KING LEAR Week 3: “The Unraveling of Lear” – Shakespeare – Act 2, Scene 4 – The Rehearsal Room [Video, Audio, and Transcript versions]

KING LEAR Week 3: “The Unraveling of Lear” – The Rehearsal Room

Nathan Agin: Well, good. well, glad everybody, made it. and good to see everybody this week. for those keeping track at home, I’ve been wearing summer clothes, but we got this cold snap here in Northern, California. So it’s, lows of, like, 45 and highs of 60, when here we are supposed to be, you know, the longest summer equinox tomorrow. So who knows? Who knows? We’ll take all the precipitation in fire country. We will take all the precipitation we can get. So hopefully that keeps things at bay a little bit longer. But,

Annie Occhiogrosso: Where are you, Nathan?

Nathan Agin: I’m in Yreka, California, which is about 35 minutes south of Ashland, Oregon. So where the Shakespeare festival is.

Annie Occhiogrosso: Yeah.

Nathan Agin: So, we’re up in, what do they call this? The state of Jefferson. At one point, there was talk of seceding Southern Oregon and Northern California into their own little enclave, because it, really is. People say Northern California, but they’re like. They mean the Bay Area. No, this is really Northern California.

Jeanne Sakata: Yeah, I was gonna say, I assumed you’re in the Bay Area, but you’re way up there.

Annie Occhiogrosso: Yeah.

Randall Duk Kim: Are you. Are you near. Nathan? Are you near the redwoods?

Nathan Agin: as the crow flies. We’re probably only about, two and a half hours from the coast, but it’s a very circuitous, long drive to actually get over there. So,

Randall Duk Kim: So, yeah, okay.

Nathan Agin: But we’re. We’re in Shasta Valley. We. We can see Mount Shasta, where we are beautiful.

Jeanne Sakata: And Crandall and Annie. Where are you guys?

Randall Duk Kim: We’re in Jersey. Joy and Thomas in Jersey.

Annie Occhiogrosso: Yes, I am.

Nathan Agin: And Lizzy, Lizzie is, in Kansas City, correct?

Jeanne Sakata: Yeah.

Lizzie King-Hall: And it’s 90 degrees, so.

Jeanne Sakata: Oh, my God.

Annie Occhiogrosso: Wow.

Randall Duk Kim: Kansas City. Lizzie, I thought you were on the west. West Coast.

Lizzie King-Hall: No, I live in New York. But my apartment is my most valuable asset, so I gave it to a guy. Gave it, rented it to a guy who’s in Here Lies Love this summer.

Jeanne Sakata: Oh, I have a lot of friends in that.

Lizzie King-Hall: He’s the nicest person in the world. Moses Villarama.

Jeanne Sakata: Oh, I know Moses. I just said congratulations to him on one of his posts. Have a great Broadway debut. It’s his Broadway.

Lizzie King-Hall: He is so. So I’m just hanging in Kansas City for the summer.

Randall Duk Kim: Okay.

Annie Occhiogrosso: Is that where you were born? Yeah.

Randall Duk Kim: A Midwestern girl.

Lizzie King-Hall: That’s right. Corn fed.

Annie Occhiogrosso: And do you do anything with the university there?

Lizzie King-Hall: I do voice coaching at the NPR affiliate at kcdr, which is really rewarding. They are a great group of people. I Do media training. Like, corporate media training and stuff. But I would like to. They’ve actually just canceled the MFA program at umkc, so it’s only BA but I would love to work with them.

Annie Occhiogrosso: We had a friend who worked there. Ted Sweats. His name?

Randall Duk Kim: Yeah.

Annie Occhiogrosso: Oh, do you know him?

Lizzie King-Hall: yeah, he is my friend Abigail. Well, I did theater with his daughter.

Randall Duk Kim: Daughter Abigail.

Lizzie King-Hall: Abigail. In school. And weirdly, when you guys were telling us about the Karnofsky book, and I looked it up on Amazon, Ted Sweats was the one review.

Annie Occhiogrosso: Ah. I can imagine.

Randall Duk Kim: Yeah.

Annie Occhiogrosso: Yeah, yeah. Well, he came with us to meet m. The Karnoffs. When we had our theater, we got to a point where I was doing most of the directing, and we felt we needed to be inspired by someone. And so Ted said, why don’t you ask, Morris to come out? And we thought, are you crazy? He’s not going to come out. He said, I studied with him. Let’s go have dinner. Let’s see if he’ll have dinner with us. And, so he came with us to their home in Connecticut. And sure enough, we asked him, and he said that. He said, well, Harold Clerman is on my shoulder saying, do it, Morris. Do it. They came and joined us.

Randall Duk Kim: How wonderful.

Jeanne Sakata: What a wonderful story.

Annie Occhiogrosso: Yeah.

Nathan Agin: And I’m hoping Morris and Phoebe were on both of your shoulders, Randall. And when I emailed you saying, hey, I got this little podcast to talk about your career.

Randall Duk Kim: They were. They were.

Annie Occhiogrosso: They’re the reason, actually. They’re the reason that we actually keep. Whenever we’re. We feel like it’s time to throw in the towel because we’re just dinosaurs and nobody’s, you know, really doing things the way we like to do them. Every so often, I have Phoebe in my ear saying, no, you have to. You have to keep doing something. You have to. And they did it until their 90s.

Lizzie King-Hall: Wow.

Annie Occhiogrosso: he was 93. Yeah. She was 96. and I was with her the day before she died, and she was teaching Hamlet. She had students come to her bed in the hospital.

Lizzie King-Hall: Oh, my God.

Annie Occhiogrosso: And I said to her, oh. She said, anna, good enough. I beat my mother by 10 years. She was 86. I beat Mari by three years, and I even beat Katharine Hepburn. So good enough. And I said, phoebe, you have so much more to give. And she said, well, you’re right there. I am remarkable. Yeah. Well, there you go. Nice. Way to start, right?

Jeanne Sakata: Yeah. All right.

Nathan Agin: Well, yeah, it’s great listening to all this. I will Let you guys get to King Lear. Have, a wonderful day. I’ll probably be listening for some part of it. And, yeah, have a. Have a great time.

Randall Duk Kim: See you later.

Tom Farber: Thank you.

Annie Occhiogrosso: So what I thought we would do today is I went back to the beginning of the play. To see if we could trace each character from the beginning. To see what changes have occurred leading up to this scene. and I thought if we could do that and have you guys read the character in the previous scenes. It might, influence, those choices further that we’re making in the scene that we’re doing. and I think it becomes, pretty interesting. It definitely seems to fall into place. but you have to take a very close look at what everybody is saying. That’s why I thought it was important to do that today. We’d never looked at the scene with Goneril and Lear where, he finds out that she already cut fish 50 nights out of his train. We’ve never done the Regan arrival to Gloucester’s. And so I’d like to start right at the top with the girls professing their love. And then look at each one of those scenes that you’re in. If, that makes sense. Yeah. Great.

Lizzie King-Hall: Great idea.

Annie Occhiogrosso: The one thing that I will mention from the first scene with Gloucester and Kent. Is because you want to put all these facts together of who knows what at any given time, the land has already been divided. so because that conversation in the very first scene of the play, Kent says, I thought the king liked Albany better than Cornwall. And Gloucester said, I thought so too. But the way he’s divided the land, there’s absolutely no difference between Albany’s portion and Cornwall’s portion. What’s not mentioned is Cordelia’s portion. So we can either assume that she gets the best or that all three are exactly equal. But the fact that they don’t mention hers makes me think that the plan is indeed for her to give him the best reason, best expression of her love. And therefore she’ll get the best. But it’s all done.

Randall Duk Kim: Annie, have the lands been identified, as who gets what.

Annie Occhiogrosso: Specifically?

Randall Duk Kim: Or is that decided during the game?

Annie Occhiogrosso: Well, all we know is that Cornwall and Albany, whatever land they get, it’s exactly the same. There’s not an inch of land that’s different. There’s not a tree on one that’s not on the other.

Randall Duk Kim: But we don’t know who gets what.

Annie Occhiogrosso: I don’t know what you’re saying, Randy. You mean what?

Randall Duk Kim: the parcels may be equal but they have to be. What daughter gets. What parcel? Is that known?

Annie Occhiogrosso: Well, it is, because one’s married to Albany and the other’s married to Cornwall.

Randall Duk Kim: No, but specifically, what parcel goes to who?

Tom Farber: No, I think he’s asking, like, what region? Like, what region?

Annie Occhiogrosso: No, there’s no mention. There’s no mention of that. That at all. I know you have information about where Albany is and Cornwright.

Randall Duk Kim: Well, this play supposedly traces back where, the Elizabethans knew that northern England was associated with Albany and that Cornwall was associated with the West Britain. west. So it’s like Lear determines he’s going to send his eldest daughter north and give, the western part of England to Reagan. Right. And so this play is supposedly how that originated. Oh, yeah. You know, this is where it occurred.

Lizzie King-Hall: That’s interesting.

Randall Duk Kim: Yeah. You know, I think I. I hope. But who the hell knows.

Annie Occhiogrosso: If it wasn’t pre decided.

Jeanne Sakata: That’s an interesting moment because, like, you know, because it’s right so fast. When you say to me, well, you’re the eldest, Conor, you go first. How much do you love me? And I have to go, ah, yes, right. And then you say, okay, that maybe is good enough for parcel two. This one right here, it makes an interesting moment. If he doesn’t, you know, he doesn’t.

Annie Occhiogrosso: And he. You. And you folks don’t know. I mean, the girls don’t know that he’s done this. They think it’s being done on the spot. we just know that the gossip between Gloucester and Kent is in reference to that parcel, that entire kingdom being divided already. but even they don’t know why. I mean, he. That’s why. When Lear in the scene. We’ll take a peek at it right now. look at what he says in the first few lines about his darker purpose. Which means mysterious, which means. It means serious, also has several meanings to the word darker. But I think the idea of it being mysterious is. Here I’m finally going to reveal what this is all about. and that’s what he does here. So let’s read it, and then we’ll. Because I know conversation will go all over the place. there’s so much that’s written, of course, about this play, but everybody has a different idea. Some people think Lear is already mad when the play opens. Some believe that he is being a hypocrite. Others, you know, it’s. The conclusions, are just. They’re vast. But all I want us to do is to take a look at what your character says. I think I mentioned this before. There’s no subtext in Shakespeare. If you say it in the moment, you mean it. It’s like Richard III professes love to Lady Anne, and later on he has a speech that says, was ever woman in this? Because, there’s just no, There’s nothing that gives subtext. Modern theater’s filled with subtext. so what’s nice about that is you can depend on what you’re saying in this to be, the truth in the moment.

Lizzie King-Hall: Yeah.

Annie Occhiogrosso: Okay.

Jeanne Sakata: All right.

Annie Occhiogrosso: So let your want to start it.

Lizzie King-Hall: Where are we? Are we doing all the bit with Kent and Edmond?

Annie Occhiogrosso: No, no, Just with the girl with, Lear announcing. Let me get you the exact line.

Lizzie King-Hall: 42, 41.

Annie Occhiogrosso: Yeah.

Jeanne Sakata: In three. Our kingdom.

Annie Occhiogrosso: From there, attend the lords in France. Randy to Gloucester, it says, enter King Lear, Cornwall, Albany, Goneril, Regan, Cordelia. And attendance.

Randall Duk Kim: Yep.

Annie Occhiogrosso: Okay.

Randall Duk Kim: Attend the lords of France and Burgundy, Gloucester.

Annie Occhiogrosso: I shall.

Tom Farber: I shall, my lord.

Annie Occhiogrosso: Good.

Randall Duk Kim: Meantime, we shall express a, darker purpose. Give me the map there. Know that we have divided in three our kingdom. And tis our fast intent to shake all cares and business from our age, conferring them on younger strengths, while we, unburdened crawl toward death. Our son of Cornwall, and you, our no less loving son of Albany, we have this hour a constant will to publish our daughter several dowers, and that future strife may be prevented. Now. The princes France and Burgundy, great rivals in our youngest daughters love long in our court, have made their amorous sojourn. And here are, to be answered. Now, tell me, my daughters. Since now we will divest us both of rule, interest of territory, cares of state, which of you shall we say doth love us most? That we our, ah, largest bounty may extend where nature doth with merit challenge. Gonerope. Our, eldest born, speak first.

Jeanne Sakata: Sir, I love you more than word can wield the matter. Dearer than eyesight, space and liberty, beyond what can be valued rich and rare, no less than life with grace, health, beauty, honour, as much as child e’er loved or father found, a love that makes breath poor and speech unable beyond all manner of so much I love you.

