Final Session – Shakespeare’s The Merry Wives of Windsor – 2 scenes – The Rehearsal Room [Video, Audio, and Transcript versions]

Juls Hoover

Welcome back. My name is Juls. And again, we’ve been working on two scenes from Shakespeare’s, the Mer Wives of Windsor. Remember to put your questions in your comments below and maybe include what scenes you would like us to dive into, what scenes you’d like us to work on here. If you have any that you’re curious about that you’d like to learn more about. 

Yeah, please put those in the, in the comments as well. And again, if you have enjoyed these sessions, please hit that like button. Tonight is the final session. However, everything that you see tonight is a work in progress. It is not a final performance. This is just the next step. And next step in the rehearsal room we have Nick Cagle directing two scenes from Shakespeare’s Macbeth examining the relationship between husband and wife surrounding Duncans Murderer, Macbeth, and Lady Macbeth. So be sure to subscribe and click for notifications. You can still support the project via Patreon and get early access to all the sessions, plus a few other perks starting at just $5 a month. 

And again, thank you so much to our patrons at the CoStar level and hire Joan, Michelle, Christian, Jim, Magdalene, evar, Claudia, cliff, and Jeff. 

Thank you so much to everyone. It has been a pleasure hosting and then save time afterwards we will be doing a little q and a. And with that I am going to toss the reins over to Paul. 

Paul Nicholas

Thank you Juls. 

Juls Hoover

Nothing. Hello 

Paul Nicholas

everyone. As Jules just implied or referred to, this will be a shorter session. We’re gonna stop at about nine 30 instead of 10. 

So if that, so that anyone who’s watching has questions, we can try to address them and Juls will be moderating that exchange. 

Todd, all the three actors, did you all see, well, no, this is really for Todd. Todd, did you see Gideon’s email about pronouncing ura or sir? 

Todd Scofield

I did. Yep. 

Paul Nicholas

Cool. Which basically is pronounce it any way you like. Yeah, Gideon, 

Gideon Rappaport

After a lot of nerding around. 

Todd Scofield

But 

Paul Nicholas

that’s what we are here for, is to be nerds. 

Todd Scofield

Yep. 

Paul Nicholas

What was the, what I’m about to ask you Giin, if you have any more thoughts from last week, but what was the great vowel shift of the 15th century? What was that? 

Gideon Rappaport

Well, it’s mysterious, I think, and there are arguments about it. But essentially the vowels, as we pronounce ’em when we’re reading Chaucer, Chaucer writes in middle English and the vows that as we pronounce them when we’re reading Chaucer are not, as we pronounce them, or as we believe Shakespeare pronounced them a couple of hundred years later. All of the, all of the vowels seemed to have shifted to the long from shorter. So the word house, the word hos, is the way Chauser would’ve pronounce it. And by Shakespeare’s time, it was already closer to house go was the way Chaucer pronounced it. By Shakespeare’s time it was closer to Goose. 

And we have stayed fairly close to Shakespeare’s pronunciation so far as we can tell, there are lots of theories about it. But all there, there’s a great diagram that professors draw about how the vowels all shift to the longer. And so I have had to teach people reading Chaucer to go backwards and learn how to pronounce the vowels differently in Chaucer than we do in Shakespeare. 

So that’s a short version of the great vowel shift. And if you wanna know more about it, you have to go study the people who have studied the history of the English language, which is a very rich and complicated art of studies. And a lot of it’s speculative of course, 

Paul Nicholas

And continues. 

Todd Scofield

There’s a really great pod, I’m sorry. 

Paul Nicholas

And, and continues to evolve. Does it not? Go ahead, Todd. 

Gideon Rappaport

Yeah, Absolutely. 

Todd Scofield

There’s a really great podcast on the history of the English language called the History of English. 

Gideon Rappaport

It’s 

Todd Scofield

fantastic. It’s so nerdy. I love it. There’s over like 150 episodes and there he’s, he is in Shakespeare now. So 

Gideon Rappaport

Great. 

Todd Scofield

It’s a long way to go. 

Paul Nicholas

Gideon, you said that we’re closer to the way that Shakespeare pronounced the vowels. Have we continued to lengthen them since then in those 400 years? 

Gideon Rappaport

I don’t know if we’ve lengthened them, but we, we sometimes, for example, sometimes Shakespeare will do a rhyme that we have to consider an I rhyme instead of an exact rhyme. But for him it’s an exact rhyme. Like yeah, 

Paul Nicholas

Like good and blood. 

Gideon Rappaport

Yes. So it, it would’ve been closer to good and blood. You can sort of hear it in the outskirts of the British Isles. If you listen to Irish or Scots or Welsh pronunciations, you sometimes get a sense of o an older pronunciation of the V. In fact, there’s a whole variety of dialectic pronunciations in the British Isles, which was made fun of in, in My Fair Lady, if you remember the song. But there are even people in the Ozarks that people have thought studied and thought to be to a preserved Shakespearean pronunciation. Elizabethan pronunciation of certain vowel sounds and words, but 

Paul Nicholas

Unintentionally, I would imagine. 

Gideon Rappaport

Yeah, no, unintentionally just ’cause they’ve been, you know, isolated in the mountains since, since they came. 

Todd Scofield

Isn’t and isn’t there some tide water, some tide water accents around the Chesapeake Bay that they think Yes, similarly? 

Gideon Rappaport

Yes. Yes. And and you know, when you say they think it, it, all of this has to be taken with a little bit of skepticism, not necessarily a grain of salt. It’s not meant to be funny, but it’s, it’s hard to know for sure. We go, we have to go by spellings and rhymes and it’s, it’s a tricky business. But in any case, I recommend that people do Shakespeare in modern pronunciations where possible except where they need to adjust slightly for rhymes or stresses. 

And that’s because it sounds pretentious if you’re trying to imitate Shakespeare in speech on the modern stage. And you don’t want that to get in the way of the meaning of the words that said, I make my students memorize the first 18 lines of Choler Canterbury Tales in the middle English pronunciation, just so they have a, an ear for it. Because a lot of the rhymes, choler writes a rhyme couplets, and a lot of the rhymes depend on hearing the right V. So I prepare them that way. But if you were going to do, you know, Shakespeare on the stage, you want to do it in a way that people can follow it. 

Todd Scofield

Ben, Ben is, it’s Ben Crystal, David Crystal and Ben Crystal. They’ve made some videos where Yeah. Performing some, some of Shakespeare and, and what they think is probably close to the original pronunciations. 

Gideon Rappaport

Yes. And if you listen to them, you find out two things. Number one, it’s very interesting. And number two, if you had to listen to a whole play like that, you’d you’d shoot them because it’s, I thought it’s so distracting. 

Paul Nicholas

I thought that they did at least one full production of one of the places 

Gideon Rappaport

They did. Yes. 

Paul Nicholas

Yeah. It’s a father and son, right? 

Gideon Rappaport

Correct. Yeah. They, they’ve done a wonderful book. I don’t know if you know about this book. 

Paul Nicholas

Oh yeah. 

Gideon Rappaport

Everybody must have this. Yeah, that’s it. So it’s full of useful information, but I, I don’t entirely buy their pronunciation theory. 

Todd Scofield

Some 

Gideon Rappaport

I do, some of it I do, some of it I don’t. And when I hear it, some of it just sounds misleading and other and other parts of it sound persuasive and convincing. So, but you know, as I say, it’s not a, it’s not a hard science. 

Todd Scofield

I’m rehearsing Romeo and Juliet right now and, and there’s a, one of the actresses just a, I think it’s her first Shakespeare. And she asked me, ’cause she’s got a couplet that clearly used to rhyme and doesn’t rhyme anymore. 

Gideon Rappaport

Yeah. 

Todd Scofield

And she was like, what do you, what do you do? Do you still, do you say it as a rhyme? And I was like, no, you really don’t. 

Gideon Rappaport

My teaching usually is you can fudge a little bit. You don’t bring it as wide apart as we would. You don’t make it identical, you kind of fudge. So they know it’s a rhyme even though it doesn’t sound identical. 

And by the way, it’s, you wanna stress Juliet on the first syllable? 

Todd Scofield

Juliet? Yeah. 

Gideon Rappaport

I don’t think anywhere in the play it’s Juliet. Hmm. 

Paul Nicholas

Tell her that. 

Todd Scofield

Well, they’re both stresses. 

Gideon Rappaport

It’s a, it’s a two syllable word. It’s not a three syllable word, It’s 

Todd Scofield

Juliet. 

Gideon Rappaport

Juliet rather than Juliet. 

Paul Nicholas

Interesting. 

Corinna Christman

Hmm. Hmm. 

Paul Nicholas

Cool. 

Gideon Rappaport

But that’s a different play. 

Paul Nicholas

Yeah. 

Corinna Christman

Todd, you’re playing Lord Caplet. Is that what you 

Todd Scofield

Yeah. 

Corinna Christman

Okay, Cool. 

Todd Scofield

Yeah. 

Paul Nicholas

And Todd, I found out on Friday, I did not get cast in that show in DC but I still 

Todd Scofield

Aw to see 

Paul Nicholas

you play Caplet. 

Todd Scofield

Dang. Their loss. 

Paul Nicholas

Well 

Todd Scofield

It’s okay. 

Paul Nicholas

No, I’m not sure that it’s their loss. 

Todd Scofield

Oh please. 

Paul Nicholas

At least one of us got cast in something. Michelle just got cast in something, so Yeah, 

Corinna Christman

I, 

Todd Scofield

That’s awesome. 

Paul Nicholas

Alright, let’s jump in. Normally this would be the week, actually last week would’ve been the week that I would’ve said let’s do some scansion and work on the verse. But there is no verse. 

So I say we blast through it once. I’ll give some notes, we’ll see where we are on timing, we’ll work out where the stage directions are gonna come in, where you’re gonna exit this frame and enter the frame. 

And that should take us to eight o’clock and then we do it. And that should take us to eight 30 and then we open up for q and a. How do you feel about that agenda? 

Corinna Christman

Sounds good. 

Todd Scofield

Good. 

Gideon Rappaport

I would say in the absence of looking at meter, one of the things you could look at while we’re doing this is alliteration and other consonant and v repetitions. Because it’s as though it’s prose, it’s Shakespeare and therefore it’s poetical. 

Paul Nicholas

Excellent point. Yeah. Let’s keep an eye out for those. Yeah, let’s go through it once and let’s try not to stop If you have to stop, stop. But let’s try not to stop. Let’s see what happens. What? And I am going to be reading state directions. 

Corinna Christman

Okay. What John, what Robert? Quickly, quickly is the buck basket. I warrant what Robert? I say 

Paul Nicholas

Enter John and Robert with a large laundry or buck basket. 

Michele Schultz

Come, come Here, set it down. Give your men the charge. We must be brief Mary, as I told you before John and Robert, be ready here hard by in the brew house. And when I suddenly call you, come forth and without any pause or staggering, take this basket on your shoulders that done trudge with it in all haste and carry it among the sters in T mead and there empty it in the muddy ditch. Close by the tham side. You will do it. I had told them over and over, they lack no direction. 

Be gone and come when you are called. 

Ah. Here comes little Robin. How now my is musket. What news with you? 

Paul Nicholas

My master Sir John has come in at your back door, Mrs. Ford and requests your company You 

Michele Schultz

little Jack lent. Have you been true to us? 

