Final Session – Shakespeare’s Measure for Measure – Act 2, Scene 2 – The Rehearsal Room [Video, Audio, and Transcript versions]

Nathan Agin

I think we can get started. So, hi everybody, my name is Nathan Agin and welcome to the Working Actors Journey Rehearsal Room. This is a project that’s been going on a few years now, which has been wonderful. It is an opportunity for both professionals and newer artists to get together, collaborate, and work very deeply on one scene over the course of a month. It’s a luxury that even in professional theater, a lot of people do not get this kind of time. And yet it’s the kind of work that often draws people to this kind of work. There’s, because there’s so much to mine and, you know, every one of our groups has never finished in week two. 

There’s always more to explore. And so it’s been, it’s been just a joy to watch this group work on the scene from Measure for Measure tonight. I will let them kind of, you know, speak more about where we are in the play and what’s going on. But if you are totally new to what this is, I’ll, I’ll just give you a, you know, a couple quick items about it. 

One of the things I love about this project is we get to explore different casting options. Whether we are being more conscious about gender or age or race, then maybe some theaters sometimes can be or feel like they can be. And through the magic of technology, we can bring artists together from all over the place. Sometimes it’s people that haven’t, you know, worked together in 20 years and, and now they get to, you know, recollaborate on something. And, you know, within our group tonight, you know, there are people spread all over the country. So it’s, it’s really wonderful that you’re, you know, it’s, it’s a way to combine actors from different markets, different walks of life, different backgrounds and and, and things like that, that, you know, but they all get to come together and, and work on this. So I, you know, the small pitch is if you like to be involved and, and get the replays of each of the weeks, you know, that starts at just $5 per month, you can support this project. And, you know, I’ll send out emails of, of how you can get involved with that. 

And I’ll thank our, our current patrons, Michelle Christian, Jim Magdalene, EVAR, Danielle and Frank. Thank you so much for your support. 

And for next month, we are planning a scene from the Winter’s Tale with Jeffrey Wade directing, and you can sign up to receive both video and audio replays. And those will typically be available on Thursdays. So I think, I hope I’ve gone through all my notes that that’s enough for me. You came here to see all these great people do their work. So I will turn it over to them and, you know, they can all do just a very quick intro and then our dramaturg can give you a quick context of where we are in the play. So with that, I’ll turn it over to our director, Stefan. And again, I just wanna say thank you to all of the artists for, for being here and, you know, having a great time with this. So, all right, I will, I will check in at the end. Ah, one more note for those who are here live, if you have questions, throw those in the chat. I will collect those and we can, you know, go through them at the end. 

Or if you’re feeling brave and you want to just come on video or on mic, we can do that too. So now I think that’s it for me and I will see you later. 

Stefan

Thank you, Nathan. This has been amazing. What a, what a gift to just come and hang out with people I’ve never met before and nerd out on Shakespeare. So I’m Stefan Naski and I am the director, Charlotte. 

Charlotte

Hello everyone. This is my third, third, third project with, with Nathan. So thank you Nathan. And I’m coming to you from Philadelphia area. So thanks everybody. This has been, this has been wonderful. I don’t think I have an Isabella in my career. I think I might have been a little long in the tooth, so it’s very nice to visit her. 

Rachel. 

Rachel

Hi everyone, I’m Rachel Dilliplane. I’m a nomadic voice actor. So I’m usually, I’ve been calling into this rehearsal room from kind of all over the country over the past month, currently home in the Philadelphia area as well. And for this reading, I’m reading the roles of Provost and Lucio. With that, I’ll kick it over to Paul. 

Paul

Hi everyone. Paul Nicholas. Also based in Philadelphia. This has been really Philadelphia, a Philly centric group reading Angelo, and very excited to be here. I I’m a wannabe Shakespeare nerd. 

Miranda. Miranda. Oh, go ahead, Paul. 

Stefan

Yeah. 

Miranda

Hi friends. I’m Miranda Johnson Hadad. I’m the dramaturg for this production, and it’s been just an enormous amount of fun. It’s my idea of a good time to get together with people and discuss Shakespeare. So I’ve really been in, in heaven during this project. And during our calls, Stefan, shall I give a quick introduction to Measure for Measure at this point? Okay, so for those who need a refresher on the Play, measure For For Measure was written in about 1604, so relatively late in Shakespeare’s career. And our story so far that, that brings us to Act two. Scene two is that the Duke of Vienna has decided to step down because he has let the laws lapse and Vienna has become a lawless place. 

And he feels that it would be just too upsetting for, for the people of Vienna if he were the one to enforce these laws after a long, a long break. Some one character says 14 years, and another says 19. It’s been a long time. So he, he deputizes Angelo, who is, has been his, his right hand man. He deputizes Angelo to take over the, the ruling of Vienna and to enforce these laws. And Angelo is a very, very virtuous man. One character describes him as as saying his, his blood is very snow broth. He’s cold, he’s rigid. He, he puts the rules into, into effect. And one of the first rules that he decides to enforce is the, the laws against adultery. 

And the first young man whom he ensnares and has arrested and, and who is to be executed is young man named Claudio, who has impregnated his fiance. And as Claudio is being hauled off to jail, he asks Lucio his friend to, to please go find Claudio’s sister Isabella, who is about to enter a nunnery. She’s a very virtuous young woman. And to ask her to please go to Angelo and plead for her brother’s life, Isabella agrees, agrees to do so. And in Act two, scene two, she is being brought into the presence of Angelo to try to persuade him to allow her brother to live. So that’s our story so far. Let’s pick it up. 

Stefan

So it’s been a crazy rehearsal and sometimes we haven’t had everyone. And so what’s great is now we get to play with Charlotte and Paul after we’ve kind of done our text work. So I think what we should do, y’all, is let’s just do one more work through stopping and starting. Yeah. And we kind of really dug deep last rehearsal with Paul and Rachel. And so Charlotte, take your, let’s take our time as we go through and if you have questions and like, what the hell’s going on here or whatever, right? With Miranda, she knows everything. So why don’t we just work our way through and then we’ll be able to, you know, that’ll take us 45 minutes and then we’ll be able to do a couple reads where we’re all, you know, have our motors running. Make sense? 

Okay, here we go. 

Oh, I’m a servant. I apologize. I, every time he’s hearing a cause, he will come straight. I’ll tell him of you. 

Rachel

Pray you do. I’ll know his pleasure. Maybe he will relent. Alas, he have put as offended in a dream, all sex, all ages smack of this vice and he to die for it. 

Paul

No, what’s the matter, provost? 

Rachel

Is it your will? Claudio shall die tomorrow. 

Paul

Did not, I tell the yay. Has thou not order? Why does thou ask again? 

Rachel

Lest I might be too rash under your good correction. I have seen when after execution judgment half repented or his doom. 

Paul

Go to let that be mine. Do you your office or give up your place and you shall well be spared. 

Rachel

I crave your honor’s. Pardon? What shall be done, sir? With the groaning Juliet, she’s very near her hour. 

Paul

Dispose of her to some fitter, some more fitter place. And, and that with speed. 

Stefan

Here is the sister of the man condemned desires, access to you. 

Paul

Happiest sister. 

Rachel

I, my good lord, a very virtuous maid. And to be shortly of a sisterhood, if not already. 

