Final Session – Shakespeare’s “Macbeth” – 2 scenes – The Rehearsal Room [Video, Audio, and Transcript versions]

Nathan Agin

Hi there. I’m Nathan Agin and welcome back to the Working Actors Journey Rehearsal Room. We’ve been working on a couple scenes from Shakespeare’s Macbeth this month, and we are wrapping up things with this fourth session. If you’ve been following along watching the sessions, I hope you’ve enjoyed everything you’ve seen thus far. If you have questions and comments for the actors and artists you see here, drop a question below, comment below. We’d love to, you know, hear from you and, and try to respond to the best of our ability. If you enjoy what you’re seeing, hit that like button subscribe so that you can follow along and, you know, be the first to know of next sessions that are coming out. And tonight may be called the final session of this workshop, but what you’ll see tonight is not meant to be a final performance. It’s rather just a continued work in progress. 

This is just the next step of the work the actors and all the artists have been doing. So I do wanna mention coming up next, in November, 2024, we’re doing an a, a replay from our, our, from our Archive of the Winter’s Tale, Shakespeare’s the Winter’s Tale. We’re doing a couple scenes with Jeffrey Wade directing. It was a great session we did in 2023. Really excited to be able to release it and share it on all platforms with, with everybody for all to enjoy. So again, be sure to subscribe for channel, click for notifications. You can support the project via Patreon and get early access to all the sessions, plus a few other perks starting at just $5 per month. Thank you to our patrons, EVAR, Jaylin, Joan, Michelle, Jim Magdalen, Claudia Cliff, and Jeff. That is great. 

Thank you very much for all your support there. I’m gonna disappear and let everybody do the work. And maybe a quick, you know, quick, very quick round of introductions for if people are tuning in for the first time for this session. And then I will show up towards the end and we can do a little q and a. So hope you guys have a great session. Enjoy, and I’ll, I’ll talk to you later. 

Nick Cagle

Thank you, sir. Hi everyone. My name’s Nick Cagle. I’m honored to be here with two close friends of mine, mark and Megan directing scenes one, five and two, two from one of my favorite plays, Macbeth. And I’ve had a long relationship with this play, and I have longed long to see the two actors that I’m currently work working with perform this. 

Could you guys introduce yourselves, starting with Megan, please? 

Meaghan Boeing (she/her)

Hi, I am Megan Bowing. I have known Nick for a gazillion years and also knew Mark way back in the day back in Boston when I was right outta school. So we have seen, haven’t seen each other in 20 years, which is really fun. 

Yeah, I’m an actor and a musician and an educator and a writer, and I love doing this stuff. Yeah. 

Mark Lawson

Hi, I’m Mark Lawson, and I can echo what you both have said because I’ve known you both equally about as long. So I’m an actor, writer, stay at home dad. So this is a, a pleasant escape for a couple hours a week for the last month, maybe not pleasant, Maybe nutritious. 

Meaghan Boeing (she/her)

So pleasant. 

Mark Lawson

I’ll say nutritious. 

Nick Cagle

But it’s the right time of year to do this one. It’s, you know, we’ve got, we’ve got Halloween coming up. It’s the fall is here. It’s been rainy and cloudy where I am. It feels perfect for this right now. 

And congratulations, we’ve made it to finals day. 

We’ve had, we’ve had three weeks. We’ve, we’ve talked about the verse, we’ve talked about the poetry, we’ve talked about intention, we’ve talked about author’s intention and the play itself and the characters. And now we’ve come to a day when we just get to play and we get to perform. 

It’s, it’s tech day. Do you all have your fog machines ready, Nathan? Do we have fog machines? 

Nathan Agin

We Do. We do. We do. And, and I only want to pop back in to say that our wonderful dramaturg, Gideon Rappaport, we had to kind of reschedule some, some dates and he, he wasn’t able to attend. So we’re very sorry. We, we, you know, deeply miss him as part of this session. But he’s been great presence throughout. If you haven’t checked out all the sessions or other sessions with him, please, please, you know, he has so much to share and, and you have so much to learn from him. So unfortunately he couldn’t be with us tonight, but I know we’re in good hands with the rest of the team, so, all right. 

I promise that’s it from me. I’ll run back to the back of the theater 

Nick Cagle

And we’ll search for fog machines. Gideon, we’ll do it in 

Mark Lawson

Post 

Nick Cagle

You, sir. I hope that, I’m sure that Gideon is watching and here in spirit and he has given us a lot to think about and a lot to talk about. 

It’s, it’s been, it’s great to have a dramaturg on board with this. And I encourage the audience, anybody who’s watching, if you have a script, grab it and open it up to scene. We’re gonna start with one five, right? 1 7, 1 7. We’ll do one seven. We’re gonna talk a little bit about one five today too, if we have, do you have a copy of one five over there? Mark, you got lucky? Sure. Yeah. I thought, I thought we, we’d check out the scenes that surround the scenes that we’re working on a little bit, then we’ll have sort of a dress rehearsal, give some notes and then just let it, let it fly, if that’s okay with you guys. 

Meaghan Boeing (she/her)

Yeah. 

Nick Cagle

Do you, do you guys have scripts that you can open up to? Sort of, let’s see. I think, I think we wanna look at the letter would be, it would be neat to hear Lady Macbeth receives a letter from Macbeth that’s sort of telling her the story of, of what’s happened to him on the road. And this letter kind of kicks off the play in, in a way it kicks off the, the actions that we’re about to explore today. 

Do you guys wanna take a, a, a look at that letter and that little speech that she gives Megan? 

Meaghan Boeing (she/her)

Sure. That’s all I have. Do I need the rest of it? I can pull it up if I need to. 

Nick Cagle

I, why don’t we just read that for now and see what we can pull out of it and, and then if we wanna p take a peek at something else later, we will. 

Meaghan Boeing (she/her)

Okay, Cool. They met me in the Day of success and I have learned by the Perfectest report, they have more in them than mortal Knowledge. When I burned and desire to question them further, they made themselves heir into which they vanished while I stood, wrapped in the wonder of it came missives from the king who all hailed me tha of kado. By which title? Before these weird sisters saluted me and referred me to the coming on of time with Hail King that shall be this. Have I thought good to deliver thee my dearest partner of greatness that thou might not lose the dues of rejoicing by being ignorant of what greatness is promised thee. Lay it to thy heart and farewell glos thou heart and cado and shall be what thou art promised. 

Yet do I fear thy nature? It is too full of a milk of human kindness to catch the nearest way our would be great or not without ambition, but without the illness should attend it. What thou woods, ty, that what thou hopefully would not play false and yet would wrongly win. Thou would have great glas that which cries thus thou must do if thou have it. And that which rather just fear to do than wish should be undone. 

Hi the heather. That I may pour my spirits in your ear and chastise with the valor of my tongue, all that impedes thee from the golden round, which fate and metaphysical aid to seem to have the crowned with all. 

Nick Cagle

Beautiful, beautiful. I’m so happy we just recorded that. 

Meaghan Boeing (she/her)

Ah, 

Nick Cagle

Fantastic. I put a little heart next to where you sit where my dearest partner of greatness, 

Meaghan Boeing (she/her)

It’s one of my favorite is 

Nick Cagle

She got excited there. 

Meaghan Boeing (she/her)

I Love, I think one of the things about this that’s really important is that you see how much they love each other. 

Nick Cagle

Yeah. 

Meaghan Boeing (she/her)

You know, like I have, like, it has to be like, I think I erred a little on, on too much on that side. I was playing with something with during the monologue that I was a couple of things I wish I, that I would do differently. But I do feel like there’s like this, it’s gotta be this excitement. ’cause we’ve seen the thing already. So the reason he’s giving us a letter is not to tell us what’s happened. ’cause we just saw it all The reason is to is to set up what she feels about it and to set up their partnership. 

Nick Cagle

Yeah. And it’s, it’s stuck out. And I heard you reading it that where she says, yet do I fear thy nature? It is too full of the milk of human kindness that gives us an interesting clue about Right. Macbeth’s character. Right, 

Meaghan Boeing (she/her)

Right. Because we’ve just seen like battle hardened, you know, warrior Macbeth. 

Nick Cagle

Yeah. Yeah. And that she’s like, oh, 

Meaghan Boeing (she/her)

You’re a Good guy. 

Nick Cagle

That’s a very powerful line that the audience needs to remember for the rest of the play that, you know, it gives this dark character, this inch of humanity. And it’s, and it’s so brilliant because it’s comes from his love, it comes from the person that knows him the best in the world. 

Meaghan Boeing (she/her)

Hmm. 

Nick Cagle

You know, very interesting. So she receives that letter and then a messenger comes in and, and the messenger says that the king is going to crash at their pad tonight. Right. And she devises a plan, essentially. 

Meaghan Boeing (she/her)

Yeah. 

Nick Cagle

Wouldn’t you say she, she comes up with, with this plot to put her, her to put Macbeth and herself in a powerful position. 

That’s beautiful. I think what I would like to do, what would be interesting and tell me what you guys think of this. How do you feel if we read our two scenes that we’re working on all the way through and then discuss just, you know, we, we’ve done all the work as far Well there’s plenty you could never stop doing work with the text. But let’s just talk about acting choices and talk about what you guys would like to do with characters and you know, let our audience see how that process works. 

Meaghan Boeing (she/her)

Sure. 

Nick Cagle

Does that sound like something fun? Okay, I’ll disappear and let you guys, and then I’m gonna take some notes and we’ll, we’ll thrash ’em about afterwards. 

Break legs. 

Meaghan Boeing (she/her)

Thank you. 

Mark Lawson

If it were done, when it is done and we’re well or were done quickly, if the assassination could t trammel up the consequence and catch with his cise success that, but this blow might be the be all and the end all here. 

But here upon this spank and shoal of time, we jumped the life to come. 

But in these cases, we still have judgment here that we but teach bloody instructions, which being taught return to plague the inventor. This even handed justice commends the ingredients of our poison chalice to our own lips. He’s here in double trust. First as I am his kinsman and his subject strong, both against the deed. Then as his host, who should against his murderer shut the door. Not bear the, the knife myself. Besides this Duncan Heth born his faculty. So meek has been so clear in his great office that his virtues will lead like angels trumpet tongue against the deep damnation. If his taking off and pity like a naked newborn babe striding the blast or heaven’s cherub and hors upon the sightless couriers of the air shall blow the horrid deed in every eye that tears shall drown the wind. 

I have no spur to prick the sides of my intent, but only vaulting and ambition which or leaps itself and falls on now what news 

Meaghan Boeing (she/her)

He has almost sucked. Why have you left the chamber? 

Mark Lawson

Have he asked for me? 

Meaghan Boeing (she/her)

No, you’re not. He has, 

Mark Lawson

We will proceed no further in this business. He heth honored me of late and I have bought golden opinions from all sorts of people, which should be worn now in their newest gloss. Not cast aside so soon 

Meaghan Boeing (she/her)

Was the hope drunk wherein you dressed yourself have it slept since and wakes it now to look so green and pale at what it did. So free from this time. Thus, I account thy love art. Thou a fear to be the same in th own act and valor as thou art and desire. 

W thou have that which thou esteems the ornament of life and live a coward and thy own esteem letting I dare not wait upon I would like a poor cat in the adage 

Mark Lawson

For the peace I dare do all to me become a man who dares do more is none 

Meaghan Boeing (she/her)

What beast was then that made you break this enterprise to me. When you durst to it, then you were a man. 

And to be more than what you were, you would be so much more the man nor time nor placed did than adhere. And yet you would make both. They have made themselves and that their fitness now does unmake you I have given suck and knowhow. Tender is to love the babe that ilks me. 

I would while it was smiling in my face, have plucked my nipple from his boneless gums and dashed the brains out. Had I so sworn as you have done to this, we should fail. We fail. But screw your courage to the sticking place and will not fail 

when Duncan is asleep. Whereto the rather shall his days hard journey soundly invite him his two chamberlains will I with wine and waffle. So convinced that memory, the water of the brain shall be a fme and the receipt of reason limbic only when in swish sleep be their drenched nature lies as in a death. What cannot you and I perform upon the unguarded Duncan, what not put upon his spongy Officers who shall bear the guilt of our great quell 

Mark Lawson

Bring forth men, children only for the ironed metal should compose nothing but male that not be received. When we have marked with blood those sleepy two of his chamber and used their very daggers that they have dunked 

Meaghan Boeing (she/her)

Who dares receive it other as we shall make our griefs and clamor roar upon his death. 

Mark Lawson

I am settled and bend up each corporal agent to this terrible feed away and mock the time with fairest show false face must hide with a false heart. Death. No. 