Paul Nicholas

I I’ll be sworn, my master knows not of your being here and have threatened to put me into everlasting liberty. If I tell you of it for he swears he’ll turn me away. 

Michele Schultz

Thou ought a good boy. This secrecy of thine shall be a tailor to thee and shall make the a new doublet and hose. Oh Uncle, hide me. You so go tell thy master I’m alone. 

Mistress page remember you your cue. 

I warrant the, if I do not act it me, Go to them. We’ll use this unwholesome humidity, this gross watery pumpkin. 

We’ll teach him to know turtles from Jays. 

Todd Scofield

Have I copied my heavenly jewel? Why now let me die for I have lived long enough. This is the period of my ambition. Oh this blessed hour. 

Corinna Christman

Oh sweet. Sir John 

Todd Scofield

Mistress Ford. I cannot call, I cannot pray Mistress Ford. Now shall I sin in my wish? I would thy husband for dead. I’ll speak it before the best Lord. I would make thee my lady. 

Corinna Christman

I your lady Sir John. Alas, I should be a pitiful lady. 

Todd Scofield

Let the court of France show me such another. I see how thy and I would emulate the diamond. Thou has the right arched beauty of the brow that becomes the ship tire. The tire valiant or be tire of Venetian admittance 

Corinna Christman

A plain care chief. Sir John, my brows become nothing else nor that. Well, neither 

Todd Scofield

Thou ought a tyrant to say so thou let’s make an absolute court here. And the firm fixture of thy foot would give an excellent motion to thy gate in a semicircle farthing gale. I see what thou word. If fortune by foe were not nature by friend, come now can’t start hide it. 

Corinna Christman

Believe me, there’s no such thing in me. 

Todd Scofield

What made me love the let that persuade the, there’s something extraordinary in the come. I cannot cog and say thou this and that. Like a many of these lisping Hawthorn bugs that come like women in men’s apparel and smell like butlers bury and simple time. I cannot. But I love the none but the and now deserves it. 

Corinna Christman

Do not betray me, sir. I fear you love mistress Paige. 

Todd Scofield

Oh Well might as well say I love to walk by the counter gate, which is as hateful to me as the wreak of a kil. 

Corinna Christman

Well, heaven knows how I love you and you shall one day find it. 

Todd Scofield

Keep in that mind. I’ll deserve it. 

Corinna Christman

Nay, I must tell you. So you do. Or else I could not be in that mind. 

Oh, 

Paul Nicholas

Oh, oh. Mrs. Ford, Mrs. Ford. Here’s Mrs. Page at the door sweating and blowing and looking wildly and would need speak with you presently. 

Todd Scofield

She shall not see me. I will ensconce me behind the he. 

Corinna Christman

You do. So she’s a very taline woman. 

What’s the matter? What’s how now? Oh, mistress Ford. What have you done? You’re shamed. You’re overthrow. You’re undone forever. What’s the matter? Good mistress page. Oh well A day Mistress Ford having an honest man to your husband to give him such cause of suspicion. 

Cause of suspicion. What? Cause of suspicion out upon you. 

How I am mistook in you. Why Hal? What’s the matter? Your husband’s coming here. The woman with all the officers in Windsor to search for a gentleman that he says is here now in the house by your consent to take an ill advantage of his absence. You are done. It’s not so I hope Pray heaven it be not so that you have such a man here, but is most certainly your husband’s coming with half wind in his heels to to search for such a one. I come before to tell you if you know yourself clear why I am glad of it. 

If you have a friend here convey, convey him out. 

Be not amazed. Call all your senses to you. Defend your reputation or bid farewell to your good life forever. 

What shall I do is a gentleman, my dear friend. I fear not my own shame so much as his peril. I had rather than a thousand pounds he were out of the house. 

No, never stand that you had rather, and you had rather your husband’s here at hand. But think you of some conveyance in the house, you cannot hide him. Oh, how you have deceived me. Look, Here is a basket. 

If he’d be of any reasonable stature, he may creep in here and throw foin in upon him as if it were going bucking. Or it is whiting time sent him by your two men to Dutch it mead. 

He’s too big to go in there. What shall I do? 

Todd Scofield

Let me see. Let me see it. Paul. Let me see it. Lin. Follow your friend’s. Counsel all in 

Michele Schultz

What The john. So John Faff, were those your letters night? 

Todd Scofield

I Love the mistress page. Help me away. Let me creep in here. I’ll never. 

Paul Nicholas

Mrs. Page pushes faff into the basket and they cover him with dirty clothes. 

Michele Schultz

Help to cover your master Robin. Call your men Mrs. Pay Mr. Ford. Oh you. Assembly night. 

What? John, Robert John, 

Paul Nicholas

Enter Robert and John, 

Corinna Christman

Go take up these clothes here quickly. Where’s the cow staff? How you rumble? Carry them to the laundries and dash at mead. Quickly come 

Paul Nicholas

Enter Ford and his entourage. 

Todd Scofield

Boy you come near. If I suspect without cause, boy then make sport at me then let me be your I deserve it. I’m now wither bear you this. 

Corinna Christman

Why? What have you to do. Whether they bear it, you are best metal with buck. Washing 

Todd Scofield

Buck. I could wash my, if I I would. I could wash myself of the buck, buck, buck, buck. I buck. I weren’t you Buck and of the season two, it shall appear 

Paul Nicholas

Robert And John exit with the buck basket 

Todd Scofield

Up. Gentlemen, you shall see sport anon. Follow me gentlemen. 

Michele Schultz

Is there not a double excellency in this? I know not. Which pleases me better that my husband is deceived or Sir John, 

What a taking was he in when your husband asked who was in the basket? 

I’m half afraid he will have need of a washing. So throwing him into the water will do him a benefit. Benefit. And him dishonest rascal, I would all of the same strain were in the same distress. I think my husband had some special suspicion of false acts being here for I never saw him so gross in his jealousy till now. 

I will lay a plot to try that. And we will yet have more tricks with full staff. His dissolute disease will scab this medicine. 

Shall we send that foolish carry on mistress quickly to him and ex excuse his throwing into the water and give him another hope to betray him to another punishment. We’ll do it. Let him be sent for tomorrow. Eight o’clock to have amends. 

Paul Nicholas

Act four seem two 

Todd Scofield

Mistress Ford, your sorrow has eaten up my sufferance. I see you are obs in your love. And I profess qui to a hairs breath. Not only Mr. Mistress Ford in the simple office of love, but in all the emont compliment and ceremony of it. 

But are you sure of your husband now? Now 

Corinna Christman

he is a birding. Sweet Sir. John, What? How? Gossip. What? How? Step into the chamber, sir. John. Oh, now sweetheart. Who’s at home beside yourself? Oh, why none But my own people Indeed. 

No, certainly speak louder. Truly. I am glad you have nobody here. 

Why? Why woman. Your husband is in his old loons again. He so takes on yonder with my husband. So rails against all. So rails against all married mankind. So curses, all eve’s daughters of what? Complexion so and so buffets himself on the forehead crying. Peer out. Peer out. That any madness I ever yet beheld seen, but tameness s ability and patience to this is dis. He is in that. Now I am glad the that night is not here. 

Why does he talk of him? Of none but him and swears he was carried out the last time he searched for him in a basket. 

Protests. Protests to my husband. He is now here and has drawn him and the rest of their company from their sport to make another experiment of his suspicion. But I am glad the night is not here. Here. Now he shall see his own foolery. 

How near is he mistress Paige? By at street end. He’ll be here. I’m done. The night is here. 

You’re utterly. And he’s but a dead man. Oh, what a woman. Are you away with him? Away with him? Better shame than murder. 

Which way should he go? How should I bestow him? Shall I put him into the basket again? 

Todd Scofield

No. Well come no more in the basket. May not. I go out. There he come 

Michele Schultz

A loss. Three of ma, miss Master Ford’s brothers, watch the door with pistols That nun shall issue out. Otherwise you might slip away air he came. But what makes you here 

Todd Scofield

Shall I do? I’ll creep up into the chimney 

Corinna Christman

There. They always used to discharge their birding pieces Creep into the kill hole. 

Todd Scofield

Where is it? 

Corinna Christman

He will sit there on my word neither. Press coffer. Chest trunk. Well bolt. But he has an abstract for the remembrance of such places and goes to them by his note. There is no hiding. You in the house. 

Todd Scofield

I’ll go out then 

Michele Schultz

If you go out in your own semblance, you die. Sir John. 

Todd Scofield

Oh, 

Michele Schultz

unless you go out Disguised. How might we disguise him? I last the day. I know not there is no woman’s G big enough or in otherwise. He might put on a hat to muffler and a kerchief. And so escape 

Todd Scofield

Good hearts. Devise something. Any extremity rather than a mischief. 

Corinna Christman

My maid’s aunt, the fat woman of Brentford has a gown above On my word. It will serve him Jesus as big as he is. And there’s this thrum hat and a muffler tip. Run up Sir John. Go. Go. Sweet, sir John mistress Paige and I will look some linen for your head. Quick. Quick. We’ll come dress you straight on the gown in the wild. 

I would, my husband would meet him in this shape. He cannot abide the old woman of Brantford. He swears she’s a witch. Forbade her my house and have threatened to beat her Heaven. Guide him to thy husband’s cudgel. And the devil died his cudgel afterwards. 

But is my husband coming? I in good sadness is he. And talks of the basket too. However, howsoever he had had intelligence. We’ll try that for, I’ll appoint my men to carry the basket again to meet him at the door with it as they did last time. 

Me. But he’ll be here presently. Let’s go dress him like the witch of brentford. 

I’ll first direct my men what they shall do with the basket. Go up. I’ll bring linen for him. Straight. 

Hang him. Dishonest. Violet. We cannot misuse him enough. 

We’ll leave a proof by that, which we will do. 

Wives may be marrying and yet honest too, we do not act that often. Jest and laugh. Just old but true still. Swine. Eat all the draft. 

Todd Scofield

Let’s just 

Paul Nicholas

Ford returns with Robert and John who bring the buck basket 

Corinna Christman

Goers. Take the basket again on your shoulders. Your master is hard at door. If he bid, you set it down. Obey him quickly. Dispatch 

Paul Nicholas

Enter forward with his friends. 

Todd Scofield

Set down the basket villain. Come Heather mistress Ford. Mistress Ford. The honest woman, the modest wife, the virtuous creature that half the jealous fool to her husband suspect without cause. Mrss. Do I 

Corinna Christman

Heaven be my witness? You do. If you suspect me in any dishonesty, 

Todd Scofield

Well said brazen face. Hold it out. Come forth, sir. 

Corinna Christman

Are you not ashamed? Let the clothes alone. 

Todd Scofield

I shall find you a non empty the basket. I say, 

Corinna Christman

Why man? Why? 

Todd Scofield

Because I am a man. There was one conveyed out of my house yesterday in this basket. Why may not he be there again in my house? I am sure he is. My intelligence is true. My jealousy is reasonable. Fuck me out all the linen. 

Corinna Christman

If you find a man there he shall die. A f flees death. 

Paul Nicholas

Robert and John empty the basket. 

Todd Scofield

Well, he’s not here. I seek four. 

Paul Nicholas

Robert and John refill the basket and carry it off. 

Corinna Christman

What hole Mr. Page come you and the old woman down. My husband will come into the chamber. 

Todd Scofield

Old woman. What old woman’s that? 