Paul

Well let her be admitted. See you. The fornicate be removed. Let her have needful but not lavish. Means there shall be order for it. 

Rachel

Save your honor. 

Paul

Say while you’re welcome. What’s your will? 

Charlotte

I am a woeful suitor to your honor, please. But your honor, hear me. 

Paul

Well. What’s your suit? 

Charlotte

There is a vice that most I do, ab whore and most desires should meet the blow of justice for which I would not plead, but that I must for which I must not plead, but that I am at war tweaks will and will not. Well. 

Paul

The matter. 

Charlotte

I have, a brother is condemned to die. I do beseech you let it be his fault and not my brother. 

Rachel

Heaven. Give the moving graces. 

Paul

Condemn the faults and not the actor of it. Why? Every fault’s condemned. Dare it be done. Mine were the very cipher of a function to find the faults whose fine stands in record and let go by the actor. 

Charlotte

Just but severe law. I had a brother then. Heaven keep your honor. 

Rachel

Not or so do him again in treat him. Kneel down before him. Hang upon his gown. You’re too cold. If you should need a pin, you could not with more a tame, a tongue desire it. Who? Him I say. 

Charlotte

Must. He needs guy. 

Paul

Maiden. No remedy. 

Charlotte

Yes. I do think that you might pardon him and neither heaven nor man grieve at the mercy. 

Paul

I will not do it. 

Charlotte

But can you, if you would. 

Paul

Look what I will, not I that I cannot do. 

Charlotte

But might you do it and do the world No wrong. If so, your heart were touched with that remorse as mine is to him. 

Paul

It is. Too late. He’s sentenced. It’s too late. 

Stefan

Good. Hold, hold, hold. Good, hold. All right. Wow. You guys are good. That was just like everything, all the little stuff we worked on, like this is awesome. Charlotte, welcome back. You came in gunning. 

I only stopped there because I wanted to give us a chance to go back and we don’t have to go back and do it. But do you have any questions or things, things you heard, things you wanna point out before we dive into the meat, so to speak? 

It’s quite gorgeous. I, 

anything, anything in there? Yes. Yes. Miranda, jump in. 

Miranda

And this is something I should have mentioned at the beginning, just for those, those watching at home. 

Rachel of course is playing two separate characters here. The provost, who is a type of jailer who is coming to Angelo, but also Lucio, who is, who is Claudio’s friend and, and who is, is brought Isabella literally on the threshold of entering the convent. He has brought her into Angelo and Is is is encouraging her not to give up so easily. So, so whether he can be seen by Angelo or not, Isabella can hear him and he’s her, her cheering section. 

Nice word. Do. 

Stefan

That Ann, do you think we could push Provost even more proper? Absolutely. And a part of me wants you to be more judgy. Okay. Which is terrible directing by the way. If my students said that, I would ding them half a point. But I, I just, I wanna see one, I wanna push the two apart, but I’m curious about this just sort of, it would almost put pressure on Angelo if you’re just even, I don’t know you, you’re more centered as a person and just see what happens like that. You still have to lower, you have to go below. Yes sir. Okay. Whatever. But I don’t know. It’s in the room. Love it. Great. Okay. 

Boy Paul, I got everything we worked on, sir. See all that cu the for Andress letter. Have I love that tr see you, right? It’s so clearly. No, I said make this happen. Make it happen. Right. That was beautiful. 

Yeah. Yeah. And we can tighten, we can tighten it up next time we come through it. Isabella, have you noticed there is a, can you just pick it up from I’m, I’m a woeful suitor to your honor, and I love how careful you are with your initial I am. And normally I don’t hear it, but you are so wonderful with it. I am. It’s great. I think it’s a, she has kind of word salad on there is a vice that most I do a pour and most desires should meet the blow. I think you’re allowed to lean into the not quite knowing it’s all monosyllabic, not quite knowing it, you know, and I don’t know if it’s pre-planned or if it’s even hard for you to even explain, right. 

Charlotte

Yeah. Dancing around the, the words of his crime essentially. 

Stefan

Yeah. Yeah. Ooh. Yeah. Right. Like how do I, I don’t even talk. How do I It’s okay to leave to It’s okay to lower. Yeah. Play with it. Okay. 

And then Lucio, it’s okay to add sexy body stuff. Okay. On give, come on. Right. And you could just let it loosen it up and just, God, where’s your the juice woman? Let’s go get in there. Right, right. 

And I don’t, you know, we haven’t really talked y’all about what is going on for each of them and that’s kind of what our goal would be today. Right. We spent a lot of time on just literally scansion in a sense and meaning. But who are they as people would maybe be something we can talk about a little bit. You know, what is, what is it like for Isabella? 

I don’t know if you’ve considered entering convent recently, but. 

Charlotte

I mean, I think s somebody who, who is con who considering that life. I think the closest thing I could come to is, is the discipline. One has to have to be in say, this profession, right? And the, the, the, the drive and the, that’s the only thing is that, yeah, I can’t contemplate that life, but I can contemplate the, the characteristics that you would have to have to do it. 

And maybe not always knowing all the reasons. ’cause like we’ve talked about how Isabella is a little, probably not the best candidate for this life, right? 

Stefan

Right now. 

Charlotte

Right. 

Stefan

Good. Yeah. I, there’s a great book I read somewhere, I don’t know about artists and artists. It says only artists and monks have the same focus. 

Charlotte

I, I’ve, I’ve said to young students, I was like, it’s a calling because no one would choose this life. Who the hell would choose this life? Oh, you wanna be poor and rejected at all your life, Greg. You go there. But so it is a, it is a calling. At least it, it felt that way to me and, and that I could do a lot of things, but this is the only thing I want to do and I’m willing to give up a lot to do it. So I feel like that is where she is. Or at least that’s, that’s the fabric from which she works. 

Stefan

So why is it hard for her to ask the Duke ask Angelo for this? 

Charlotte

Because, you know, inside and out, she’s wearing the robes of someone who should be on his side who should absolutely agree with him. Great. Yeah. And so it’s, it’s a, it’s a rules sticky wicket. Yeah. Yeah. 

Stefan

That’s helpful. Right. I’m trying to think when the last time I had to go ask someone. 

I don’t know. I guess if I’ve ever had to advocate for a student that was against every rule we have in the department, you know, and we had this one, we had this one student. This will all be recorded. I shouldn’t tell you this, but, and the faculty were like, why are we giving this one student a pass? And I was like, ’cause they’re gonna be rich and they’re gonna donate it to you. You don’t understand these people rules do not apply to this type of person. But I know it’s awkward. Right? So I think you’re absolutely right. And wow, I never occurred to me how similar therefore you are to Angela. 

And then I guess Angela, we should unpack why, why you say stay to the, to the provost. 

Paul

To the provost. 

Stefan

You don’t wanna be alone with her. 

Paul

Yeah. You know what I found in this play, it, there are a lot of complicated, potentially confusing things in this whole play, especially this scene and the next scene. And I have found that sometimes what helps me is that the, the simplest answer is, is the most useful. And it might just be that simple that she walks in and 

he says maybe out of a question of decorum or policy or maybe because she immediately arouses him that he says, wait, you guy who I just told to get outta here and go do your job, don’t leave just yet. Don’t, it could be a protocol thing. Like I’m not supposed to be alone with a woman, but I don’t think that’s what it’s. 