Meaghan Boeing (she/her)

That which has made them drunk have made me bold. Would have quenched them have given me fire park. 

Please. It’s the owl that shrieked a fatal bell mint that gives the sterns goodnight is about it. The doors are open and the surfed grooms do mock their charge with snores. I have drugged their PTs that death and nature do contend about them. Whether they live or die. 

Mark Lawson

Who’s there? What hope? 

Meaghan Boeing (she/her)

A like I am afraid they have awake and it is not done. The, the attempt and not the deed confounds us. Ha I laid there daggers ready. He could not miss had he not resembled my father as he slept. I had done my husband. 

Mark Lawson

I have done the deed. Thou not hear a noise. 

Meaghan Boeing (she/her)

I heard the owl scream in the cricket cry. When did not you speak 

Mark Lawson

When 

Meaghan Boeing (she/her)

Now 

Mark Lawson

As I descended. 

Meaghan Boeing (she/her)

Aye 

Mark Lawson

Who lies at the second chamber? 

Meaghan Boeing (she/her)

Donald Bain. 

Mark Lawson

This is a sorry sight. 

Meaghan Boeing (she/her)

A foolish thought to say a sorry sight. 

Mark Lawson

Just one to laugh and sleep. And one cried. Murdered that they did that they did wake each other. I I stood and heard them, but they did say their prayers and addressed them again to sleep. 

Meaghan Boeing (she/her)

There are two lodged together. 

Mark Lawson

One cried. God bless us and ah, amen. The other as, as they had seen me with these hangman’s hands listening their fear, I could not say amen. When they did say, God bless us, 

Meaghan Boeing (she/her)

Consider it not so deeply. 

Mark Lawson

Where can I not say amen? I had most need, blessing and amen stuck in my throat. 

Meaghan Boeing (she/her)

These deeds must not be thought after these ways, though it will make us mad. 

Mark Lawson

We thought I heard a voice cry. Sleep no more Macbeth does. Murder, sleep. The innocent sleep. Sleep that knits up the raveled sleeve of care, the death of each day’s life. Sore labor’s bath balm of hurt minds. 

Chief, great nature, second course chief Nate. A nourisher of life’s feast. 

Meaghan Boeing (she/her)

What do you mean 

Mark Lawson

Still it cried. Sleep no more to all the house glam has murdered sleep in that book, God door shall sleep. No more me shall sleep. No more 

Meaghan Boeing (she/her)

Was it that thus cried. Why worthy fame you do unbend your noble strength to think so brainly of things. Go get some water and wash this filthy witness from your hand. Why did you bring these daggers from the place? 

They must lie there. Go carry them and smear the sleepy grooms with blood. 

Mark Lawson

I’ll go no more. I’m afraid to think what I’ve done. Look on the cat. I dare not 

Meaghan Boeing (she/her)

In firm of purpose. Give me the daggers, the sleeping and the dead are. But as pictures, just the eye of childhood that fears a painted devil. 

If he do bleed, i’ll guilt the faces of the grooms with all for it must seem their guilt. 

Mark Lawson

Which is that knocking always with me whenever noise appalls me hands are these. Huh? They pluck out my eyes. Will all of great neptune’s oceans wash this blood clean from my hand? No rather this my hand will the multitude and the seasoned carine making the green one red. 

Meaghan Boeing (she/her)

My hands are of your color. But I shame to wear a heart. So white. I hear a knocking at the south entry retire. We to our chamber. A little water clears us off this deed. How easy is then your constancy have left you unattended. Mark more knocking. Get on your nightgown. Let occasion call us and show us to be watchers. Be not lost. So poorly in your thoughts. 

Mark Lawson

No, my deed. We’re best not know myself. Wake Duncan with th knocking. 

Nick Cagle

Wow, you guys aren’t fair. You worked on this. 

Mark Lawson

Well yeah. 

Nick Cagle

Geez, 

Meaghan Boeing (she/her)

This week I did 

Nick Cagle

My, I could tell my goodness. Great, you guys, that is very, very precise. I’m like, well, I stopped taking notes in the middle. I’m like, I was like, oh no, I have to have something to talk about. Now. You guys are really, really, you’ve taken it up five notches. You found, you’re starting to find the life of the characters. Mark the warrior is there. You know, I really, really like your reading of this character. It’s really cool. 

He, the, the thing is, and I, and I just realized this, that a lot of this stuff, he’s shocked at the action that he did. But he’s seen gore before. Plenty of it. He’s seen blood, he’s seen battles, you know. So I think it’s the, the thing that panics him is the action. 

Not so it’s the, the patro side. Yeah. Not so much the gore. It’s, it’s the, the act of killing the king. And, and you know, like it’s who the action and, and plus, you know, the fact that I think that he, he does have a, I gathered from your performance that he has a sense of nobility that he shattered with this action even on the battlefield. Perhaps he had a sense of nobility that, you know, he maybe had certain rules that he lived by while he was fighting and, and he just threw them all out the window with this action right there. And the disappointment. Really, really great stuff. Both of you guys. I, Megan, I, I laugh at Lady M. 

She’s hilarious. I mean, she’s really got a lot of funny things that she says in here. The spongy officers. I can’t, 

Meaghan Boeing (she/her)

I like, yeah. 

Nick Cagle

Bit my coffee out every time she says spongy officers there. There’s a lot of humor in her the way, even when she says, what did I laugh at? She, she says, my hands are of your color. But I, you know, but my heart’s not, you know, so white. Like, she’s like, you’re such a chicken. Like pull it together. I, I, I don’t know. She, her courage is impeccable. It’s just, it’s fascinating how brave she is. 

Mark Lawson

Like really Overlooking the fact that he actually did the deed. Yeah. 

Nick Cagle

Yeah. She came in, she Up and then he falls apart. Yeah. All stand up. She doesn’t like that part of him. You know what I mean? I think that she, like, she doesn’t like weakness, you know? 

Meaghan Boeing (she/her)

Right. 

Mark Lawson

Is It or is it the wishy washiness? Is it the, like you’ve made a decision stick to it 

Nick Cagle

Could Be. 

Mark Lawson

You know what I mean? 

Nick Cagle

Yeah. I 

Meaghan Boeing (she/her)

And the follow through like, and then, and like, there’s a place in time for everything. Like, she loves the nobility in him. She loves the heart of him. But that’s not useful here. And I think that’s part of like why she abandons her humanity or her femininity early in the play with this incantation is is to is is to be like, I know that I have to be the strong one. ’cause he’s got these things that are gonna go on, which are all good things to have. And they’re part of what’s gonna make him a great king. But it’s not gonna get us to the finish line. 

Nick Cagle

And I, 

Meaghan Boeing (she/her)

and I’m think, I mean, this time it was funny ’cause when you raised your voice to say Wake Duncan with th knocking I, my instinct was like, Jesus, you know, because it’s like, she’s about, she’s like, and he’s like, I’m gonna say something. I was just like, stop. You know, I think it is funny, you know, like, I think it’s, it’s funny. 

Nick Cagle

I can’t, I mean I’m like, I’m not supposed to laugh, but I’m cracking up. Let me give you guys a couple of specific notes. 

Mark. I really like you made a change before besides this Duncan. 

Mark Lawson

Yes. 

Nick Cagle

And I happy to talk about that. I love that choice. 

Mark Lawson

Okay. 

Nick Cagle

You, you were, you’re having a, your, your thought your tennis match is going back and forth in your head. Your thought process is unraveling itself. And then you took a breath and a beat to acknowledge the fact that man, Andy’s a good, he’s a good guy. You know, he is a good king. So I, I just, I really noticed that it was very clear. 

Mark Lawson

Nice. 

Nick Cagle

Please stick with that. Let’s see. I have Oh, oh yeah. Try, you gotta try to clip the, keep the other end on the end but clip it off just like you did the very end of the speech and falls on the other. 

Mark Lawson

Yeah. I was dropping other. 

Nick Cagle

Yeah, you just dropped it. But it’s because you get caught. But, so it’s one of those you have to drop but keep it at the same time. 

Mark Lawson

One of those things. I feel like this format makes that a little Tough. 

Nick Cagle

Absolutely. ’cause you can’t turn around and see the audience. 

Mark Lawson

Oh. 

Nick Cagle

Coming in and Yeah. Absolutely. And fog. And we need fog. 

Mark Lawson

We Do need fog and blood. 

Nick Cagle

I know. I was waiting for the catch up to come out Megan. 

Oh yes, yes. I’m, I, I really like, I really like the choice on was the hope Drunk. I put a big thumbs up right there and, and I wrote Same choice, higher stakes, which, which I think just meant exactly what you did with just a little more energy behind it. You know what I mean? Sure, sure. But I’m not, I mean that was kind of early on though. And then I saw that you had a plan and that you had built upon that. So I’m not sure that my note works after watching the whole performance, you know, but we’ll keep it in mind and you can do play with it as you Wish. 

Meaghan Boeing (she/her)

Thank you. Yeah, absolutely. 

Nick Cagle

What do I have? I have pretty peace. Very good. This is how hard it is for me to take notes. ’cause I’m watching you guys the whole time and I’m like, ah, pre peace is great. And then I missed three other lines ’cause I was writing this down. Oh. Oh, here it is guys. We fail. 

So there’s a question mark in everywhere. I look after that line and I just want to hear it once I reason, here’s the thing that sticks out for me with, with the choice for, well, if we fail, we fail. I, I feel like there is no fail with her. And, and I understand the, the courage that, that that choice makes. But I think, I feel like the question mark is there for a reason. I feel like the question mark is there ’cause to I, you know, her tactic is to say perhaps to say it’s impossible. Perhaps her tactic is to reassure him. And I, I would think of a stronger verb, you know, that, that I I think we is important and fail is important and they’re both mono words. 

And I think that if you give them the same emphasis with a question mark at the end of it, and then the next phrase there, it starts with. But, but I don’t think but means the same thing as it does today in that next phrase 

Meaghan Boeing (she/her)

Phrase. In that sense, it means just screw your courage to this taking place. And we won’t. Yeah. Mm. Yeah. 

Nick Cagle

But screw your courage. No, we’ll not do that line. Do you see what I mean by we, like 

Meaghan Boeing (she/her)

I do, I just, I just, I don’t, for, for whatever reason, this is like a, something that like I deeply, deeply have always felt about this line. Okay. I’m happy to do. It’ll, I’m totally we’ll, Dr. I’ll, I’ll absolutely do it the other way. Our next, you know what, You know, 

Nick Cagle

let’s, let’s just hear it. Let’s just do, can we do like a little scene and just hear it both ways and then see what we wanna do right there from where? 

Meaghan Boeing (she/her)

I also wanna say that in punctuation at that time, question marks and exclamation points were basically interchangeable, is my understanding. Yeah. So it’s not just for the audience, it’s not, it, it just because it had an exclamation point doesn’t mean that’s what they were saying that, or, or question mark that it, it was that it had to be a question. So, but it could be 

Nick Cagle

Yeah, but I’m just saying that I’m not sure choice for, well if we fail, we fail. I just don’t feel like that’s something that she would say. I feel like I, I feel like it’s more shocking that he said we could fail. You know, I, it, it feels like, 

Meaghan Boeing (she/her)

Well I think it absolutely get the, get the reading and it’s, it’s absolutely valid. For some reason. I like an exclamation point much better. Yeah. 

Nick Cagle

Just 

Meaghan Boeing (she/her)

for me personally. But it’s absolutely like, I totally, it’s absolutely a correct reading of it to do it as a question. And I’m happy to do it in this context. 

Mark Lawson

May I interject? 

Nick Cagle

Yeah, please Mark. 

Mark Lawson

With Megan’s line from scene five that she loves so much my dearest partner of greatness. So I think when Nick, when you said the emphasis on each of those on the we and the fail, that really rang out to me because of, because of that in the letter between, you know, that, that with the two of us, are you 

Nick Cagle

Impossible? Yeah. That’s a 

Meaghan Boeing (she/her)

Oh Yeah, totally. 

Nick Cagle

Yeah. And then it, it’s almost like, but screw your courage, but screw your courage to the sticking place and will not fail. Means if we do fail, it’s gonna Be your fault. 

Mark Lawson

Yeah. 

Nick Cagle

Yeah. But I don’t know. I mean either let you know just for the audience’s sake so they could see what we’re talking. 

Meaghan Boeing (she/her)

Yeah, Absolutely. 

Nick Cagle

Let, let’s just because I know that you can read it, I could give, I could give Megan 20 different ways to say those two words and she could do it on a dime. Where are we? But stick my script to the sticking place. 

Mark Lawson

65 line 

Nick Cagle

65, 6 5. There we are. Thank you. Let’s let, let’s go from, I I have given, I have given suck that little section. Yeah. And going and then let’s go through it just to wi and, but screw your courage to the sticking place and we’ll not fail. Is that okay? 