Tom Farber: Shall Cordelia speak, love, and be silent.

Randall Duk Kim: Of all these bounds, even from this line to this, with shadowy forests and with champaigns riched with plenteous rivers and wide skirted mead, we make thee lady to thine. In Albany’s issue be this perpetual. Now, what says our second daughter? Our dearest Regan, wife of Cornwall?

Lizzie King-Hall: I am made of that self metal as my sister, Prize me at her worth. In my true heart I find she names my very deed of love. Only she comes too short. I profess myself an enemy to all other joys which the most precious square of sense professes, and find I am alone felicitate in your dear highness, love.

Tom Farber: Or cortelia. And yet not so, since I am sure my love’s more ponderous than my tongue.

Randall Duk Kim: To thee and thine hereditary ever remain this ample third of our fair kingdom, no less in space, validity and pleasure than that conferred on Goneril. O now our joy, although our last and least, to whose young love the vines of France and milk of Burgundy strive to be interest. What can you say to draw a third more opulent than your sisters?

Annie Occhiogrosso: Okay, let’s stop there.

Jeanne Sakata: You know, with all the notes you’ve given us, Annie, that just felt so alive. Moment.

Randall Duk Kim: Oh, my God.

Jeanne Sakata: I was like, you know, listening so intently. Is that line gonna be better than my line?

Lizzie King-Hall: My only acting is just watching Randy and Jeannie be good.

Annie Occhiogrosso: I don’t know. You’re pretty good. You’re a pretty good,

Lizzie King-Hall: Like we were talking about, like, getting older and just like. I was like. Like, sometimes just watching and listening is enough. Look on your face, you know, like, oh, my God, I am impressed. In this moment, I am overwhelmed. I am, you know, it is enough. It is enough.

Annie Occhiogrosso: Yeah. And I think that the thing that starts to become clear to me with where you’re going with this is the competition that, It’s not so much the lying to the father, it’s the competition between the sisters.

Randall Duk Kim: Yeah.

Annie Occhiogrosso: And that’s when we get to our scene. Later on, they join in league, even though when that’s done, they’re going to separate, you, know, against each other. He also says if we look at his speech to prevent future strife, he knows that these. That there’s something, You know, if he doesn’t. If he’s not clear about the division and the reason he’s giving you the exact, exact amount, or, worth of the kingdom is because he’s fearful of the argument that may erupt between you two. He doesn’t think about that with Cordelia. It’s not spelled out, but I do think that we have to take a look at the fact that one of her suitors is the king of France. So there’s a certain protection, that she’s going to have by being, married to, you know, the monarch of another. Another kingdom. but again, all that, I always find Shakespeare gives us just enough. And then he keeps us guessing, and I think it’s why he’s lasted 400. Over 400 years. I think what happens is we all jump in and say, oh, I know this is it. This is what it is. But we don’t know. And it’s just. That means the audience gets to play the game with us. They now can go and, you know, after the show is over, say, no, I don’t think that was. I think. And so it’s alive. It’s kept alive beyond, you know, the applause at the end of the show. That’s what I find thrilling, about a Shakespearean play is when you see that audience, involved something. They sit forward because they’re involved in what choices are being made. So I’m a little cautious about making all the choices for them. Otherwise, that’s why they’ll say, what are we sitting here for three hours? You know, if I get it. So, All right, so if there’s any information there, of course, it’s. We see how. How they are, playing the game. Goneril, you are what you put forth in terms of the kind of love. And this is what I love about your character. And what you’re doing, too, Jeanne, is man you are. There is not a definition of love. One feels. Regan doesn’t have a chance until Regan comes in with her one argument. And her one argument is. Nothing makes me happier but loving you.

Jeanne Sakata: Yes.

Annie Occhiogrosso: Wow. She did.

Jeanne Sakata: It’s like an arrow. I went all over the place and all these things, and she just went.

Annie Occhiogrosso: Everything offered him everything, you know, makes breath poor. I’m unable to speak how much I love you. And more than any child, more than ever, father. And then she comes in with one little twist, and it’s like, oh. But again, it points out the sisters somewhat, of a rivalry in competing. And then, of course, we get to Cordelia, who doesn’t want to play at all. And I think Cordelia also admires because she says then, poor Cordelia. And, yet not so since I’m sure my love is more ponderous than my tongue. she’s counting on saying nothing because she thinks he’ll understand that as her statement of love. And of course, as we know, all hell breaks loose. And it doesn’t. but you girls witness, you know, witness all of that. Cantu is the most loyal member, of the court, for Lear is vanished, you both will admit. And we’re coming up on that scene of the love he has for Cordelia is more than the love he has for you. He always loved my sister most. so his behavior is, questionable. It is erratic. He’s making choices that one could never believe that he would ever make. And that makes him somewhat. It makes certainly gone. Will feel the. He’s a danger. the other thing I just want to point out for future reference, in case any of you get to direct the play or teach it how important props are. and that map, to me is essential because it keeps bringing home the idea that we’re talking about a kingdom. It’s not petty. It’s not small. It’s not a stock in a. In a business firm. it’s much larger than that because it has to do with power and power over the lives of people. And no one in this play ever, only Lear does. At one point in the storm, nobody talks about the people, in Britain and how best to govern them. Governance is not mentioned at all. so I think that, that map, it’s talked. if I were directing a real production of it, I would have Kent and Gloucester be looking at the map. So when Kent says, I thought he was, you know, he liked Albany better. And then Gloucester would say, no, but in the division, it’s exactly the same. The map is there. Kingdom. Kingdom. Kingdom. Alarm. Alarm. Then Lear comes in, he says, give me the map. The map again. and so again, he doesn’t use a lot of props, but when he does, you know, the plays that are. They’re fraught with letters. Take a look at those comedies, everybody. I mean, I know so many prop people who had a pink letter, a blue letter, a green letter. So everybody could keep their letters straight in these different productions. M. But they are rare, props. And so when you see them, I think it’s important to pay attention to them and see how, using your imagination, you might, make that clear to an audience. You know, Stanislavski tells a wonderful story about, the use of props. And he says that he was in a scene where he’s going to see this woman that he loves. He has a cane in his hand. And when he knows he’s going to see her, the cane dances at his side, feeling his happiness. And when he gets to her window, he sees, the shadow of another man. And the cane stops and draws back. And then the cane looks forward, and then the cane droops to his side. And so the prop becomes an acting part partner. It’s not just something that you carry because it’s on the prop table. And I think that’s the same thing with Shakespeare, if it’s there, embrace it as a. As a partner in. In a scene. And not. Again, just some. Something that. Oh, there’s a map in this scene. And there’s. Look at how many times have you seen Midsummer Night’s Dream? And people are carrying lanterns and they never light anything. They just kind of have a lantern randomly swinging. at any rate, there’s a purpose for it. And the map, for me, seems to be one of the things that I would call attention to because I think kingdom gets lost sometimes. that’s a good point.

Jeanne Sakata: Yeah.

Annie Occhiogrosso: So let’s look at the scene where he’s banished Kent. He’s banished Cordelia. France has taken Cordelia and actually criticizes Lear by saying to him, something’s wrong here. This girl that you told us was the best, the most loved of you, and for saying one thing, you’re throwing her out. I’ll take her. He takes her, without a dowry. Okay. And you are witness to all of that. The other major event that happens. And here’s another prop that’s essential. And I’ve read so many feelings, about what to do with it. It’s a coronet. He says to Cornwall, after he banishes Cordelia, he says to Cornwall, in Albany, this coronet part between you, which makes me think each one of you gets a coronet when you get your kingdom. And the third one left over was for Cordelia. She’s not getting it. So here, Kent. I mean, Albany and Cornwall, you take it and divide it. So the division he was trying to prevent in the beginning by doing this game, now he’s killed it by saying, here, you guys, divide what’s left. Divide it for them.

Randall Duk Kim: Huh?

Annie Occhiogrosso: Huh?

Randall Duk Kim: Divide the third part.

Annie Occhiogrosso: That’s right. But he. And he doesn’t divide it. He makes them left to divide it.

Randall Duk Kim: M. Not a great idea.

Annie Occhiogrosso: No. He’s creating the strife he tried to prevent. And I think, again, if we were actually on our feet directing it, I would have him hold that coronet out and have each man put their hands on one side of it so we would physically see. Oh, we’re in trouble. Coronets don’t break down the middle. Who’s going to get it? And so you’re planting seeds for the strife that’s coming up ahead. Does it make sense to you?

Tom Farber: Yeah.

Annie Occhiogrosso: Okay.

Lizzie King-Hall: It reminds me of watching the coronation and all the crap. Like, the stuff that has to be like, now, you touch this, and you hold this here, and you put this on your back. And. And, yeah, the coronet.

Jeanne Sakata: If.

Lizzie King-Hall: If you had someone. It’s like trying to break a bone.

Annie Occhiogrosso: Yes, yes.

Lizzie King-Hall: Divide this between you is ironic.

Annie Occhiogrosso: Yes.

Lizzie King-Hall: You can’t.

Annie Occhiogrosso: That’s right. And that’s the fight that’s about to happen. It’s not a general. I don’t like him. M. You know, I just hate his guts. It’s the kingdoms at stake. Who gets the most power. Power means everything. and so he’s left it in a situation where they’re going to now have to fight over that third. And if it happens to be better than the first two. Oh my God, where are we? What kind of battle is going to take place? And again, it’s just seed. It’s planting seeds. I like with Shakespearean plays to look for the seeds because, a lot of times we cut them out because we’re not seeing the fruition or the fruit, if you will, of the seed in the first scene. But it’s a seed. You plant it and the second act waters it. And all of a sudden in the third act, we hear about these people killing each other. But it doesn’t come out of. I have to manufacture why they’re doing it because they’re just hateful people. It’s all tied into power. power in the hands of the wrong people. Greed, you know, as I said, I’ve made a vow to avoid any kind of political, association. But I would say to everybody, take a look at what we’re going through right now. And you can’t simply say these are villainous people. And that’s it. You have to ask why. What is it that brings people to that? Lear will ask that question, by the way, is there something in nature that makes us evil? He’ll say that. I’m paraphrasing it, when he’s out in the storm. So this play is filled with that seed that’s planted and whose fault is it? Lear’s again, not because he’s a villain, but he’s made a mistake that now is going to cost not him only, but him and the entire kingdom and of course, the lives of all of his daughters. So, okay, so I’m a talker. Sorry. Okay, so they leave Cordelia, and Thomas, let’s take a look at just her parting so that we can, we can lead into Goneril and Regan in that scene where they’re going, we’re goneral. You can try to light a fire under her, and let her know it’s right at the end of the Scene we were just looking at.

Jeanne Sakata: Oh, I’m sorry. I have to find it again.

Annie Occhiogrosso: Okay.

Tom Farber: Tell me where you’re from. Your sisters.

Randall Duk Kim: Yep.

Tom Farber: Okay.

Lizzie King-Hall: 95. 94, 93. 292. Jeannie.

Jeanne Sakata: Okay. Thank you.

Annie Occhiogrosso: Good.

Randall Duk Kim: Bid farewell to your sisters.

Tom Farber: The jewels of our father washed ice. Cordelia leaves you. I know you what you are like a sister am most loath to call your faults. They are named love well, our father. To your professd bosoms I commit him. Yet, alas, stood I within his grace. I would prefer him to a better place. So farewell to you both.

Lizzie King-Hall: Prescribe not us our duty.

Jeanne Sakata: Let your study be to content your lord, who hath received you at fortune’s arms. You have obedience scanted. And well I was the want that you have wanted.

Tom Farber: Time shall unfold what plighted cunning hides. Who covers faults at last with shame derides. Well may you prosper.

Randall Duk Kim: Come, Come, my fair Cordelia.

Jeanne Sakata: Sister. It is not little I have to say, of what most nearly appertains to us both. I think our Father will hence tonight.

Lizzie King-Hall: That’s most certain. And, with you next month with us.

Jeanne Sakata: You see how full of changes his age is. The observation we have made of it hath not yet been. Hath not been little. He always loved our sister most, and with what poor judgment he hath now cast her off.

Lizzie King-Hall: Appears too grossly the infirmity of his age. Yet he hath ever but slenderly known himself.

Jeanne Sakata: Rest and soundness of his time hath been but rash. Then must we look from his age to receive not alone the imperfections of long engraft condition, but therewithal the unruly waywardness that infirm and choleric years bring with them.

Lizzie King-Hall: Such unconstant Starts are we like to have from him. Is this of Kent’s banishment?

Jeanne Sakata: Here’s for the compliment of leave taking between France and sin. Pray you, let us sit together. If our Father carry authority with such disposition as he bears this last surrender of his will but offend us, we.