Stefan

Miranda, you’re nodding. Do you have any insight? 

Paul

I don’t think it’s a Mike Pence thing. 

Miranda

Right? That’s the, that’s what we were talking about last week. I think. You know, why, why, why is that? And, and so really I’d bounce it back to Paul. So is it he he’s concerned with, with not even having the appearance of, of impropriety? Or, or does he wanna witness? 

’cause it’s remarkably contradictory of what he just said three seconds ago. Yep. 

Paul

And he says it on site of her. Yeah. And it’s not that he doesn’t know that she’s a woman. He said to the servant, she has a sister and the servant says, yeah, she has a sister. And I say, okay, fine, I’ll let her come in. And we had said last week that probably he knows, he sort of has to, that the, that next of kin or family members are given the right to appeal. And that’s why I say yes letter in, even though I’m not going to relinquish my position. 

But, but then she walks in and he says, wait, don’t go yet. I mean, the other thing, which I don’t think it is, the other thing it’s, that’s possible is I want you to stick around and let me show you what true power is. Stick around, let me show you how you handle people who are begging for people’s life. This is what you need to learn. Mr. Provost, I don’t think that what it is, that’s what it is. But me just saying that out loud, might, may have convinced me a little bit that that might. 

Miranda

M might it be, and this just occurred to me, I’ve been teaching this play for more decades and I care to admit, this just occurred to me. Might he be, you know, he knows she shortly to enter her sisterhood because the provost has told himself, might he be avoiding the, IM the even the appearance of impropriety for her. Might it be a way of, I don’t know, just acknowledging her virtue, which is starting to be in his head from the beginning. I don’t know. But that just occurred to me. 

Paul

As okay, if we, if that was, if that’s a possibility, knowing what we all know about how Shakespeare writes, wouldn’t he say that earlier when the servant said she’s about to enter a convent? Wouldn’t he say that then? 

Miranda

Yeah. 

Paul

Or he says to the provost, go now go do it. And then he says, don’t go yet. 

Miranda

Yes. Yes. Absolutely. I think so. So is it something about her very appearance that Yeah. 

Yeah. 

Stefan

I mean, I mean just, just it’s he’s how he directs it, right? He says like, this is the courtroom, right? Or the little chambers. He’s like, go do this. She and Lucia walk in and there’s there either there’s beats missing or not. They, maybe it’s a shared line. There should be order for save your honor, or there should be order for it. She walks in and there’s a weird moment. Save your honor, stay. Even if Lucio and, and Isabella are just walking in, they’re not giving focus to him, but there’s a moment where they enter and he looks at them and he changes. 

Yeah. And I think we should not forget, she’s wearing the, the habit of a novice. 

And I remember my son, so we have lots, I have lots of friends who are priests, right? I teach at Catholic school and my teenage son was like, I don’t like it when they’re around. I go, why? He goes, I don’t know. You know? ’cause he’s afraid because he, he’s afraid he has to be perfect, right? And so I, I don’t, don’t neglect the power of the habit, just let that be the event. And I don’t know how much he’s been around, but they walk in, it’s like, okay, I don’t know what this is. Right? 

Stay. It doesn’t have to be sexual. It doesn’t be at the very least. It’s just, that’s different. Stay. 

Paul

You know, just because I like, it’s a bad habit. It annoys people. But I like to explore every possibility. 

Could, could CIO’s presence be contributing to why he tells the provost to stay? Because she walks in with what appears to be an advocate of sorts. Is, is that a possible reason? He tells the provost to stay. 

And we are here sitting thinking that it’s Isabella and maybe it’s Lucio. And I’m also not, I’m not throwing in the tra in the trash, the theory that he’s telling him to stay so he can show off what a power, how a powerful man handles an appeal. How, yeah. I said it right. 

Rachel

Well, we talked some to, oh, sorry, go ahead. 

Stefan

No, no go. 

Rachel

Well we talked some last time about whether or not Lucio is even really seen or heard by anybody other than Isabella in this. So I’m happy to play it either way in that Lucio is the light, as we talked about before, just like go in wherever he wants and just very existence and presence. Walking into this space is a challenge. Plus like, look who I brought versus is the, like, she’s gonna go in there and I’m gonna be the little Jimi cricket in her ear and I know what card I’m playing in here and I know it’s more powerful if I’m not there. So whichever way you wanna play it and which possibilities we wanna explore, I’m all here for it. 

Stefan

I think what I’d like to try once is on good old stupid stanovsky, which is literally what is Angelo’s objective to get this meeting over with as quickly as possible, right? And what is her objective to get out her, her pitch. Alright. But there’s something about her that, that it has to cost him something to have her in the room. And, and, and I don’t know if you wanna put in the, the guilt of you have your own girl that you should be engaged to whatever it is, the room is harder. It it, this is my, the best direction I ever give is this. It’s gotta cost Angelo something to even be dismissive of her, right? 

So that we know the audience knows, oh, this is, this is interesting. Okay. And so let’s just see when does it start to cost him more? Why don’t we just take it from see, see you, the fornicates removed, ah, how we go back to here is the sister of the man condemned. Let’s let Angelo’s day just get worse, right? He’s trying to do things, he’s trying to run things. Okay. 

And so everyone get in that head space and let’s just see what happens if we, if we let it fly this time. 

Paul

Forgive me Stefan, I might overplay this a little bit just to see what it feels by. 

Stefan

Oh, let’s go for it. Here is the sister of the man, condemned desires, access to you. 

Paul

Happiest sister. 

Rachel

Hi, my good lord. A very virtuous maid. And to be shortly of a sisterhood, if not already. 

Paul

Well let her be admitted. See you. The fornicate be removed. Let her have needful but not lavish. Means there shall be Order for it. 

Rachel

Save your honor. 

Paul

Stay a little while. You’re welcome. What’s your will? 

Charlotte

I am a woeful suitor to your honor. Please. But your honor, hear me. 

Paul

Well. What’s your suit? 

Charlotte

There is a vice that most I do abhor and most desire should meet the blow of justice for which I would not plead, but that I must for which I must not plead, but that I am at war. Twix will and will not. 

Paul

Well the matter. 

Charlotte

I have a brother is condemned to die. I do beseech you let it be his fault and not my brother. 

Rachel

Evan, give the moving graces. 

Paul

Condemn the faults and not the actor of it. Why? Every faults condemn, dear it be done. 

Mine were the very cipher of a function to find the faults whose fine stands in record and let go by the actor. 

Charlotte

Oh, just but severe law. I had a brother then. Heaven keep your honor. 

Rachel

Not or so to him again in treat him, kneel down before him. Hang up on his gown. You’re too cold. If you should need a pin, you could not with more tam, a tongue desire it to him. I say. 

Charlotte

Must he needs die. 

Paul

Madden no remedy. 

Charlotte

Yes, I do think that you might pardon him and neither heaven nor man grieve at the mercy. 

Paul

I will not do it. 

Charlotte

But can you, if you would. 

Paul

Look what I will, not that I cannot do. 

Charlotte

But might you do it and do the world No wrong. If so, your heart were touched with that remorse as mine is to him. 

Paul

He’s sentenced. It’s too late. 

Rachel

You are too cold. 

Charlotte

Too late. I know I that do speak a word may call it back again. 