Meaghan Boeing (she/her)

Yeah, yeah. 

Nick Cagle

Just to hear it. 

Meaghan Boeing (she/her)

I have given suck and know how tender it is to love the babe that milked me. I would, while it was smiling in my face, have plucked my nipple from its boneless gums and dashed the brains out. Had I so sworn as you have done to this, 

Mark Lawson

If we should fail, 

Meaghan Boeing (she/her)

We fail that screw your courage to the sticking place and will not fail. 

Nick Cagle

Excellent. Now let’s do it. The, let’s do it the way without the question mark 

Meaghan Boeing (she/her)

I have given suck and how tender it is to love the babe that milked me. I would, while it was smiling in my face, have plucked my nipple from his boneless gums and dashed the brain doubt. Had I so sworn as you have done to this, 

Mark Lawson

If we should fail, 

Meaghan Boeing (she/her)

Be fail. But screw your courage to the sticking place and will not fail. 

Nick Cagle

See, the problem is Megan can make anything work. 

Meaghan Boeing (she/her)

See you’re being too nice. But, but I think one of the things that’s so cool about it is you can see, ’cause a lot of times I think people think there is a right way to do Shakespeare. And I think that’s not true. It’s like any other play. And even I think because language was so flexible in the early modern period, it was, it’s even like more options that like, like both of those things work perfectly well. And it just depends what you feel like doing. Like, and it would be fun to like, okay, what am I gonna do tonight? And like, you surprise Macbeth every time could 

Nick Cagle

Change it up. 

Meaghan Boeing (she/her)

You, you know, 

Nick Cagle

you could, I would, I would support that if I, if I, if we were doing this and if we do this someday, which we will do this someday, 

Meaghan Boeing (she/her)

Which we totally will. 

Nick Cagle

I expected different every night. That’s right. 

Meaghan Boeing (she/her)

I’m gonna come in just for that line. Just For that. We, oh, we 

Mark Lawson

Can, I just, 

Nick Cagle

I I want the side eye from lady cam on stage looking. 

Mark Lawson

Sorry. I, I’m dad distracted at the moment. For some reason I can’t turn the messages off on my computer and I keep getting like, dad, what are we doing for dinner? I’m like, I’m Shakespeare. Can I just say, 

Nick Cagle

Megan, I Understand 

Mark Lawson

Megan, I, I fully believe in your autonomy to do this how you want. But the, the first take affected me in a very different way. 

It, it warmed me up to the idea more than, than the locker room slap on the back. Which I feel like is, if I’m just throwing out shitty analogies, like that’s more what that second take feels like. Like come on. Versus like us, which is like, oh yeah, we are a unit. And 

Nick Cagle

Yeah. It’s interesting. And I did gather that you also, you delivered it beautifully. 

Mark Lawson

Yes. 

Nick Cagle

Go ahead. 

Meaghan Boeing (she/her)

Thank you. 

Mark Lawson

No, that’s it. 

Meaghan Boeing (she/her)

That’s alright. No, I think it’s, yeah, I think it’s absolutely, I think the part, I think the reason for me, the, the exclamation point, like if I’m going into like deep analysis as opposed to just like what my gut says, it makes screw your cards to the sticking place more important 

Mark Lawson

For Sure. 

Meaghan Boeing (she/her)

Than if, than if it’s, we fail. Like of course we’re not gonna fail, I feel like is, and I think maybe that, you know, that locker room like the, it’s, it’s more of that motivational speech of like, no, you have to do the thing. Are you with me? You’re with me. And then we can move on to the plan. 

Nick Cagle

Yeah. 

Meaghan Boeing (she/her)

Then maybe that’s why, maybe that’s why it, it’s, it appeals to me. 

Mark Lawson

I would just 

Nick Cagle

Well, and it’s hard. Sorry. Well, the delivery of that of we fail informs the delivery of, but screw your courage 

Meaghan Boeing (she/her)

Right. 

Nick Cagle

To taking place, you know, so you, you almost have to make a little bit of an adjustment on the next one 

Meaghan Boeing (she/her)

Yeah. 

Nick Cagle

As well. You know? 

Meaghan Boeing (she/her)

Absolutely. Huge adjustment. Yeah. 

Nick Cagle

So fascinating. Go ahead, mark. Sorry. 

Mark Lawson

I would say maybe just from feeling it on the other end, the objective of both of those takes are in this very same, like very similar wheelhouse. 

Meaghan Boeing (she/her)

Right. 

Mark Lawson

But it’s, it’s just the, the, the tactic is a little warmer on the first. And I guess, you know, maybe it says more about me as an actor, I receive it more from that Yeah. Too 

Meaghan Boeing (she/her)

From the other. It’s fascinating. 

Mark Lawson

It’s interesting. But also, but also I think they’re equally emphatic, I think is what I was also trying to say. 

Meaghan Boeing (she/her)

Yeah. 

Mark Lawson

I think they’re equally weighted the way you’re doing them either way. Yeah. I, I, we’re splitting hair. I mean, I’m splitting hairs at this point, but I, I just 

Meaghan Boeing (she/her)

want, No, I think that’s what’s so fun about this stuff is like, 

Nick Cagle

Yeah, 

Meaghan Boeing (she/her)

Yeah. 

Nick Cagle

Well, awesome. I can’t, you know, what is exciting is I can’t wait to see what you choose to do when we perform it. And we don’t know either way, you know, but it’s good, it’s good to explore that choice. And I think, I think it is a very important line. You know, those, some of those small lines are the most poignant in Shakespeare. Yeah. And it, it really says a lot about her and about the relationship and, you know, and how she feels about this entire action that they’re about to embark on. 

Mark Lawson

Oh. And I think any error around it, I think the fact that you’re giving it a, a beat to hang in our ear before you move on 

Meaghan Boeing (she/her)

Yeah. 

Mark Lawson

Also is like the, it’s the exclamation point, kind of like the auditory version of that, you know? 

Meaghan Boeing (she/her)

Yeah. 

Nick Cagle

You’re, the pacing, your guys’ pacing is beautiful. It, it is, it it is really well done. This scene. It’s amazing to see how it’s always a little bit too fast because people wanna speed up, you know, because of the panic. And it doesn’t have to be that way. I mark, I have a, a note on Macbeth hath murdered sleep when he’s starting to go off. 

Mark Lawson

Yeah. I tried to do it off book, which was off book last week and for whatever reason was not there. 

Nick Cagle

No, No, no, no. It, it, like I said it, the deliveries were pitch perfect and all of these things, we can just explore other ways to go about them. 

I, I, I thought maybe, maybe this time it started to like, when he gets confused, it’s, you started to project outward and I, and I thought maybe we could explore sucking it in. Do you know what I mean? Like, like bringing in Macbeth hath murdered sleep. I’m not sure exactly who he’s talking to. 

Mark Lawson

More like an implosion. 

Nick Cagle

That’s what it maybe it feels like I, I’m, I’m not sure who do you, I mean, I, he he’s talking, he’s telling the story to lady, but I don’t know. 

What do you guys think? I mean, what, what’s going on there with this character? It’s really interesting section. Like all of a sudden he just starts to go off. 

Meaghan Boeing (she/her)

Do you think somebody really said all of these things, mark? I don’t, but I 

Mark Lawson

No, no. I think 

Meaghan Boeing (she/her)

He’s hearing 

Mark Lawson

this ball in his head. No, no. This is psychosis. Yeah. Well, I will maybe if I back up and talk a little bit about something that really helped me, and it was kind of one of those 11th hour ideas that popped in my head today for, for the opening monologue in, in one seven if it were done. We had already talked about the tennis match. We’d also talked about like the two opposing sides of him. And it’s one of those cases where there’s an intellectual understanding, but until there’s an organic idea about how to actually do it, it doesn’t stick or it’s just an intellectual understanding. 

It’s not performable. And something occurred to me today where I was like, well, in the first two lines of that, he’s Cory Elena, and then the rest of it, he’s Hamlet. And then in the last line he’s Cory Elena again. Absolutely. And I was like, ah, now I get that. You know, I, yes, I know we’ve already said all this, but it was the, I had to come to it on my own, just like my kids have to, you know, I had to get to like, 

Nick Cagle

No, no, no, no. And I think that it’s literally a rhetoric character shows are right on too. 

Mark Lawson

Well, yeah, because I think co Elis, I mean that’s what, yeah. It’s what he does. And then, and then he debates it with rhetoric like Hamlet would. So that really, really helped. And so I think taking it back to this scene where you’re talking about Macbeth does murder sleep, it’s the conversation now is, is is maybe it’s more like literally at the gates of hell trying to hold himself back from being pulled in. You know, it’s, it’s more of a, it’s happening. It’s happening. You fucked up and now you’re going, you’re you’re lost completely. So I think not making it towards her and explaining something that he didn’t actually hear towards her and imploding, I think is a, is an interesting, is a is a stronger, more realistic. 

Nick Cagle

Yeah. It’s a, it’s almost like this is the beginning of his journey to madness. You know, it’s a, yeah. This is the very beginning of, and then all the stuff that happens with the ghosts at the dinner later on and, and you know, this is the unraveling of his mind in the very beginning of it. 

And, and 

Mark Lawson

I feel, and He knows, he knows that this is what’s gonna happen to him. I think, I think that’s what that first speech is actually about. Like, I don’t know if I could survive this. Like, I don’t know if I will be, you know, I won’t have my wits if, if I go through with it. 

Nick Cagle

I feel Like that’s why it reminds me of the two be or not to be speech. Yeah. In a, in a lot of ways. And I think, and I wish Gideon was here, but I I feel like he, he Shakespeare had already written Hamlet and Corey a Elena before this play. Is that correct? I think this is one of his, this one came out in 1606. So around there somewhere I think so. I’m not exactly right sure of that. But yeah, 

Meaghan Boeing (she/her)

Macbeth is always later than I expected last think it’s of the 

Nick Cagle

Macbeth’s 

Meaghan Boeing (she/her)

earlier plays. But it’s like, it’s sort of like at the end of the middle 

Nick Cagle

That, which is one of the reasons I think it’s so good. Like he just really perfected him. I don’t know why. This is just one of my sha my favorite Shakespeare plays. He just nails like, everything is so incredible. 

I keep saying that over and over again. Sorry audience. 

Mark Lawson

No, it’s Mine too. 

Nick Cagle

What do we have here? I, I wrote spongy with exclamation sponge. It’s my favorite line I 

Meaghan Boeing (she/her)

Think. I think too, I think, I mean, one of the things I was playing with today, I went for a walk and I was, I was like, I should get mostly a book. And, and, but yeah, the spongy officers that, and there’s a, there’s a line break right before, let’s see, it’s Yeah. The where she says, yeah, what not put upon his spongy officers and after what not put upon, there’s a line break. And I think it’s a fun one to play with that she comes up with something that’s like, it’s kind of a ridiculous word and it’s very evocative and it’s like, you know, that she’s like, what? Not put upon off. Like, she comes up with this like, like she’s h hilarious, tactile and like, it’s such a, it’s such a funny, weird like, you know, like, and, and 

Nick Cagle

I think 

Meaghan Boeing (she/her)

she’s like dehumanizing these men that they’re going to ruin. Like if I go like intellectual on it, because like these two chamberlains were basically fucking for no reason. You know, it’s like we’re keeping ourselves, sorry if I curse on this and that, so I’m not allowed to, 

Mark Lawson

I’ve been doing it too, 

Meaghan Boeing (she/her)

but like, it’s, it instead of being like, we’ll frame these two upstanding citizens for murder. Were like, they’re whatever, you know, like you have to make them less in order to sacrifice them 

Mark Lawson

for this. So she’s moralizing because they’re drunks spongy. I, I spongy to me is like, because they’re, they’re, you know, they’re, 

Meaghan Boeing (she/her)

I’m sure they, they, they’ve sucked up all the alcohol that we given them. 

Nick Cagle

It’s 

Meaghan Boeing (she/her)

Oh yeah. That’s why 

Nick Cagle

It’s so descriptive. 

Mark Lawson

She’s just too drunk. So You care. 

Meaghan Boeing (she/her)

I love that. Yeah. It’s one of my favorite. 

Nick Cagle

She’s really hard and funny at the same time though. I mean even her description of the baby and I would’ve plucked my nipple from its boneless gums. Like 

Meaghan Boeing (she/her)

Yeah. 

Nick Cagle

She is a tough, tough human being for sure. One, I think one Line I 

Meaghan Boeing (she/her)

she’s always like that. Like is she like that since she called upon the forces of darkness? 

Mark Lawson

Mm. 