Lizzie King-Hall: Shall think further of it.

Jeanne Sakata: We must do something. I mean the heat.

Annie Occhiogrosso: Good. Nice girl. Oh, God. Did I tell you how much I love you? Yeah. It’s wonderful. It’s conspiratorial. It’s totally different from what you told him. and it’s not mean. It’s more concerned about what will happen.

Jeanne Sakata: What just happened.

Annie Occhiogrosso: Yeah. Yes, It’s very nice. And it was prose. The way you delivered it was prose. And that’s important. You can start to see the feel that’s different when people are speaking prose. There’s none of that formality of sister, I wish you to. You know, it doesn’t have that. It’s really trying to get this done. the one thing that I would say, And, Thomas, I know you’re not playing Cordelia, although very nice. what I would suggest is when she says. When Goneril says, you have obedience scanted and well, are worth the want that you have wanted. I would cut loose. I would. This is your last moment to put forth what it is you want to say. So the hesitation that you had given, us in the jewels of our father. And you’re keeping your emotions under wrap. Of course she’s crying, but the way you kept it under wraps was beautiful. Here, I would say, time shall unfold what plighted cunninghives who covers false at last with shame derived. Well, may you prosper. Come, my dear Cordiller. Because he knows if she stays, it’s going to escalate into something else. So it forces him to take her out. and I would say at the very end, we shall think further of it. Jeanne. To just, entertain the idea of shaking her up a little bit more. More about it. Because that in the heat, is a. It’s almost a feeling of, What’s the word I’m looking for? Like an excitement that doesn’t even let you finish. The words.

Lizzie King-Hall: Urgency.

Annie Occhiogrosso: You see what I’m saying? Yeah.

Randall Duk Kim: It’s also connected to the fact that his knights and him are going to be with you tonight.

Jeanne Sakata: Yes.

Annie Occhiogrosso: Yeah. Yeah.

Randall Duk Kim: Oh, you’re saddled with hastily preparing. I don’t know, whatever you and Reagan plan, it’s got to be in the heat because, I’m in the thick of it right now.

Jeanne Sakata: Okay.

Annie Occhiogrosso: And again, it’s think is opposite to do. That’s why I think you get the long spelling. We shall further think of it. Reagan said. Yeah, I’ll give it a little. I’ll give it some thought. No, quit thinking. I think it’s so important. Lizzie, about Regan is, as we said this earlier. She is in no rush. She is going to enjoy her month. And that’s why Goneril needs to, because she knows you’re taking off. You’ll each go to your prospective castles, and that’s all she’s going to see. She has an opportunity right now to light a fire under you. If it doesn’t happen here, it’s going to have to be done through letters. Yeah. Okay.

Lizzie King-Hall: Not to be able to see each other in person. As often. Yeah, that’s right. Slow down.

Annie Occhiogrosso: There’s, a little thing. And I don’t know if it’ll mean anything to anybody, but one of the things I noticed in going through the play is they never address each other by their first name. It’s always Sister. so it’s never Regan I want to talk to you or Goner, I’ll, And even with. Later on with Oswald, you say, I know my sister, loves you, or it’s always Sister. There’s never a personal who they are by their actual names, their station. Again, it’s not a big deal that you can really do much, but I’m just wondering if it doesn’t just keep reiterating that this relationship is not a loving sister relationship that, you know, even now, when I talk to my sister, I use her first names to them. Angelica. What do you. You know, I don’t say sister.

Lizzie King-Hall: Why are you or like Rosalind and Celia talking, saying sweet and sweetheart to each other?

Annie Occhiogrosso: Yes. Yes. So it does count for something. But again, I think mostly you just let it percolate. There’s this many books have been written on creativity and the, whole idea of, incubation, the idea of this. You get an idea, you do the research, and then you push all. You know, you put all that in you, and you let it incubate. And that’s what this is. Just think about it and, you know, and let it take its shape later. Down. Okay.

Lizzie King-Hall: Okay.

Annie Occhiogrosso: So now, Goneril, let’s move to your scene where he’s with you.

Randall Duk Kim: first scene with, Oswald.

Annie Occhiogrosso: Yeah. I’m sorry. Yeah, that’s right. But he is with her. And it’s scene three.

Jeanne Sakata: Did my father strike my gentleman?

Annie Occhiogrosso: Yes.

Tom Farber: Yes.

Jeanne Sakata: Did my father strike my gentleman for chiding of his fool?

Tom Farber: Aye, madam.

Jeanne Sakata: By day and night he wrongs me. Every hour he flashes into one gross crime or other that sets us all at odds. I’ll not endure it. His nights grow riotous, and himself upbraids us on every trifle. When he returns from hunting, I will not speak with him, say I am sick. If you come slack of former services, you shall do well. The fault of it I’ll answer.

Tom Farber: He’s coming, madam.

Randall Duk Kim: I’ll hear him put on what weary.

Jeanne Sakata: Negligent you please, you and your fellows. I’ll, have it come to question. If he distaste it, let him to my sister, whose mind and mine I know in that are one not to be overruled. Idle old man, that still would Manage those authorities that he hath given away. Now, by my life old fools are babes again and must be used with checks as flatteries when they are seen abused. Remember what I have said.

Tom Farber: Well, madam,

Jeanne Sakata: And let his knights have colder looks among you. What grows of it no matter advise your fellow. So I would breed from hence occasions, and I shall that I may speak. I’ll write straight to my sister to hold my very course. Prepare for dinner.

Annie Occhiogrosso: Okay, so what you guys heard there was the Quarto. the Folio has cut out everything past the way the line is in the Folio. If he distaste it, let him to my sister, who’s mine and mine. I know in that are one. Remember what I said. Oh, yeah.

Jeanne Sakata: Oh, okay. Sorry.

Annie Occhiogrosso: but that is some of these different thoughts on it. But it’s. One of the thoughts is that the texts that make up the Folio were the acting texts. And so through the course of playing, they found certain speeches that were either philosophical or reiterated. something twice it wasn’t. And they cut to the action. Hamlet has 200 lines less in the Folio than it does in the Quarto. And this would be similar where you have more lines in the Quarto than in the Folio.

Jeanne Sakata: Oh, I’m sorry. I thought I could try and switch to the first Folio. I thought this was.

Annie Occhiogrosso: But that’s okay. I mean, again, I’m glad you did it, because I do want people to know. I go back to the Quarto if I have a question, if some line doesn’t sound like it’s making complete sense to just see if there’s some further information there. So I think you have character. It’s an extension of her feelings in those lines. What the Folio does is cut it down to action, which I think is wonderful. We must do something. And in the heat, she’s not going to talk much about it. You can have your, fellow knights, you know, be rude to him, do whatever, and I’ll back you. You know, I mean. So I think the shortened version of it in the Folio helps get it done.

Jeanne Sakata: Yes.

Annie Occhiogrosso: You know what I’m saying? Right.

Jeanne Sakata: If we read it again, I’ll just cut out those lines.

Annie Occhiogrosso: Yeah, but then the director said, well.

Lizzie King-Hall: Could we give more to Jeannie?

Annie Occhiogrosso: When Randy did Hamlet.

Jeanne Sakata: Oh, I wish.

Annie Occhiogrosso: The directors cut everybody. He was cutting everybody down. And he said to Randy, brandy, you have to back me on this. You really do. But by time, we got to do the play. Randy was. Hamlet was a Blabbermouth. It was like, oh, my God, nobody talks because he just cut and cut and cut. So in the end, you know, Randy’s a wonderful actor, but it didn’t help at all. It just made Randy long winded, so. Didn’t help at any rate. so the things to keep in mind, I think that here’s the next step for Goneril. She already comes into the scene with having to do something and an understanding or an expectation that there’s going to be trouble. And she’s banking. She’s putting it all on his behavior with Kent and France and rejection of Cordelia. So she feels. She goes into the scene with a sense of waiting to see what’s going to go wrong. And the first thing that comes up, of course, is that Lear struck her gentleman. Because the gentleman scolded. That’s the big thing.

Jeanne Sakata: Yes. He hit her.

Annie Occhiogrosso: Yeah. And then she turns. Look what she turns it into. Every day. And he does me wrong. Every hour, he flashes into one gross crime or other that we don’t see it. So as an audience, we don’t know. Now, we either believe you or we don’t, or we look up ahead. but it seems to me any little thing he does, you’re going to take as a sign of, the very thing you were worried about when, you were talking to Regan. And this is filled with it. I want to point out, just again, one little punctuation thing. I don’t know if you have it in there. He flashes into one gross crime or other that sets us all at odds. Colon, I’ll not endure it Semicolon, which gives you the opportunity to become a little more introspective. That semicolon tends to, shift down his night scroll, you know, and you did it. But I think if you’re aware of it, you’ll. You’ll even add more to it. But it’s a sense. She doesn’t have to share it with Oswald. He’s not going to be able to. You’ve made your decision. But it’s almost talking to yourself. His nights go riotous and himself upraised us, you know, the sense of this man, you know. You know what I’m saying? Right.

Jeanne Sakata: Oh, that’s good. Okay. Yes.

Annie Occhiogrosso: and then you come out of that with him. You know what? Here’s my. Yes, good, good.

Jeanne Sakata: Oh, good. Yeah. That gives it variety.

Annie Occhiogrosso: What’s interesting, what’s left out. Because with both of these women is what’s left out is as important as what’s put in and what’s left out here is she says, I will not speak with him. So the whole idea here is to just get Oswald to be rude. And the rest of, your servants to be rude to him. And I want it to. I want it to erupt in. To a fight. Good. So you’re looking for a fight. Talk about in action. You’re looking for a fight with him. You want it to come to a head. You know, he’s only been there two weeks. So, all of this activity that you’re talking about, he has two weeks. and the reason that’ll come out later in the scene, he’ll say, within two weeks, you know, this has happened. but, okay, so here we go. and then you add. That’s the part I love too, Jeanne. I’ll write to my sister. let him. To my sister, who’s mine and mine. I know. In that are one. Remember what I’ve said. Well, madam, and you think it’s over. You add to it. You know, what even have his nights. Yes, yes.

Jeanne Sakata: It’s like you said. They think that’s the end of the thought. And, oh, something else.

Annie Occhiogrosso: Yes, that’s right. That’s right.

Randall Duk Kim: So, wow.

Annie Occhiogrosso: So that’s her next step. Now, we’ve seen her progress from the loving daughter who loves more than any child ever loved. To the sister who’s trying to, rev up the other sister, urge the other sister onto this. To now looking for the fault in Lear that she can bring it to a head. and now we’re heading into that scene where just that very thing will happen. in the meantime, just again, to fill in the play, there’s Kent. has disguised himself. And the way he’s disguised himself is to shave off his facial hair and to put on, rough clothing.

Randall Duk Kim: he uses the word, I’ll raise my likeness. I’ve raised my likeness. And we use the word raise. When you raise a city, you level it to the ground, you know. So what he’s done is take off all his hair, I think, you know, to make himself not the noble looking nobleman that he was.

Annie Occhiogrosso: and again, one of the things that will happen in the play is that those people who keep putting on the clothing and the beautiful, you know, adornments are the ones who become less themselves and more, ultimately evil. more the, nasty thing that they become is an understatement. But those who strip away, Kent strips away, Lear will be stripped away. Edgar, the disguise is putting the disguise is the stripping away. Not the putting on. And so they get closer and closer to their core, who they really are. And Kent will obviously be the most loyal servant that anyone could ever have. Edgar will be the truest son, that anyone would know. Cordelia will be, And again, she’s not going to be physically stripped of clothing, but she’s been stripped of his love, certainly. And Lear, all kingly clothing taken away. so, I think that, again, if you’re doing a production, you can see I’m heading towards the desire to do one. But, you can start to see visually how stunning this thing could be, because it’s written right into the script. And you can start to see how the powerful keep growing and growing. We talked about Goneril’s vanity, and that would be, you know, so you’re such a beautiful woman. Anyway, so you keep. Now we have you, Goneril, adorn even more. And now every bit of you, again, with clothing, with whatever jewels, with, you know. And I think the girls, by the way, should never be without a coronet.

Jeanne Sakata: Wow.