Corinna Christman

Why it is my maid’s aunt of Brentford, 

Todd Scofield

A witch, a queen, an old cousin in Queen. Have I not forbid her my house? She comes of errands. Does she? We are simple men. We do not know what’s brought to pass under the profession of fortune. Telling. She works by charms, by spells, by the figure. And such. Dory is this beyond our element. We know nothing come down your wit. You ha you come down. I say 

Corinna Christman

Nay good, sweet husband. Good gentlemen. Let him not strike the old woman. 

Paul Nicholas

Enter Mrs. Page with Sir John disguised as an old woman. 

Michele Schultz

Come Mother Pratt. Come give your hand. 

Todd Scofield

Pratt hurt outta my door. You witch. You rag your baggage. You pull cat, you run. 

How are you? How fortune tell you. 

Michele Schultz

Are you not ashamed? I think you killed the poor woman. Nay. He will do it to his goodly credit for you 

Todd Scofield

Hanger. Which oh, you follow gentlemen 

Paul Nicholas

Board and his friends exit. 

Michele Schultz

Trust me, he beat him most pitifully Nay by the mass that he did not. He beat him most un pitifully. He thought I’ll have the cudgel hallowed and hung all the altar. It has done meritorious service. 

Thank you. May we, with the warrant of womanhood and the witness of a good conscience, pursue him with any further revenge. 

The spirit of wantonness is sure scared out of him. If the devil not have him not in be simple with bind in recovery, he will never, I think, in the way of waste temp us again. 

Shall we tell our husbands how we have served him? 

Yes, by all means, if it’d be but to scrape the figures out of your husband’s brains. If they can find in their hearts the poor on virtuous fat knight shall be any further afflicted. We too will still be the ministers I warrant. They’ll have him publicly shamed and he thinks there would be no period to the jest. Should he not be publicly shamed, Come to the forge with it, then shape it. I would not have things. Cool. 

Paul Nicholas

Lovely. You’re still on camera, Todd. It was, it was fun to watch you try to figure out your lines. 

Lovely. 

Todd Scofield

Okay. 

Paul Nicholas

That was 21 minutes about right Thoughts. 

Gideon Rappaport

Paul, you’re not on camera. 

Paul Nicholas

Yes. Oh, I’m so sorry. Thoughts Gideon, let’s start with you. 

Gideon Rappaport

Okay. I have a few notes. Nothing drastic. So line 73, 

Paul Nicholas

Which scene? 

Gideon Rappaport

It’s the first one. I’m going from the beginning. 

Paul Nicholas

Okay. 

Gideon Rappaport

Line 73 in the first scene. Butlers bury in simple time. I think you get this, Todd, first of all, Todd, that was brilliant. Your fall death is brilliant. I wanna see you do Henry, the fourth part one on the stage as fall death, just absolutely fabulous. 

Simples are the herbs and, and minerals and plants that people who are doing doctoring combined to make medicines of various kinds. And the simples have these complex powers. Like if you, the, the, the fryer and Romeo and Juliet talks about, he’s gathering flowers and he points out that in this weed, if you smell it, it revives you. And if you eat it, it kills you. That’s so simple. Time is the time of harvest when people are selling these herbs in butlers very lane. Right, right. Okay. So it, it’s, it’s 

Todd Scofield

it’s a very strong smell. 

Gideon Rappaport

Yeah. Right. Okay. Line 1 0 3 is, and 

Paul Nicholas

so and so Gideon, the operative word there is simple. 

Gideon Rappaport

Well, I just, I want Todd not to have to labor the word simple. It’s just the, the, the period of of the year when they sell simples in butlers bury lane. And if he knows that, then it’s fine. 

Mr. Page, you said how I am mistook you. It’s How am I Mr. You? No, I, yes. Sorry. Mine. 1 27, similar thing. Oh, how you have, how have you deceived me? How have you deceived? Not how you have deceived. Okay. One not too important, but just to correct. 

Look how you jumble. Yes. Was Mr. Ford, you left out the look. Ah, 180 5. Oh, this is for two times I hear this for, I never saw him so gross in his jealousy till now. I think it’ll be easier to conceive of this if by jealousy you mean suspicion. Ah, okay. Jealousy is a kind of more global quality that he’s got, which is true. He does have that. But what you mean here is specifically suspicion and, okay, Shakespeare used the word jealousy for both. 

Okay. Is that clear? Yes. Line 18 of the next scene you left out mistress page, you left out the, so glad you said, I don’t know what you wanna do with the word so, but it’s there. Oh, I got it. Okay. Line 27, you get quiet sort of. And the same happens in around line 35. And so we’re losing the idea that she’s talking loud. So fall staff in the next room can hear. 

Paul Nicholas

Yes, I have this note too. 

Michele Schultz

Oh, okay. So you just have to remember that your whole speech has to include fall staff in the, as the audience. Right, right. Okay. Line 49 of the second scene. False staff. 

Oh, you transposed also, may I not, instead of may not. I 

Todd Scofield

I’m sorry. Line again. 

Gideon Rappaport

Line 49. 

Paul Nicholas

Right after, or 48. 

Todd Scofield

May I not go out? Here he come. Okay. Yeah. 

Gideon Rappaport

Line 75 mistress forward. I’ve heard you many times now hit the my in my maid’s and yeah. Aunt, and it just seems to me too heavy a hit for the meaning of the line. Okay. So, so try to push the stress toward aunt. Yes. Okay. And then build into the fat woman of Brentford. Okay. That’s what we, that’s the main thing we’ve gotta know is, is she’s the fat woman. Okay. 94. Mistress Ford will try that. Try hit try because try means test. Try. We’ll test. Yep. Yeah. Okay. I have that note. You hit the that. But I want the try. Okay. And 1 0 7 still swine mrts page, still swine eats plural. 

All the dr or singular verb eats all the drafts. Okay. Minor. It, it, it doesn’t change the meaning really. 

Line 1 31 again, here’s half the jealous fool to her husband. 

No, that’s not what I meant. What I meant was Todd Ford says, I suspect without cause. Mrs. Do I You just left out the eye for perfectly understandable reasons. 

Todd Scofield

Okay. 

Gideon Rappaport

And, but he repeats it. So there’s a kind of ego thing there. So I think that’s why it’s there. Do you get me? 

Todd Scofield

Yes. 

Gideon Rappaport

I’m 1 31. 

Todd Scofield

Yep. 

Gideon Rappaport

Have a jealous fool to her husband. I suspect I’ll cause mistress. Do I? 

Todd Scofield

Yeah. 

Gideon Rappaport

’cause the repetition is is, yeah. Dramatic. 1 48 here again, Ford. Mr. Mr. Ford. My intelligence is true. My jealousy is reasonable here. You also mean suspicion on this occasion. 

Todd Scofield

Suspicion. Yeah. Good. Okay. 

Gideon Rappaport

Okay. That, that’ll just make it sound clear. And then the last one is 1 76. Oh, he left out the, is such dobby as this is 

Todd Scofield

Ah, okay. 

Gideon Rappaport

It, none of these, none of these things are major problems at the, the scene was great. Like you working. Yeah. 

Todd Scofield

Yep. 

Gideon Rappaport

So all of these, everything I’ve said here is, is subtle tweaking to, to just make it. 

Todd Scofield

Yeah. 

Gideon Rappaport

Okay. That’s it. 

Paul Nicholas

Line 1 48 again, Gideon. 

Gideon Rappaport

Yeah. I 

Paul Nicholas

don’t, it’s not, it’s not about right or wrong, but would it be more impactful if the operative words were true and reasonable and not int intelligence and jealousy? 

Gideon Rappaport

Yeah, I think so. What do you think? As long as jealous. As long as jealousy means suspicion, then yes. He’s, he’s trying to proclaim that he’s justified in this. 

Paul Nicholas

Right. 

Gideon Rappaport

Yeah. What 

Paul Nicholas

do you think about that, Todd? 

Todd Scofield

Gimme the, the line again. I, I’m, I can, I’m, I can’t find it. 

Paul Nicholas

My intelligence is reasonable. 1 48 ish. 

Todd Scofield

My intelligence is true. My jealousy is reasonable. 

Paul Nicholas

Yeah. I, to me, 

Todd Scofield

I 

Paul Nicholas

feel like we get more out of the line if true and reasonable are the, is the point of what you’re saying and not intelligence. And 

Gideon Rappaport

It’s even more complicated. It’s because my intelligence is true. Therefore my jealousy is reasonable. Is reasonable. 

Paul Nicholas

Right. It, it’s, it’s almost like you’re saying don’t lie to me. I know the truth. Yep. 

Todd Scofield

Because I think that’s also what he’s stressing there because his wife thinks he’s crazy. He came in the other time saying that Fat Knight’s here and he wasn’t. 

Corinna Christman

And 

Todd Scofield

he was in the basket. Oh sure. He was in the basket. Prove it. I’m not crazy. My intelligence is true. My jealousy is reasonable. 

Paul Nicholas

Yes. There you go. 

Gideon Rappaport

Which 

Paul Nicholas

makes you sound even more ridiculous. Which makes it funny. 

Todd Scofield

Yeah. 

Paul Nicholas

And then you say something ridiculous like, pluck out all the linen. 

Todd Scofield

Speaking of plucking out all the linen. 

I thought you were gonna say We 

Paul Nicholas

switched it back. 

Todd Scofield

What did we switch back? 

Paul Nicholas

I was gonna say Robert and John emptied the basket there after pluck out all the linen, but we switched it back. ’cause we tried it once and it was weird. 

Todd Scofield

No, not that one. It’s before that I said well said brazen face. Hold it out. Come forth, sir. I thought you were gonna say that, that stage direction, he pulls clothes out of the basket. 

Paul Nicholas

Oh, I had not marked that one. But I can say it. That’s easy. I’m marking because I think, 

Todd Scofield

I think it’s helpful for the audience to know that that’s what he’s doing right there. Okay. And that’s another thing. That’s why I’m, I’m just like going like this and Mistress Ford, it’s like, are you not ashamed? What are you doing? Let the clothes alone. Yeah. She she even references it. Yeah. Which is 

Paul Nicholas

Why 

Gideon Rappaport

I thought 

Paul Nicholas

we, which is why I thought we didn’t need it. ’cause she, 

Todd Scofield

Which is why you thought we didn’t need it. Hmm. But 

Gideon Rappaport

but it gives her something to Work with. She can, 

Paul Nicholas

yes. I’ll say it. I’ll say it. 

Todd Scofield

Okay. 

Paul Nicholas

I’m sorry, Corina. Maybe that’s what you were waiting for too. 

Corinna Christman

Yeah. I thought you were gonna say it, but I, yeah. 

Todd Scofield

Yeah. 

Corinna Christman

So you are gonna say it this time. 

Paul Nicholas

I am gonna say it. Okay. While we’re in this little section, this is really out of order. But while we’re, I I don’t mean rude, I mean out of sequence, if you find a man there, he shall die. A fleas death. I think, I think Mr. Ford can say that with so much more confidence and condescension if you want. ’cause you know, there’s no man in there. 

You, you, he is making an absolute ass of himself in front of his friends. You can have as much fun as you want with that. 

Corinna Christman

Okay. 

Paul Nicholas

I think it can be, it can be dismissive, it can be condescending. Well, whatever. But it’s not, it’s not, it’s not nonchalant. 

Corinna Christman

Okay. Yeah. 