Meaghan Boeing (she/her)

Interesting. Like how much of that is her and how much of that is her calling upon the forces of darkness? 

Nick Cagle

It might, it, I mean, it would be more interesting to see for the audience to see that change, you know? 

Meaghan Boeing (she/her)

Yeah. 

Nick Cagle

To see that happen in front of them from going from this to this. 

Meaghan Boeing (she/her)

Like, it’s like I’m gonna reinforce what I have naturally with. 

Nick Cagle

I have a note that I wrote down, speaking of boneless gums and dashed the brains out of the baby. Ma Megan hit. 

Don’t be careful not to brush over sworn had I so sworn you have done to this. 

Meaghan Boeing (she/her)

Yes, Thank you. Yeah, Yeah, yeah. 

Nick Cagle

Just ’cause I think she really lets him have it right there. Yeah. Yeah. That’s, that’s the thing that is so important. The fact that he, I mean, I, correct me if you know more about this, I, I don’t know, but if, if you swear something in this time, I mean it’s, it’s more than just a promise. It’s like a Yeah. A vow to God kind of thing, right? Yes. Yeah, Yeah, yeah. Big deal. 

Meaghan Boeing (she/her)

Yeah. Yeah. Because this iss one of those things where she wouldn’t do this if she wouldn’t kill her baby just for anything. You know, it’s sort of like, I would do this crazy horrible thing if I made this, this, this oath. Yeah, Yeah, 

Nick Cagle

yeah, yeah, yeah. She’s really, she’s really like, you don’t, there’s no, there’s no more tennis match. Right. You know what I mean? Right. The game is up. Let’s you know, it’s time for action now. 

Yeah. That was really, really beautiful you guys really wonderful. Hey Mark, do you have the, is that a Dagger monologues anywhere is like one of your thing there? I mean we can just read it. You don’t have to perform it, but I thought it’s okay. There’s something happening in between these two scenes and Macbeth has got this speech and it would be a crime for us not to. 

Mark Lawson

Oh man, 

Nick Cagle

I was gonna let you know, but I mean we, it’s not about performance, it’s more about just the audience hearing the words. If, if, if you have that anywhere. 

Mark Lawson

Well, Lemme ask you this then since we’re looking at it. Go bid there Mistress. When my drink is ready, strike upon the, she strike. When she, when my drink is ready, she strike upon the Bill Getty to bed. 

What is she preparing for Macbeth? Like, I’m just curious, like, is sleeping potion because he is, or like something to rev him up to go do this thing that he’s gonna do. 

Nick Cagle

Yeah. Where, where is that? Are you, are you looking at two one at an art? 

Mark Lawson

It’s right before he, he gets into Is this, I really want to do this like Richard Burton for some reason right before, is this a Daga, which I see before me. 

Nick Cagle

Yeah. Robin Williams in Dead Poet Society. Does it as 

Mark Lawson

John 

Nick Cagle

Wayne. Remember that. 

Mark Lawson

Is This a Yeah, 

Nick Cagle

Dagger I see before me. 

Mark Lawson

Yeah. Yeah. 

Nick Cagle

I’m not sure actually. What do you, what do you think Megan? 

Meaghan Boeing (she/her)

I have to get to it because I don’t think I’ve ever, let’s see. So he’s saying to the, when my drink is ready. Well, I think it might just be as simple as it’s the PTs. Like ev like everybody gets a PT before bed and the spongy officers get PTs that are gonna knock ’em out. And because it would be, it would be unusual for him not to have a drink before bed because he always has a drink before bed. So I don’t actually think it’s anything different and I don’t even know if he drinks it. Maybe he doesn’t. Maybe he’s like, I need my wits about me. I’m not gonna have a faucet ’cause I’m not going bed yet. 

Mark Lawson

Hmm. 

Meaghan Boeing (she/her)

But I think that it’s probably, that’s my, that’s my instinct without doing any kind of research. But I think from what, from what we were talking about before with the explanation of what a PostIt is and you know, it’s a cold night, they’re gonna warm themselves up before they go to bed, you know, that kind of thing. So that’s, that’s I guess what I would say. 

Nick Cagle

We’ll have Gideon, Gideon send us some information that’s right on pos. Please 

Mark Lawson

Stay tuned. 

Nick Cagle

Deposit our pos 

Meaghan Boeing (she/her)

because I feel like they, we have to keep like a, like a sense of normalcy. 

Nick Cagle

Yeah, that makes, that makes sense. Just 

Mark Lawson

A routine. Yeah. Yeah. 

Nick Cagle

It’s not Like A, it’s nothing unusual. It’s not like a liquid courage thing. Is it like a 

Mark Lawson

I thought it might be that or I thought it might be something a little bit more witchy. I wasn’t sure if it might be something that’s like to to rev him 

Nick Cagle

Up. You’re nightly peyote drink. 

Mark Lawson

Yeah, yeah, yeah. I don’t dunno. 

Meaghan Boeing (she/her)

I don’t dunno. I mean it could be, but I also don’t know if she was doing something unusual, would he ask a servant about it? 

Nick Cagle

Are these the special mushrooms? 

Mark Lawson

Yeah. 

Meaghan Boeing (she/her)

Yeah, That’s right. So I feel like if it was, if it was something special then it would either feature more prominently or, and he wouldn’t tell a servant about it. 

Nick Cagle

Interesting. Mark, do you have that speech? 

Mark Lawson

Sure. 

Nick Cagle

Can you just read it for us for 

Mark Lawson

fun? Yeah, I’ll Just, this is a reading ladies and gentlemen, Nick, Is this a dagger which I see before me, the handle toward my hand. Come let me clutch the I have the knot and yet I see these still art thou not fatal vision. Sensible to feeling as to sight or art thou but a dagger of the mind. A false creation proceeding from the heat oppressed brain. 

I see the yet in form as palpable as this, which now I draw thou marist me the way that I was going and such an instrument I was to use my eyes are made the fools of the other senses or else worth or the rest. 

I see the still and on I blade and dungeon gouts of blood, which was not so before. There’s no such thing. It is the bloody business which informs thus to my eyes now or the one half world nature seems dead and wicked. Dreams abuse the curtain. Sleep witchcraft celebrates pale hackett’s offerings and withered murder alarmed by his sentinel, the wolf whose howls his watch. Thus with his stealthy pace, with Tarin ravishing strides towards his design moves like a ghost Thou sure and firm set earth here. Not my steps, which way they walk for fear. Thy very stones pray of my whereabouts and take the present horror from the time which now suits with it. While I threat he lives. 

Words to the heat of deeds to cold breath gives. 

I go when it is done. The bell invites me here at not Duncan. 

There’s a couplet. Don’t 

Nick Cagle

interrupt Me. Yeah, sorry. Go ahead. I cut you off. Right at the very heart of awful. 

Go ahead and say that couplet for me 

Mark Lawson

here At not Duncan for it is Anelle that summons the to heaven or to hell. 

Nick Cagle

Yes, yes, yes. That’s interesting. You know, listening for the first time I realized that it’s almost like his version of the speech that lady gave when she made a deal early on in the play. You know what I mean? It’s kind of his version of that. Yeah. That’s kind of the speech where he’s making the change. 

Yeah. You know, he’s getting, that’s what you’re talking about. He is getting ready for this action and you know, he is, there’s almost an awareness of what could happen to him. 

Meaghan Boeing (she/her)

He brings up all this like the heck it and the witches and the devil and the, you know, like, I didn’t, 

Mark Lawson

Like I’m committing a a, an act of witchcraft. 

Nick Cagle

It’s almost like both of them give up their goodness. 

Meaghan Boeing (she/her)

Yeah. 

Nick Cagle

For power, openly and on stage they say, I am, I’m going to release all noble intentions so that I can have power. 

Meaghan Boeing (she/her)

Yeah, 

Mark Lawson

That’s interesting. 

Meaghan Boeing (she/her)

Or even just like, like I am, I am Yeah. Giving my humanity to, you know, to to to make space for the dark forces that are gonna, ’cause I can’t do this on my own. 

Mark Lawson

Hmm. 

Nick Cagle

Yeah. 

Meaghan Boeing (she/her)

Like that they both know and they know about or she knows about him that he can’t do it on his own and she sacrifices herself for him. And then he has to do the same to get the strength to do it 

Mark Lawson

It’s like an awful gift to the Magi. 

Meaghan Boeing (she/her)

That’s funny. 

Nick Cagle

It, but it’s interesting. 

Mark Lawson

It’s A Christmas, it’s a Christmas play. That’s 

Nick Cagle

It is a Christmas play with fog. A foggy 

Meaghan Boeing (she/her)

Christmas. A foggy Christmas on 

Nick Cagle

The board. 

Mark Lawson

There goes stories. 

Nick Cagle

That’s the musical. Yeah. That was beautifully read. And, and I think it’s important for us to hear that change that he goes through between our two scenes, because a deal is made and that gives you, you have this Macbeth, and then after the deed is done, you have an entirely new character that comes on. 

Mark Lawson

Yeah. That’s, that’s a really interesting thing. Where else does that happen in the Canon? Like where, where else does it happen? I mean, there’s like Edgar in Lear, but he artificially becomes somebody else. You know, I 

Nick Cagle

feel, well, I feel like Hamlet goes away and comes back later on and there’s a change to him. But, but n nothing, what’s beautiful is you see the change in both of these characters happen in front of your eyes. The audience gets to watch the change happen and watch, and, and it’s also made, it’s not something that happens to them. It’s like a decision that they make. It’s like a willing, you know, they’re willing to give up their soul for this. And it’s, it’s quite powerful. I see why it was so dangerous. Can you imagine people two, 300 years ago, hearing this play and seeing these people do this and being, yeah. 

We were terrified of this play. You know, if you, if you say words of this play in a theater, I don’t know if all the audience knows this, you have to go outside, spit, what is it? Spit, curse and spin around three times. 

Meaghan Boeing (she/her)

Yeah. There are a bunch of different versions of it, but yeah, that’s always the cursed the curse of Macbeth and saying the word Macbeth in a, in a theater. And some people I know do the angels and ministers of Grace defend us. Wow. 

Mark Lawson

That 

Nick Cagle

That’s right. 

Meaghan Boeing (she/her)

That’s right. Oh yeah. There’s so many, you know, and, and 

Nick Cagle

Well they were people, there were rumors of people who would speak lines from this play and sandbags would fall on them from the, you know, 

Meaghan Boeing (she/her)

Right. Like, oh, they said Macbeth in a theater. 

Nick Cagle

Yeah. Yeah. Well, this is, this is beautifully done, you guys. I, I think that we’re getting to the point where we can, where we can perform it. 

Meaghan Boeing (she/her)

Yeah. 

Nick Cagle

A few more minutes to talk. Why don’t we, why don’t we go back and take a look at the first speech and then one of Megan’s speeches that I, that I, that I’ve written down. Mark, would you mind talking through if it were done once with us? 

Mark Lawson

Sure. 

Nick Cagle

Just before we go into a quick performance and, which is not a final performance according to Nathan, but Yes, it is. Anyway, 

Mark Lawson

Hold on. I’ve got foot traffic upstairs. Lemme have a second. 

Nick Cagle

Oh, no, no, no. No worries. 

Mark Lawson

I’m In my, 

Nick Cagle

I really like how we came 

Mark Lawson

California 

Nick Cagle

with the first line of this in, we broke it down into two sections. It’s really getting clear. 

Mark Lawson

Yeah. And I think having like almost a, almost like a Jekyll and Hyde perspective on it, of this is my, you know, warrior mind. And then, and then literally it can be, it’s as subtle as just, no, no, what about this? You know, kinda 

Nick Cagle

Like, he’s that, you know, we used to divide characters into head characters, heart characters and groin characters, you know what I mean? And then there’s that balance of, you know, with his head and his groin going back and forth, and then the heart pouring itself out. And it’s very clear though, your, your delivery is really that, that back and forth that, that he’s exploring is very clear. I really like it. 

Meaghan Boeing (she/her)

Let’s, I think one of the things about this that I was listening to, having spent some time with the earlier, earlier speech where she talks about he’s got too much of the milk of human kindness. He can’t, he, he can’t do that. He would, that he’d rather be, he’s more afraid of doing the thing than wishing or he would rather afraid of doing it than wishing it were done. And this is, I feel like the same thing, that if it were done when to done than tore, well were done quickly. ’cause if he could convince himself it was done when it was done, then he’d do it. But I think his whole way of convincing himself not to do it is, he’s like, but, but there’s judgment. 