Annie Occhiogrosso: I think once they start stripping you girls down and they think, oh, no, well, let’s get rid of that. We’re denying the story that this is a fight, about kingdom and power. so that’s just a couple of side notes, at any rate. So Kentucky works his way into Lear’s favor. Oswald does the very thing you told him to do. He’s rude to Lear, and Kent trips him, kicks him, and he’s going to come running back to you. Lear is so. He so admires this behavior. He takes Kent on now as someone to serve him, not knowing that it is Kent. The fool will come in. well, before the fool comes in, this knight comes in and he says that, that Lear calls for you, and you say you’re not well. He sends a night back that says your daughter says she’s not well. So you’re denying coming to him, then on top of it, this night, says to Lear that you’re not receiving the respect from either your daughter or Albany that you deserve. And, he said, forgive me if I’m speaking out of turn, but I think it’s important for you to know. And Lear says, I’ve been noticing it myself. And that all leads up to the next moment. The fool comes in, starts to instigate, what Lear has done as being foolish, as being wrong. Because the fool is heartbroken that Cordelia has been banished and that Lear’s behavior, is just terrible. And so he keeps trying to get that across, to learn Lear’s not heeding it. and so all of this happens. And then Goneril makes her. Her entrance, to confront Lear. Okay, does that all make sense? And I’m kind of going through big chunks of the play, but, So you do finally. You do finally come in, even though you delayed your entrance. You’re here. And now we’re up to. How now, daughter, what makes that front lid on you with me. Okay, where. it’s. It’s 1 4. How now, daughter? It’s after the. I, don’t have page numbers in my script. That’s okay.

Lizzie King-Hall: I just jumped too far ahead.

Tom Farber: the fool says, I marvel what kin thou and thy daughters are. They’ll have me whip for speaking true. They’ll have me whip for lying. And sometimes I am whipped for peace. It’s after that hole.

Annie Occhiogrosso: Yeah, so it says, enter Goneril.

Lizzie King-Hall: Yes, thank you.

Annie Occhiogrosso: Good.

Randall Duk Kim: How now, daughter, what makes that frontlet on? Thou art too much. thou art too much. Of late in the frown thou wast.

Tom Farber: A pretty fellow when thou hast no need to care for her frowning now thou art an O without a. I am better than thou art. Now I am a fool. Thou art nothing. Yes, forsooth. I will hold so your face bids me, though you say nothing.

Annie Occhiogrosso: Mum.

Tom Farber: Mum. He that keeps nor crumb weary of all shall want some there shell pestcard.

Annie Occhiogrosso: That’s right.

Jeanne Sakata: Not only, sir, this your all licensed fool, but other of your insolent retinue do hourly carp and quarrel, breaking forth in rank and not to be endured rites. Sir, I thought by making this well known unto you to have found a safe redress. But now go fearful by what yourself too late have spoken done that you protect this course and put it on by your allowance, which if you should, the fault will not scape censure nor the redress sleep, which in the tender of a wholesome weal might in their working do you that offence which else were shame, that the necessity will call discreet proceeding.

Tom Farber: For you know, nuncle, the hedge sparrow fed the cuckoo so long that it had that it had its head bit off by it young. So out went the candle, and we were left to darkling.

Randall Duk Kim: Are you our daughter?

Jeanne Sakata: I would you would make use of your good wisdom, whereof I know you are fraught, and put away these dispositions which of late transport you from. From what you rightly are.

Tom Farber: May not an ass know when the cart draws the horn.

Randall Duk Kim: Whoop, jug.

Tom Farber: I love thee.

Randall Duk Kim: Does any here know me? Oh, this is not Lear. Does Leah walk thus? Speak thus? Where are his eyes? either his notion weakens, his discernings are. Letter Jeeta waking. Oh, tis not so. Who is it that can tell me who I am? Shadow.

Randall Duk Kim: Your name, fair gentlewoman.

Jeanne Sakata: This admiration, sir, is much of the savour, of other your new pranks. I do beseech you to understand my purposes aright. As you are old and reverend, should be wise. Here do you keep a hundred knights and squires, men so disordered, so debauched and bold, that this our court, infected with their manners, shows like a riotous inn. Epicurism and lust makes it more like a tavern or a brothel than a graced palace. The shame itself doth speak for instant remedy. Be then desired by her that else will take the things she begs a little to disquantity your train, and the remainders that shall still depend to be such men as may be sought your age, which know themselves and you darkness and devils.

Randall Duk Kim: Saddle my horses. Call my train together. Degenerate bastard. I’ll not trouble thee. Yet have I left a daughter.

Jeanne Sakata: You strike my people, and your disordered rabble make servants of their betters.

Randall Duk Kim: Oh, that too late repents. Is it your will? Speak, sir. Prepare my horses. In gratitude, the marble hearted fiend. More hideous when thou showest thee in a child than in the sea monster.

Tom Farber: Price, sir, be patient.

Randall Duk Kim: Detested knight. Liest my train are, men of choice and rarest parts that all particulars of duty know, and in the most exact regard support the worships of their name. O small fault. How ugly didst thou and Cordelia show, which, like an engine wrenched my frame of nature from the fixed place, drew from my heart all love and added to the gall. O Lear, Lear, leer. Beat at this gate that let thy folly in and thy dear judgment out. Go, go, my people.

Tom Farber: My lord, I am guiltless, as I am ignorant of what hath moved you.

Randall Duk Kim: It may be so, my lord. Hear, nature. hear, dear goddess. Here suspend thy purpose. If thou didst intend to make this creature fruitful into her womb conveys sterility. Dry up in her the organs of increase, and from her derecket body never spring a babe to honour her. If she must teem, create her child of spleen, that it may be that it may live and be a thwartest natured torment to her. Let it snap wrinkles in her brow of youth, with cadent tears sent fret channels in her cheeks. Turn all her mother’s pain and benefits to laughter and contempt, that she may feel how, sharper than a serpent’s tooth it is to have a thankless child. Away, away. Gods that we adore.

Tom Farber: Where comes this?

Jeanne Sakata: Never afflict yourself to know more of it, but let his disposition have that scope as dotage gives it.

Randall Duk Kim: What, 50 of my followers at a clap within a fortnight?

Tom Farber: What matter, sir?

Randall Duk Kim: Tell thee. Life and death. I’m ashamed that thou hast power to shake my manhood thus. that these hot tears which break from me perforce should make thee work them. blasts and fogs upon thee, the intended woundings of a father’s curse pierce every sense about thee old fond eyes. Beweep this cause again. I’ll pluck ye out and cast you with the waters that you lose to temper clay. Ah, let it be so. I have another daughter who I’m sure is kind and comfortable. O, when she shall hear this of thee, with her nails shall flay thy wolf’s visage. Thou shalt find that I’ll resume the shape which thou dost think I have cast off forever.

Jeanne Sakata: Mark that.

Tom Farber: I cannot be so partial, Goneril, to the great love I bear you.

Jeanne Sakata: Are you content? What haus will ho you, sir? More knave than fool.

Randall Duk Kim: After your master, Nunclear Knuckleir.

Tom Farber: tarry. Take the fool with thee. A fox when one has caught her, and so should, be shorter the slaughter if my cap would buy a halter. So the fool follows after.

Jeanne Sakata: This man hath had good counsel a hundred knights. Tis politic and safe to let him keep at point a hundred knights. Yes, that on every dream, each buzz, each fancy, each complaint dislike, he may enguard his dotage with their powers and hold our lives in mercy. Os what did I say?

Tom Farber: well, you fear too far.

Jeanne Sakata: Safer than trust too far. Let me still take away the harms I fear not. Fear still to be taken. I know his heart, but he hath uttered. I have writ my sister if she sustain. I have writ my sister if she sustain him and his hundred knights. When I have showed thee unfitness. Oh, is there more?

Annie Occhiogrosso: Yes. How now, Oswald?

Jeanne Sakata: Oh, I’m sorry. I thought that was so much. When I have showed thee in fitness. How now, Oswald? What have you writ that letter to my sister?

Tom Farber: Ay, madam.

Jeanne Sakata: Take you some company and await a horse. Inform a fool of my particular fear, and thereto add such reasons of your own as may compact it more. Yet you’ve gone and hasten your return. No, no, my lord. This milky gentleness and horse of yours, though I condemn not yet under pardon, you are much more at task for want of wisdom than praised for harmful mildness.

Tom Farber: How far your eyes may tell, striving to better off we Marwat’s.

Jeanne Sakata: Well, Nathan.

Tom Farber: Well, well, the event.

Annie Occhiogrosso: Okay, so there’s a lot of information there. and Jeannie, you see. Yeah, you see. See how all of this plays into how you enter that scene that we’re ultimately, doing. And that’s the woman who’s going to come in. That’s why when you have that line about, that dotage, you know, that word dotage comes up, then you’ve come to the conclusion about him here, and that’s what you’re going to bring into that scene. With. I think it’s very important to point out the. For me, one of the most important lines. And that is when Lear says, that, thou shalt find that I’ll resume the shape which thou dost think I have cast off forever. That is a threat. That means that your kingship kingdom is at threat. He’ll take it back. Ah. yes. so it’s not just his randomly yelling at the gods and whatever. He. He is sane enough, to, to make a threat. That means it’s all over if you allow him. And what will make that happen? Keeping his hundred knights and allowing them to defend his right to the crown.

Jeanne Sakata: Oh, you mean he can, like, war, make war apart?

Annie Occhiogrosso: That’s exactly right. Oh,

Randall Duk Kim: They’Re a physical threat to you both.

Jeanne Sakata: Okay, okay.

Jeanne Sakata: Okay.

Annie Occhiogrosso: And Regan will tell that to Goneril. Regan will say why she left home, was that you wrote to her and, told her about these riotous nights. And, and that they were heading towards her and she thought it was safer to not be there when he got there. So she’s buying into this very thing that you, have sent onto her. So it’s not again, just Regan saying, oh, I don’t think I want to be there. It’s tied to all of these events happening and Goneril getting the ball going from this scene and sending that letter to Regan, warning. Okay. I would suggest that, and I’m sure this has occurred to you, that when you come in and the fool, then remember that the gentleman, Lear struck the gentleman for chiding at the fool. This is the reason he chided at the fool. The fool does not hold back. He says anything in the moment that he feels should be said. And that’s why you have these wonderful. I love when you come in these.

Jeanne Sakata: Little rhymes and little things.

Annie Occhiogrosso: Yes, but they’re All.

Jeanne Sakata: I mean, they’re just so infuriate me.

Annie Occhiogrosso: That’s exactly right. And when he says, for instance, in the beginning of just before you come in, and Thomas says, I’d rather be. I’d rather be any kind of thing than a fool, yet I would not be thee uncle. Thou has paired thy wit on both sides and left nothing in the middle. Oh, here comes one of the pairings. And so that’s his first comment to you. Lear asks you why you’re so grumpy. And who answers, not goneral the fool. That was a pretty fellow she. When thou hadst no need, no care for her frowning. And now he makes. Now you’re in. Oh, a figure with, you know, I’m better than you are. Yeah. And that line that he has. I’m better than thou art. Now I’m a fool. Thou art nothing. You see that? Yes, forsooth. I will hold my tongue. So since your face bids me. It’s you he’s saying that to. You are casting a look at him like, shut up, or I am going to say strike you myself. and that’s why you. Yeah, you get right into not only sir, this here’s a reason. I have proof in front of me right here. Not only this, but everything else that has happened. you know, and then you go, of course, go into your speech. I love the. There’s one moment where she says, what, is it? Oh, I had thought by making this well known unto you to have found a safe redress, but now grow fearful by what yourself too late have spoken, done that you protect this course and put it on by your allowance, which if this. This is a section which if you should, the fault would not scape censure. nor the redresses sleep, which in the tender of a wholesome wheel might in their working do you. That offense, which else was shame, that then necessity will call discreet proceeding. There’s nothing direct to about that. That is your attempt at. I am a fine monarch, and this is a description of why I have to behave the way I’m. It may look rude to some, you know, but the whole. The damage it’s doing to our commonwealth, cries out for this. But she doesn’t say it directly. She does it with this sort of couched language of, you know. And then again, the fool contains.

Jeanne Sakata: Am I saying. Okay, let’s see. Nor the readers of sleep, which in the tender of a wholesome wheel might in their working that offense, which else was shame, that then necessity, I Don’t understand this last line. That then necessity called discrete proceeding. Oh. I’m saying that what I’m doing is necessary to keep.

Annie Occhiogrosso: That’s right. And it may not look that way.

Jeanne Sakata: Yes. But then the discreet. Proceed. Oh, I see. Okay.

Annie Occhiogrosso: Yes. Right.

Jeanne Sakata: Okay.

Randall Duk Kim: And then the fool comes in for.

Jeanne Sakata: You know.

Annie Occhiogrosso: And. And I bring it up because Lear doesn’t recognize her. Are you our daughter? Are you the one who said more than any child ever loved. Are you who. You know, he’s gonna culminate in who are you? But he says, are you our daughter? She comes back in. I would make, you know, use of your good wisdom where I know you’re not fraught. you. You are fraught. Supplied. By the way, it’s not. Not fraud. It is fraud whereof I know you are supplied fraught. And stop this behavior. You know, which are changing you from who you should be.