Paul Nicholas

That may not be the right word, but it’s not a throwaway line. You can have fun with that line. 

Corinna Christman

Okay. 

Paul Nicholas

Okay. I’m going back to my top of page now. First of all, I will say act three, scene three. I forgot to say that I forgot to mark that one until I said act four, scene two. And I realized I forgot to say it. So I will start the final read with that. And then you guys can enter, turn on Your cameras. 

Todd Scofield

Are, are you gonna say the John line in the second scene at one 11? Basically pray heaven at be not full of night again. 

Oh, crap. 

Paul Nicholas

Yes. Thank you. 

Todd Scofield

That hasn’t been cut. Okay. I wonder, I thought maybe. No. All right. It has 

Gideon Rappaport

Not been cut. I just, 

Paul Nicholas

I 

Gideon Rappaport

wondered The same thing. 

Paul Nicholas

Thank you everybody. I just forgot where is it? Where is it? Where is it? Where is it? 

Gideon Rappaport

Line one 12. Line 12. Yeah. 

Paul Nicholas

Okay. I’m gonna mark it. Okay. There. It’s okay. Back to the top. So, well, well, here was my next question, which we’ll also refer to John, do you all think we need to see Robin and John or just hear them? Don’t all speak at once, please. 

Corinna Christman

I Think you can just hear them. I think you can get away with just hearing them. 

Paul Nicholas

Okay. That makes me very happy. ’cause I’m trying to follow and read stage directions and go in and out. Plus, 

Gideon Rappaport

I don’t look 

Paul Nicholas

like a, 

Gideon Rappaport

But I, I would defer to the, I would defer to the actors if they need that or not. Yeah. 

Paul Nicholas

What Do you guys think? 

Corinna Christman

I’m just trying to look at the camera. So, But yeah. 

Paul Nicholas

So Michelle, I think you speak to Robin more. Well, you both, you both the ladies speak to Robin. Yeah. Do you, would, would you like to see him? 

Gideon Rappaport

Michelle, you’re mute. I would like to see Robin 

Paul Nicholas

Would Yes. Would, 

Michele Schultz

Yes. 

Paul Nicholas

Okay. And so we should also, if we’re seeing Robin, then we should also see John. 

Todd Scofield

Oh, I don’t think that necessarily follows. 

Michele Schultz

Hmm. Yeah. I think, yeah. Yeah. John and Robert don’t have to be seen. But Robin probably. Right? Is that right Michelle? Yes. 

Paul Nicholas

What I’m wondering is if you hear John’s voice and you don’t see him, well it doesn’t matter. I was gonna say, you might think it’s Robin speaking, but if you see him, it’s the same person playing Robin. You might think that anyway. Yeah. 

Corinna Christman

And Robin responds to us and John and Robert mostly. All right. I, I like appear to not even be responding to what like we’re ordering them to do. So I think if they’re not visible, it’s, yeah, Ivan actually has a kind of back and forth, you know, he answers us and yeah. 

Paul Nicholas

Okay. So let’s not see John. Well, but see thing is he’s alone on stage. ’cause Mrs. Ford says her piece and leaves. 

Gideon Rappaport

What line is that? 

Paul Nicholas

One 12. Why don’t we just cut it? What do you think? 

Gideon Rappaport

Oh, we’re in the second scene. 

Paul Nicholas

Yeah. 

Corinna Christman

Yeah. Second 

Paul Nicholas

scene one 12. 

Gideon Rappaport

Oh, I see. Probably having it not be full of night again 

Todd Scofield

for heaven. It’d be not full of night again. Yeah. So 

Gideon Rappaport

you could, you could, you don’t have to be seen there because you can be 

Paul Nicholas

But no one’s on screen. No one’s on screen if you’re not seeing me. ’cause Mrs. Ford just exited. 

Gideon Rappaport

Oh, I see. It’s, 

Todd Scofield

and there’s something, and then maybe there should be somebody for Ford to speak to. 

Paul Nicholas

Well, Ford is speaking to his friends when he walks in. 

Todd Scofield

No, I’m not. 

Michele Schultz

I’m speaking. 

Todd Scofield

Yeah, 

Michele Schultz

he’s talking, he’s talking to John, talking to 

Todd Scofield

John, speaking to them with the basket. Right, right. 

Paul Nicholas

Yeah. Right, Right. Wait, 

Gideon Rappaport

you don’t go out yet though, right? Ford doesn’t go out. 

Paul Nicholas

No. 

Gideon Rappaport

So 

Todd Scofield

This isn’t Ford’s entrance. Ford enters and sees, immediately sees the basket. Oh, 

Gideon Rappaport

You’re right. So yeah. No way of, Yeah, I exit then there’s the line, then Ford enters. Yeah, Yeah, yeah, yeah. 

I 

Paul Nicholas

don’t have a easy solution. Wait a minute. Wait a minute. Wait a minute. Wait a minute. Let’s try something. Let’s try cutting the line. 

Let’s try Mistress Ford saying quickly dispatch and exiting. And as Ford, let’s have, let’s have Mrs. Ford not exit. 

Corinna Christman

Okay. So 

Paul Nicholas

Mrs. Ford says, quickly dispatch Ford. I the stage direction says Ford enters with his friends. 

Ford says, sit down the basket villain. 

And his next line is, come hither Mrs. Ford. Let’s just pretend that she never left. 

How y’all feel about that? 

Todd Scofield

So Mistress Ford is holding the basket. 

Paul Nicholas

No, we are gonna pretend that John is on stage, but we’re, we’re not gonna see him. We’re not gonna hear him either. 

Todd Scofield

Okay. So you’re cutting, pray heaven it be not full of night again. 

Paul Nicholas

I think so. I think so. And so, Mrs. Ford, let’s pretend if we were on stage, you would’ve entered stage right through the front door and she would be standing stage left about to go exit, to go set up the plan or to go dress false at, but you catch her and you go, whoa, whoa, whoa, whoa, whoa, whoa. Come here for a second. Lemme talk to you. 

Gideon Rappaport

Yeah, I think that moves better. I agree. Yeah. Okay. So just don’t exit and don’t do that line. Right. 

Paul Nicholas

So we don’t have blank. We don’t ever have blank screen. 

Corinna Christman

Okay. 

Todd Scofield

You’re cutting a joke. Your joke, Paul. Hmm? I can 

Paul Nicholas

let go of that joke. Okay, I’m going back to my list. 

Todd Scofield

We lost Michelle. 

Corinna Christman

Is 

Paul Nicholas

she frozen? 

Todd Scofield

No, she’s just gone. Like she’s, she’s dropped off my screen completely. 

Paul Nicholas

Yeah, but she’s still in the participants list. She’s here. Oh no she’s not. She’s gone. 

Todd Scofield

I don’t even see her. I mean, what? I mean, I didn’t even see her screen. 

Corinna Christman

Yeah, yeah, she’s, 

Paul Nicholas

Yeah, she’s gone. The fifth person on the list is Jules. Okay. This is gonna make, this is gonna end up in the edit. So, okay. I’m going back to the top of my list. Karina. 

Corinna Christman

Yes, 

Paul Nicholas

you can, you can have more fun with talking to John and Robert. Remember we said, we said that she has told them at least three times she’s told ’em the plan, but Richard’s page is not convinced that they’re gonna get it. And to be honest, not convinced either. 

Corinna Christman

Okay. 

Paul Nicholas

So you can have fun with telling them again, like you can go, you are going to open the door and then you’re going and you can be like in their face. Step. Step, yeah. And you’re gonna do this and then you’re gonna push it. Right. And they’re not, you’re still not sure they’re getting it. 

Corinna Christman

Okay. 

Paul Nicholas

So that which, which makes Mrs. Page go, you are gonna do it. Yes. 

Corinna Christman

Yeah. Okay. 

Paul Nicholas

Okay. And we said yes. Do we do need to see Robin? So I will make that entrance. Ba blah. I’m just checking off what I’m think Mistress Ford. Yes, there’s Michelle. Hi. 

Gideon Rappaport

Can I just add Carina that that might help just to think about this as the normal day that they take the laundry basket out. 

Is is not what they’re doing. You’re telling them to go against the norm. Yes. Okay. This is not your routine. 

I understand that. But just do what I’m telling you. Also, they normally don’t dump the basket into the, you know, the muddy ditch. So you’re building a case to convince them. 

Paul Nicholas

Yes, exactly. Okay. 

Corinna Christman

I 

Paul Nicholas

know this sounds weird guys, but just do it. 

Corinna Christman

Yes. 

Paul Nicholas

Let us find some places Carina, where you can hiss. 

Corinna Christman

I was, that was my one big question. So, because I don’t have that many lines, like it’s mostly false staff talking there. So I have, believe me, there’s no such thing. So I could be like, 

Paul Nicholas

Oh well yes, you could do that. Or do you want me to just hiss 

Corinna Christman

like after the line sort of, 

Paul Nicholas

Or Yeah, That’s what 

Corinna Christman

I was, 

Paul Nicholas

So it could start on the line a plain ef because he’s getting 

Corinna Christman

Okay. 

Paul Nicholas

Getting, he’s getting pretty handsy. 

Corinna Christman

Okay. So do you want me to try to hiss within the words, I guess was my thing? Or just like end the line? 

Paul Nicholas

So, or 

Corinna Christman

that one neither 

Paul Nicholas

If we could, if we could pull it off so that it starts with words and then you just go straight to hissing. That might be funny. 

Corinna Christman

Okay. So 

Paul Nicholas

for example, my brows become nothing else. 

Corinna Christman

Okay. 

Paul Nicholas

Nor that. Well neither. 

Corinna Christman

Okay. Did I miss something? What is this? Hissing 

Paul Nicholas

She, Mrs. Mrs. Page says, if I don’t, if I don’t answer, my cue hits me. 

Gideon Rappaport

Oh, So you’re trying to incorporate some scene into the, 

Paul Nicholas

Which means if I don’t play my part right, be a good audience member and hits me off the stage, but it also means it can go to get me to show up. 

Gideon Rappaport

Okay. So there’s, we’re not implying that mistress page is failing in her acting, right? 

Paul Nicholas

No, she’s, but she wants her to enter. 

Gideon Rappaport

Okay. So We need to hear too close. We need to hear as different from hissing her off the stage. ’cause she’s a bad actor. 

Paul Nicholas

Right? Okay. 

Corinna Christman

So It’s the difference. 

Paul Nicholas

If you could try one on the ELs and then wait your next Yes. And then your next line is, believe me, there’s no such thing in me after that. Or be or after. Believe me, you could go. 

Corinna Christman

Okay. All as Shakespeare might say T Yeah, T Pro Probably PSST is better for our audience. 

Paul Nicholas

Yeah. 

Corinna Christman

Okay. So 

Paul Nicholas

the first one is you try it in a word else. Okay. And the second one is you just say, 

Corinna Christman

Right, 

Paul Nicholas

Because she didn’t hear you. And then the third one you just yell her name. 

Corinna Christman

I’m yelling Mistress page. Yeah. Okay. Alright. 

Paul Nicholas

While we’re there, Todd. 

Todd Scofield

Yeah. 

Paul Nicholas

What’s another way that, what made me love you could be interpreted. ’cause right now it sounds like, it sounds like when you entered the scene, oh my love, I’ve found you, you are with the most beautiful bird with the most beautiful feathers. When I wonder if it should be, what do you mean? You’re, you’re not special. How would someone like me ever love you if you weren’t special? I think, is that what you mean? 