And like, we’ve got all this stuff and all this, you know, I, I find that like, what a out of it. And she has totally projected, like, he’s gonna sit there and say to do it. And 

Nick Cagle

I think that it’s the, I think the, if the, the whole thing starts with, if, you know, and that’s so important because that is, it’s, it’s what if is going on in his head. And he is going back and forth and he is saying all the different scenarios that could possibly happen, you know, and, and he’s a warrior. You know, I, I really, it’s, it’s cool because I’ve, I’ve been watching all the different versions of this lately and I, I like, you know, Ian McKellen’s version is very intellectual. It’s very working this out. And then, you know, Fastbender has a version that’s very gritty and very battle, battle worn. 

Really? 

Mark Lawson

I Haven’t seen that one yet. I wanna see that one. 

Meaghan Boeing (she/her)

It’s good. 

Nick Cagle

It’s good. 

Meaghan Boeing (she/her)

It’s good. Brendan Gleason is my favorite Duncan ever. 

Nick Cagle

I love him as an actor. 

Mark Lawson

I think he’s 

Meaghan Boeing (she/her)

a marvelous, but his Dunkin is fabulous. 

Nick Cagle

Yeah. 

Meaghan Boeing (she/her)

That’s Duncan. 

Nick Cagle

Yes. And I even watched a little bit of Patrick, Patrick Stewart. 

Meaghan Boeing (she/her)

Oh Yeah, we watched that one. Yeah. We were looking. 

Nick Cagle

Patrick Stewart has one. It’s very beautifully shot. 

Meaghan Boeing (she/her)

Yeah, it’s very sort of 

Mark Lawson

conceptual. When Was that? Is it RSC? No, 

Meaghan Boeing (she/her)

Ago. No, no. It was a movie version. 

Nick Cagle

It it Is, it’s a movie. But it’s very stagey at the same time. 

Meaghan Boeing (she/her)

Yeah. Yeah. 

Nick Cagle

It’s interesting. Surreal. 

Meaghan Boeing (she/her)

Like 

Nick Cagle

I feel like it was a production that they did and then they filmed it. 

Meaghan Boeing (she/her)

Probably, probably. 

Mark Lawson

I also have not seen that 

Meaghan Boeing (she/her)

I liked 

Mark Lawson

the Denzel version or the, the Cohen version either. 

Meaghan Boeing (she/her)

There is some neat visual stuff in that. 

Mark Lawson

Hmm. 

Nick Cagle

Yeah, yeah. Sorry. Yeah. Let’s just, let’s just talk this through one more time ’cause we’re not gonna get to do it again. And I’m gonna miss it. And then we will go on to one of Lady M’s. Speeches and then we’ll just do the whole thing and just let it fly. Okay. Let’s, let’s talk this through. Go ahead. Go ahead and, and, and, and give us this speech. 

Mark Lawson

Would you 

Nick Cagle

Thank you 

Mark Lawson

If it were done when tis done, then we, well it were done quickly. If the S nation could tremble up the consequence and catch with his success, that put this blow might be the be all end the end all here. But here upon this bank and shoal of time, we jumped the life to come. 

But in these cases, we still have judgment here that we, but teach bloody instructions, which being taught return to plague the inventor. 

This even handed justice commends the ingredients of our poison chalice to our own lips. He’s here in double trust. 

First as I am his kinsman and his subject strong, both against the deed. Then as his host, who should against his murderer shut the door. Not bear the knife myself decides his Duncan have borne his faculty. So Meek Heth been so clear in his great office that his virtues will plead like angels trumpet tongue against the deep damnation of his taking off and pity like a naked newborn babe striding the blast or heaven’s cherub and hors upon the sightless couriers of the air shall blow the horrid deed in every eye that tears shall drown the wind. 

I have no spur to prick the sides of my intent, but only vaulting ambition, which, or leaps itself and falls on to other how no, what news. 

Nick Cagle

Excellent. Thank you so much. There’s a lot of heart in that speech. 

Mark Lawson

I think so. Way more than I originally thought. 

Nick Cagle

There really is. 

Mark Lawson

I think it’s actually, 

Nick Cagle

and We read the letter and that beautiful speech that Megan gave us earlier. I I can, I can really see what she’s talking about. It’s interesting. Yeah. 

Mark Lawson

It’s not, yeah. And it’s this last few days that have really made that more clear that this is his snapshot of who he is before he makes this soul damning choice. 

Nick Cagle

It’s the last time we get to see him. 

Mark Lawson

Yeah. And I was think about what you were saying about him being a warrior too. And I actually think he’s probably the kind he has to fully believe that what they are going on the battlefield to do is righteous. Yeah. 

Nick Cagle

He 

Mark Lawson

can’t, he’s not mercenary. He, he would like to think now that he’s got that mileage under his belt, like as far as being a warrior, that he could be mercenary, but he’s not. 

Nick Cagle

Yes. 

Mark Lawson

You know, 

Meaghan Boeing (she/her)

It made me think of the, the earlier part of the play when they’re talking about the traitorous thing. The reason he gets the thing of Kor is because they have to kill the other guy. ’cause he’s a traitor. And like, what an interesting thing to like set this up that they, that Shakespeare’s included that bit of plot in there that like, this is a, this is what happens to traitors. And also like the way Macbeth feels about the traitor being done. You know, like, well you just, you have to do it and you have, and it be just like an interesting sort of like, we do get all these glimpses of why he’d be a good king and in another circumstance. 

Nick Cagle

Oh Yes. 

Meaghan Boeing (she/her)

You know, it’s 

Mark Lawson

Interesting to hear you say that because I I, you just made me think of, I’m sure Stephen, I know Stephen Pressfield talks about it. Robert McKee probably talks about it too. 

The beginning is always tied up from a writing perspective. The beginning is always tied up somewhere in, I’m sorry, the ending is always tied up somewhere in the beginning. Like there’s a thread. You’re gonna, you, you get a hint of what the outcome is Right. In the very beginning, you know, and, and it’s a, it becomes an avalanche that’s unavoidable. Unavoidable by the end of the play. That’s really interesting. I never thought about it that way before Megan. 

Meaghan Boeing (she/her)

Yeah. I hadn’t thought about it either until I just heard you talking like Oh, right. ’cause there is that scene where the messenger comes in and talks about what happens to the previous thing of Godo. 

Yeah. 

Nick Cagle

I, you know, I, I keep wanting, I don’t know if can, can we make it just for a minute, do you think? Do you have a script in front of you? Do you have 

Meaghan Boeing (she/her)

the I have the folder up online. Yeah. 

Nick Cagle

Should, should we look at, you know, the speech that, that she has where she gives up her soul? 

Meaghan Boeing (she/her)

Oh, Sure. 

Nick Cagle

I I’m not even sure where that is. Is it one? I 

Meaghan Boeing (she/her)

think it must be one. It’s one five. It’s after the messenger leaves. 

Nick Cagle

Is It one five at the end of that? 

Meaghan Boeing (she/her)

I Think so. 

Mark Lawson

Guys, excuse Me one second. 

Nick Cagle

No worries. No worries. 

Meaghan Boeing (she/her)

How dare you 

Nick Cagle

Let, let’s hear what, let’s, let’s hear after the messenger leaves. 

Meaghan Boeing (she/her)

Yeah. Because 

Nick Cagle

I keep wanting, we just, we are hearing what, when Macbeth makes his choice. It might be interesting for us to hear where Lady Macbeth makes her choice. 

Meaghan Boeing (she/her)

Yeah. Lemme move some things around. So I can see 

Nick Cagle

Is that the Raven himself is four? 

Meaghan Boeing (she/her)

Yeah. 

Nick Cagle

Yeah. So I I it’s one, it’s one five. 

Meaghan Boeing (she/her)

It’s still part of one five. Yeah. And I’ve never actually worked on this, so this is definitely, no let’s heard it a gazillion times. So the Raven himself is hoarse that croaks the fatal entrance of dunking under my battlements Come you spirit attend on mortal thoughts, unex me here and fill me from the crown to the toe, from the crown to the toe top full of direst cruelty. Make thick my blood, stop up the access and passage to remorse that no pontious visiting of nature shake my fell purpose, nor keep peace between the effect and it come to my woman’s breasts and take my milk for gall. You murdering ministers wherever in your sightless substances, you wait on nature’s mischief come thick night. 

And Paul, the in the donees smoke of hell that my keen knife see, not the wound. It makes nor heaven peek through the blanket of the dark to cry. Hold, hold. And then her hubby comes in. 

Mark Lawson

Oh, I, I am sorry. I was enraptured and I was 

Meaghan Boeing (she/her)

Oh, no, no, no. He doesn’t say it. She says something. I thought we were just stopping. And then they 

Nick Cagle

That is fascinating. Her, her choice has zero reluctance though, it seems. 

Meaghan Boeing (she/her)

Yeah, I think so. Yeah. She knows what she needs as soon as I think, I mean, the, the, she said, what is too tithing? The messenger comes in and says the king comes here tonight. And that’s like, she’s like, that’s crazy. 

I guess we have to do it. And, and I think she buys into the, she buys into the witches. 

Nick Cagle

That’s so interesting. ’cause she’s like, this is fate. 

Meaghan Boeing (she/her)

Yep. 

Mark Lawson

Mm. 

Nick Cagle

This is how it has to happen. 

Meaghan Boeing (she/her)

Yeah. 

Nick Cagle

I thought of it that way. Fascinating. 

Mark Lawson

And I’m just now starting to, I’ve just now occurred to me, what has she as a woman in this environment experienced up until this point where yes, she’s, she’s the wife of a suc of a relatively successful guy at this point. What did she endured up to that point? That if now I have a chance to level the playing field with these bastards, you know what I mean? In a lot of ways I wa I just wonder if there’s also things she’s endured that we haven’t, that we don’t know anything about. 

Nick Cagle

He’s got a backstory for sure. Yeah. I mean, yeah. But you know what’s so interesting is you gather, even if you don’t know the specifics of the backstory, you know, from the language that there is one 

Mark Lawson

Yeah. Right. 

Nick Cagle

You know, from the language that she’s been through something, you Know, 

Mark Lawson

this child that we don’t know anything about 

Nick Cagle

Past children. 

Meaghan Boeing (she/her)

And I think too, the fact that Shakespeare writes my dearest partner of greatness. Like there’s, there’s a, there’s a, there’s a, a, a level, you know, there’s a, there’s a, I can’t think of the word that I’m thinking, but there’s a respect between them and a, and a division of labor. ’cause I don’t think a lot of husbands at that time would have brought their wives into this conversation. 

Mark Lawson

There’s a parody between them. Yeah. 

Meaghan Boeing (she/her)

Interesting parody. That’s the word I was looking for. Yeah, yeah, yeah. Yeah. 

Mark Lawson

That’s interesting. 

Meaghan Boeing (she/her)

And she know. And so, so then I think she has, she feels a responsibility to lift him up and to give him the support that he needs. And in, in which, in like other, other worlds would be like a nice thing. And then this is like, I’m giving up my soul. 

I’m giving up my femininity to become unsexy here. You know, make me a man so that I can, 

Nick Cagle

So that I can, but it’s so that I can help my love in a way. 

Meaghan Boeing (she/her)

Right. 

Nick Cagle

It’s almost, it’s love in all of Shakespeare. 

Meaghan Boeing (she/her)

That’s what I always say. They have the healthiest relationship in 

Nick Cagle

Shakespeare, the best marriage and 

Meaghan Boeing (she/her)

Shakespeare. 

Nick Cagle

It’s almost most romantic relationship in all of 

Meaghan Boeing (she/her)

Shakespeare. It kind of, you think 

Nick Cagle

it’s Romeo and Juliet? No, no. 

Meaghan Boeing (she/her)

The kid. 

Nick Cagle

It’s, but it, that’s fascinating. And 

Meaghan Boeing (she/her)

I feel like, I feel like a lot of times it gets boiled down to sex. I think sex is probably important. But you know, like, I feel like to like really play two people who respect each other and love each other and care about each other and then watch the destroy themselves. 

Mark Lawson

That, that, when you look At Cory Elena, 

Nick Cagle

That could inform We fail. 

Mark Lawson

Right. 

Nick Cagle

We fail, you know? 

Meaghan Boeing (she/her)

Right. Sure. Yeah. Yeah. Except his relationship with Cory. Elena is with his mom. 

Mark Lawson

That’s what I was gonna say. Like, his wife is just kind of the cheerleader and, and she’s like cannon fodder to make him want to go Reinve Rome. 

Meaghan Boeing (she/her)

Yeah. Poor. She’s pretty 

Nick Cagle

Oh wow, you guys. Absolute beauty. Hey Mark, one quick technical note. 

Mark Lawson

Yes. 

Nick Cagle

That I, that I wrote down was the deep damnation of his taking off and pity. I would, I would, I wouldn’t break up your momentum maybe right there. I think you can use taking off to propel you into and pity. 