Lizzie King-Hall: Yes.

Annie Occhiogrosso: That’s kind of the paraphrase of and who comes in again?

Jeanne Sakata: The king.

Annie Occhiogrosso: Yes. And so the fool then says, may not the ass.

Tom Farber: No, no. When the carp draws a.

Annie Occhiogrosso: Yes. And you see that hoop Jug. I love you. Jug is a. Is a common word for Joan, for. For a loose woman. For a. You know, it’s kind of a flirtatious when you call a woman a Joan, but that lets us know. You’re saying it to, Goneril. Lear is not the. The joke. And then Lear in his state of. What does anybody know what’s going on? It’s just an absolute stupor, you know. Does he walk, speak? He goes on and on. and then, of course, the fool comes in again. To teach him a lesson is a very important line. This is like Lizzie’s line. what need one. Or, You know, those little. But this is Lear shadow. The lesson is, that’s all you are. You’re not. You’re not king at all. You gave it away. Learn. And that edge, that eggs liron. And he’s going to show the fool and everybody else. I’m not dead yet. Are you our daughter? And now it’s. The next section starts. And then she comes in, with this admiration. And look. Regan, Lizzie.

Annie Occhiogrosso: Does it sound familiar? It’s the same argument you’re going to give to him later. You’re old. And here again, it’s very important. Here. Do you keep a hundred nights. She’s already gotten rid of 50 of them. She’s trying to get him to see that, To see that it’s not right for him to have it. But it’s done. He’s gonna come. He’s gonna exit. She’s not gonna exit ever. She’s. He’s gonna exit and come back and say, what, 50 nights. So you’ve already done it. You’ve already gotten rid of 50 of the hundred. okay.

Jeanne Sakata: you know, Annie, the syntax of that sentence is just a little confusing to me. I understand what it’s saying. I’m saying I’ve already dismissed 50 of your knights. But it goes, be then desired by her that else will take the things she begs a little to disquantity your train, and the remainders that shall still depend to be such men. See, I. I just. Those three lines, it’s hard for me to hear what exactly. Be then desired by her that else will take the things she begs a little to disquantity your train. It sounds it. I, I’ve already done it. Right. But to me, this doesn’t sound like I’ve already done it.

Annie Occhiogrosso: That’s my point. That’s exactly my point. You’re making him believe you haven’t done it, and so you’re trying to say to him, yes.

Jeanne Sakata: Okay, thank you. Somehow.

Annie Occhiogrosso: Exactly. The. That’s the thing. It’s like, well, what is she. She’s trying to get him. Oh.

Jeanne Sakata: And then he goes off stage, and then he’s already gone.

Annie Occhiogrosso: That’s right. That’s why he’s enraged, you know, and that darkness and devil saddle m. He’s ready to go. He’s ready to head off to the next. The next daughter.

Jeanne Sakata: I call my 100 nights together, but 50 of them have already gone.

Annie Occhiogrosso: Yes, that’s right.

Lizzie King-Hall: It feels like. I know we’re not talking about directing, but, it feels like such a crucial directing problem. The nights and how to make it clear what they are. Because I feel like when you see film versions. I’ve only seen a couple stage versions. Like, we don’t know what they are, and we don’t know what it is to have a retinue. And when you portray it as, like, they are his car keys.

Annie Occhiogrosso: Right.

Lizzie King-Hall: We’re gonna take your car keys. But then also, if you mess with me, they are my hit men.

Randall Duk Kim: Yes.

Lizzie King-Hall: And if you. Because I feel like when we see them, they’re in, like, chain mail, and they have, like, tankards of, like, foam, and they just are, like, dumb, you know?

Jeanne Sakata: Right.

Lizzie King-Hall: But she is kind of saying they’re bringing, like, sex workers into my house. Like, they’re bringing, like.

Annie Occhiogrosso: Yeah, yeah. It just.

Lizzie King-Hall: It feels like, you’d have to really find. And I’m sure you have find the places to inject the sense of their threat.

Randall Duk Kim: Yes, yes.

Lizzie King-Hall: And it’s not on a line, it’s not on language.

Annie Occhiogrosso: No, you have to. That’s why I. And I think you’re quite right. It’s all about how do you stage what’s not in the word. You know. So I say scholars can look at this stuff, but until you get it up on its feet, you can’t solve those problems. I think part of it is them, coming in from hunting, how they treat him, how he treats them. I think you have to see them as being men who. Because that’s where they were. They were out hunting, they weren’t out fighting battles. So I don’t know that chain mail is necessary for that.

Lizzie King-Hall: But they can be covered with blood.

Annie Occhiogrosso: They can be. Well, yeah. I mean, again, now it’s opened up to what choices can you possibly make? I think one of the things that I would have happen is have him first of all come in with more than one or two. It’s been diminished so much that you see and have him, you know, slam them on the, you know, slap him on the back and then bow as he goes by. And so you at least see these men are supportive and even if they’re not knights, that they will defend him under any circumstances. And if they were common men, they would get the weaponry needed to put him back on the throne if that’s what he asked them to do. So it’s not so much creating an army as it is that he has the, this support. Yeah.

Randall Duk Kim: Well, it behooves the act of doing the gentleman that speaks.

Randall Duk Kim: And whoever the extras are to, to represent the knights to be men who, you know, by instinct and who, how they carry themselves have been trained martially.

Lizzie King-Hall: Yeah.

Randall Duk Kim: You would need fully capable of handling anything physically.

Annie Occhiogrosso: Yeah.

Lizzie King-Hall: And these days when we do Shakespeare, it’s like three people, four people, five of them really need like 30 beefy of any. And they. And then just to show also how cumbersome they are, how long it takes them to get on and off stage.

Annie Occhiogrosso: Yes. That they fill the space. You know, we’ve, we Ranty and I, Randy and I saw recently two productions of Romeo and Juliet and the banquet scene. And it goes, they’re small theaters, they don’t have much. They didn’t have company. But in the banquet scene they only had three women and Juliet and the three women were Lady Capulet in a mask and a nurse in A mask and then some servant. But the whole story of Romeo going to the banquet to compare Juliet to all of the other lovely girls there and Rosalind didn’t happen. So the story is not there. and so if you’re going to do it, you do need to have those ladies at that banquet. Otherwise, I don’t know why you would even have the idea that it just doesn’t matter since it’s the crux of the first scene in the play with Romeo. so I think there are scenes that call out for many people. it doesn’t have to be 100 nights, but you can certainly give the. You know. Isn’t it in Henry V when the chorus says, into one man divide, and make puissance. You know, make an army out of one man. Okay. But have enough. And have, as, Randy said, have the way they behave. Show that they will be of support to him. Were you gonna say it, Randy?

Randall Duk Kim: No, nothing.

Annie Occhiogrosso: Okay. So my last thing about this scene is that you strike my people. I just want to point out to, Eugenie, it’s in prose. And what happens is, to me, it goes from all of this formality of trying to put her case in front of him, even though it’s heated. but when it comes to this, here’s the directness that she didn’t have with the redresses speech here. She lashes out the same way. Cordelia. I suggested that Thomas slash out at Cordelia as Cordelia with the gone on rigging. I think it happens here too. You strike my people. And this is no longer, a. A queen who’s commanding a subject or a daughter who’s talking to her father. This is the. This is what I mean. And that for him. That. That for him is just an insult that is. Beyond that, you actually get down and dirty with him. Because it’s in primaries, I’m saying it’s in prose, you see, it’s not. For there’s no formality there at all. And it’s the only line you have in prose. You know. You know where I’m.

Annie Occhiogrosso: Am I ahead of everybody?

Jeanne Sakata: No, I see where you are.

Randall Duk Kim: Yeah.

Jeanne Sakata: So he says, saddle my horses. Call my train together. Degenerate bastard. I’ll not trouble thee. Yet have I left a daughter and.

Annie Occhiogrosso: She comes in my people. One other thing I just want to point out about Lear. Now, in case you’ve noticed, he’s starting to see Cordelia’s. Well, I would say somewhat of innocence, but he’s still hanging on to a Fault in her made him overreact. He’s not pointing out that he’s the one who’s at fault and not Cordelia. He has that to learn yet. So the journey isn’t, It’s not like you think. Well, why doesn’t he go to Cordelia? He’s not there yet. He believes that Regan will save the day, which lets me know that the two of you are trusting. He trusts that what you said in that first scene, he meant poor man. But he does. and that. So now he’s going off to Regan. He has absolute confidence that she will not be like you. Okay. Anything, else? Anybody? Of course. Albany. Albany being somewhat, laid back and innocent. Albany is a totally different character in the Port Quarto than he is in the Folio. His lines are different.

Jeanne Sakata: Really?

Annie Occhiogrosso: Yes. In the. In the Quarto, he’s much more philosophical. He’s not here. He seems to just hold back and. And sort of warn Goneril. You know, maybe you’re going too far. You know, that’s why she says it’s your mildness. That people. People aren’t praising you for your mildness. They’re not calling it. Wow. and then, of course, the threat that I talked about. Right. I’ll resume that shape that you think that I have passed off forever. And that’s why you say. Do you mark that? Are you listening to what he just said? He’s a threat. Right. And then Albany says, I cannot be so partial, Donald, to the great love I bear you. I can’t be partial. Only love you. I have to. I have to weigh out both sides. You cut them off?

Jeanne Sakata: Yes.

Annie Occhiogrosso: Yeah. Okay. And then you tell the floor to get out to, And then I think everything else fell right in. I think everything fell into place.

Lizzie King-Hall: I love this play.

Annie Occhiogrosso: Yeah. Yeah. Really wonderful, isn’t it?

Randall Duk Kim: A lot of fireworks, don’t you think?

Jeanne Sakata: Oh, man, it’s so great when you make it a real. Take the time to make it a real flesh and blood family.

Randall Duk Kim: Yeah.

Annie Occhiogrosso: Yes. And when are they family? When are they daughter? When are they subject or lady? because it keeps going back and forth, with that.

Jeanne Sakata: Because, you know, when Lear is, like, raging at me, you know, all these things saying, like cursing and I mean, I just. It just. It just eviscerates me, you know, to hear these curses ringing. And I’m. I feel like this is like, you know, no matter how the relationship is now, you know, there was that time when I was just this little girl and he was My daddy.

Annie Occhiogrosso: Yes.

Jeanne Sakata: and, you know, to hear. I mean, you know, I m. It was surprising to me just listening to it now. How does it felt like a. A sword cutting me. You know, certain things that he says.

Annie Occhiogrosso: Yeah.

Jeanne Sakata: and. And horrifying and. And then there was the feeling of, no, I’m in charge now. I have the power now. I’ve got to stand my ground. I can’t. I knew he was going to say things like this. I knew it. And I have to stand my ground and I have to be strong and I have to. But then if he’s. What you said about when he says, I’ll assume my form is shape and if that’s a real threat, then that’s. Oh, my God. Okay. Okay. He is now a threat again. So it’s just.

Annie Occhiogrosso: It was in the back of your mind the whole time that that might be an issue. I mean, that’s one. Even with Regan. You bring that up to. We’re going to see more trouble from him. I’m telling you, there’s going to be trouble. And then he obviously hear him say it.

Randall Duk Kim: Yeah, he’s like,

Annie Occhiogrosso: That’s right.

Randall Duk Kim: Like. Like he just hit you.

Annie Occhiogrosso: And I want to ask.

Randall Duk Kim: There’s a lot of stuff that.

Jeanne Sakata: That are.

Randall Duk Kim: Are as violent as if he actually raised his hand to you and slapped you.

Annie Occhiogrosso: Yes.

Randall Duk Kim: Multiple times. I mean, it’s like he beats up on you with words and saying the.

Jeanne Sakata: Most cruel thing that you could say to, you know, a woman about, like, her womb and her beauty, you know.

Annie Occhiogrosso: And you heard him say some of this to Cordelia? He said, I would rather eat my own. What is it? My own children. I forgot what it. I would, I’d rather deal with.

Randall Duk Kim: Than not to have pleased me better as he’s.

Annie Occhiogrosso: Yeah. but he says some horrible things to Cordelia and now he’s going to pull the same thing. Here’s the other thing, guys, I just want to throw into the mix. Start to look for where you’re surprised. I know. Because the language is so rich and you want. And the emotions so charged. If you can add a moment of shock at what you’re hearing rather than. I don’t care what you’re saying. I’m going to lash out this way that you hear this so that when you make your argument, it’s coming out of. And Gina, you planted that in me. It’s coming from the surprise of being it. With something you didn’t expect to come. And then you speak. Do you see what I’m saying? There’s a sense of surprise rather than. I knew you were going to say that. I knew you were going to say that. Yes, but it escalates to something much bigger than either one of you ever thought possible.