This is an open discussion. I’m not trying to be prescriptive. 

Todd Scofield

What made me, 

Gideon Rappaport

If not what made me love you. 

Paul Nicholas

Right. She says there’s no such thing in me. And it is such a conceited thing to say 

Todd Scofield

Basically. It, it’s like, I don’t know how, but in their day. ’cause you know, sometimes he leaves out words we would say, then what made me love the 

Paul Nicholas

Exactly. 

Gideon Rappaport

Correct. 

Paul Nicholas

Exactly. Just leave out the bed. 

Todd Scofield

Yeah. 

Paul Nicholas

It’s 

Gideon Rappaport

it’s an argument. He’s making an argument. 

Paul Nicholas

Right. It’s something that Arthur Fonza would say, 

Todd Scofield

What made me, yeah. Let that persuade. Yeah. 

Gideon Rappaport

Here’s proof. 

Todd Scofield

Clearly there’s something in you that made me fall in love with you. 

Paul Nicholas

A guy like me, someone as special as me 

Todd Scofield

Called money. I mean, what? 

Gideon Rappaport

Beauty. Beauty. Not money. I swear it’s beauty. 

Paul Nicholas

Oh, is my computer about to die? Gimme a second. Don’t die on me. Don’t die on me. Are we back? Yes, I am in business. Okay, great. And Todd? Yeah. 

Todd Scofield

Oh, 

Gideon Rappaport

let’s just add to the, to that line, the, that in the next sentence is that fact that I came to love you because of your beauty. Let that persuade you. 

Todd Scofield

Yeah, yeah, yeah. 

Gideon Rappaport

Okay. 

Paul Nicholas

And I, I will protect you after the reading is over from Gideon’s Wrath. If you wanna break the pronoun laws in what made me lovely. 

If you want to hit the me, we, we won’t see Gideon after tonight, so he will not be able to reach through the screen and 

Todd Scofield

No, I don’t, I don’t, 

Gideon Rappaport

I don’t wanna hit that My, my fierce power here. 

Todd Scofield

I don’t want to hit that. I think that muddies the waters. 

Paul Nicholas

Okay. 

Gideon Rappaport

That’s what I like to hear. 

Paul Nicholas

Eh, I know that this is for Karina, but I don’t remember where this note is 

Todd Scofield

Because Paul, how could I look at Ellen O’Brien in the face again if I did that? I 

Paul Nicholas

True Ellen and Gideon would be best friends, I think. Oh, I know what this is Karina. Yeah. 

So you do, so you do right now is sounding like nay, I should tell you this so that you know it. But what you’re saying is, oh, yes sir, you do deserve how much I love you. 

Corinna Christman

Oh, okay. Yeah. 

Paul Nicholas

So I don’t, that needs to be separated. 

Corinna Christman

Okay. It’ll help to understand that the so means. 

Oh you do? 

Paul Nicholas

Because he says, I’ll you say only God knows how much I love you, which is sarcasm. He doesn’t know it’s sarcasm. And he goes, I’ll deserve your love. And you’re saying, oh yes. 

Gideon Rappaport

Y you do deserve my love. You 

Paul Nicholas

do deserve the way I love you, 

Gideon Rappaport

The way I love you, the Way I love you. Right. Okay. So, so, so means, so has the full meaning of that, the true way that I really love you, which is that I hate you or I’m furious with you. Okay. 

Paul Nicholas

So if it helps to, it should help to think of it that way. But if it also helps to put a little bit of a separation between, I must tell you and the next phrase that might help too. Yeah. 

Corinna Christman

Okay. 

Paul Nicholas

It’s almost like you’re saying, oh, you definitely do, but Shakespeare gave you some other words before that to say it. 

Corinna Christman

Right. 

Paul Nicholas

What’s better? 

Gideon Rappaport

Yeah. Just so means deserve it. You do deserve it. 

Paul Nicholas

Michelle, this is a question. Do you think Mrs. Page has rehearsed a script or is she just enjoying being an actor? 

Michele Schultz

I think it’s, I think it’s mostly improv. I mean, we have the general gist of what we’re going to be doing, but I, but I think it, you know, she’s, she’s really having some of it up quite a bit. 

Paul Nicholas

I think so. And if this doesn’t work, let me see where I am. Nope. I’m not there yet. Nevermind. 

Gideon Rappaport

It’s part of, it’s part of the ness that they can come up with these Yes. Terms on the spur of the moment. It’s part of what makes them lovable. 

Paul Nicholas

I don’t wanna overdo this, but like if we were on stage, we might have some fun with, she would say, if you were going to bucking, I might have Mr. Ford go, no, no, no, no, no. That’s not what we were supposed to say we have go to Dutch at meet, and then you would go, oh. Oh. Right, right. It’s, it’s bleaching time. Let’s send a, but we don’t really have that sort of space. 

But I think Mrs. Page is having so much fun and sometimes she goes a little too far. Eddie. 

Michele Schultz

Yes. 

Paul Nicholas

What’s my next thing? What’s my next thing, Todd? Wait, why do I, why do I write this down? How you, how have you deceived me? I think this was one of the ones that Gideon mentioned. I think you said how you have deceived me, right? 

Michele Schultz

Yeah. Yes. I, I I have that underline now. 

Paul Nicholas

Foul linen. Michelle, just make sure we hear that it’s foul linen. That last time it sounded like one word. 

Michele Schultz

What? What line is this? 

Paul Nicholas

I, I don’t know. Some. I just wrote foul linen in my notes. 

Michele Schultz

Okay. 

Paul Nicholas

Foul linen. Cover him with foul linen. I Think that’s probably the first scene. 

Michele Schultz

They one 30? Yeah. 30. Okay. Yep. 

Paul Nicholas

There it is. I got it. Foul linen. Todd, are you doing 

Gideon Rappaport

And linen, Just to, just to clarify, linen is underwear. 

Paul Nicholas

Yes. Oh, so foul linen. Ooh. Todd, are you gonna do the kisses? The attempted kisses? Are you doing one? 

Todd Scofield

Right, but that Yes. That’s at the beginning of the next scene, right? 

Paul Nicholas

Yeah. That was my next note. Yeah. 

Todd Scofield

Yeah, yeah. I forgot. 

Paul Nicholas

Okay. 

Todd Scofield

Wait, was there more than one? I thought it was just right before, but are you sure of your husband now? I 

Paul Nicholas

thought there was that one and then there was another one. When Mrs. Page goes, Mrs. Ford, is there only one? 

I don’t care 

Todd Scofield

what ho. Gossip Ford. Oh, I see. Right, right, right. Do it right. Yeah. Okay. Yep. And 

Paul Nicholas

Michelle, don’t, you don’t feel like you have to wait for the kisses? Your timing is perfect. 

Michele Schultz

Okay. It it, yeah. It, it, it’s, it’s just whether my laptop obeys me. Well, if not, 

Paul Nicholas

Todd is going to smudge the screen. Corina, you can whisper. Speak louder. 

Corinna Christman

Okay. 

Paul Nicholas

I’m trying to speed through these. I, oh, here’s where I thought, I don’t know. This might be crazy. I may just leave this alone. I wondered if Mrs. Page was going off script and she says when she says, I’m glad the Fat Knight is not here. Mrs. Ford is waiting for you to say your husband’s coming. And so Mrs. Ford has to go. How near is he like to try to 

Corinna Christman

Yeah. 

Paul Nicholas

Get back on script. I, I’m wondering if that would be funny. I don’t know. And, and I had the same note that Gideon had, that those lines should be bigger. I’m glad the Fat Knight is not here. You said it twice. 

Michele Schultz

For For for for false stock. Yeah. 

Paul Nicholas

Right. Yeah. Forget what, forget where I was going with that. Nevermind. Okay. 

Michele Schultz

As 

Paul Nicholas

long as they’re bigger. I think what will make it land is if those lines are bigger for him and Mrs. Ford is going, well, we need to really scare him. So I need to get you to say where my husband is. So how near is he when fall staff leaves? The second time you guys can crack up again. You can have another even bigger laugh. ’cause this is amazing. 

Gideon Rappaport

Yeah. I I have the same note. Yeah, 

Paul Nicholas

we’ll try that. Gideon already gave that note. Still swine eats all the draft. Todd, I like how you handled talking to your friends without inserting the word gentleman. 

Did you come up with something or, or did you just, it seemed to me like you looked elsewhere and you, it seemed to me like you’re saying to your wife, my friends and I are simple men. 

Todd Scofield

Yes. We 

Paul Nicholas

don’t understand numbers and witchy and witchcraft and all that stuff. 

Todd Scofield

Yes. Which works. 

Paul Nicholas

That works for me. 

Todd Scofield

Great. Because 

Paul Nicholas

earlier we, last week, we were saying, could you find a word to make it clear that you’re talking to your 

Todd Scofield

friend? Yeah. Yeah. 

Paul Nicholas

I think what you did is fine. 

Todd Scofield

Great. 

Paul Nicholas

Last note. Karina, shall we tell our husbands how we have, excuse me, how we have whatever. I think what you mean is, and Gideon can correct me if I’m wrong. You don’t mean, do you think we should tell them what we’ve done? I don’t think that’s what you mean. What you mean is we were always gonna tell ’em what we’ve done. What you mean is, do you think is now the good time to tell them? 

Michele Schultz

Yes. I think that’s what you mean. That’s good. Okay. I I had one more note, which I didn’t write down Todd. At 1 75, we know what’s brought to pass under the profession of fortune telling. 

Todd Scofield

Yes. So 

Gideon Rappaport

Fortune telling is telling the future, but it’s not causing it. And he’s accusing her of what she causes to happen. Like a witch under the guise of simply telling a fortune. 

Todd Scofield

Okay. 

Gideon Rappaport

So those can mean two different things. We don’t know what’s brought to pass under the, under her professing to be just a fortune telling, as bad as that is causing things to happen is worse. 

Todd Scofield

Gotcha. Okay. 

Paul Nicholas

Good work 

Gideon Rappaport

You guys. 

Paul Nicholas

It was really good. So Karina, I’m, I’m not, I don’t wanna belabor it, but it, the other option is you could be saying with that line, you could be saying, okay, why don’t we go tell them? Okay. 

Corinna Christman

It could be that or do it could be. 

Paul Nicholas

What do you think? It’s now a good time to tell ’em? But you’re not asking permission. I mean, you, you, there’s no way you are not gonna tell them. 

Corinna Christman

Okay. 

Paul Nicholas

Can we, would y’all mind if we just take a few seconds and practice this new, where’s the thing with John? Set down the basket, Dylan. 

Corinna Christman

Oh, is that 

Paul Nicholas

the first scene or second scene? Second scene. 

Corinna Christman

Second Scene 

Paul Nicholas

Where we’re cutting the John line. 

Corinna Christman

Line one 10 or right around there. 

Paul Nicholas

Yes. Thank you. So Karina go from, are you ready, Todd? 

Todd Scofield

Yep. 

Paul Nicholas

Let’s just practice this entrance. Okay. Where am I? Here we are. So I’m gonna say Mrs. Ford enters with John and Robert and the buck basket. And then there’s go Karina and we’ll go to come hither. Mrs. Ford. Yeah. 