Well believe this no ceremony that to great one’s longs not the the king’s crown nor the deputed sword. The the Marshall’s truncheon nor the judge’s robe become them with one half. So good a grace as mercy does. 

If he had been as you and you as he, you would have slipped like him, but he like you would not have been so stern. 

Paul

Pray you be gone. 

Charlotte

I would to heaven. I had your potency and you were Isabel. Should it then be thus? No, I would tell what to, to be a judge. And what a prisoner. I. 

Rachel

Touch him. There’s the vein. 

Paul

Your brother is a forfeit of the law. And you would waste your words. 

Charlotte

A less why all the souls that were were forfeit once. And he that might the advantage best have took, found out the remedy. 

How would you be if he, which is the top of judgment, should but judge you as you are? Oh, think on that. And mercy then will breathe within your lips. Like, like man new maid. 

Paul

Be you content fair made. It is the law not I condemn your brother where he my kinsman brother or my son. It should be thus with him. He must die tomorrow. 

Charlotte

Tomorrow. Oh, that’s sudden. Spare him. Spare him. He, he’s, he’s not prepared for death. Even for our kitchens. We kill the foul of season. Shall we serve heaven with less respect than we do, minister to our gross selves. Good. Good. My Lord be. Thank you. 

Who is it that have died for this offense? This many have committed it. 

Rachel

Well I well said. 

Paul

The law have not been dead, though it has slept. Those many have not dared to do that evil. If the first that did the edict infringe had answered for his deeded, now it is awake takes note of what is done. And like a prophet looks in a glass that shows what future evils, either now or by remiss, new conceived. And so in progress to be hatched and born are now to have no successive degrees but air they live to end. 

Charlotte

Yet. Show some pity. 

Paul

I show it most of all when I show justice for then I pity those I do not know which a dismissed offense would after gall and do him. Right that answering one foul wrong lives not to act another be satisfied. Your brother dies tomorrow. Be content. 

Charlotte

So you must be the first that gives this sentence and he that suffers. Oh, it is excellent to have a giant strength, but it is tyranny to use it like a giant. 

Rachel

That’s well said. Could. 

Charlotte

Great men thunder as JoVE himself does. JoVE would never be quiet for every pelting petty officer would use his heaven for thunder. Nothing but thunder ful heaven. Thou rather with thy sharp and sulfurous bolts splits the unedible and gnarly oak than the soft myrtle. But man, proud man dressed in a little brief authority, most ignorant of what he’s most assured, his glassy essence like an angry ape plays such fantastic tricks before high heaven. As makes the angels weep. Who with our spleens would all themselves laugh mortal. 

Rachel

Oh to him, to him Wench. He’ll relent. He’s coming. I perceive it right. Heaven she win him. We. 

Charlotte

Cannot weigh our brother with ourself. Great men may jest with saints, his witt in them, but in the less foul pronation. 

Rachel

Bowed in the right girl, more of that. 

Charlotte

Fat in the captain’s. But a coic word, which in the soldier is flat blasphemy. 

Rachel

Aren’t advised without moron. 

Paul

Why do you put these sayings upon me? 

Charlotte

‘Cause authority though it earth like others have yet a kind of medicine in itself that skins the vice or the top. 

Go to your bosom, knock there and ask your heart. Would it do know That’s like my brother’s fault If it confess a natural guiltiness such as is his. Let it not sound a thought upon your tongue, against my brother’s life. 

Paul

She speaks. And to such sense that my sense breeds with it. Fa you. Well. 

Charlotte

Gentle my Lord, turn back. 

Paul

I will be Thank me. Come again tomorrow. 

Charlotte

Tark, how I’ll bribe you. Good, my Lord, turn back. 

Paul

How? Drive me. 

Charlotte

Thy with such gifts that heaven shall share with you. 

Rachel

You admired all else. 

Charlotte

Not with fond sickles of the tested gold or, or stones whose rate are either rich or poor as fancy values them, but with true prayers that shall be up at heaven and enter their air. Sunrise, the prayers from preserve its souls. Souls from fasting maids whose minds are dedicated to nothing temporal. 

Paul

Well come to me tomorrow. 

Rachel

Go too as well away. 

Charlotte

And I even keep your honor safe. 

Paul

Amen. For I am that way, going to temptation where prayer is crossed. 

Charlotte

At what hour tomorrow shall I attend your lordship? 

Paul

At any time for noon? 

Charlotte

Save your honor. 

Paul

From thee. Even from th virtue. 

What’s this? What’s this? 

Is this her fault or mine? The tempter or the tempted who sins most. Huh? 

Not she, nor does she tempt. But it is I that lying by the violet in the sun. Do as the ion does not as the flower corrupt with virtuous season, can it be that modesty may more betray our sense than woman’s lightness, having waste ground enough? Shall we desire to raise the sanctuary and pitch our evils there? Oh, fly, fly, fly. 

What does thou or what arc thou Angelo does thou desire her foully for those things that make her good. 

Oh, let her brother live feeds for their robbery of authority. When judges steal themselves, what do I love her? That I desire to hear her speak again and feast upon her eyes. 

What is that dream on oh, cuing enemy. That to catch a saint with saints, thus bait, thy hook. 

Most dangerous is that temptation that to God, us on to sin in loving virtue. 

Never could the trumpet with all her double vigor, art and nature once stir my temper. But this virtuous maid subdues me quite ever till now when men were fond, I smiled and wondered how. 

Stefan

I thought we were just stop and start. But apparently we’re not Miranda‘s very pleased with our work. 

Paul

Well you that your foot’s on the brake pedal, sir. 

Stefan

I know. I didn’t wanna stop it. You guys were going, you guys have worked. This is just, I work with some of the greatest undergraduates. I’m very lucky. But professionals, there is no substitute. So thank you guys so much. Okay. 

Where to start? 

God, this thing goes on forever. Let’s be honest. 

We kind of should make sure we know the shape right, because there’s this preamble, 

you know, you are too cold. Right? And then it’s, here’s let me, how do I, how do I phrase this? Charlotte? 

I want to explore something with her, which I discovered a color that you were playing at the very end when you were talking about the maids. That kind of pretty vision of the world that I want, that I, there’s let the naivete in. That’s that’s the naivete. That’s what she thinks the convent is. Right? 

Can we let that in at the beginning a little bit? Yeah. 

So that the he, the the the wonderful heaviness can come out later. Yeah. And then I think the shift, I wanna know when it becomes personal between the two of you, right? You were too cold, too late pre be gone. Right? 

Maybe it’s on. I would have, and I had your potency and you were, Isabel like, when does it, when did she cross a wee line? 

Is it there? 

Paul

It’s somewhere in there. It. 

Stefan

It, oh shit. It’s in the text. You see it, it’s three lines earlier. He, if he had been as you. 

Paul

Yes. Right there. 

Stefan

Right. So she, she that’s, that’s the next gear. That’s when she shifts. There’s, there’s beats missing. 

Paul

And you notice, you notice Stefan, she takes a big beat after the mercy argument before she gets into it. 

Stefan

Yeah. And then she brings in the word, you know, you you. 

Paul

Right. 

Stefan

Right. 