Jeanne Sakata: I feel like, okay, I know that this news was not going to go over well, but to hear him say the horrible thing. I didn’t think it was going to be that horrific. Yeah.

Annie Occhiogrosso: Ah, that’s right, because all you’re saying is just quantity. You train. be wise about this. Don’t be such a. You know, you’re not saying you’re a dirty old man and I can’t stand your guts. And you don’t say anything like you’re trying to say, in order for this kingdom to be of the same statue, it should be stature. It should be. You need to behave better. That’s all you’re saying to him, really, you know, and then he goes. But once he does, then you come. You know, I think there’s a little of Lear in each one of his daughters.

Randall Duk Kim: Yes, M. You know.

Annie Occhiogrosso: Yeah. Let’s move on to the next because we only have a, half hour, and I want to bring Regan now. So now he’s on his way to Regan’s, and I think it’s in this dialogue anyway, but let’s pick it up from, Enter Cornwall. Regan. how now, my noble friend? Since I came hither, it’s right after the Gloucester and bastard scene. Lizzie, are you there with me?

Lizzie King-Hall: Sorry, M. I keep jumping ahead, thinking wrongly. So it’s, 2:1.

Annie Occhiogrosso: It is 2:1. M. Okay.

Randall Duk Kim: Yep.

Lizzie King-Hall: And what? Linish. And now, Edmund, where’s the villain?

Annie Occhiogrosso: No, it’s, after.

Lizzie King-Hall: Oh, no, noble friend. Got it?

Annie Occhiogrosso: Yeah, got it, got it. So Enter Cornwall read in. In attendance.

Tom Farber: Well, now, my noble friend, since I came hither, which I can call, but now I have heard strange if it.

Lizzie King-Hall: Be true, all vengeance comes too short, it can pursue the offender. How does my lord Randy wanted?

Annie Occhiogrosso: What Randy could you do Gloucester for this little section?

Randall Duk Kim: Oh, madam, my old heart is cracked. It’s cracked.

Lizzie King-Hall: What, did my father’s godson seek your life? He whom my father named your Edgar.

Randall Duk Kim: O lady, lady shame, would have it hid.

Lizzie King-Hall: Was he not companion with the riotous knights attended upon my father?

Randall Duk Kim: I know not, madam, but, Tis too bad. Too bad.

Tom Farber: Yes, madam, he was of that good.

Annie Occhiogrosso: Okay.

Lizzie King-Hall: No marvel then, though he were ill affected. Tis, they have put him on the old man’s death to have the expense and waste of his revenues. I have this present evening from my sister been well informed of them and with such cautions that if they come to sojourn at my house, I’ll not be there.

Tom Farber: Nor, I assure thee. Ring, Edmund. I hear that you have shown your father a childlike office.

Annie Occhiogrosso: It was my case. Let me do one or the other, huh? Let me do bachelor. Okay, okay.

Randall Duk Kim: Nor, I am berating this practice and.

Tom Farber: Nor, I assure thee.

Randall Duk Kim: Read it. What?

Tom Farber: Edmund, I hear that you have shown your father a childlike office.

Annie Occhiogrosso: It was my duty, sir.

Randall Duk Kim: He did bewray his practice and received this hurt, you see striving to apprehend him.

Tom Farber: Is he pursued?

Randall Duk Kim: Ay, my good lord.

Tom Farber: If he be taken, he shall nevermore be feared of doing harm. make your own purpose. On my strength you please. For you, Edmund, whose virtue and obedience doth this instance so much commend itself, you shall be ours. Natures of such deep trust we shall much need you we first seize on.

Annie Occhiogrosso: I shall serve you, sir, truly, however else for him.

Randall Duk Kim: I thank your grace.

Tom Farber: You know not why we came to thus.

Lizzie King-Hall: out of season threading, dark eyed night occasions notebook loster of some prize wherein we must have use of your advice. Our father he hath writ, so hath our sister, of differences, which I best thought it fit to answer from our home. The several messengers from hence attend, dispatch our good old friend, lay comforts to your bosom and bestow your needful counsel to our businesses which craves the instant use.

Randall Duk Kim: I serve you, madam. Your graces are right welcome.

Annie Occhiogrosso: Good. Okay, so let’s take a look what’s happened here. you have received a letter from your sister Regan, and you and Cornwall have decided you’re not going to be there when Lear shows up. and I think that one of the things that you’ve heard along the way, of course, is that Edgar has made an attempt on Gloucester’s life.

Lizzie King-Hall: Yeah.

Annie Occhiogrosso: and you come in with that, that sense of, we can join in league against these. And I think that’s why you bring up, wasn’t he part of. Wasn’t he part of those riotous knights? We haven’t seen him in the first scene. We didn’t see him with Lear in the hunting scene or any of that. So he has been with Gloucester in Gloucestershire. but again, you have this information, and you’re making a link between, what’s just happened to Gloucester and the threat that Edgar has made and him being associated with Lear, because you know you’re going to have to defend your leaving when your father is coming to see you. It’s Again, it’s not a simple thing. The king is coming. because you’ve heard that he’s leaving Goneril, and he’s coming to you. That’s major. Why aren’t you there to greet him? Do you see? But now you have to have an excuse even to Gloucester. This is terrible. So I would incite him. I would make him feel, oh, this is terrible. You’re in danger. I might be in danger. We’re all in danger, and we must do something about it. And that’s why I’m not staying home, you know. I mean, the urgency underneath. why you. Why you left, and have come. Come, to Gloucester? What, did my father’s godson seek your life? Him who you called named your lady. And so you can start to really play. Play on his grief, Lady. Oh, it’s. It’s terrible. Oh, I don’t know. It’s too bad. Get him on your side.

Lizzie King-Hall: Yeah.

Annie Occhiogrosso: Yeah. M. You know, so don’t let him see any side of duplicitousness or anything that you may be thinking that, would stand against him or the king. Make it all feel as if you were there. because both you. You need him, and he needs you. We all have to join together against these terrible nights. Why? Because once again, those nights that we have, you know, we talked about staging. But those nights are a, threat. Though he were ill.

Lizzie King-Hall: Affected. Tis, they have put him. Tis, they have put him.

Annie Occhiogrosso: Yes.

Lizzie King-Hall: On the old man’s death. To have the expense and waste of his revenues.

Annie Occhiogrosso: Yes. So they incited Edgar to.

Jeanne Sakata: In,

Annie Occhiogrosso: In a plot even against killing Lear or. Or Glosser. Because they want his, That those knights want his money. And if he. They kill him. They can. They can rob him. It’s all made up. But again, that’s what you’re trying to. Yeah.

Lizzie King-Hall: They. They did it to have the expense and waste of his revenues.

Annie Occhiogrosso: That’s right. That’s right. I have this present.

Lizzie King-Hall: Even I been well informed of them. And, with such. That’s why I’m leaving.

Annie Occhiogrosso: That’s exactly right. With caution. Yeah. That’s why I have to be here. So now you’ve taken away any suspicion about. I don’t want to be there because I don’t want to deal with my father. And you’ve turned it into. It was the safest. The only safe choice I could possibly make. Yeah. And then. Then he won’t question it at all. and I think. I think I always find Cornwall such an interesting character. Because in this family, it’s Regan who wears the pants. And in Goneril’s family, it’s. Ah. Albany still tries to be, more commanding than Cornwall. Cornwall is somebody who. He has a heart. We’re told that he is fiery. and, an angry man will see signs of that. But here he is absolutely in love with Regan. And anything she sees, she says, jump. He says, how high? And that’s why that line, Thomas. Nor I. I assure you. Nor I. I assure you, Regan. it’s just we. We’re. It’s a character, you know, a partner development there. and Edmund, who does he take a fancy to? Edmund. And why, he says our natures are so alike. Yeah, they really are. M. You know. and so then we move. Move on to Gloucester. Say, Gloucester. I’m sorry. Cornwall saying, do you know why we’re here? Do you know why we’ve come to visit you? And you come right in. You don’t wait for him to say, no, I don’t. You come right in.

Annie Occhiogrosso: It’s so unusual, out of season, she says, threading dark night. It’s a dangerous thing to weave through night to get here. But it’s worth it. The price was high. And we need your advice. See how you’re pulling him in. We need your advice. My sister wrote to us, and we have heard, about the trouble that’s up there. I’m sorry. And give us counsel. You’re asking again? Counsel and advice from him. You’re winning him over. Why? Because when Lear shows up, you have to cut off all support from Lear. And you have to have Gloucester on your side as well now. And this is your way of getting. Doing that. and he says, I serve you, madam. Your graces are right welcome. He doesn’t say, I’ll talk to your father first. You have to make him understand this is best for all of us to take this route. And it’s not, us being rude at all. Okay. And then we have the Kent and Oswald confrontation, which is wonderfully fun, but it also shows you how rude one servant is and how Kent can hold his own. Cornwall, comes in and breaks that up. and they put Kent in the stocks. And you put him in the stocks as well. And not only do you put him in the stocks, but you say, And I’m jumping. You don’t have. I’ll just do this quickly because I want to get to the lines, the next section. But he says, Cornwall says, fetch forth the stocks as I have life and honor. There shall he sit till noon. Regan says, till noon? Till night, my lord, and all night too. Ah, the lovely Regan. And then Ken says, why, madam, if I were your father’s dog, you should not use me. So she says, sarah being as nave, I will. And that’s how she treats servants. And the reason I’m reading this right now is because the importance of this is Lear is going to show up and say to Kent, why are you in the stocks and what did you do? And he will say, your daughter and your son in law put me. And Lear will say, no, no, that’s not possible. And he says, yes. And that’s where the next scene will start. Lear calls you because he can’t believe that the two of you would have stopped his servant. So that’s why, you see, he’s not there because you left home. He’s not there. He’s here to. To ask you the question, who put my man in the stocks? And of course, you deflect. I’m glad to see your highness. Oh. Oh, yeah, well, I’ll talk about that later. Oh, Regan, I have to. You see what I mean? So he. He. But his. His initial instinct is to say, who put my man in the stocks? But you pull him away by being a loving daughter. Okay, and that brings us up to our scene.

Tom Farber: Okay.

Annie Occhiogrosso: So can we pick it up from I am, hail to your grace. Is that it? Oh, good morrow to you both. And we’ll go right through.

Randall Duk Kim: Good morrow to you both.

Tom Farber: Hail to your grace.

Lizzie King-Hall: I’m glad to see your highness.

Randall Duk Kim: Oh, Regan, I think you are. I know what reason I have to think so. If thou shalt not be glad, I would divorce me from thy mother’s tomb, sepulchering and adulteress. Are you free? Some other time for that. Beloved Regan. Thy sister’s not. O Regan, she hath tied sharp toothed unkindness like a vulture here. Thou, wouldst not believe what. How depraved equality.

Lizzie King-Hall: O Regan, I pray you, sir, take patience. I have hope you less know how to value her desert than she to scant her duty.

Randall Duk Kim: Say, how’s that?

Lizzie King-Hall: I cannot think my sister in the least would fail her obligation. If, sir, perchance she have restrained the riots of your followers. Tis on such ground unto such, wholesome end as clears her from all blame.

Randall Duk Kim: My curse is on her.

Lizzie King-Hall: O, sir, you are old. Nature in you stands on the very verge of his confine. You should be ruled and led by some discretion that discerns your State better than you yourself. I therefore pray you that to our sister you do make return. Say you have wronged her.

Randall Duk Kim: Why, ask her forgiveness. Do but mark how this becomes the house. Dear daughter, I confess that I’m old. Age is unnecessary.

Randall Duk Kim: On my knees, I beg that thou art safe. Me raiment, bed and food.

Lizzie King-Hall: Sir, no more. These are unsightly tricks. Return you to my sister.

Randall Duk Kim: Never. Regan, he has abated me of half my train. Look black upon me. Struck me with a tongue most serpent like upon the very heart.

Randall Duk Kim: Oh. The stored vengeances of heaven fall on her in grateful top file.

Annie Occhiogrosso: M. Strike her young.

Randall Duk Kim: Strike her young bones. You taking airs with lameness.

Tom Farber: I, sir.

Randall Duk Kim: Fie nimble lightnings dart your flaming. Your blinding flames into her scornful eyes infect her beauty. You fend such fogs, drawn by the powerful sun to fall and blister the blessed gods.

Lizzie King-Hall: So will you wish on me when the rash mood is on.

