 27. Everybody’s saying what a piece of work is, man, there is some authority for that in the early text, but we’ve chosen, and I chosen my edition to go with what a piece of work is a man. So unless Jeffrey overrules me, put the back in. 

Marcelo Tubert

Yeah. It’s there. 

Gideon Rappaport

Okay. Yes. 

Geoffrey Wade

It, it should be there. And interestingly, I think I learned this speech wrong because everywhere I look, it’s, it’s a man. 

Nick Cagle

Hmm. 

Gideon Rappaport

But it, it’s, the Folio has it one way in the Quarto the other, I think. Yeah. So anyway, the last one is Lent and entertainment. So Lent is when you give something up, right. And you, you don’t have parties and you don’t eat meat. And, and so entertainment during Lent is much, much reduced to fair compared to entertainment anywhere else. So, so if you don’t delight in, man, the poor players are going to have a merely Lentin entertainment and not a profuse and, and rich one. 

Marcelo Tubert

So it’s a poor reception. They’re gonna have a, a, a, a poor reception. The player shall 

Gideon Rappaport

receive. 

Marcelo Tubert

Correct. 

Gideon Rappaport

Correct. So you wanna hit Linton, so we get that? Yeah, that’s it. 

Nick Cagle

Hmm? 

Gideon Rappaport

You’re muted. 

Geoffrey Wade

Yeah. I’m, I’m trying to avoid the, the dog. Now let’s do this one more time with everybody in the part they haven’t played yet. So that’s Nick as Hamlet. Dan as Rosecrans. Gilden Stern is Marcelo. Just so everybody has a chance to, to do this. 

And I I, you, you’ve all got so many notes at this point, but I do think it’s going very well. I I I am I’m getting a lot from it. I hope you are 

Marcelo Tubert

too. Yeah, No, we will too. And then, but it’ll all filter as we work on the next week. Yeah, 

Geoffrey Wade

yeah. Absolutely. 

Marcelo Tubert

We will Have forgotten. What’s 

Nick Cagle

great about this, it’s like physical therapy or something. It, it’s working the small muscles that we don’t get to work. You know what I mean? 

Geoffrey Wade

Exactly. And that’s why I enjoy these kinds of sessions. I mean, it’s a kind of luxury that you just don’t get. 

Nick Cagle

There’s 

Geoffrey Wade

simply not time for it, you know? But if, if we as you, as you said, we, you can do it on your own a little more now, you know, when you go through it again instead of, you know, you go through it word by word and, and it’s, it’s great. All right. I’m gonna, I’m gonna go away and gilden stern start us off. 

Marcelo Tubert

My honored Lord. 

Hang 

Geoffrey Wade

on Dan. 

Daniel Cordova

I Was muted. I was muted. Start again. Here 

Marcelo Tubert

we go. My honored Lord, 

Daniel Cordova

My most dear Lord. 

Nick Cagle

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

Daniel Cordova

As in indifferent children of the earth, 

Marcelo Tubert

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

Nick Cagle

Nor the soles of her shoe. 

Daniel Cordova

Neither my Lord. 

Nick Cagle

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

Marcelo Tubert

Faith, her privates. We 

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

Then is doomsday near, oh, wait, so lemme try that again then. 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. My lord. 

Nick Cagle

Denmark’s a prison 

Daniel Cordova

Den is the world one, 

Nick Cagle

A goodly 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

Why then his none to you 

for there is nothing, neither good nor bad, but thinking makes it so to me it is a prison. 

Daniel Cordova

Well then your ambition makes it one, it is too narrow for your mind. 

Lemme try that again. Why? Then your ambition makes it one, it’s too narrow for your mind. 

Nick Cagle

Oh God. I could be bounded in a nutshell. Oh, try again. 

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

Marcelo Tubert

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

Nick Cagle

A dream itself is, but a shadow 

Daniel Cordova

Truly. And I hold ambition of so airy and light equality that it is. But a shadow’s shadow 

Nick Cagle

Are our beggars bodies 

and our monarchs and outstretched heroes. 

The beggars shadows, 

shall we to the court or by my Faye? I cannot reason. 

Marcelo Tubert

We’ll wait a 

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 to you like an honest man. 

I am most dreadfully attended, but in the beaten way of friendship, what make you at Elsinore 

Daniel Cordova

To visit you? My Lord. No other occasion 

Nick Cagle

Beggar that I am, I am even poor in thanks. 

But I thank you and sure dear friends, my thanks are too dear. A hate me. 

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, 

you were sent for. 