And I don’t know if that comes out of, I hate Angela right now, or I’m just desperate in a second. We’re gonna get to, I hate Angela. Okay. Like, you barely know him, but there’s just something, there’s a, there’s gotta be a chemistry between the two of you or else his final monologue doesn’t make sense. Right. 

And I’m trying to find that chemistry and it’s brain. So I think if he had been as you from there, it’s obviously a new idea. 

And I just wonder if it’s, it’s sparkling intellect is starting to kick in here. 

Actually it probably kicks on in, on tomorrow because now each of you gets, so it’s right. It gets a little bit more even. 

Right. 

And I just want to hear once, I wanna hear a read once where you guys get personal where it’s not heavy, it’s not heaven and hell, but it’s more like, I don’t know, political argument’s the wrong term. Very wrong. But it’s an argument between two people who just can’t help freaking arguing with each other. And maybe that’s me in academia, but it’s just kind of like, no, I’m, I, I just wanna be Right. It’s no longer about my brother. I just wanna be Right. You know, and then, because then I I think the rhythms will be crisper. 

Charlotte

Yeah. 

Stefan

Right. It’ll be driven so that then when Right. Because when he gets down to, I show it most of all when I show justice, you idiot. Right. It’s, it’s okay. To which it’s okay. You should understand Miss Isabella. Yeah. Yeah. I just wanna see, I wanna hear the gloves come off. She’s no longer a pious nun. She’s no longer Right. She’s no longer a novice. She’s, it’s just two people arguing on the subway. I heard two people argue in line at Costco about covid last Saturday. And it was the most scary thing. They were kind of yelling, these were perfect strangers yelling at each other about number of deaths. 

And then this as they were like having their car, their receipts checked. 

I just, I just want you guys to remember when’s the last time you got into an argument with a random stranger? 

It happens all the time in academia. Like, but you know what I mean? So there’s a different vibe there. 

So let’s go back a a little bit because by the time you guys get to could gr could great month under as job does, you’re just, those are body blows. Right? 

And what I don’t know is, is she angry or is she, I mean, is she pleading with him Joe? Right. Or she just think he’s just an asshole? 

Charlotte

I, I think, I think in her mind it’s like white, hot, righteous laser. There’s, there’s that, that’s like, oh, that’s the, that’s the, then let’s put it in stark relief for you. This is what this means. Great. That’s the pride that somebody would say who puts themselves in that position. 

Stefan

Great. Then I also want to hear that even though it’s righteous, it’s petty. 

Charlotte

Mm. 

Stefan

Okay. And righteous is like, I’m gonna save your soul. Petty is, you’re fucking wrong. And I’m right theologically. 

Charlotte

Great. Okay. Okay. 

Stefan

You see what I mean? Because then we can get the righteousness back at the end In a sense. She comes in false righteous, she comes in righteous. And then we get into this petty weird thing that gets his juices going because you’re actually talking to him like a person. I think that for Angela, it’s like, wow, my, I’ve met my match. 

And if she’s just not just, but if she’s, if she’s righteous, it doesn’t move him. Right? It’s, it’s, it’s, it’s gotta be that. 

I told you guys about my friend from grad school who we, we just hated each other. ’cause we’re both from Texas. And she would just go, well, what are you doing today? And I’d be like, fuck off. Like it was just something. It was oil and water. Okay, let’s go back. Now that I’ve thrown that in there, let’s just see what happens. I, I, Paul, my, my only thing is see the fornicates be removed. 

Paul

Yeah. 

Stefan

It’s okay to crush him, her provost. Oh. 

Paul

Harder. 

Stefan

Harder. Yeah. Okay. I think so. So, so to give yourself the 180. Okay, now stay. Did. 

Paul

We decide on what the 180, what’s motivating the 180? Do we pick one? 

Stefan

I’d like to try it once. Just once that she walks in the room and you were like, I don’t know what to do with that. It’s, it’s like meeting a star. It’s like meeting some someone, just someone who takes your breath away and not from a like, oh, you’re beautiful, but from a, what is that? 

The first time I taught acting in at U C S D there was a generic bunch of beautiful students from Southern California. And then there was one guy from Cyprus. And this cypriot 20 year old was the most beautiful human you’d ever seen. And he had beautiful hair and he just sat there and everyone couldn’t breathe around it. Like, it’s just otherness is what I wanna see. 

And in a sense it’s otherness. So it’s like, and stay you a while. Hmm. Hold on, hold on. 

And maybe it’s stay you a while as for reinforcements, just be in the room. 

Paul

Okay. I wanna just throw one more thing out there. It’s sort of a question. Sure. Do, do I ever say that she is a good looking? 

I don’t think I ever say. 

Stefan

Looks have nothing to do with it. 

Paul

Right? I say she’s virtuous. 

Stefan

Yep. 

Paul

Okay. 

Stefan

Have you ever met? I don’t know if you have, you might not. But we have a lot of Nashville Dominicans on campus and they’re, they were the full habit. Like the full, like they don’t have the wink, but it is, this is all you. Right? And they’re just, it’s, they’re just entrancing. And whenever I can, I can have lunch with them. I do. Because they’re the funniest people you’ve ever met. And one time I, we were eating literally in the cafeteria, right? Students everywhere. This strange almost homeless person came over and started talking to them like they knew, like this woman knew the three nuns and they were so polite and just let this crazy woman talk for like 20 minutes. 

And we fi I finally had to go s I lied to nuns, sister, don’t you have to go teach? And she goes, I do. And we got up and we’re leaving. 

And then we were all being really silent and I was finally like, that was weird. And they go, happens every day, come to Walmart with us. 

And I was like, I would never, they go, it’s just play the weirdness of it. Okay. And just see what happens. Okay, so we’re gonna go back ’cause you guys are really good and you guys can do these runs. I had just like, you guys are just normally I, I, I try to fix the scene with one note. I try to tweak the beginning and see what happens all the way through. So to that end, just try to find that thing you wanna change in the other person, okay. And listen for it. 

All right, here we go. Here is the sister. 

Paul

Sorry, go ahead. 

Stefan

Here is the sister, the man condemned desires, access to you. 

Paul

Happiest sister. 

Rachel

Sorry friends, I lost my spot. 

Paul

Go again. Stefan. Rachel was in a different place. 

Stefan

Here is a sister of the man condemned desires, access to you. 

Paul

Have he sister. 

Rachel

I, my good lord, a very virtuous maid. And to be shortly of a sisterhood, if not already. 

Paul

Well let her be admitted. See you. The fornicate be removed. Let her have needful but not lavish. Means there shall be Order for it. 

Rachel

Save your honor. 

Paul

Say a little while. You’re welcome. What’s your will? 

Charlotte

I am a woeful, suiter to your honor. Please. But your honor here me. 

Paul

Well what’s your suit? 

Charlotte

There is a vice that most I do ab whore and most desire should meet the blow of justice for which I would not plead, but that I must for which I must not plead, but that I am at war, tweaked will and will not. 

Paul

Well the matter. 

Charlotte

I have a brother is condemned to die. I do beseech. You let it be his fault and not my brother. 

Rachel

Heaven give thee moving graces. 

Paul

Condemn the fault and not the actor of it. Why? Every fault’s condemned Derrick be done mine with a very cipher of a function to find the faults whose fine stands in record and let go by the actor. 

Charlotte

Oh, just but severe law. I had a brother then heaven keep your honor. 