Randall Duk Kim: Oh. Oh, no, Regan. Thou shalt never have my curse. Thy tender, hefty nature shall not give thee o’er to harshness. Her eyes are fierce, but thine to comfort, not burn. Is not in thee to grant my pleasures? Cut off my train, to bandy hasty words, to scant my sizes, and, in conclusion, to oppose the bolt against my coming in. Thou better knowest the offices of nature, bond of childhood, effects of courtesy, views of gratitude. Thy half of the kingdom hast thou not forgot, wherein I thee endowed, sir, to the purpose. Who stalk’d my servant.

Tom Farber: What trumpet’s that?

Lizzie King-Hall: I note my sister’s. This approves her letter, that she should soon be here. Is your lady come?

Annie Occhiogrosso: Ah.

Randall Duk Kim: This is a slave, whose easy borrowed pride dwells in the sickly grace of her. He follows out, varlet, from my sight. What means your grace, who stalked my servant Regan? I have good hope thou didst not know. Honored. But who comes here? Ah, heavens. If you do love old men, if your sweet sway allow obedience, if you yourselves are old, make it your cause. Send down and take my part. Art not ashamed to look upon this beard? Regan, will you take her by the hand?

Jeanne Sakata: Why not by the hand, sir? how have I offended? All’s not offence that indiscretion finds, and dotage terms so.

Randall Duk Kim: Besides, you’re too tough. Will you yet hold? How came my man in the stocks?

Tom Farber: I upset him there, sir, but his own disorders deserved much less advancement.

Randall Duk Kim: You, did you?

Lizzie King-Hall: Nay, you, father, being weak seem so. If till the expiration of your month you will return and sojourn with my sister, dismissing half Your train. Come then to me. I am now from home and out of that provision which shall be needful for your entertainment.

Randall Duk Kim: Return to her. And 50 men. Dismissed. Ah. Rather I abjure all ruse, and choose to wage against the enmity of the air. Be a comrade with a wolf and owl, the necessity sharp pinch, return with hire. By the hot blooded France that dowerless took our youngest born. I could as well be brought to knee his throne and squire like pension, beg to keep base life or foot. Return with her. Bid me rather to be slave and sumpter to this detested groom.

Jeanne Sakata: At your choice, sir.

Randall Duk Kim: I prithee, daughter, do not make me mad. I will not trouble thee, my child. Farewell. We’ll no more meet, no more see one another. But yet thou art my flesh, my blood, my daughter, or rather a disease that’s in my flesh, which I must needs call mine. Thou art a boil, a plague sore, or embossed carbuncle in my corrupted blood. But I’ll not chide thee, let shame come when it will. I do not bid it, I do not call it. I do not bid the thunder bearers shoot, nor tell tales of thee to hide judging Jove, mend when thou canst. I can be patient. I can stay with Regan, I and my hundred knights.

Lizzie King-Hall: Not altogether so. I looked not for you yet, nor am provided for your fit welcome. Give ear, sir, to my sister, for those that mingle reason with your passion must be content to think you old and so. But she knows what she does.

Randall Duk Kim: Is this well spoken?

Lizzie King-Hall: I dare avouch it, sir. What, 50 followers? Is it not well? What should you need of more yea or so many, sith at both charge and danger speak gainst so great a number? How in one house should many people under two commands hold amity? Tis hard, almost impossible.

Jeanne Sakata: Why might not you, my lord, receive attendance from those that she calls servants, or from mine?

Lizzie King-Hall: Why not, my lord? If then they chance to slack ye, we could control them. If you will come to me, for now I spy a danger. I entreat you to bring but 5 and 20. To no more will I give place or notice.

Randall Duk Kim: I gave you all, and in good.

Jeanne Sakata: Time you gave it.

Randall Duk Kim: Made you my guardians, my depositories, but kept a reservation to be followed with such a number. What must I come to you with 5 and 20? Regan, said you so?

Lizzie King-Hall: Speak again, my lord, no more with me.

Randall Duk Kim: Those wicked creatures. You look well favoured when others are more wicked. Not being the worst stands in some rank of praise. I’ll, go with thee. Thy fifty doth double five and twenty, and thou art twice her love.

Jeanne Sakata: Hear me, my lord. What need you 5 and 20, 10 or 5 to follow in a house where twice so many have a command to tend you?

Lizzie King-Hall: What need one.

Randall Duk Kim: Reason not the need our. Ah, basest beggars earn the poorest thing superfluous. Allow not nature more than nature needs. Thou art a lady if to,

Annie Occhiogrosso: allow more than nature needs. Man’s life is cheap as beasts.

Randall Duk Kim: Allow not nature more than nature needs. Man’s life is cheap as beasts. Thou art a lady if only to go warm or gorgeous. Why, nature needs not what thou gorgeous, gorgeous wearest, which scarcely keeps thee warm. But for true need. O you heavens. Oh, you gods, give me that patience, patience I need. Heavens. If you see me here, you gods, a poor old man full of grief as age wretched and both. If it be you that stirs these daughters hearts, against their father, fool me not so much to bear it tamely, touch me with noble anger. Let not women’s weapons, water drops stain my man’s cheeks. No, you, you are natural hags. I will have such revenges on you both that all the earth shall. I will do such things. What they are yet I know not, but they shall be the terrors of the earth. Oh, you think I’ll, weep. Oh, I’ll not weep. I have full cause for weeping. But this heart shall break into a hundred thousand flaws or ere I’ll weep. Oh, I shall go mad.

Annie Occhiogrosso: Okay, good. I want to just say one thing about the next step for all of us. You can start to see as you move in this play, it gets more emotional. If it stays only emotional, the words, which are pretty big words, are going to get lost. And I think when anybody can say a word that’s three syllables or longer, it means that they have their emotions under control. When we. That’s why New York, everybody says, fuck, you know, hurry up, get the fuck out of. Because they’re like this 24 7. So they don’t have time to say, please excuse me, I’d like to get through. you don’t do that. It’s very hard to do that when you’re in a state of. So when you look at the content of what they’re saying, these arguments count and they don’t. You have to be careful of allowing your emotion to take over because then it’s just a shouting match. And what you want to ask yourself is, do I want to change their minds or do I want to just lash out? Now There are moments where one. I mean, Lear, lashes out, talks to the heavens because he can’t get things done with his daughter. Daughters. But what do you want from each other when you’re talking to each other? So it starts at the beginning of this scene when you say, you know, when you greet each other. I’m glad to see your high. Even a line like that, whether you’re glad or not is not the point. What do you want from him? If you want him to listen to you and be, persuasive, then you’re going to have to do it in a way that says nothing makes you happier than seeing him, because that will make him feel. Forget that he was told that you stalked his servant. Then he goes on, and his upset is with, And by the way. Oh, Randy, this just occurred to me too. I would suggest that the adulterous line be a little bit of a joke.

Randall Duk Kim: Okay.

Annie Occhiogrosso: Yeah. Yeah.

Randall Duk Kim: It occurred to me that.

Annie Occhiogrosso: Yeah, it’s almost a relief, right, that she’s, And so beloved. Regan, your sisters. No, he put. Pours his heart out to her. And I think what you need to do again, Regan, is to decide what do you want from him? Because if you give him any sign that you’re equaling gonorrholl, you’re gonna lose him.

Lizzie King-Hall: Yeah. Not muscling him, but, reducing. Minimize. Minimize. Minimize. Minimize.

Annie Occhiogrosso: Yeah.

Lizzie King-Hall: Yeah, yeah.

Annie Occhiogrosso: I. I can give you an example. My sister’s in the hospital right now, and she’s in therapy. Physical therapy. She doesn’t want to be there. And so she called me last night to say, I don’t want to be here. I don’t care, and I don’t want to be. And I didn’t say to her, just buck up. And I didn’t say that. What did I say to her? I said to her, isn’t there any way that they could, get you something that you, like, couldn’t you bring?

Jeanne Sakata: You know?

Annie Occhiogrosso: I said, you know, Angelica, you’re gonna have to be there because I don’t care. I don’t want to be. And I. So you’re. Even though inside you may want to shake him. I think you’re going to have to keep saying, how can I change? What’s my tactic going to be? To change him? and I think that the same thing with you, Randy. I think. And we talked about this. You’re so kind to her. And it’s Goneril, that every time she mentions Goneril, it sends you into a tailspin because you’re remembering what you Just witnessed by leaving. The other part of this that no one ever talks about in, in the scholarly stuff is he comes into that scene from hunting hungry. He never eats. And now he’s an 80 year old man on the road coming to see his second. He just had a huge fight with his first daughter. Now he’s on the road to meet his second daughter. She’s not there. Back on the horses now, I gotta go, to Gloucesters. Then he gets there as servant. So he’s 80, he’s hungry, he’s tired. So part of the emotion that starts to set in I think is part and parcel of what’s happening in, you know, in this night. People are really, in their emotions. They are strained. Everything is strained. But I just keep wanting you to just simply look at. Again with Reagan, you say nature and you stands on the very verge of his confine. She doesn’t say you’re old and you’re going to die. And that’s not just an Elizabethan word of say. Way of saying it, it’s Reagan’s way of being diplomatic.

Lizzie King-Hall: It’s a turn of phrase.

Annie Occhiogrosso: That’s exactly, that’s right, that’s right. And therefore, you know, you should be ruled. Think of it this way, Father, you know, let us take care of you.

Jeanne Sakata: Yeah.

Annie Occhiogrosso: Yeah. Of all your knives and everything you have, and we’ll see how it goes. But that’s the next step, I think, in all of it is to go back, again, when I’m directing or coaching, I always feel that I, I want to give you guys enough reign because when you’re feeling something, I don’t want to squelch that. So you don’t, you know, you just don’t do that. I want you to go with that, but just keep reminding you that there’s a lot that has to be said and it can get, get lost in a lot of emotion if we’re not careful.

Jeanne Sakata: Yeah.

Annie Occhiogrosso: The questions, anything, you know, anything that I know it is, you.

Randall Duk Kim: Know, you know, that your idea that, that he’s hungry and tired and everything. That’s why his final threats are so ineffectual. Yeah, says I, I don’t know, I don’t know what I’m going to do, but I, it, they’re going to be the terrors of the, know, it becomes almost gibberish.

Annie Occhiogrosso: And that lie he has at the end when he says, I shall go mad, it’s because he cannot fathom how this could be happening. Yeah, yeah, I gave you all yeah. how can this. How can both daughters, not just one. And you have. All your money is on Regan. And that’s why, Lizzie, I. I want. I want him to feel good about that until.

Lizzie King-Hall: Yeah.

Annie Occhiogrosso: So good.

Nathan Agin: Right.

Annie Occhiogrosso: You know, really just.

Jeanne Sakata: This takes his breath away.

Lizzie King-Hall: Right.

Jeanne Sakata: It’s just like a sucker punch to the gut. Right.

Annie Occhiogrosso: Yeah.

Randall Duk Kim: Yeah.

Jeanne Sakata: That is all that coming. Yeah. Ah.

Lizzie King-Hall: After a truly horrible fight with family, you feel like world is upside down.

Annie Occhiogrosso: Yes. Right. And you feel bad about it. And you know, but so I.

Jeanne Sakata: Did have one question, you know, about the curses. The raining the curses down on their heads. And, I think I was trying to ask myself, if I actually feared as Goneril, those curses, like, is a former king’s curse. Do I feel like that holds weight, there with the gods? I just wasn’t sure, you know, how much I feared what he’s saying in terms of his power to rain down to. To ruin my life with these curses?

Annie Occhiogrosso: Yes.

Jeanne Sakata: Or is it just that. Oh, that’s just kind of. He’s just ranting and they’re horrific things he’s saying, and they hurt. But do I fear that. That I could actually be, That I could. All these things could happen to me because of his curses?

Annie Occhiogrosso: I think you’re more so. I think you’re more fearful of what can be taken away from you in this life than anything the gods will do to you. I think that,

Jeanne Sakata: Yeah, but that’s what I’m saying. Like the womb and the beauty and the.

Annie Occhiogrosso: I think. I guess my feeling would be that it’s more hurtful personally than it is fearful. you know, in a cosmic way.

Jeanne Sakata: Okay, okay, okay.

Randall Duk Kim: That he would even say such a. Such thing.

Annie Occhiogrosso: Right. That’s more because she doesn’t say. Do you mark that when he does her womb? She says it when he says that I will do. I will take it back again. Yeah.

Jeanne Sakata: She’s just trying to imagine how I’d feel if my dad ever said things like that to me.

Annie Occhiogrosso: But again, you did see him do it. This is my point. You did see him do it. To Cordelia.

Jeanne Sakata: To Cordelia, yes.