Mark Lawson

Yeah. I was curious what you thought about. 

Nick Cagle

I felt like you were cooking pity and then, you know, I feel like he continues. I feel like that thought process is continuing through, but that’s just how it, I heard it musically. I don’t know. 

Mark Lawson

Is 

Meaghan Boeing (she/her)

That’s how you have to keep building it. ’cause otherwise you don’t get to the pitch. It can’t lose 

Nick Cagle

any momentum there. Yeah. I like to step back on, besides this Duncan Hef born him, you know, that was so 

Mark Lawson

beautiful. Be like one of those don’t take two. Yeah. 

Nick Cagle

That was Beautiful. 

Meaghan Boeing (she/her)

I love 

Nick Cagle

that. I think minutes. It’s pushing, building all the way to the end. ’cause he’s talking about, you know, chair heaven’s, you know, hors upon the sightless couriers of the air. And you know, it just keeps getting, the thoughts are getting so big. 

Mark Lawson

And this is one of the things that I’m now struggling with is, although we know like he’s fighting at the gates of hell for himself in that later speech, if that’s just something to try that we talked about. 

I’m still not convinced he fully believes these images as much as he’s thinking about public perception of the murder of a king. 

You know what I mean? That, that it’s not an accidental death. And it’s gonna be a mourning a, you know, a kingdom wide mourning of the king. It’s a murder of a king. And all of the suspicion that that arouses and, and you know, it, it, it would be biblical, like the suspicion of who and how and why would be biblical and can I escape that? 

Nick Cagle

Yeah. 

Mark Lawson

So not so much can I do it? Maybe it’s more, could I bear it? Not even can I get away with it? Can I bear it? Because the scrutiny would be constant. Not to mention, I don’t know, I’m just, I’m, I’m not sure which feels more playable to me at the moment. You know what I mean? 

Nick Cagle

Well, he does, he does care about what the kingdom thinks. You know, he does care about other people’s opinions, you know, because he says, you know, people like me right now. 

Mark Lawson

Yeah. 

Nick Cagle

You know, why can’t we just stick with that? You know, everything’s good. You know, like 

Meaghan Boeing (she/her)

that I might be coming later. 

Nick Cagle

That’s an interesting moment. You know what I mean? It’s interesting to hear is that I, you know, they’ve born all kinds of opinions, which, you know, people think I’m pretty good, we’ll just leave it here and I’ll be king. You know, like, fine, but we 

Mark Lawson

Get you a new horse. We’ll just, 

Nick Cagle

Yeah. You know what I mean? And, and I think that that’s an interesting, and I really liked the way you played that though. I, you know, you took, there’s, there’s a couple of times when he tries to command her 

Mark Lawson

in that. Yes. Yeah. It feels like, 

Nick Cagle

where he’s like, no, we’re gonna do this. And she’s like, what happened to you? Look at, you know what I mean? 

Mark Lawson

Yeah, yeah. 

Nick Cagle

You know, she comes back stronger, you know? 

Mark Lawson

Yes. 

Nick Cagle

So it becomes this beautiful thing. And that’s why they’re, they’re so great for each other, you know, they build each other up and, and, you know, and even when he says privy peace, I like how you played that as well. You, you, you know, you’re a warrior and you know, you were, you made a choice to be like, eh, chill, don’t 

Mark Lawson

Challenge me on that. 

Nick Cagle

Yeah, yeah, yeah, Yeah. 

Mark Lawson

Yeah. 

Nick Cagle

But then, and you know, she comes in with a new tactic and kind of wins again. You know. 

Mark Lawson

Yeah. She’s, but the thing 

Nick Cagle

about it is, she’s convincing because what she says is true and a lot of the, you know, she really has, she’s not, she’s very grounded in in the words, you know, she sells it really well. 

Meaghan Boeing (she/her)

And I think that it, they’ve had a conversation that we, that we haven’t read on screen, but, but the scene that comes after her on Sex Mihir monologue, is he comes in and they talk about it, and he says, this is what I want. And like, yes, this is what we want. This is what we’re gonna do. So it’s like, we’ve had a moment where he, we know he’s indecisive. We know he’s, or not indecisive, but we know he, he, he worries about what people think we know. He has a tendency towards this poetic language when he’s worrying about what people think we know. He, you know, that he has the milk of human kindness. 

And she’s like, okay, we gotta work around that. You know, like, so like everything that’s happening is exactly what they expect to happen. So she’s playing her part in like, this is, and maybe this is something that happens, you know, in their relationship that she’s like, you said you wanted to do this. Like, so you wanna do this. And I think there’s, 

Nick Cagle

There’s a moment in, in Jerry McGuire where, where, I can’t remember one of the characters takes one of the other characters’ face and she says, baby, this is us. 

Meaghan Boeing (she/her)

Yeah. And there, 

Nick Cagle

there’s, it’s a beautiful moment in that film that always struck with me every time that I’ve watched it. And I, and I feel like, you know, she, she does that a lot. She’s like, we are together in this, you know? 

Meaghan Boeing (she/her)

Right. 

Nick Cagle

You’re not alone. And I think he worries about that. He worries about being alone. 

Mark Lawson

That’s interesting. Like what if he doesn’t, just from a husband’s perspective, she’s telling me to do it, but what if I do it? And then we realize this is too much for us to bear, not just me, the two of us. Like, this could be the wedge that, like, that shatters the parody that we have, the, the, the, the, the kind of this 

Nick Cagle

Yeah. 

Mark Lawson

Self-charging power that we have together. Like, I know we’re saying we wanna do this, but, but there’s no coming back from it really. There’s no coming back. Right. It’s a very final action anyway. 

Nick Cagle

Yeah. And that’s why I think when he says bring forth men children only, that’s almost, I mean, it’s, it almost feels like, like a joke. Like, like something they share. 

Mark Lawson

It’s like an, you know, like a, 

Nick Cagle

you know, like a, like you are something else. 

Mark Lawson

You know? Like it’s, 

Nick Cagle

yeah. I don’t know. It’s interesting. I think that I, he loves her power. He loves her mind. You know, I think that she, you know, they balance each other so well and she is his missing link because he can be wishy-washy and he can go back and forth and she is very direct and very stick to the plan. And he ne he needs that. 

Meaghan Boeing (she/her)

Yeah. 

Nick Cagle

He Needs somebody in his life that, you know, she’s the tracks on which his train runs. You know, she, she provides his foundation in a way. And yeah, I think the fear of losing that would be, he would be wandering in the forest alone without her, 

Mark Lawson

Which 

Meaghan Boeing (she/her)

he ends up doing. 

Nick Cagle

Yeah. Yeah. And when she goes away and that, you know, you think like, when, when she dies and, you know, he does his tomorrow speech, you know, he’s lost the rest of himself at that point. 

Mark Lawson

Yeah. And every day that I live past this will just be another day of hell. 

Nick Cagle

He is a ghost at that point. 

Meaghan Boeing (she/her)

Yeah. I think that’s one of the saddest speeches in 

Mark Lawson

Shakespeare. Tomorrow. 

Meaghan Boeing (she/her)

Tomorrow, tomorrow. 

Nick Cagle

Yeah. Absolutely. 

Meaghan Boeing (she/her)

It be devastating. 

Nick Cagle

And, and it’s great because these are, these are the, the little snippets where we get to see how they are part of each other, which is why I wanted to explore this entire thing in the first place. Because I think that this is one of the most beautiful relationships in all of Shakespeare. And it gets lost in the midst of these actions and the plans and everything. But what they have, they are truly the missing parts of each other. 

Meaghan Boeing (she/her)

I agree. And I think if, if I were ever to have the gift of doing it, that’s like, I think I brought it up the very first time. Like the humanity of them, I feel like gets lost in some of the, everything is evil and like the moodiness and like the, and the horror of what they do that like, to, to do a production of this where you’re like clinging to the humanity part of it, as long as you can until you lose it. And like how devastating that is. 

Nick Cagle

I want it to be a Christmas party. I want it to be, you know what I mean? It would be so neat to do it in this bright, almost loving fashion, you know what I mean? Yeah. 

Meaghan Boeing (she/her)

Like 

Nick Cagle

a, like a way to where it’s not dark and moody and torches and everything. It’s like bright and beautiful. And then progressively the play will work itself out, you know? 

Mark Lawson

Sure. 

Meaghan Boeing (she/her)

Right. 

Nick Cagle

You know? So 

Meaghan Boeing (she/her)

Yeah. There’s something about that irony that just feels like delicious to me. 

Mark Lawson

Yeah. 

Nick Cagle

Yes. 

Mark Lawson

What’s the timeline of the whole play? Like, is like, are we talking days? Are we talking months? Because 

Nick Cagle

Oh, mark, that’s really something I should know, but I don’t, 

Meaghan Boeing (she/her)

Gideon, where are you? 

Mark Lawson

But I mean, it’s, why did we not ask this last time? ’cause I was just thinking like, if we kill Duncan on Christmas Eve 

Nick Cagle

Yeah. And then it’s 

Mark Lawson

Christmas, 

Meaghan Boeing (she/her)

Pop pop, is it a epi? 

Mark Lawson

You, you know what I mean? Or News Eve, like the timeline of that versus like, 

Nick Cagle

I mean, I, it’s in, it’s in the show and it’s in the language, that’s for sure. We would, we would, 

Meaghan Boeing (she/her)

I think it’s gotta be more than a few days. ’cause he has to be installed and then things have to go wrong. Yeah. And then, you know. 

Nick Cagle

Yeah. Yeah. And the, the Sun Duncan Suns escape. 

Meaghan Boeing (she/her)

Yeah. They get all the way to 

Nick Cagle

England and 

Meaghan Boeing (she/her)

France. 

Nick Cagle

Yeah. Maybe a month or a couple of months. 

Mark Lawson

You could have Christmas year zero and Christmas year one, And Christmas year one would be, you know, 

Nick Cagle

Burning 

Mark Lawson

Wood. 

Nick Cagle

But it is, you know, it is, it is the, the end of Yeah. In, in reaching for this power, they end themselves, you know? Yeah. And you know, it’d be interesting to explore the end of a year in the beginning of a new year with, you know, you know, Malcolm, and there’s a whole that trajectory. And you know, it, it is some of the, because the, these characters like the, you know, McDuff story is incredibly tragic, you know? 

Mark Lawson

Oh my God. 

Nick Cagle

Incredibly 

Meaghan Boeing (she/her)

Tragic. Another one of the greatest lines in Shakespeare, disputed like a man. But at first I must feel it like a man, like, 

Nick Cagle

You know, and the rea the reason is, is because it’s, this is about the loss of people’s humanity and the loss of the, the loss of love, essentially, you know, in, in different ways. The love of children, the love of marriage, the love of, you know. But through that loss, Shakespeare shows us the importance of love and the beauty of it, and which is what’s beautiful about, you know, the seen naked in nature, but beautiful in soul. 

And I think it’s important for us to let people see that as you guys are. 

Mark Lawson

Hmm. 

Nick Cagle

Let’s, let’s just perform it. Let’s just do it. Let’s give it all we got. This is one more, one more shot and we’ll, we’ll see where we end up and then let’s invite Nathan back and we can talk about it a little more. 

Mark Lawson

All right. One moment. 

Nick Cagle

Tito have a have a drink of water. Do whatever you guys need to do, mark, we’ll take it off your queue when you’re ready to start. 

Yeah. Let’s just see where we land and, and try to, you know, try to use all that we’ve learned over this wonderful month working on this. 

Mark Lawson

This has been great, by the way. It’s been very nutritious. That’s my new catch word for things that I feel like It is 

Nick Cagle

though. I I agree with that. It, it feels like nourishment. You know, it, it does. 

Meaghan Boeing (she/her)

Yeah. I always say 

Nick Cagle

Scratch itch. I’m gonna here and let you guys, whenever you’re ready, go and take, take a minute, you know, think about it then jump on in. 

Mark Lawson

If it were done when tis done, then we’re, well it were done quickly. If the assassination could t trammel up the consequence and catch with his cise success, that would, this blow might be the be all and the end all here. But here upon this bank and shoal of time, we jump to life to come. 

But in these cases, we still have judgment here that we, but teach bloody instructions, which being taught return to plague the inventor, this even hand to justice commends the ingredients of our poison and chalice to our own lips. He’s here in double trust. First as I’m Ms. Kinsman and his subject strong both against the deed, then as his host, who should against his murderer, shut the door. Not bear the knife myself. Besides this, Duncan has born his faculty, so me, Kath been so clear in his great office that his virtues will plead like angels trumpet tongue against the deep damnation of his taking off and pity like a naked newborn babe striding the blaster, heaven’s cher and hors upon the sightless couriers of the air shall blow the horrid deed in every eye that tears shall drown the wind. I have no spur to prick the surge of my intent, but only vaulting ambition, which all leaps itself and falls on the other. Now what news? 