Rachel

A or so through him again. Entreat him, kneel down before him, hang upon his gown. You, you’re too cold. If you should need a pin, you could not with more tame a tongue desire it do him. I say. 

Charlotte

Must. He needs die. 

Paul

Maiden. No remedy. 

Charlotte

Yes, I do think that you might pardon him and neither heaven nor man grieve at the mercy. 

Paul

I will not do it. 

Charlotte

But can you, if you would. 

Paul

Look what? I will not do that. I cannot. What I will, not that I cannot do. 

Charlotte

But might you do it and do the world No wrong. If so, your heart were touched with that remorse as mine is to him. He’s. 

Paul

Sentenced Too late. 

Stefan

Good hold. Oh my God. It’s going. So well stay in it. Y’all will you just take it back from must he needs die. And Isabella, it’s a, it’s just like a student arguing with me on why we have to have this quiz today. It is petty. It is quick. Right, but do you really have to, it’s like she was holy and now it’s. 

Charlotte

Okay. Okay. But really. 

Stefan

Must, it’s a question. Right? You could not with more tam and tongue desire it. Thank you. Lucio. 

Rachel

Yes. Okay, great. Yeah, sorry. Cool. If you should need a pin, you could not with more tame a tongue, desire it to him. I say. 

Charlotte

Musty needs die. 

Paul

Maiden. No remedy. 

Charlotte

Yes. I do think that you might pardon him and neither heaven nor man grieve at the mercy. 

Paul

I will not do it. 

Charlotte

But can you, if you would. 

Paul

Look what I will, not that I cannot do. 

Charlotte

But might you do it and do the world No wrong. If so, your heart were touched with that remorse as mine is to him. 

Paul

He’s sentenced. It’s too late. 

Rachel

You are too cold, too. 

Charlotte

Late. Wait, no. Either to speak a word may call it back again. 

Well believe this no ceremony that took great one’s longs. Not the king’s crown or the deputed sword. The, the Marshall’s trun or the judge’s robe become them with one half. So good a grace as mercy does. If, if he had been as you and you as he, you would’ve slipped like him. But he like you would not have been so stern. 

Paul

Pray. You be gone. 

Charlotte

I would to heaven. I had your potency and you were, were Isabel. Should it then be those? No, I would tell what tour to be a judge and what a prisoner. 

I touch him. There’s the vein. 

Paul

Your brother is a. 

Stefan

Good, good, good. Hold. Fucking. 

Paul

You mother. 

Stefan

I know. Fucking hell this guy. 

So nice guys. Must he needs die. Did you feel that shift? 

Charlotte

Yeah. 

Stefan

Right. And I could feel Paul just getting annoyed as fuck with you. Right. And it’s in the text. You, it’s, it’s a stick. Right? It’s just line, line, line, line, line, line, line. Right. What? It’s exasperating. Right. 

The reason I stopped is that I thought it was so lovely the, the confusion on too late that you were playing of just what the fuck? 

Charlotte

Too late. Why? Yeah. You said you can control this then you can control time. Yeah. 

Stefan

Right. Yeah. Okay. So, but it’s, it’s, it’s cold. Right? It’s still cold. It’s a confusion. It actually makes me feel for you. But it’s not suffering on the sleeve. It’s just trying to make sense of it. And then I want to encourage you to take even longer. 

Charlotte

On the as Mercy does. Yeah. After. 

Stefan

As Mercy does, Let the stu light bulb go on. You know what, asshole, because look, look, you guys, the scene should end 

on after Pray You be gone. Right. If you think about it, right? She’s, you guys have argued over the law. No, no, no. He’s tomorrow. Oh, what? And then finally, you know what, if he had been like you, you would’ve done it right? And he’s like, get the hell outta my office. Pray you’d be gone. And I would probably have you take two steps and then think the scene’s gonna be over with with these next four lines. Right? I wish, I wish I would. Had your freaking, you know, majesty and shit. ’cause you’re just an asshole. 

Right? And somehow something right there, Angelo just has, he has to come back. He, he has to engage you. He had, he did not have to. And probably if we had time, we would have blocking, right? I don’t know. He’d moving papers and then he’d be like, excuse me. And that prompts, I touch him. There’s the vein. 

So let’s go back a little bit. 

I’m right where we know on really good solid ground. And it’s really fun to play. Must he needs die made no remedy. 

Paul

By the way, Stefan, I’m glad you said what you said because to me the scene ends several times. 

Each time I laid down my position, the scene’s over and I can go back to work and she should be leaving. 

And yet she’s not, not. 

Rachel

It’s funny actually that you picked that moment to say that’s where like the scene should end. ’cause for the past couple of times going through it, Paul‘s reactivity of the like, pray you be gone feels very fly squatty and playing the like spectator with the popcorn trying to coach Isabella through it. I’ve been hinging on that line being kind of like, Ooh, you’re getting to him now. Like, they don’t yell until they care. So it’s fun to play with this other perspective of it. 

Paul

I can play that differently, Stefan. 

Stefan

No, I think, but I think you are let to let the exasperation out. I will, I will debate with students, right? I’ll get exasperated with ’em, but I don’t think I’ll ever, I don’t think I’ve ever said Get the fuck outta my office. But you are like, ow. Pray you be gone. Try to end the scene and see what happens. 

Paul

Okay. Okay. But is it okay that I try to end the scene with Maiden No remedy and what I will not, I cannot do. And absolutely Latey sentence. I try to end the scene several times. 

Stefan

Several times, several times. You know, I’m, I’m, I wrote this note I didn’t wanna give you, but I think I will anyway. I, part of me thinks you, you might be right about keeping this provost in the room to show him this is what it means to, to rule. And here’s my reason. 

Condemn the fault and not the actor of it. Why every fault’s condemned, air it be done. He earlier had said, you know what, are you sure about this? 

And you get four solid lines that are, you just know are right. Right. And I think, I think it’s kind of a cool raising of your own status. Like here, let me, let me, let me give you, let me preside from the judge’s bench ready? Boom. 

And let you know. And you can revel in that. And, and, and it’ll give you something even bigger to fall. Okay? Must he needs die. 

Charlotte

Must he needs die. 

Paul

Maiden. No remedy. 

Charlotte

Yes. I do think that you might pardon him and neither heaven nor man grieve at the mercy. 

Paul

I will not do it. 

Charlotte

But can you, if you would. 

Paul

Look what I will, not that I cannot do. 

Charlotte

But might you do it and do the world No wrong. If so, your heart were touched with that remorse. His mind is to him. 

Paul

He’s sentenced. It’s too late. 

Stefan

Take that again. Take all that again. And I only, I only wanna hear the logic. My my can Can. Yeah. Mm. Try to catch each other. Right? 

Must he needs die. 

Charlotte

Must he needs die. 

Paul

Maiden. No remedy. 

Charlotte

Yes. I do think that you might pardon him neither Heaven, no man. Grieve at the mercy. 

Paul

I will not do it. 

Charlotte

But can you, if you would. 

Paul

Look what I will, not that I cannot do. 

Charlotte

But might you do it and do the world No wrong. If so your heart were touched with that remorse as mine is to him. 

Paul

He’s sentenced. It’s too late. You. 

Rachel

Are too cold. 

Charlotte

Too late. What? No. Either do speak a word may call it back again. 