Annie Occhiogrosso: Isn’t him just going off again into this world of. I’m angry and this is, you know, how I’m going to let everybody know it. But it is in effect. I liked when Randy was saying earlier, what’s to me about Lear is he finds out that his curses are ineffectual. He has no power, and curses without power are just not effective. Not going to change anything.

Jeanne Sakata: It makes Him Pathetic. Right.

Annie Occhiogrosso: Yes, it does. And I think that’s one of the reasons he says, you think I’ll, weep, but I won’t weep. But the weeping has to do with being. Being pathetic. Being. Nothing’s happening. As a result, he can’t banish you. He banished. Can’t he. Banished. He can’t do really anything. That’s why he says, they shall be such. What they are. I don’t know. What you don’t know. Well, you were pretty specific in Act 1.

Jeanne Sakata: Yeah, I find that line. So, What’s the word? Where you really see how he’s lost his power because he’s. It’s like, I’m gonna do these terrible things. What they. I don’t know what they’re gonna be, but they’re gonna be bad.

Annie Occhiogrosso: They’re really.

Tom Farber: And you just breaking, in a sense.

Annie Occhiogrosso: Yeah, yeah, yeah.

Jeanne Sakata: No fangs anymore.

Randall Duk Kim: Yeah. Yeah.

Tom Farber: I was literally thinking, like, you defanged and declawed. What was the beast known as?

Randall Duk Kim: Learning.

Annie Occhiogrosso: Yeah. One of the things that just reminded.

Randall Duk Kim: Me Thomas was gonna have to go mad in order to realize it.

Annie Occhiogrosso: Yeah.

Randall Duk Kim: And to realize who he really is. He’s a, Good old man.

Annie Occhiogrosso: Well. And he’s gone from the stages of being king, and then he’s a fool, and then he’s mad, and then he’s back to something. And, again, that becomes the question of the play. Cornwall, I do want to say one of the things. Things I, have I always loved was when Cornwall says, hail to your grace, Lear walks right past him. Lear doesn’t say hail to you or anything. He just told. And that you can. I think you’ll find there’s something, even. And I think it’s probably why you’re such an angry figure and such a. You know, you rage at things because nobody cares about you. He doesn’t like you. In the first scene of the play. I thought that I fought the king had more affected the Duke of Albany than Cornwall. Kent says, and so you’re. That’s why you pipe in. In that other scene. And I won’t be there either. Regan. I won’t be there either. She doesn’t turn to you and say, we’ll both not be there. She says, I won’t be there. She makes up her own mind. So there’s something ineffectual about Cornwall, even with his rage.

Tom Farber: Yeah.

Annie Occhiogrosso: All these little tidbits, you know, you, ah, keep finding. At any rate, my guess, I don’t know how next week works. Maybe Nathan will pop in and let us know.

Randall Duk Kim: Yes.

Annie Occhiogrosso: Do we just do it and talk, or is it another session? I’m, not sure. has anybody done this?

Jeanne Sakata: Oh, yay.

Annie Occhiogrosso: I knew he’d come.

Jeanne Sakata: Before I forget, can I take a photo of us?

Randall Duk Kim: Of course. Sure.

Nathan Agin: I’ll stop the video. So it can just be a family. A family affair.

Randall Duk Kim: Oh, no, no.

Jeanne Sakata: Nathan, I want you in here too.

Nathan Agin: Okay.

Randall Duk Kim: All right, let’s do it.

Jeanne Sakata: Two, three. Okay. Thank you.

Lizzie King-Hall: Thanks, Gene.

Randall Duk Kim: You’re welcome.

Nathan Agin: so, yes, very briefly, next, week is, a bit of a continuation of the work you guys have been doing. it is not meant to be final or certainly, you know, even approaching something as perfect or whatever that would mean. it’s just a continuation of the work. And that’s how I try to contextualize it for anyone that shows up. The one difference is that we do allow people to sit in, live. and what we found talking to Randall and Annie after the last time we worked together, because they have a particular way of approaching the work that I’m. I will probably just kind of limit questions to those people who have, Either have some history with their work, or those who, have been watching these sessions along so that we, you know. Because you can talk ad nauseam about, like. Well, I think. I think Lear is doing this in this scene with this line. And that’s not really what we’re.

Lizzie King-Hall: What.

Nathan Agin: What we’re here to focus on. it’s. Especially with their approach. It’s.

Randall Duk Kim: It’s,

Nathan Agin: Yes, you can have those discussions, but, I think because of how you guys focus so much on the folio and the clues therein, we can kind, of gear the questions towards that. And if there is a question that I think is relevant to the work you guys have been doing, I can bring that forward. But that’s kind of a small part of next week. Once. You’re welcome to, kind of just again start the session however you would like, whether you want to talk about something first, whether you want to read the scene, discuss it a little bit more, read it again. And then once you feel like you’ve done whatever you want to do for next week, whether it’s reading the scene a couple times or whatever after an hour or so, I mean, there’s no rush. then I can open up for questions and, we can chat a little bit, and then that’ll be it.

Annie Occhiogrosso: Good. Everybody heard that?

Jeanne Sakata: Yes.

Randall Duk Kim: Yep.

Jeanne Sakata: Oh, this went by so fast.

Tom Farber: It really did.

Annie Occhiogrosso: You know, I know and we got through quite a big chunk of the, you know, beginning of the.

Lizzie King-Hall: Tell me about it.

Annie Occhiogrosso: It’s great. Yeah.

Tom Farber: Yeah.

Nathan Agin: I just. I mean, I’ve been able to listen to as much as I can today, and I’ll probably go back and listen again, but it’s just. It’s so enjoyable that. That, for me, that. That you guys, like, as an. As a. As an attendee, just to get to listen to the depth of conversations you can have because you have so much time to talk about this one scene. And of course, you have some time to go back and look at the earlier scenes and how it informs that. But, But just the minutiae that you can get into and. And, you know, talking about, you know. And of course, as humans, we all have these moments of when some. When somebody’s talking to you. And probably in, like, modern, day, say, speak, we talk about, like, well, you’re. You’re. You’re blaming me. You’re using. Blaming language for all of this. And, you know, why aren’t you taking responsibility? Can you just tell me how this makes you feel? And then I might be in a better place to respond to that. So when you think about all those things as a human, it’s like all this stuff that would be going on for you as a human when somebody’s railing at you, and it’s just like, okay, I can’t explode on this person right now, which is what I want to do, which would be the easy thing. So how do I navigate this situation? Because there’s so much going on and there’s so much at stake, and it’s. It just makes it for a very rich, experience, even for me as an observer, to just be thinking about all this.

Randall Duk Kim: That.

Nathan Agin: That, again, makes, them much more real people than we are maybe traditionally, introduced to them as. It’s like, well, here’s King Lear and here’s Regan here. It’s like, yeah, but they’re a family squabbling. They’re arguing over, you know, who gets the money, you know, when that. When the patriarch dies, you know, that’s what. You know.

Jeanne Sakata: Yeah. Yeah.

Nathan Agin: So it’s very enjoyable for me.

Lizzie King-Hall: For us too.

Nathan Agin: you’re all doing such a great job, too. It’s really wonderful.

Jeanne Sakata: do you teach ongoing classes?

Annie Occhiogrosso: Yes, we do. Go ahead, Randy.

Randall Duk Kim: No, Annie’s the coach. Really? Annie’s the teacher. I’m just.

Annie Occhiogrosso: What we do is what we try to do when we coach, what we try to do in our joint teaching is that it’s always nice to have Randy in my back pocket because I can kind of pull him out and say, this is what it should sound like. You know, so they have something to shoot for. and then I can fill in on. You know, I always say that Randy can show you what it should be and I can show you how to get there. that’s basically what our relationship has been. so, yes, we do. And we were talking, we talk a lot about how to do more of this. You guys have set a fire under us. As I said earlier, at any given moment we’re ready to throw the towel in. But because you are so, wonderful at coming along with us on this journey and being willing to look at the script without any kind of, you know, external concept or, whatever, it’s made us feel like we’d like to do more. And we felt that with this play. One of the reasons I was happy about going back is that I would love to take the two of you, and Thomas and another group of people through more of the play. Because it’s the way to learn it is you learn it with actors. not in a classroom, not in, you know, so that. So, yes, Jeanne, we do. It’s just a matter of what kind of format do we put it in, and how, you know how to do it. We taught at centenary. We taught 13 week masterclass in Hamlet, Merchant of Venice, King Lear. and that’s. And they allowed us. You got a. I don’t know, Thomas would know credit, two credits. But that’s all we studied as one play for 13 weeks.

Tom Farber: I can’t remember if it was two credits or four credits because I know it was back when I went. It was either you could do an English Shakespeare class or you could take the intensive, at least for the theater majors. Yeah, that was the case. So that’s how. That’s. So I went the intensive route and that’s how I met Randy and Annie.

Annie Occhiogrosso: Yeah. Yeah.

Randall Duk Kim: I think too, what these sessions have done for me is that it’s made me aware that in the commercial theater we’re not allowed any time with. At table with the text. And getting rooted, having the entire company get rooted, Rooted in the text so that we’re all living in the same world, we’re all standing on the same ground, you know. So what this has shown me is that what would happen if we had like three months, once, a week, to just work on, do text work, call it table work, and then be ready to offer it as A full reading or that we’re ready to get up on our feet to work it. What. I mean, after doing all this kind of work.

Jeanne Sakata: Oh, if there’s any sort of online class you guys teach, I’d be so. I’d be so there. Just let you know my interest.

Annie Occhiogrosso: Well, you’re wondering, this is such a.

Jeanne Sakata: Sad time in Los Angeles right now because, you know, we’ve just learned that the Mark Day perform won’t be producing.

Annie Occhiogrosso: And I heard that the Dallas Theater center is closed, or they’ve closed.

Lizzie King-Hall: Closing for real. I knew that they were cutting, cutting, cutting.

Annie Occhiogrosso: I know that somebody told us today that they were closing.

Jeanne Sakata: And then we’re all in shock here in LA because.

Randall Duk Kim: Yes.

Jeanne Sakata: never happened. The taper Shutting up season.

Annie Occhiogrosso: And I guess Ashlyn was looking for $23 million to finish their season, and they canceled their Christmas Carol. And one theater after another.

Jeanne Sakata: Thank you so much, all of you.

Nathan Agin: Yeah, I think what I’m. What starts in my head is that through no fault of its own, I think we’re entering a phase where how else can theater be done? And in a very practical sense, so that, you know, because up till now, theaters have had to take on a lot of risk to produce it. There’s a lot of costs, there’s a lot of, overhead. There’s a lot of upkeep. And we’re seeing that through a number. Because of a number of factors that’s not sustainable for. For. For. For straight plays, you know. You know, you can do, celebrity casting, you can do musicals. You can pack the houses that way. But for those people that want to do new works or classical theater or things like that, it’s, I think there is. There is a need for some kind of different business model. And I think, you know, and at the same time, as you guys have spoken to, there’s clearly an energy for all of you in doing this depth of work. So. And I think not only is it valuable for the artists involved, but for the audience, it enriches the experience for them too. So. No, I mean, I think there’s a need for something different, as we’re seeing these things happen with these beloved theaters around the country and just figuring out what that might look like and just, hopefully there are some brave individuals willing to try. Try different things and see, well, what. What could work? How do we. How do we share the risk or mitigate it or spread it around, you know, so that it’s not such a huge undertaking for. For these big theaters anymore.

Annie Occhiogrosso: I want to just share a story about Lloyd Richards. I don’t know if he’s passed away. Was the head of the Yale program, black director, and he was the original director of A Raisin in the sun. And he told a story about a woman. They were, in rehearsal about to open A Raisin in the sun, the first production of it, and, ah, a little old black lady came into the theater and had a little coin purse and counted out coins at the ticket booth. And he watched her, and he said to her, let me ask you, why are you spending your coins on a ticket for this when you could see Sidney Poitier in a film around the corner? And she said, someone told me something in there was happening that’s important to my life, and that’s what I wish would happen again with the theater, that we would, raise it up to that standard again. Something’s happening in there that cannot be on Zoom, it cannot be on your phone, but it’s important to your life that you be there. I don’t know, Nathan, what the model is to make that happen, but I know that the power of the theater is there for it to happen.

Nathan Agin: Yeah, well, good things to keep thinking about.

Lizzie King-Hall: Speaking of growth, I have to go water my mother’s garden.

Randall Duk Kim: Yo. Thank you. See you next week.

Lizzie King-Hall: I love you guys.

Annie Occhiogrosso: See you soon. Thank you.

Randall Duk Kim: see you, Jeannie.

Jeanne Sakata: All right. Thank you, guys.

Lizzie King-Hall: Thank you, Thomas.