Meaghan Boeing (she/her)

He has almost sucked. Why have you left the chamber? 

Mark Lawson

Have he asked for me? 

Meaghan Boeing (she/her)

No, you not. He has, 

Mark Lawson

We will proceed no further in this business. He has honored me of late and I have bought golden opinions from all sorts of people, which should be worn now in their newest gloss. Not cast aside so soon 

Meaghan Boeing (she/her)

Was the hope drunk wherein you dressed yourself has it slept since and wakes it now to look so green and pale at what it did so freely from this time. Thus, I account thy love. Aren’t thou a fear to be the same in, in th own act and valor as thou art in desire, which thou have that which thou esteems the ornament of life and live a coward in th own esteem, letting I dare not wait upon I would like the poor cat in the adage for 

Mark Lawson

The peace, I dare do all that may become a man who daress do more is none 

Meaghan Boeing (she/her)

What beast was then that made you break this enterprise to me. When you durst do it, then you were a man and to be more than what you were, you would be so much more than man nor time nor place did then adhere. Yet you would make both. They have made themselves and that their fitness now does unmake you I have given suck and know how tender is to love the babe that milks me. I would while it were smiling in my face, have plucked my nipple from its boneless gums and dashed the brains out. Had I so sworn as you have done to this, 

Mark Lawson

If we should fail, 

Meaghan Boeing (she/her)

Pete, fail that screw your courage to the sticking place and will not fail 

when Duncan is asleep. Where to the rather shall his days heart journey and soundly invite him his two chamberlains will I with wine and waffle. So convince that memory the water of the brain shall be a fume and the receipt of reason a limbic only when in swish sleep their drenched nature’s lies as in a death. What cannot you and I perform upon the unguarded Duncan? What not put upon his spongy officers who shall bear the guilt of our right. Well 

Mark Lawson

Bring forth men, children only for the undaunted metal should compose nothing but males. Will it not be received when we have marked with blood those sleepy two of his own chamber and use their very daggers that they have done? 

Meaghan Boeing (she/her)

Who dares receive it Other we shall make our grief and clamor roar upon his death, 

Mark Lawson

Settled and bent up every corporal agent to this terrible feat away. And mark the time of Ferris Cho false face must hide what the false heart death know 

Meaghan Boeing (she/her)

That which has made them drunk has made me bold. What have quenched them have given me? Fire, heart, peace. It was the owl that screamed the fatal bellman, which gives the sterns goodnight. He is about it. 

The doors are opened and the surfed grooms do mock their charge with snores. 

I have drugged their PTs that death and nature do contend about them. Whether they live or die. 

Mark Lawson

Who’s there? What? Oh, how 

Meaghan Boeing (she/her)

well that I’m afraid they have a wait and is not done. The attempt and not the deed confounds us park. 

I laid their daggers ready. He could not miss him. 

Had he not resembled my father as he slept. I had done my husband. 

Mark Lawson

I have done the deed. Just I not hear a noise. 

Meaghan Boeing (she/her)

I heard the owl scream and the crickets cry. Did you not speak 

Mark Lawson

When? 

Meaghan Boeing (she/her)

No, as 

Mark Lawson

I descended. 

Meaghan Boeing (she/her)

Hi, 

Mark Lawson

who lies at the second chamber? 

Meaghan Boeing (she/her)

Dono Bain. 

Mark Lawson

This is a sorry sight, 

Meaghan Boeing (she/her)

A foolish thought to say a sorry fight. 

Mark Lawson

There’s one did laugh and sleep in one cried murder that they did wake each other. I stood and heard them, but they did say their prayers and addressed them again to sleep. 

Meaghan Boeing (she/her)

There are two lodged together, 

Mark Lawson

One cried. God bless us everyone. God bless us. And amen. The other. As they had seen me with these men’s hands listening, their fear, I could not say, God bless us. 

Meaghan Boeing (she/her)

Consider it not so deeply. 

Mark Lawson

And therefore, could I not pronounce Amen. I had most need of blessing and amen stuck in my throat. 

Meaghan Boeing (she/her)

These deeds must not be thought after these ways. So it will make us mad. 

Mark Lawson

Thought I heard a voice cry. Sleep no more make Beth does murder, sleep. The innocent sleep. Sleep that knits up the raveled sleeve of of care, the death of each day’s life. Sore labor’s, bath bal of hurt minds. The great nature’s second course chief nourisher in life’s feast. 

Meaghan Boeing (she/her)

What do you mean still cried? 

Mark Lawson

Sleep no more to wall the house calms death. Mother sleep therefore caught or she sleep. No more mac. That’s just sleep no more. 

Meaghan Boeing (she/her)

Oh, was it that thus cried. I worthy thing you do unbend your noble strength to think so brains sickly of things. 

Go get some water and wash this filthy witness from your hand. 

Why did you bring these daggers from the place? They must lie there. Go carry them and smear the sleepy grooms with blood. 

Mark Lawson

I’ll go no more. I’m afraid to think what I have done. Look on it again. I dare not 

Meaghan Boeing (she/her)

In firm of purpose. Give me the daggers. The sleeping and the dead are put as pictures. Does the eye of childhood, the fears a painted devil. 

If you do bleed, I’ll guild the faces of the grooms without for it must seem their guilt. 

Mark Lawson

What is that knocking? I always admit with me when every noise appalls me What hands are here? Huh? They pluck out my eyes. 

We’ll, all great neptunes oceans wash this blood clean from my hands. 

No rather this my hand will the multitude in a seasoned carine making the green one red. 

Meaghan Boeing (she/her)

My hands are of your color. But I shame to wear a heart. So white, I hear a knocking at the south entry retire, we to our chamber, a little water clears us up this deed. How easy is it then for constancy that left you unattended? 

Har more knocking. Get on your nightgown. Let’s occasion call us and show us to be watchers. Watch be not lost so poorly in your thoughts 

Mark Lawson

To know my deed. Were best not know myself. Wait, dun, with I knocking, 

Nick Cagle

I’m just beaming with pride. I really am. You, you both should be very, very proud of yourselves for that performance. 

It’s the clearest I’ve ever seen those scenes. 

Really, really. I mean, it’s funny. I I was writing things down that I never noticed before. You know, I love how she says consider, consider it not so deeply. That’s kind of the point of so much of it. She’s like, well, you stop thinking so much. 

Mark Lawson

Yeah, it’s, 

Nick Cagle

you guys did a beautiful job crafting the relationship between these two characters. And that’s what this exploration was all about from the very beginning. I’m just, I’m exceedingly proud of both of you and the beautiful work that you just did. Congratulations. 

Mark Lawson

Thank you, 

Nick Cagle

Nathan. Thanks for the platform. Oh, my 

Nathan Agin

pleasure. I’m, yeah, I’m really delighted that, you know, everything you guys were able to discuss and explore and, you know, it just allows for the format allows for such time that we can get into those granular details of, well, you know, what is it like for this husband and wife to argue or get on the same page? And, and, and just to really, as we talked about in earlier weeks, you know, the, this is always the goal is to really make them real people that, that you, that, you know, audience members can identify with or see themselves in that they’re not just, oh, this is the character of Macbeth and this is the character of late. 

It’s like, oh no, this like, oh yeah, yeah. I’ve had, I’ve had that argument with my partner a number of times and oh yeah, they have totally talked to me like that. And, and you know, you can, you can see that this is just a couple wrestling with, you know, a gargantuan challenge and problem that most of us never have to, but you identify like, but there’s still a couple, there’s still a, a, a really powerful relationship and they really love each other. So IJI just, I really enjoy the level of the depth of conversation that you guys were able to have and, and just all the things that you, you allow and kind of encourage us as audience members to think about when, when watching these scenes, it’s, it’s, it’s really enjoyable. 

So Yeah, no, it’s, it’s, it was great. It was really, I mean, each time through, you know, you hear things differently or things drop in a different way, so Yeah, no, it was, it was great and loved conversation. I, I could keep going on about that, but it’s just, it’s just enjoyable to hear you guys thinking, you know, thinking of new things or, or the, the, the point you made Megan about the, the thing of Cado at the beginning of the play that, that he’s a traitor and, and it’s just like, boy, that is really, that is really interesting. Dramatically, you know, that, that, that’s like, oh, right. Okay. Yeah. So no, it, it was great. 

Thank you. 

Meaghan Boeing (she/her)

I think one of the things that I appreciate about this so much and, and you always introduce it like, you know, this is the rehearsal room, this is what it, you know, to, for, and when there are non non-professional or emerging professionals in the room, and like they can see how, you know, professionals, blah, blah, blah. And I always think like, you never get this time. 

Mark Lawson

Sure. 

Meaghan Boeing (she/her)

When you go into a professional production, you should probably already be off book. You have to know everything that you’re saying. And you may talk a little bit about things here and there, but you might get like three days a table work and then it’s up on its feet. You get like a couple of weeks of rehearsal, a week of tech, and then you’re going. And so like to be able to sit and like, think about two scenes of Shakespeare for eight hours and Right. Have the discussions that we’re having and you get to have opinions about parts that aren’t yours. Like if you, if like, if I ever said like anything that I say about Macbeth in a rehearsal room, that’s totally inappropriate. 

But in this case we can argue about, well actually I think it means this or that. I think it means that it was helpful for me if you do this and, you know, and I, I think that, you know, like it’s, it’s, it’s sort of reminiscent of, of like an older way of working where like, you know, in, you know, Stanislavsky and Chek off and like, we’re gonna rehearse the Cherry Orchard for three months 

Nathan Agin

Sure. 

Meaghan Boeing (she/her)

And then we’re gonna take it on the, or August Wilson plays we’re take it on the road for a year before gets to Broadway. You know, like it’s such a gift 

Nathan Agin

Yeah. 

Meaghan Boeing (she/her)

To be able to, ’cause this is such rich material. 

Nathan Agin

Yeah. There’s a couple things I wanna mention or, or take off from what you said. You’re absolutely right that, that this, this time is a luxury. And I think, I think the, it’s it’s kind of about identifying for especially newer or younger or emerging artists, this is all the work that you don’t see the professionals doing probably at home because they know they don’t have time to do it at rehearsal. So it’s all the questions they need to be asking themselves, all the things they need to be exploring and thinking about and, and, and going, okay, well what do I have time to actually ask the director? Or does the director even wanna talk about this stuff? 

Or do they, do we get a dramaturg? Yeah. Or the director’s just like, go from stage right to stage left, sit down on the couch and then leave and it’s like, okay, that’s the level of discussion we’ll, we’ll have. So it’s, it, it may be you’re absolutely right, all these things that you have to do on your own time or internally or, or just, but it gives hopefully, you know, artists of all levels watching a number of different things to think about of different ways to approach the character and, and explore it. So yeah, you’re, you’re absolutely right. And I think, and now I’m trying to think of the second half of what you, you were talking about all the time that we, that you don’t have and, and then Yes. That it’s, what what has been wonderful that I have not had to force at all is that it’s been an extraordinarily collaborative experience by every group. There’s never been a top down structure of I’m the teacher or I’m the director and I’m gonna tell everybody like, what to do. 

And, and, and that is a really beautiful element. I think, I think you’re right Megan, that that does harken back to a different way of, of doing these things that people, you know, it was more collaborative and people were gravitated toward that because it’s like, you, we get to talk about all this stuff and I don’t know if, you know, even though I’m playing this character, I don’t necessarily have all the right answers. So if you have a, a good thing for me to use, like please tell me I’m, I’m open to that. So, yeah, no, it’s some great points. 

I, I did want to talk, you know, I know a little bit about, I know we’ve talked about a little bit over the weeks, or you guys have talked about it more specifically, but I’d love to hear from Nick. 

You know, you mentioned your a love for the play. You, you know, a little bit tonight and, and over the other weeks. 

Were there specific things that you as a director were curious about with these two scenes that you wanted to either explore more or just take the time to explore as a director? Because you, you knew them, you’re familiar with them, you enjoyed them, but you wanted to kind of see what was going on. Did, were you surprised by, you know, all the layers you found in there? 

Nick Cagle

Yeah, I, I really, it was the relationship between these two characters that the reason that I chose these scenes and there, they’re, they were the only ones that I could choose where there wasn’t other players. Sure. Messengers. And, you know, there, there’s, there are we, we got to read some of the other ones today a little bit just to, you know, but yeah, I, I wanted to explore the love, I wanted to explore the beauty of their relationship because it’s something, it, it gets played off as two people that have great sex a lot and you know, it really, and a lot of people, a lot of the films that you see explore that. 