Todd Scofield

Okay. So 

Paul Nicholas

go off stage Todd. Mr. Ford enters with Robert and John and the buck basket 

Corinna Christman

Goers. Take the basket again on your shoulders. Your master is hard at door. If he bid, you set it down. Obey him quickly. Dispatch 

Todd Scofield

Are, I’m sorry. Are you not gonna say enter? They enter. 

Paul Nicholas

Oh, I’m such a jackass. Sorry. See, this is why we practice. Thank you. 

Todd Scofield

One more time. One more time. 

Paul Nicholas

One more time. Here we go. Mrs. Ford enters with Robert and John and the Buck basket 

Corinna Christman

Goers. Take the basket again on your shoulders. Your master is hard at door. If he bid, you set it down. Obey him quickly. Dispatch 

Paul Nicholas

Ford enters with his friends. 

Todd Scofield

Set down the basket Villain, thumb hitter Mistress Ford. 

Paul Nicholas

Yeah, I think that works. 

Todd Scofield

Yep. Sure. 

Paul Nicholas

All right. Questions, thoughts, complaints, criticisms. No, 

Gideon Rappaport

you’re not vi visible. That’s my only criticism. There you are. All right, 

Paul Nicholas

let’s rock and roll. What do you think? Yeah. Everybody good? 

Corinna Christman

Yeah. 

Paul Nicholas

Okay. Todd, take it easy. All right, everybody go away and I’ll do the stage direction. And let’s rock and roll the merry Wives of Windsor Act three. Scene three. 

Corinna Christman

What? John, what Robert? Quickly, Quickly Is the buck basket. I warrant what Robert? I say 

Paul Nicholas

Enter John and Robert with a large laundry or buck basket. 

Michele Schultz

Come, come, come Here. Set it down. Give your men the charge. We must be brief. Mary, as I told you before, John and Robert, be ready. Hear hard by in the brew house. And when I suddenly call you, come forth. And without any pause or staggering, take this basket on your shoulders that done trudge with it in all haste and carry it among the sters and dash at mead. And there, empty it in the muddy ditch. Close by the tha side. You will do it. 

I had told them over and over, they lack no direction. 

Be gone and come when you are called John 

Paul Nicholas

and Robert exit, There 

Michele Schultz

comes little Robin. How now my is musket. What news with you? 

Paul Nicholas

My master, sir John has come at your back door, Mrs. Ford, and requests your company, 

Michele Schultz

You little jacka l Have you been true to us? 

Paul Nicholas

I, I’ll be sworn, my master knows not of your being here and have threatened to put me into everlasting liberty. If I tell you of it for he swears he’ll turn me away. 

Michele Schultz

That a good boy? This secrecy of mine shall be a tailor to thee and shall make the a new doublet and hose. I’ll go hide me. 

Do so. Go tell thy master I’m alone. 

Mistress page, remember you, your cue. I warrant the, if I do not act it hit me. 

Go to that. We’ll use this unwholesome humidity, this gross washery pumpkin. We’ll teach him to know turtles from Jays. 

Todd Scofield

Have I caught the, my heavenly jewel? Why now let me die for I have lived long enough. This is the period of my ambition. All this blessed hour. 

Corinna Christman

Oh, sweet. Sir John 

Todd Scofield

Mistress. For I cannot cog, I cannot pray mistress forward Now, shall I sin in my wish? I would. Thy husband were dead. I’ll speak it before the best Lord. I would make thee my lady. 

Corinna Christman

I your lady, sir John aas. I should be a pitiful lady. 

Todd Scofield

Let the court of France show me such another. I see how thy iye would emulate the diamond. Thou has the right arched beauty of the brow that becomes the ship tire. The, the tire valiant or any tire of Venetian admittance 

Corinna Christman

Playing kerchief. Sir John, my brows become nothing else nor that. Well, neither, 

Todd Scofield

neither Thou to Tyra to say. So thou woulds make an absolute court here. And the firm fixture of thy foot would give an excellent motion to thy gate in a semi-circle. Farthing Gale. I see what thou word. If fortune thy foe were not nature th friend, come. 

Our cans not hide it. 

Corinna Christman

Believe me, there’s no such thing in me. 

Todd Scofield

What made me love you? Let that persuade me. There’s something extraordinary in me. Come, I cannot cog and say thou this and that. Like in many of these Li Hawthorn bugs that come like women and men’s apparel and smell like butlers bury and simple thyme. I cannot. But I love the nun. But the and thou deserves it. 

Corinna Christman

Do not betray me, sir. I fear you love mistress Paige. 

Todd Scofield

Oh, Mike says, well say I love to walk by the counter gate, which is as hateful to me as the rak of a lime kiln. 

Corinna Christman

Well, heaven knows how I love you and you shall one day find it. 

Todd Scofield

He in that mind I’ll deserve it. 

Corinna Christman

Nay, I must tell you. So you do. Or else I could not be in that mind. 

Paul Nicholas

Mr. S Ford. Mr. Ford. Mr. S Ford. Mr. S Ford. Here’s Mrs. Page at the door sweating and blowing and looking wildly. And woods knees speak with you presently, 

Todd Scofield

She shall not see me. I will. And sconce me behind the hes 

Corinna Christman

Pray. You do so. She’s a very tattling woman. 

Paul Nicholas

Full staff stands behind the Hess. 

Corinna Christman

What’s the matter how now? Oh, mistress Ford. What have you done? You are shame. You are overthrow. You’re undone forever. What’s the matter? Good Mistress Paige. Oh, well A day Mistress Ford having an honest man to your husband to give him such cause of suspicion. 

What Cause of suspicion. What cause of suspicion out upon you. How am I mistook you? Why Halas? What’s the matter? 

Your husband’s coming here. The woman with all the officers in Windsor to search for a gentleman that he says is here now in the house by your consent to take an ill advantage of his absence. 

You’re undone. It’s not So I hope, Oh, pray heaven. It be not so that you have such a man here, but his most certain. Your husband’s coming with half Windsor at his heels to search for such a one. I come before to tell you if you know yourself clear why I am glad of it. If you have a friend here convey, convey him out. 

Be not amazed. Call all your senses to you. Defend your reputation or bid farewell to your good life forever. 

What shall I do? A gentleman, my dear friend and I fear not my own shame so much as his peril. Rather than a thousand pounds. You were outta the house For shame. Never stand it. You had rather, and you had rather your husband’s here at hand, but think you were some conveyance in the house. You cannot hide him. Oh, how have you deceived me? Oh Look, Here is a basket. If he be of any reasonable stature, he may creep in here and ro foul linen upon him as if it were going to bucking. Or oh, it is waiting time sent him by your two men to dash it. Me. He’s too big to go in there. What shall I do? 

Todd Scofield

I see it. Let see it. Oh, let me see it all in. I in. Follow your friend’s, counsel all in 

Michele Schultz

What the job foster. Were those your letters Knight 

Todd Scofield

Love the mistress page. Help me away. Let me creep in here. I’ll never 

Paul Nicholas

Mistress Page pushes fo staff into the basket. They cover him with dirty clothes. Dirty clothes. 

Michele Schultz

Help to cover your master Robin. Call your men Mr. Mrs. Ford. You dissembling Knight. What? John? Robert. John. 

Paul Nicholas

Robert and John Enter. 

Corinna Christman

Go take up these clothes here quickly. Where’s the cow staff Cow you jumble. 

Carry them to the laund at dash at mead. Quickly come 

Paul Nicholas

Enter forward with his friends. 

Todd Scofield

Pray. Here come near. If I suspect without cause, why then make sport it me then let me be your jst. I deserve it. How? Now wither bear you this. 

Corinna Christman

Why? What have you to do? Whether they bear it, you were best metal with buck, washing 

Todd Scofield

Buck Would I could wash myself of the buck B bock, bock I buck. I wanted you Buck. End of the season. Two. It shall appear Robert 

Paul Nicholas

and John exit with the buck basket 

Todd Scofield

Up. Gentlemen, you shall see sport and non follow me gentlemen, 

Paul Nicholas

Ford and his friends exit. 

Michele Schultz

Is there not a double excellency in this? I know not. Which pleases me better that my husband is deceived or Sir John, What the taking was he in when your husband asked who was in the basket? 

I’m afraid he would have need of washing. So throwing him into the water will do him a benefit. 

Hang him. Dishonest rascal. I would all have the same strain. Were in the same distress. I think my husband has some special suspicion of false staffs being here for I never saw him so gross in his jealousy till now. I will lay a plot to try that. And we will yet have more tricks with false staff. 

His dissolute disease will scare, obey this medicine. 

Shall we send that foolish carry on mistress quickly to him and excuse his throw into the water and give him another hope. Betray him to another punishment. We will do it. Let him be sent for tomorrow. Eight o’clock to have amends. 

Paul Nicholas

Act four, scene two, 

Todd Scofield

Mistress Ford, your sorrow has eaten up my sufferance. I see you are obsequious in your love. And I Professor Kal to a hair’s breath. Not only Mistress Ford in the simple office of love, but an all the accoutrement compliment and ceremony of it. But are you sure of your husband now? 

Corinna Christman

He’s a birding. Sweet Sir. John, What? How? Gossip phone. What? How? Step into the chamber. Siron. 

Todd Scofield

Ah. 

Michele Schultz

Oh. Now sweetheart, who’s at home beside yourself? Why none But my own people Indeed. No. Certainly speak louder. Truly. I am so glad you have nobody here. 

Why? Why woman. Your husband is in his old loons again. He so takes on yonder with my husband. So rails against all married mankind. So curses all eve’s daughters of what? Complexion. And so himself on the forehead crying out out that any madness I have ever, I ever yet Beal seems but timeless civility and patience to this is distemper he is in. Now I am glad the fact knight is not here. 

Why does he talk of him? Of none but him and swears he was carried out the last time he searched for him in a basket test to my husband. He is now here and has drawn him and the rest of their company from their sport to make another experiment of his suspicion. 

But I am glad the night is not here. Now he shall see his own foolery. How near is he mistress Paige? 

Hard by at street end he will be here and on. 

I’m, I’m done. The night is here. What? Then you are utterly shamed and he’s but a dead man. 

What a woman. Are you away with him? Away with him? Better shame than murder. 

Which way should he go? How should I bestow him? Shall I put him into the basket again? 

Todd Scofield

No. I’ll come no more in the basket. May I not go out Air he come. 

Michele Schultz

Alas, three of Master Ford’s brothers, watch the door with pistols That nun shall issue out. Otherwise you might slip away. Air he came. But what make you here? 

Todd Scofield

What shall I do? I’ll creep up The chimney. 

Corinna Christman

They’re, they always used to discharge their birding pieces Creep into the kill hole. 

Todd Scofield

Where is it? 

Corinna Christman

He will seek there on my word neither press coffer chest trunk bolts. But he has an abstract for the remembrance of such places and goes to them by his note. There is no hiding. You in the house. 

Todd Scofield

I’ll go out then 

Michele Schultz

If you go out in your own semblance, you die. Oh sir John, unless you go out disguise, How might we disguise him? Oh, I lost the day. I, I know not there’s no woman’s gown big enough for him. Otherwise he might put on a hat, a muffler at church. And so escape 

Todd Scofield

Good hearts. Devise something. Any extremity rather than a mischief. 

Corinna Christman

My maid’s aunt, the fat woman of Brentford has a gown above. Oh my word. It’ll serve him. She’s as big as he is. 

And there’s a thro hat and a muffler too. Oh one. Not Sir John. Go. Go. Sweet, sir. John mistress Paige and I will look some linen for your head. 