And there is 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 what end my Lord 

Nick Cagle

That you must, that you must teach me. But let me conjure you by the rights of our fellowship, by the consonant, by the constancy of our youth, 

by the obligation of our ever preserved love. 

And by what? More dear, a better prosper can charge you their prosper. Sorry. Prosper 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

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

Marcelo Tubert

My Lord. 

We were sent for 

Nick Cagle

I will tell you why. So shall my, so shall my anticipation prevent your discovery and your secrecy to the king and queen molt. No feather 

I have of late, but wherefore I know not lost all my mirth, forgone all custom of exercises forgone, 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. Why 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 in faculty, how infinite in faculties inform and moving, how express and admirable in action, how, like an angel in apprehension, how like a God, the paragon of the world, the beauty of animals. And yet to me, what is this quintessence of dust manites, not me known nor woman. Neither though 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, manites not me, 

Daniel Cordova

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

Geoffrey Wade

Excellent, excellent, excellent, guys. 

Gideon Rappaport

Excellent. That was really good. 

Geoffrey Wade

Thank you for putting up with this. I, I as a, a few quick things that I just wanna say. And you know, as usual, I know the, the, the, the exercise sometimes makes getting the, the exact words difficult. Nick, that was a great start. The, the friendliness of it. 

Who says tis nun? Well, Hamlet says tis nun to you right at about line 2 68. 

Nick Cagle

Yes. Where there’s nothing either. 

Daniel Cordova

Yeah. 

Nick Cagle

Either good nor bad, but thinking, yeah, 

Geoffrey Wade

I, I think the operative word there is none. And in the very next or later in that sentence, thinking makes it so I think those, those are the words you wanna be heading for 

Gideon Rappaport

Jeffrey. I, I don’t know if you know you’re not on video. 

Geoffrey Wade

Oh, lemme get back on video. You can hear me? I I really am a video on a God mic. 

Daniel Cordova

Ah, There he’s 

Nick Cagle

There. He’s 

Daniel Cordova

Umh 

Geoffrey Wade

Ro Rosen Kranz In line two 80. 

I picked up something from you on truly I hold ambition of so airy and light equality. 

Yeah. Again, this is sort of a rose crans character thing that I thought was terrific. I I think he’s slightly showing off. He, he’s jumping in with, oh, oh, oh, I know it’s good. I’ll, I’ll take this another, another level, right? 

Daniel Cordova

Yeah. Because, you know, when I mean I didn’t, it’s Kind of 

Geoffrey Wade

eagerness to him. That is lovely. That’s 

Daniel Cordova

specifically intentional there. But great. But I think it’s also, you know, it’s, it’s neat to think also that, you know, in the stopper stuff that it’s all about, for them, it’s all about word games, right? Yes. 

Geoffrey Wade

Yes, yes. And 

Daniel Cordova

so then here they’re, they’re playing the word games, you know, 

Geoffrey Wade

Again, a hundred percent. And, and if you, and 

Gideon Rappaport

It’s, it’s, it’s reinforced by the idea that in, in complaining about the airiness of ambition, he pretends to be renouncing it as if he has no ambition, but they’re flattering the king and queen all through the play. They’re flattering hamlet, you know? So it’s not that they’re free of ambition, like high moral beings, but they know the word play. Yes. 

Geoffrey Wade

Yeah. So, again, nicely done line Nick at line 2 83. 

Oh this break. 

Oh no, Hamlet. The, it’s the beggars versus beggars, bodies versus shadows bit. I just wrote 

Nick Cagle

good, 

Geoffrey Wade

you, you really got that line. Two 90, 

You, you, you took that break there. I’m most dreadfully attended, but in the beaten path of friendship, what, what I wrote here was, was catch yourself. 

So the, i i, I think of this, this first, but in the beaten path of friendship, if it’s almost a, oh by the way, you know, just, 

Nick Cagle

oh, I see. Yeah. Rather, 

Geoffrey Wade

rather than already suspicious, like, hey, you know, it’s weird. Why, why are you guys here, by the way? You know, 

Nick Cagle

it’s a, there’s a but there. Yeah. You know, there’s a but yeah. So it’s, 

Geoffrey Wade

it, I mean, I, I could see, almost see a, you know, if you were staging it, you could almost do a, a, a, a, a false exit there, you know? 

Nick Cagle

Oh yeah. You can 

Geoffrey Wade

almost be on your way out. Like, let this, this scene’s over this, you know, we’ve done our word play. We’ve met, it’s not as good to see, hey, well, no, wait a minute, wait a minute. An just answer me this one question, you know, 

Daniel Cordova

it’s like Colombo. Yeah. Just one more thing. 