Well believe this no ceremony that to great one’s longs not the king’s crown. No. Nor the deputed store. The Marshall’s trenchant or the judge’s robe become them with one half. So good a grace as mercy does, 

does. If he had been as you and you as he, you would’ve slipped like him. But he like you would not have been so stern. 

Paul

Pray you be gone. 

Charlotte

I would heaven. I had your potency and you were Isabel. Should it then be thus? No. 

I would tell what tour to be a judge and what a prisoner. 

Rachel

I touch him. There’s the vein. 

Paul

Your brother is a forfeit of the law. And you would waste your words. 

Rachel

Yes. 

Charlotte

A RAs what all the souls that were were forfeit once. And he that might the vantage best have took, found out the remedy. How would you be if he, which is the top of judgment, should be should. But judge you as you are. 

Oh. Think on that. 

And mercy then will breathe within your lips. Like man who maid. 

Paul

Be you. Content fair made. It is the law. Not I condemn your brother. Were he my kinsman, my brother or my son. It should be thus with him. He must die tomorrow. 

Charlotte

Tomorrow sudden spare him. Spare him. He’s not prepared for death. 

Even for our kitchens. We kill the foul of season. Shall we serve heaven with less respect than we do minister to our gross selves? Good. Good. My Lord be. Thank you. 

Who is it that have died for this offense? There’s many that have committed it. 

Rachel

I well said. 

Paul

The law have not been dead, though it has slept. Those many have not dared do that evil. If the first that did the edict infringe had answered for his deeded, now it’s awake takes note of what is done. And like a prophet looks in a glass that shows what future evils, either now or by remiss, new conceived. And so in progress to be hatched and born are now to have no successive degrees but air they live to end. 

Charlotte

Yet. Show some pity. 

Paul

I show it most of all you. 

Stefan

Sorry, I’m gonna get even further. 

Miranda

I’m glad you guys are in the same room. I’m like, you know Rachel, thank goodness you’re between their little zoom boxes. Woo. Bloodshed. 

Stefan

It was, it’s so glorious. But I wanna just keep just clarifying it was listening to you guys. I will not do it. Look what I will. Not that I cannot, that I might do it. That tells the audience if, right? Ooh, those two can go right. Just that little five line Witt battle is like, is sort of like, ooh wow. Okay. Okay. And we’re connected. And I loved the pain and scaredness on tomorrow. Oh, that’s sudden. Whoa, whoa. Wait a minute, wait a minute. 

Oh wait, wait, wait, wait. I skipped way, way before 

the beat you took before. If he had been as you, that is the beat we needed. Did you feel that? Yeah. 

Charlotte

Yep. 

Stefan

Yeah. It just gave you, it gave you a chance to have a full run at a new, new thought. Right? 

Paul

I realize we’re not doing this on our feet with blocking and stuff, but I would be asking you how would I fill that beat? 

I mean, it is very, very easy for me to just go back to my work at my desk. 

But it’s weird that I don’t respond to that argument about mercy. 

It’s weird. ’cause I respond to everything else and I don’t respond to that. And then when she says, you know, let’s make this personal, what if it was you? Then I go get out of my office. 

Stefan

So. 

Paul

I just think it’s weird that I don’t respond to the mercy thing. I’m not, and I’m not saying that I, the sink, I mean obviously Shakespeare did that intentionally, but. 

Stefan

I think it it it has to, it has to do 

with which she gives you something to think about. First of all, there’s, I think it’s two reasons. Once she gives you something to think about, she says, well believe there’s no ceremony that has great ones long then the king’s crown, no d the de Deputed sword. The Marshall’s trencher nor the judge’s robe. You could build those by the way the judge’s robe become them with one half so good of grace as mercy does. That’s something he’s like, well wait a minute. ’cause we, I I have a sense that Angela might be vain in his sense. And so what, right, it’s a Porsche speech. 

But one I think you have to just think about and Shakespeare leaves the new information. He is Apple line. That’s one of the reason you don’t speak is she gets to her point in the last three words as Mercy does. So then Paul, I think he’s like, well let me think about that. That two, I think, you know, if I talk, she’ll talk more like in a sense it’s like maybe she’ll run outta steam. I don’t know. But the very least it’s just like, stay in it with her but don’t engage yet. 

And maybe ah ooh, she goes to the next place. Because you don’t say anything. 

Paul

Maybe. Yeah, because I realize now that I have tried everything I said there’s no remedy to the law. I said I will not do it if I will not do it. I cannot do it. And then I just, I go to a cop out. I, I make it not about me. Hey look, he’s sentenced. I can’t change that. And she still continues. So maybe I’ve run out of, of arrows to shoot. And so I say, okay, yeah. Then she just get outta here. Just go. 

Stefan

Just get outta here. Right? Yeah. She brings mercy in and then she gets personal. She downshift to this new place. You know what if he had been in just you and you, right, that would’ve happened. Alright, we’re done. I’m done. 

Which means that Charlotte, I want you to be petty on. I would to heaven. I had your potency. 

You know what asshole, you can think that because it’s, you think it’s your last line 

I on him, right? Your brother’s a forfeit law and you, but waste your words. You freaking we are done talking. Right? 

And then while all the souls that were forfeit once, 

this is a hard note to give except I think she is, I wanna say younger, but they’re all younger than us. ’cause we’re all not young anymore. But I think she has a naivete or how old is she? 16? 

Paul

No, it’s not that young is she? So. 

Stefan

He ain’t that old 20. She’s an undergrad. Put it this way. Yeah, yeah. If that right. And so every now and then, those words can’t come from a place of wisdom but from something you learned. But wait, wait a minute, wait a minute. I read once in the Bible all the souls that were, and you should do this. 

I’m not saying naive, it’s just, it’s that kind of leaves room for her to discover what? Younger. 

Charlotte

Than me. Yes. 

Stefan

I have no idea how old anyone is. So. 

Charlotte

I ain’t 20. I’ll tell you what. 

Stefan

Did you know what I mean? 

Charlotte

Yes. Yeah, that makes perfect sense. 

Rachel

The significance of her being a teenager too falls right within like I know there’s disparity about how long the rule has been so lax and the town has been such a sex pot. But that introduces the idea that the, the city’s always been this way. And so any sense of a utopia or pleasant fair just place is entirely storybook to Isabelle. 

Stefan

Right? Sorry, storybook. So tomorrow of that sudden, let’s just pick it up from right here. 

Why do we think Angelo now needs 10 lines? 

Because you’ve just said I love it. Were he my Kidman? It must be this. He must die tomorrow. 

I does he take offense? What’s the new color from Isabella maybe here that gets him? 

Paul

Well she’s saying basically that we should circumvent the law because so many people have done it and not been killed for it. 

And I’m saying no, that people have been circumventing the law for however many years, but not anymore. There’s a new sheriff in town and the law will be enforced. 

Stefan

I love that. Can we just take it up, pick it up from just before this and let me hear that debate. Yeah. How about from bu bu content fair? May line 1 0 5. 

Paul

Oh sorry, I was scanning. I was doing ion be you content fair maid. It is the law not I condemn your brother. Were he my kinsman brother or my son? It should be thus with him. He must die tomorrow. 