We’ll come dress you straight. Put on the gown a while. 

I would, my husband would meet him in the shape. He cannot abide the old woman of brentford. He swears she’s a witch. Forbade her my house and have threatened to beat her Heaven. Indicted to thy husband’s cudgel and the devil guide the cudgel afterwards. But is my husband coming? 

I in good sadness is he And talks of the basket too. Howsoever. He had had intelligence. We’ll try that for all. Appoint my men to carry the basket again to meet him at the door with it as they did last time. No, but he’ll be here presently. Let’s go dress him like the witch of Brent Brentford. 

I’ll first direct my men what they shall do with the basket. 

Go up. I’ll bring linen for him. Straight. 

Hang him. 

Todd Scofield

Dishonest 

Michele Schultz

Violet. We cannot misuse him enough. We’ll leave a proof by that, which we will do. Why many Mary? And yet honest two, we do not act that often. Jest and loft. It is old but true still. Swine eats all the drop. 

Paul Nicholas

Mrs. Ford enters with Robert and John who bring the buck baskets. 

Corinna Christman

Go, sir, take the basket again on your shoulders. Your master is hard at door. If he bid, you set it down. Obey him quickly. Dispatch 

Paul Nicholas

Ford enters with his friends. 

Todd Scofield

Set down the basket villain. Come here There. Mistress Ford. MSS Ford. The honest woman. The modest wife, the ous creature. That half the jealous fool to her husband. I suspect without cause. Mistress. Do I 

Corinna Christman

Heaven be my witness. You do. If you suspect me in any dishonesty. 

Todd Scofield

Well said brazen face. Hold it out. Come forth, sir. 

Paul Nicholas

He pulls clothes out of the basket. 

Corinna Christman

Are you not ashamed? Let the clothes alone. 

Todd Scofield

I shall find you anon. Empty the basket. I say 

Corinna Christman

Say why man. Why? 

Todd Scofield

As I am a man. There was one conveyed outta my house yesterday in this basket. Why may not he be there again in my house? I am sure he is. My intelligence is true. My jealousy is reasonable. Fuck me out all the linen. 

If you 

Corinna Christman

find a man there, he shall die. A fleas death. 

Paul Nicholas

Robert and John empty the basket. 

Todd Scofield

Well, he is not here. I seek for 

Paul Nicholas

Robert and John refill the basket and carry it off. 

Corinna Christman

What home? It’s just Paige come. You and the old woman down. My husband will come into the chamber. 

Todd Scofield

Old woman. What old woman’s that? 

Corinna Christman

Oh, Wyatt is my maid’s. Aunt of Brentford. 

Todd Scofield

A witch, a queen, an old cousining queen. Have I not forbid her my house? She comes with errands. Does she? We are simple men. We do not know what’s brought to pass under the profession of fortune. Telling. She works by charms, by spells, by the figure. And such as this is beyond our element. We know nothing. Come down your witch. Ha you come down. I say, 

Corinna Christman

Hey, good, sweet husband. Good gentlemen. Let him not strike the old woman. 

Paul Nicholas

Misre page enters with false staff disguised as an old woman. 

Michele Schultz

Come Mother Prat, come give me your hand. 

Todd Scofield

Ow. Prat her out my door. Your witch. You rag your baggage, your pole cap. You run out out. How come are you? How fortune tell you 

Paul Nicholas

Staff runs out. 

Michele Schultz

Are you not ashamed? I think you have killed the poor woman. Nay. He will do it. Tis goodly credit for you 

Todd Scofield

Or witch. Will you follow? Gentlemen? 

Paul Nicholas

Ford exits with his friends. 

Michele Schultz

Trust me, he beat him. Most pitifully Name by the mass that he did not. He beat him most un pitifully me. I’ll have the cudgel hallowed and hung all the altar. It has done meritorious service. 

What? Thank you. May we with the warrant of womanhood and the witness of a good conscience, pursue him with any further revenge. 

The spirit of Wantonness is sure scared out of him. 

If the devil had him not and be simple with fine in recovery, he will never, I think in the way of waste, tempt us again. 

Shall we tell our husbands how we have served him? 

Yes, by all means. If it be, but if it be. But to scrape the figures out of your husband’s brains. 

If they can find in their hearts the poor on virtuous fat Knight shall be any further afflicted. We too will still be the ministers I warrant. They’ll have him publicly shamed and me thinks there would be no period to the jest. Should he not be publicly shamed, Come to the forge with it, then shape it. I would not have things. Cool. 

Paul Nicholas

Bravo. 

Gideon Rappaport

Good job. Good performance. 

Paul Nicholas

Bravo. I was so caught up in watching that. I forgot I had lines. Bravo. That’s all I can say is bravo. That was wonderful. I would love to do this for real on stage with you guys. I mean, this was for real, but to like do it on stage. 

Michele Schultz

No, that’s, that’s just what, that’s just what I was thinking. Because what you can do kind of when you are, when the audience can see you, but the other characters can’t. I mean it’s, it’s, it’s like silent film comedy. 

Paul Nicholas

Lovely job. Any final thoughts? No, no more notes. Any final thoughts about this play, about these scenes, about your character? Any discoveries you made that you wanna share? 

Corinna Christman

Hmm. 

Paul Nicholas

Any big questions stuck in your craw? 

One thing that, 

Todd Scofield

Is it not necessarily a play that invites big questions? 

Paul Nicholas

It’s not. But we may have some questions, Jules. Yeah. 

Todd Scofield

May have some questions to pass on to us. 

Paul Nicholas

Who knows? 

Michele Schultz

One thing that I think of is how bored these women must be. Yeah, 

Todd Scofield

I like that. That’s a good point. ’cause this 

Michele Schultz

Is, I think of that The most fun they’ve had in Yeah, no, they’re having a blast. I’m really glad they have each other to do this with. But yeah, they’re just having so much fun. They’re coming up with it as they go and it just builds. Yeah. And if the play begins with, or early in the play, there’s a letter from fall staff to, to the ladies and they, they think, well, I’m, I’m past all this kind of play. Am I, am I this old and this married and this settled to be entertaining this kind of love letter now. 

And they take it up as a vehicle of fun. 

So you’re right. They’re, they’re, it’s an opportunity to have a kind of fun and that’s the ness. 

Paul Nicholas

Mrs. Page even says to Mrs. Ford, she doesn’t say this, but she implies my husband’s not jealous at all. 

Michele Schultz

All yes. 

Paul Nicholas

I, she says I’m as far from jealous he is as far from jealousy as I am from giving him calls. Yes. And she’s kind of implying I couldn’t have this much fun with my husband ’cause he wouldn’t buy it. He wouldn’t buy take the bait. 

Michele Schultz

Yeah. 

Paul Nicholas

We’re lucky. We can have a lot of fun with your husband. ’cause he’ll take the bait. 

Michele Schultz

At least he pays attention to you. Yeah. I sometimes, I’m not sure if Mrs. Ford and Paige, I think they have an age difference. Like Mrs. Paige has like marryable a daughter of Marryable age. Right. And it, and like several children. And it doesn’t seem like Mistress Ford does. So I don’t know if she just never had children or if they’re just different. 

I like in different stages of their marriages where, you know, a longer marriage, you might not be jealous as much anymore. You’re more comfortable. I, I think that’s might be part of it. 

Paul Nicholas

Probably tell us there may also be, back in those days, was a man more apt to be jealous when the wife had not born him any children? Does anybody know? 

Corinna Christman

Maybe that, I don’t think there’s a general rule about that. And I don’t think we’re told enough detail to know, but it’s certainly a way you could play it. 

Paul Nicholas

Yeah. And you could play Mrs. Page as old Mrs. Ford as older. Maybe the kids have grown up and married off. 

Corinna Christman

Yeah. Which makes the file staff’s, administrations all the more absurd. Yeah. 

Paul Nicholas

Join us. 

Juls Hoover

Hi guys. I have, this has been delightful listening and watching for Karina and Michelle. Do you feel like these two women have had a relationship before this? 

Michele Schultz

Oh yes. I, 

Todd Scofield

I 

Michele Schultz

definitely, I mean, I, I I think we’re, you know, we really are best friends and, and, and you know, possibly, you know, the most comfort that that that we have, you know, we, we may do the, the washing together and, you know, chat about the children and the other people in the village. I, I I think it’s definitely a longstanding relationship. Yeah. 

Juls Hoover

Do you think they’ve had a chance to play with each other like this? 

Michele Schultz

Not to this extent. I mean, this is full stop just presents such an opportunity. I mean, I’m sure they’ve had fun, but not, not something that indulges their, their ability to, to do improv like this does. Yeah. I think they joke a lot, but they haven’t had such an exciting opportunity to mess with someone. 

Juls Hoover

Your laugh tonight together was really lovely and sparkly and just delightful. Like, that was effervescent. Just that, that delight in the game of it all visual, 

Paul Nicholas

Even though you weren’t in the same room. It felt like a very, it really felt like a shared laugh. 

Juls Hoover

Yeah. 

Michele Schultz

Very much so. Yeah. 

Juls Hoover

Todd, did anything come out for you this time around any discoveries? 

Todd Scofield

Well, I mean, I think by, by the end of the second one, he is realized that he underestimated these women and they’re smarter than he is. And I don’t think that’s something that he even considered was possible before. 

Paul Nicholas

Do you think he thinks they’re smarter than he is? Or smarter than he thought they were? 

Corinna Christman

He 

Paul Nicholas

doesn’t think anybody’s smarter than he is. 

Michele Schultz

That’s my opinion. 

Paul Nicholas

I I don’t know that I’m right. 

Todd Scofield

Well that’s, that’s what he thinks in Henry fours. But I don’t know about this fall step’s a little different. 

Juls Hoover

Mm. Yeah. Yeah. That’s an in that’s interesting. 

Paul Nicholas

Would you agree with that, Gideon? 

Gideon Rappaport

Yes. But I I’d also remind you that he’s pressed by the need for funds. 

Todd Scofield

Yeah. 

Gideon Rappaport

And so whatever he thinks of them, he’s likely to be rationalizing his hopes, you know, in winning them over both of them. He wants to win both of them over. 

Todd Scofield

Yeah. Because 

Gideon Rappaport

it’s going to generate some income he thinks. Yeah. And what’s really funny is that he get, he writes the exact same letter. I think they say Jesus, you know, he’d say it’s almost like it was a Xerox if they had Xeroxes and he just wrote in the Mrs. Page and Mrs. Ford. 

Todd Scofield

Right. 

Gideon Rappaport

And he leans in earlier to say, I love you. Right. Don’t, don’t confuse why I’m here in this house. Yes. Just to keep it going. And, and he is brazen. He’s, and they recognize that he’s brazen. 

Paul Nicholas

And Mr. Ford says, I think you love Mrs. Page. And he says, oh my God, I can’t stand 

Corinna Christman

Mrs. Page. 

Todd Scofield

Yeah. 

Gideon Rappaport

Right. 

Juls Hoover

That ego man, 

Gideon Rappaport

Mistress page says, what have I escaped love letters in the holiday time of my beauty? And am I now a subject for them? 

And then she reads us the letter. Yeah. 

Juls Hoover

Gideon, has anything popped for you with this company? This company of actors and director? 

Gideon Rappaport

Well, what? 

Juls Hoover

Something new? Something New. 