Geoffrey Wade

Exactly. Exactly. So take advantage of, of that whoever’s doing, Hamlet, I think you can make a little more of that. 

As you were going through when you said you have not craft enough to color the word craft emerged really well. This is just another example of how this slow thing craft is a, it’s a great word. You know, it, it’s, it’s both art and, you know, craftiness, it’s, it’s, it’s got a, a number of meanings to it. 

Gideon Rappaport

And it’s literative with color, craft enough to color. 

Geoffrey Wade

Yeah. And it’s literative. That’s right. It’s not, it’s not actual verse, but it’s, some of it is, you know, as near as damnit verse. So I’m, I’m just, I’m picking these things out so you guys know that I’m appreciating the, the color and weight you’re finding in many of these words, the word is in line three, tenets, proposer, and by what? More dear, a better proposer or a, a better person who’s asking you a better questioner. That’s what the, thank you, 

Nick Cagle

right? 

Geoffrey Wade

I 

Nick Cagle

got 

Gideon Rappaport

stuck On 

Nick Cagle

them. 

Gideon Rappaport

Can can I talk about those lines while you’re right there? 

Nick Cagle

Sure. Yeah. 

Gideon Rappaport

I, I want to hear that Hamlet is sort of doing what he does later as an imitation of o Rick’s overblown speech. He hasn’t been, he hasn’t been getting the answer out of them by, you know, by the way and beaten way of friendship. So now he’s conjuring, that’s even more intense, but he’s not really doing it. He’s pretending to do this by fancier and fancier language. Oh, let me go way out of my way to show you how extravagantly I can ask you to answer this question. And it, and it builds from, by the rights of our fellowship constancy, that’s a bigger word of our youth obligation of our ever preserved love. 

He’s just expanding these words rhetorically to sound big to them. And he, he’s having fun doing it, but he thinks maybe that’ll work 

Geoffrey Wade

Very good. And 

Gideon Rappaport

then 

Geoffrey Wade

clearly ends it with a very direct question. 

Gideon Rappaport

Yes, 

Geoffrey Wade

yes or no, I’m asking you a yes or no question. 

Daniel Cordova

No, he Does the same thing with the, with the, the grave digger where he, he says, just gimme a straight answer, you know, but he, he plays along with the word play for a while, 

Gideon Rappaport

right? And 

Daniel Cordova

then, but then just gimme the straight 

Gideon Rappaport

answer’s, Right? That’s right. And I just have one more thing, and that’s at 2 87. 

I, I think maybe I’m sorry to be interrupting Jeffrey. 

Geoffrey Wade

No, no. 

Gideon Rappaport

But I only have one more thing. I will not sort you with the rest of my servants. You hit the u nick and I would hit the rest. Oh, 

Nick Cagle

okay. 

Gideon Rappaport

Sort, sort and rest. 

Nick Cagle

I, I knew that at it is one of those times when you say it and go, ah, 

Gideon Rappaport

You got, 

Nick Cagle

that’s good. Good. 

Gideon Rappaport

That’s, 

Nick Cagle

That’s 

Gideon Rappaport

it. That was, 

Geoffrey Wade

I mean, you can, you can hear it yourself. 

Nick Cagle

I 

Gideon Rappaport

was really, I was impressed by this one. This was a really good, I mean, all of them. But this was a very good reading. 

Geoffrey Wade

Yes, Nick, I like the way you take your time. There’s, again, this is just a sort of acting note e even in this kind of a read, the, this, this build which you were getting from angel to God, to the beauty of the world, to the paragon of animals. 

That’s the climax. I mean, it’s the, the paragon. There’s nothing better. 

Give yourself that break. There’s a dash in there. I mean, who, you know, punctuation and dashes. It’s all, it’s all what 

Marcelo Tubert

line, what Line? 

Nick Cagle

I always thought the, I always thought the peak was God, and then he was blowing off the beauty of the world, of paragon of animals. And yet to me, what 

Geoffrey Wade

is this? I I, I would dispute that. 

Nick Cagle

Okay. Yeah, I 

Gideon Rappaport

would too. 

Geoffrey Wade

Okay. 

Gideon Rappaport

I would keep, I would even build further because the actual, the actual fall is after quintessence, which is the highest thing 

Nick Cagle

Oh. 

Gideon Rappaport

Of dust, which is load. 

Nick Cagle

Ah, this is what it’s all about. 