But there’s, there’s something incredibly romantic about these two people that is based on respect. And I just, I, you know, I really, I really wanted to dig into that a little bit. And I just, I really enjoy this play because I feel like there’s, there’s a perfection to the poetry of it that the, I mean, it exists in pieces of many of Shakespeare’s other plays, but for me, this play from front to back, from top to tail is extraordinarily beautiful regarding all of the characters, the relationships with each other and the poetry itself. It’s all in the words. 

I just think Shakespeare was really on fire when he wrote this show. 

I, I heard a quote over last week that, that I think is, is true. But an actor said to Tom Stopper and he said, do you want me to make this line funny? And stopper replied, I’ve done it for you. 

And I think that it says a lot about what we’re doing here. You know, a lot of these things is in the words, but finding it is a challenge. And I, you know, I really, I I got to work with these two wonderful actors that I respect so much. And, and I, I knew that we would get, we would be able to dig a little bit deeper. 

Nathan Agin

Yeah, that’s good. That’s wonderful. Yeah, and, and you know, I I I agree with you about the, the, the beauty of the play. The, another one of the scenes that we’ve done here, it’s, it’s, it’s I think probably one of the lesser known scenes. It may even be cut in some productions, but it’s later in the play where McDuff is kind of testing Malcolm, and then Ross comes in and, and tells him you, you know, what’s been transpiring and happening and, and just the, the levels of what’s going on between the first two characters and just the emotion that everybody’s experiencing. And it’s, it’s, you know, for, for a lesser known scene, it was just like, wow, this is a really beautiful scene. 

And there’s a lot going on with these characters, but they, you know, they’re not, they’re not titular characters that, so sometimes I think those scenes are kind of overlooked, sadly, because there, there’s some really great poetry in there and there’s some really great, really great stuff to work on in mine. And, and for those watching, you know, you can go back, actually no, I think that’s in the archive, right? I gotta take that, I gotta get that out of the archive. But, but, but, you know, so hopefully we’ll, we’ll share that scene again. And Nick, you were, you were, you were a part of that scene. 

Nick Cagle

Yes, I was. 

Nathan Agin

I’m sorry. 

Nick Cagle

I 

Nathan Agin

I have, I have like 50 50 people floating through my head. 

Nick Cagle

No, no, you given time. 

Nathan Agin

So 

Nick Cagle

No, that’s, and that, that exploration of that scene is kind of what brought this on too. I, I was reminded how beautiful this play was, you know? 

Nathan Agin

Yeah. 

Nick Cagle

Excuse me. And I, I played Malcolm in that, that workshop and often Malcolm is, is overlooked as well, and he’s just got some, he’s an extraordinary character. And, and that is the scene where McDuff has this beautiful speech. And you know, like Megan said, some of the most beautiful lines in all of Shakespeare are in this play. Yeah. No question about it. 

Nathan Agin

Mark, I would, I would love to hear, I’m sorry, was there something you wanted to chime in with on that point? Or me? Me? 

Mark Lawson

No, Go for it. 

Nathan Agin

Oh, okay. I, I wanted to hear, you know, I know we heard, you know, over the weeks, you know, different things that you were either wrestling with or trying to figure out, or, or, or, but I, I’m curious, you know, specifically with the, the role of Macbeth, was there something that really surprised you about either the character or your connection to it or, or how you related to the part? Was there anything in, in your journey over these weeks that come to mind? 

Mark Lawson

Well, I think you put out that teaser video where I was talking about 

Nathan Agin

Sure. You the morality Yeah, yeah. 

Mark Lawson

Trouble With, yeah. And I think that was actually much more of a challenge than I was anticipating, because I think I had an archetypal idea of what this character was. 

Nathan Agin

Sure. 

Mark Lawson

And, you know, and as I was saying earlier in, in the workshop tonight, I had kind of an 11th hour awakening on how to jump into that first speech. And that really solved a lot of that for me because it was the idea of the warrior and, and the philosopher struggling and, and the greed or the ambition. And so it became less about how do I drum up all this like, murderous intent and more, you started to shift into a guy who, through a codependent relationship, gets convinced this is the right thing to do and then realizes, right. No, I’ve, I’ve lost it. And it, it became a lot more approachable. 

And I find this to be true. You, You know, with all of this classical theater stuff is the more you can deal with making it playable for you as an actor, where do I come from? Where do I meet this character, you know, and start to erase where I think my limits, where my outer edges are, and, and erase the preconceived idea that I have about the archetypal way of doing it. You know? And the more I can connect to where my humanity is, and then start to sub in for, well, what if you lost? What if you lost that humanity? You know, what would take you to that point? It, it became a lot more tangible for me. 

And also last time, even though that got to be a little bit like a track workout, like doing all of the consonant work and, and, and the real nitty gritty of it, reminding myself to get out of the way of the language as much as I can is also like, it, there’s so much of a heartbeat in macbeth’s speeches and soliloquy. And even when the meter’s not perfect, it’s, if you ride it, it’s, it leads you to these kind of in, they’re in jam lines. Well, they’re in jammed thoughts too, right. And the more you allow that to filter in and start to just lead you, the more you trust it and get outta your way, get outta your own way, I think is yeah. The two big lessons. I think this has really been helpful with. 

Nathan Agin

That’s, well, that, that’s great to hear. I’m thrilled, thrilled to hear that response. And you, you know, I think you, you raise a, a really fascinating point for, for actors to, to think about is, you know, how much do characters wrestle with what they need to do? Or is it, is, is it just, this is what I need to do? And they don’t, they’re not conflicted about it. That, you know, like Macbeth is already somebody that kills people, and so this is another, you know, person he needs to kill. And, you know, leading, you know, of course he does talk about his, his conflict about it, but there are those characters that it seems so far from what you or I might feel like, you know, I could be comfortable with. 

But for these characters, it’s just a, it’s a different, like, they’re just comfortable with it. They have a different comfort zone for lack of a better thing, you know? Right. Their, their, their edges are a little bit different, so they don’t wrestle with it in the same way that you or I, you know, in just our normal day life would wrestle like, oh my God, I, you know, I have to kill. Yeah. You know, all these people, it’s just part of what he did. And you, you mentioned Corey Lanni, it’s the same kind, you know, that’s just Yeah. Who, who he is, who he is, been raised to be, and you know, through experiences has become, 

Mark Lawson

you Just sparked two thoughts on that though, that, if you don’t mind 

Nathan Agin

Sure. Share 

Mark Lawson

One is the, the relationship to death. When he was writing these plays, people had a much more familiar experience with death than I think we do now. And I think there was more of a casual nature of walking down the street and watching, you know, watching, you know, animals get slaughtered for sale and for, you know, there was just a much, the plague, you know, all the stuff, you know, there was just, it was much more in your face. And I think lines probably were easier to blur in those days maybe than they are now. That’s just one idea. And then the other idea that it, that, it just struck me when you were saying that is I went to school for, you know, for theater and particularly at Lambda for classical theater, but I’ve spent most of my career in film and television and the laser-like understanding of what you’re saying you need to have in film and tv. 

I think when, when you start to approach this one, it makes for a lot of work. You have to do a lot of work to understand each syllable, but it opens up your imagination to all of the intention. 

Even though I think we would say that most of the time when you’re on stage playing Shakespeare, you’re not worried so much about subtext. It’s all there, it’s overt, and if you’re lying, the audience knows you’re lying. But you as the actor have to fill up all of that. You have to fill it up with your imagination. You have to fill it up with imagery that activates something in you. And so I think that’s the other thing that was, that’s been really helpful too, is really just getting into the granular, what, who, how, where, what am I talking about? You know? 

Nathan Agin

Sure. 

Mark Lawson

And then Letting it percolate. 

Meaghan Boeing (she/her)

I always hate that when people say that there’s no subtext in Shakespeare, because I think there’s a ton of subtext in Shakespeare. That’s another thought for another day. Another thing I wanted to say that 

Nathan Agin

Yeah, please go 

Meaghan Boeing (she/her)

ahead, mark. You were talking about, and we’ve been talking about how they give up their humanity, and the thing that struck me just now is the end of the play where they both go insane and die. 

And, you know, and Macbeth gets killed. They, you can’t, there is no way to give up your humanity. You can try. Mm. But you never, you never can, can’t escape it. Yeah. And I think that’s like, like what a, what a like a, like a strangely beautiful lesson that this play teaches that way. 

Nick Cagle

Absolutely. 

Meaghan Boeing (she/her)

The conclusion, you know, that all of the forces of hell, you come until now. 

Nick Cagle

I love that. 

Nathan Agin

Yeah. Yeah. Like as, as, as cold as you might try to be, as you try to, as dispassionate as you might try to be, you’re human. It’s, it’s, it’s going to come through, it’s going to still be with you. You can’t really divorce yourself from that. 

Megan, I would, I would love to hear, I, if you have more you wanna share about your journey briefly with Lady Macbeth, if there were things that coming into it, you thought about and then discovered it from the character or things that surprised you about the character, would any anything come to mind? 

Meaghan Boeing (she/her)

I think, I think I probably, I think I mentioned it already today, but when I came in, I think the thing that I said that I wanted to, to accomplish doing this was to keep her humanity front and center and like keep their relationship front and center. And I think we’ve all kind of come to this place where, and I think particularly because we’ve got words and screens and not production values that, and we don’t have the rest of the play where you get the supernatural elements, where you get the crowds, where you get the ghosts, you know, and all the other things that like, I feel like if I were given the opportunity to play her now, I feel like I have such an anchor of who she is and what she loves and what’s important to her. 

That I feel like I could walk into a production and like come in with a really strong and maybe slightly different lady Macbeth than I have seen a lot of, because I’ve been given this gift of like, okay, let’s sit and talk these two. As and Nick, I thought they were, they were really good scenes to, to do together and to pair. 

And because we’re not staging them, because we’re not, you know, doing a scene study class in a place, like if there’s, by stripping it down so much and having so much dialogue about it, I feel like it’s really like we’ve gotten to the essence of the humanity in Macbeth. And I think if we were all to go do it, what we’re doing then is we’re laying on the supernatural, on top of the humanity. And we’re relay, we’re, we’re relaying the, the religion and the, and the religious consequences of their action on top of the humanity. And so I feel like we have this like bed of life that’s really fun. 

Mark Lawson

And 

Nick Cagle

that relatability that you guys created makes it more terrifying. 

Meaghan Boeing (she/her)

Yeah. 

Nick Cagle

You know, like that humanity that you put in it, like Nathan said, all of a sudden it’s like, oh my gosh, because they’re not on a pedestal. They’re suddenly real people, like Nathan was saying. Right. 

Nathan Agin

Yeah. And, and this is what makes, you know, Macbeth such a very different character than co Elis. It’s why there’s a different play. You know, co Elis might not have as many qualms about this, or he might, might not be as challenged. And, you know, it’s like, it’s, it’s like, yeah, we want to see this guy who’s really good at his job, be really tortured by what is he like the, the, the, the, the, the temptation of, of, of power. And you, you know, what does that do? What does that do to somebody? So yeah, no, it’s, it’s really exciting just to, as we’ve all been talking about, just to have the time to, to really explore this in such a, such a deep, deep, profound way. 

And I wanna thank all of you guys for all of your time and, and great work over the weeks. And thank you again to Kian Rappaport for, for being our dramaturg on this, on this journey here. 

And yes, so, you know, just honoring everybody’s time, I think we can kind of wrap it up here, but it’s, it’s great. I hope you, I hope all of you, whether collectively or individually, you know, find ways to continue to work on this material. It would, it would be really exciting to see where you continue to go with it. I’m sure it’d be exciting for each of you to figure out where you continue to go with it and for those watching. Yeah. Come on back. Like I said, the next session we’re gonna be doing is a couple scenes from The Winter’s Tale when Leones has Hermione arrested and then her in the trial. Really great. 

It’s, that’s a scene from the archive that we’re pulling out. Jeffrey Way directed Christopher Gillette, Shannon Lee, Claire and Jay Paul Nicholas are working on that. And Gideon is the dramaturg for that session as well. So more great stuff ahead, you know, subscribe, bell notification, all those good things, tell your friends and we’ll, we’ll keep doing what we’re doing here in the rehearsal room. So thank you again, mark, and Megan and Nick and Gideon, thank you guys all so much for your time. And we will, we’ll see you next time in the rehearsal room. 

Mark Lawson

Thank you. 

Nathan Agin

Yeah, 

Meaghan Boeing (she/her)

Thank you so much. 

Nick Cagle

Thank You guys. 

Mark Lawson

This has been great. 

Nick Cagle

Bravo.