Gideon Rappaport

What pops for me is how good they are and how they get better as we talk things through. It’s just a, was a just a rich performance. And it makes me kind of want to work on a production of the play, which I haven’t done in a long, long time. 

So, but I would say, I would stipulate it’s gotta be these actors. 

I felt like Paul, I’d like to, I’d like to do this with them on the stage. It would be a lot of fun. 

Paul Nicholas

Todd, 

Gideon Rappaport

Nothing, nothing popped as far as discovery in the play, particularly, except in the particular scenes and lines we were working on. 

But I have to say that whenever I focus on a Shakespeare play, things are popping all the time. Like, oh yeah, that’s what that means. Or, or oh, that’s that use of that word and that changes the color of the scene and so on. That’s constantly happening. 

Half the time when I’m giving notes, I’m giving notes in response to my discovery based on what you’ve said. 

The other half, I’m just being a curmudgeon and correcting you. But that half is always, you know, fun and interesting. 

This is slightly off topic, but 

Paul Nicholas

Gideon, have you worked on every play in, in the Cannon? 

Gideon Rappaport

No. No. Do, 

Paul Nicholas

Do you know how many you’re missing? 

Gideon Rappaport

No. Okay. I’ve worked on a lot, but not all of them. I mean, I could name some that I have not worked on. 

Paul Nicholas

Todd. Day one you said, how many have you not touched? 

Todd Scofield

Is it 

Paul Nicholas

six that you haven’t touched yet? 

Todd Scofield

No, it’s more than six. It’s, it’s probably 11 or 12. I’ve got about a third, two thirds. 

Michele Schultz

Ooh. Oh, that’s impressive. Yeah. 

Todd Scofield

I think I’ve got all the histories, but Richard the second. 

Gideon Rappaport

Oh, that’s a great play, 

Paul Nicholas

But, but hard to watch. 

Todd Scofield

Yeah. 

Gideon Rappaport

Not if it’s done right. Maybe 

Paul Nicholas

we sh next time we get together we should do a scene from that. 

Gideon Rappaport

Yeah. It’s got some great things in it. 

Paul Nicholas

Michelle and Corin, Corin, Carina. Keep wanting to say Corina. How many Shakespeare of Shakespeare plays have you worked on in whatever capacity? And I hope nobody asked me ’cause I don’t have an account. 

Michele Schultz

Oh gosh. Well, one thing is that I actually dropped out of acting shortly after I got my MFA and only got back into it about eight years ago. 

So, I mean, I’ve, I’ve done, I’ve worked on Othello, I’ve worked on Midsummer Night’s Dream, you know, just not that many because there, there just hadn’t been, you know, that many opportunities since I, since I got back. Oh. And I’ve also, also, when I was younger, I did work on Hamlet. Yes. Is there 

Juls Hoover

one that you’re drawn to 

Michele Schultz

Me? Boy, if I could do any role, I’d wanna do Cleopatra. 

Juls Hoover

Yeah. 

Michele Schultz

I I I love that. I love that there has so many good scenes in that. Yeah. 

Juls Hoover

Karina, 

Paul Nicholas

Karina, How many, 

Juls Hoover

I know 

Corinna Christman

I’m done just all the time. 

Juls Hoover

Which one are you drawn to? 

Corinna Christman

I, my earliest one. My first one is as You Like It. And I still love it just because Rosalyn has so much, you know, I don’t wanna say control, but she has so many great lines and just is really her own person and kind of makes the show what it is. And I, I’ve just always loved that, so that’d be my favorite. But I’ve done all the like, comedies that you can do outdoors. And then the only non-com, I, I directed Romeo and Juliet a while ago, but that’s the only, only one. So I’ve seen the histories and, but I just haven’t done much work with them. And the tragedies. 

Juls Hoover

Todd, is there a role that you’re drawn to? 

Todd Scofield

I’m actually playing it right now. Caplet? Yeah. I’ve been wanting to play Caplet for, for a while. 

I had a couple other like dream Shakespeare roles, but I, I already got a chance to play them, so, but Caplet was the one and I would say Lear eventually. Yeah. Yeah. I 

Gideon Rappaport

think you should do fall staff in Henry iv 

Todd Scofield

Paul staff and Henry four. Yeah. Yeah. 

Gideon Rappaport

I I think you’d be so great in it. 

Juls Hoover

Yeah. 

Todd Scofield

Thank you. Great. And 

Michele Schultz

I’d also love to do Queen Margaret. Oh yeah. In the history 

Todd Scofield

in which play though? 

Michele Schultz

Well you do the progression. 

Todd Scofield

Do the whole thing. Wow. Yeah. Yeah. 

Michele Schultz

From, from the, you know, the younger new queen to the cursing tag. 

Todd Scofield

Yeah, yeah. 

Juls Hoover

Cursing. 

Todd Scofield

I’ve had, I’ve had friends who like seriously involved Shakespeare friends who think Prince Mar, princess Margaret, Margaret has the best arc of any character in the Cannon. 

Gideon Rappaport

It’s a long one. Yeah. Very long one. Yes. 

Paul Nicholas

That’s not a farfetched thought actually. 

Juls Hoover

No. Yeah. Say do it, go after it for sure. 

Paul Nicholas

I mean, who Else, who else has an arc like that? Hal maybe? 

Gideon Rappaport

Yeah, Hal has a pretty good long arc. Paul, 

Juls Hoover

Stop. Paul to direct or act in and what have you done? How much have you done? 

Paul Nicholas

Oh, I, I’m just going to ballpark say that I’ve worked on 10, maybe 12 ballpark without sitting here, boring. Everybody, counting them. My dream role would be a fellow. I played it once in a tiny, tiny little theater in Long Island on the border of Queens in Long Island. 

And once I got to understudy it at my, at my theater home where Todd and I trained at the Shakespeare Theater and it was being played by a movie star, a movie actor. And I looked at the schedule and there were seven student matinees, seven of them, and three of them started at 10:00 AM and I thought, there’s no way he’s gonna do all of those. I’m going on for sure. And he did all of them. 

Corinna Christman

Oh, 

Paul Nicholas

I never got to go on, Who was it? 

Todd Scofield

Avery Brooks? 

Paul Nicholas

No, 

Todd Scofield

No, 

Paul Nicholas

No. Should we tell Ferran Farran Tahir. 

Todd Scofield

Oh Guy. The 

Paul Nicholas

bad guy. An Iron Man. 

Todd Scofield

Right, right. 

Paul Nicholas

But he was such a nice guy. I couldn’t get mad at him, but I was, I was off, I was thinking about offering him money to miss a show so I can, and I just auditioned for the Broadway one for two roles, and one of those roles would understudy Denzel. I don’t think they’re gonna give me that role, but 

Michele Schultz

I 

Paul Nicholas

would take any role in that play. Oh yeah. 

Todd Scofield

Who’s playing Igo in that? 

Paul Nicholas

Gillian Hall. Jake Gill Hall. 

Juls Hoover

Oh, right, right, right. 

Todd Scofield

That’s something, That’s right. Wow. That’s right. Wow. That’s 

Juls Hoover

such a sad play. 

Paul Nicholas

My favorite play in the Canon. To me it’s, and, and we are going, we, I don’t know if we have time to get into this, but I think it’s almost perfect play. Hmm. It’s the one play in the cannon where the only issues I have, this just my personal opinion, the only issues I have are some time jumps where they’re talking, talking in the evening, and all of a sudden it’s morning. Other than 

Gideon Rappaport

that, on, on purpose, he does that on purpose. 

Paul Nicholas

He does that a lot. But other than that, it’s an almost perfect play. 

Gideon Rappaport

It’s interesting you say that because the textual problems with Othello are huge. There are two authoritative sources and they have hundreds of differences. So editing Othello is, is an absolute nightmare, even though the main speeches are the same and consistent. The, the, the minor details vary a aah and you have to make all kinds of choices if you’re an editor or if you’re a director, choosing which text you’re going to use for the play. But the other thing about Othello is that it’s often played ending with Othello being heroic. And what Shakespeare meant was not that he, he thought of this suicide as a disaster and a tragic end and it, it says so in pots in the play. 

And so it’s, it’s rare to see it done like that, but I think it should be 

Juls Hoover

Really briefly coming back to me, wives, what was something that challenged each of you in this process? I’ll 

Gideon Rappaport

tell you what challenged me. And that was keeping track of the block as, because we picked out these two scenes and keeping them distinct and remembering which one we were in when this was happening, that, that took some doing 

Todd Scofield

For me. Like making, making sure I made sense of the pros. Because even though it’s not verse, a lot of it is worded in, in a convoluted way, or what, at least at first appears to be a convoluted way. So yeah, that was, that’s the challenge. 

Michele Schultz

Partly what, how Full Stop 

Todd Scofield

Speaks 

Michele Schultz

is that kind of weird convolution that he, it’s part of the character. For me it was, it was partly the, the language being so a a lot of times so, so different from contemporary English, but also the fact that when you have verse it is sometimes easier because it gives you a, a rhythm and a a a, a tempo. And when you’re just doing all Pros, you’ve kind of gotta make it all work on your own. 

Juls Hoover

Yeah. That’s beautiful. I, because sometimes the verse can lift and you can float on verse, 

Michele Schultz

It’s a scaffolding, it’s a Yeah, That’s absolutely right. It’s a, it’s one of my normal tropes that if you, if you get what Shakespeare’s doing with the verse, you don’t have to work as hard. 

And you’re right that in prose, you have to figure out what he’s doing with the prose and it takes a lot more figuring. Hmm. Reina, Oh, I think these scenes are just, it’s tricky to do, maybe partly on Zoom, but Mistress Ford is acting, it’s not, most of it’s not Mistress Ford her actual self. Like she’s listening to Fall staff acting like she’s interested, she’s performing with Mistress Page. So it’s, you’re not being Mistress Ford, you’re being Mistress Ford pretending to play this new game. So that was something to think about the whole time. 

Juls Hoover

Whereas versus Zoom versus being on stage, it’s a little more difficult. 

Paul Nicholas

Yes. Yeah. 

Corinna Christman

It’s, Yeah. 

Paul Nicholas

Well, I’m so pleased I could not be happier. I’m, I’m so grateful to each and every one of you. 

Juls Hoover

I think what’s interesting too with this whole process is the learning of it all and the giving yourself grace, you know, the idea that we don’t have to know everything and that like kind of opens everything up until like approach it with the beginner’s mind. Right. Like, and that allowing the discoveries to just kind of unfold. 

And I think you all just did just such a wonderful job and being there for each other and supporting each other through this process. It was really lovely. 

Gideon Rappaport

And having, having the time to do it. Yes. 

Todd Scofield

Yeah. Taking this time. 

Juls Hoover

Yeah. Well congratulations everybody, and please keep in touch and thank you. This was a real pleasure. Thank you to everybody, all our audience members for joining us on this ride. And again, next month we have Macbeth. I’m gonna go outside and spit three times. 

Paul Nicholas

Yeah. 

Juls Hoover

Just to be safe. I’m not in the theater, but just I feel like I can’t not take care of yourselves. And we’ll see you next time in the rehearsal room. Thank you. 

Michele Schultz

You Thank You. Thanks for helping out, Jules. Thanks 

Paul Nicholas

Jules. Yes, thanks. 

Todd Scofield

Thank you. That was so much fun. 

Juls Hoover

Bye guys. 

Todd Scofield

Awesome. See you Paul. See everybody.