Geoffrey Wade

We, we, we, this is a, a fielder’s choice, 

Nick Cagle

but 

Geoffrey Wade

there’s definitely a build, at least through the paragon of animals. Yes. 

And, and there’s a, there’s a dash written in there. Again, punctuation is always debatable, but I think that’s the moment where he thinks, d take time to consider that R. Right. 

Nick Cagle

So 

Geoffrey Wade

that it’s not a prepared speech. It’s, it’s, this is great, this is great. This is beau. This is the best thing in the universe. 

Why can I not? Right? 

Nick Cagle

Yeah. Why 

Geoffrey Wade

can I not enjoy this, this masterpiece? That’s what you start with. What a masterpiece is, is man, 

not, you know, well, look at this piece of work. It’s really, this is a, this is a perfectly shaped vase. What whatever it is, what kind of, every kind of imagery you wanna use, 

but give yourself time to go from the, the most exquisite creation in the universe to a contestants of dust. 

Nick Cagle

Right. 

Geoffrey Wade

Just give, 

Nick Cagle

give 

Geoffrey Wade

yourself the time. You know, Shakespeare’s giving you a, a very strong scaffold to stand on here. We, we will, we will go with you as long as you are thinking it through, rather than reading a, a graduation speech. Right. 

Gideon Rappaport

Right. 

Geoffrey Wade

It, it’s in this moment. And that’s what got, that’s what got Marcelo. You know, it’s that, that’s what will get us. It’s great. 

We have reached time. You’ve come past time with me. 

Just really terrific work. I know it’s hard. We, we, we will go back to more, this is our third. Is this our third one? 

Marcelo Tubert

Yeah, we have one more. 

Geoffrey Wade

Yeah. So the last one, oh, there’s Nathan. So the last one will be, you know, we’ll be going back to, you know, reg regular read throughs. We’ll do the whole thing for everybody. 

Marcelo Tubert

This was very enlightening. I enjoyed it. 

Nick Cagle

Yeah. 

Geoffrey Wade

I, I urge you to, at some point, just once, just read through it really slowly out loud, out loud. 

Say the words out loud, bearing this kind of thing in mind, you know, see if you can look down at the script and, and get, you know, one clause or, you know, half of a sentence or three words, and then look up and say it to, you know, 

Marcelo Tubert

A bit about trying to read this at, at a, let’s See. 

Nathan Agin

Yeah, 

Geoffrey Wade

yeah. And I mean, this is, you know, yeah. 

Marcelo Tubert

Anyway, doesn’t matter. 

Geoffrey Wade

That’s the, that’s the whole point of this is, is to allow ourselves these, these incredible luxuries that we don’t get normally. So 

Gideon Rappaport

I have A quick question for Daniel. You sent me two things in the chat, which are screenshots. 

Daniel Cordova

Yeah. Actually there was, I meant to send it to the group and I actually sent it to you individually. That was just to show the other actors how I have my screen set up. 

Geoffrey Wade

Oh, oh, when 

Daniel Cordova

We were talking about looking at the camera versus looking at the eyes. 

Nick Cagle

Thank you. 

Nathan Agin

Yes. 

Geoffrey Wade

Right. Yeah. 

Nathan Agin

Right. 

Geoffrey Wade

Very good. 

Nathan Agin

Glad Yeah, glad you guys got all that sorted. And, and yes, I just wanna add my appreciation for the exercise too, as, as slow and laborious as it might feel it. There, there really is a lot of illumination, not only from what I seem to observe amongst, you know, the group, but also for, you know, as a listener, as as an observer. Just, you know, different how different things land on my ear, different parts of the scene that, you know, we might kind of speed through normally, that everything is, is kind of really slowed down. It’s very enjoyable. So yeah, great work. 

I’ll try to remember to start saying these things at the top of the sessions. But for those watching, thanks so much for being here. There is a Patreon, if you want to support the project and get some additional early access to some things, a priority with questions. 

If you do have any comments, leave those below. If you enjoyed the video, enjoyed the session, hit that like button subscribe. So you’d be the first to know about future rehearsal sessions and come on back or check out the, the final session of the Shakespeare and Stopper work we’re, we’re doing this month. So that’s it for me. Hope you guys all had a great session. Enjoyed it. And yeah, we’ll see you back for next, next week, the final session. Thanks 

Geoffrey Wade

guys. 

Gideon Rappaport

Thank you guys. 

Nathan Agin

Alright, take care. 

Gideon Rappaport

Good Work. 

Geoffrey Wade

Bye.