Charlotte

Tomorrow. Oh that’s sudden. Spare him. Spare him. He’s not prepared for death. Even for our kitchens. We kill the foul of season. Shall we serve heaven with less respect than we do minister to our gross selves? 

God good, my Lord. But thank you. 

Who is it that have died for this offense? There’s many have committed it. 

Rachel

I well said. 

Paul

The law have not been dead, though it have slept. Those many had not dared do that evil. If the first that did the edict infringe had answered for his deeded n’s awake and takes note. N’s awake takes note of what is done. And like a prophet looks in a glass that shows what future evils, either now or by remiss, new conceived. And so in progress to be hatched and born are now to have no successive degrees but air they live to end. 

Charlotte

And show some pity. 

Paul

I show it most of all when I show justice for then I pity those I do not know which a dismissed offense would after gall and do him. Right that answering one wrong lives not to act another. Be satisfied if your brother dies tomorrow. Be content. 

Charlotte

So you must be the first that gives this sentence and tea that suffers. Oh, it is excellent to have a giant strength. But it is Tyra to use it like a giant. 

Rachel

That’s well said. 

Charlotte

Could great men thunder as JoVE himself does. JoVE would never be quiet for every pelting petty officer would use his heaven for thunder. Nothing but thunder, merciful heaven. Thou rather with a sharp and sulfur bolt splits the unedible and gnarly oak than the soft myrtle. That man, proud man dressed in a little brief authority, most ignorant of what he’s most assured, his glassy essence like an angry ape, plays such fantastic tricks before high heaven. As makes the angels weep with our spleens. Would all themselves laugh mortal. 

Rachel

Oh to him, to him winch. He will relent. He’s coming. I perceived pray Heaven she win him. 

Charlotte

We cannot weigh our brother with our ourself. Great men may jest with saints, his witt in them, but in the last foul, pronation. 

Rachel

Th heart in the right girl. More of that. 

Charlotte

That in the captain’s, but a choleric word, which in the soldier is flat blasphemy. 

Rachel

Art. Devised of that morant. 

Paul

Why do you put these sayings upon me? 

Charlotte

Because authority though it like others have yet the kind of medicine in itself that skims the vice or the top. 

Go to your bosom, knock there and ask your heart. Would it duff? No. That’s like my brother’s fault. 

If it confess a natural guiltiness such as is his. Let it not sound a thought upon your tongue, against my brother’s life. 

Paul

He speaks. And to such sense that my sense breeds with it. 

Fare you well. 

Charlotte

Gentle, my Lord, turn back. 

Paul

I will be Thank me. Come again tomorrow. 

Charlotte

J hark, how I’ll, I’ll bribe you. Good. My lower turn back. 

Paul

How bribe me. 

Charlotte

Die with such gifts that heaven shall share with you. 

Rachel

You had marred all else. 

Charlotte

Not with the Vaughan sickles of the test of gold or, or stones whose rate are either rich or poors, fancy values them, but with true prayers that should be up at heaven. And enter there as sunrise prayers from preserve its souls from fasting maids whose minds are dedicated to nothing temporal. 

Paul

Well come to me tomorrow. 

Rachel

Oh too. Tis well away. 

Charlotte

Heaven, keep your honor safe. 

Paul

Amen. For I am that way, going to temptation where prayers cross. 

Charlotte

At what hour tomorrow shall I attend your lordship? 

Paul

At any hour, at any time? For noon. 

Charlotte

Save your honor. 

Paul

From thee, even from the virtue. 

What’s this? What’s this? 

Is this her fault or mine? The tempter or the tempted who sins most. Huh? 

Not she, nor does she tempt. But it is I that lying by the violet in the sun. Do as the caron does not as the flower corrupt, corrupt with virtuous season, can it be that modesty may more betray our sense than women’s likeness having waist ground enough? Shall we desire to raise the sanctuary and pitch our evils there? Oh, fine, fine, Fine. 

What does thou, or what arc thou Angelo does thou desire her foully for those things that make her good? 

Oh, let her brother live thieves for their robbery have authority when judges steal themselves. What do I love her? That I desire to hear her speak again and feast upon her eyes. 

What is I dream on? Oh, oh, cunning enemy. That to catch a saint with saints does baked thy hook. Most dangerous is that temptation that does God us onto sin in loving virtue. 

Never could the trumpet with all her double vigor, art and nature once stir my temper. But this virtuous maid subdues me quite ever till now when men were fond, I smiled and wondered how. 

Stefan

Yeah, beautiful. I love Paul guys just working backwards that you’re letting the confusion in that this speech is just a, what the fuck speech. It’s just, he just keeps saying, what the fuck for, for for 25 lines. Right? 

And you can let that confusion in even more in a couple places. 

Not she. Nor does she tempt 

almost like discoveries. I’d love for you to think about having, I love the fis got were kind of like, what is this on me? You know, it was like, ah. Right. Which means the next line can still be in that small place. What are, what the F Wait, what am I? 

And now you’ve got a place to start building towards the, that ending. And finally 

make sure strum it. You can push those opposite a little bit. Meaning never like there’s, I’ve never been into porn. I’ve never been like nothing is ever. But I’m having thoughts about this other woman and I don’t even know if it’s sexual right now. I mean, what I’m hearing is that you say, what what is I dream? 

What do I love her? That I desire to hear her speak again and feast eyes upon her. 

Paul

And feast upon her eyes. 

Stefan

Thank you. Thank you. Feast upon her eyes. Which. 

Paul

Is very different. Yeah. 

Stefan

Very different. Like. 

Paul

I don’t talk about looking at her boobs or her butt. I talk about her eyes and. 

Stefan

Her eyes. 

Paul

Right? And to hear her talk. 

Stefan

Yeah. It’s eyes and windows to the soul. The sound of her voice. Right? And so, so go to that place where you, you meet that person that you just are in life. We have people we’re attracted to that we can’t explain why. 

And it has almost nothing to do with looks. It’s just like, why do I find you so entrancing? I just want to be around you. Yeah. 

Then we’re going backwards to set this confusion up even more. 

Go to the go to go to page 69 or line one. Actually, I, I wanna go back to just, I think there’s a new beat here on why do you put these sayings upon me? 

Paul

Yeah. I did not. And I wanna put that the way I really wanted to. 

Stefan

Okay. What do you, what do you wanna do? That that. 

Paul

Was the way too casual. 

Stefan

Okay. Okay. Yeah. You know what I find interesting about this? The page and a half before, ’cause every time I, I like move my pages. I’m like, there’s three pages left in this scene. 

She spends about a page and a half talking about 

petty officers, about people who basically about rented cops, right? You are like, there’s great people. They can do that, but lesser people cannot. 

She’s giving Angelo absolutely no authority, no respect, no approval for who he is, which I think would send you, I think it’s something Angelo wants, is put that in one of the, one of your wants is to Right? I’ve, I and it’s in a sense we see it all the way through the scene in the beginning. Look, I, I’ve already took, no, I made a decision. All right. Hey, hang out and watch this perfect law. I’m gonna quote the law perfectly, right? And but there’s no this like real respect for almost two pages. 

So why do you put these things on me? 

Paul

Yeah. I think the operative word is me. 

Stefan

Yeah. And the line that motivates that is that in the captain’s but a collar word, which in the soldiers flat past to me. Or great men may Jes, but in the less foul ProVation, like she’s saying you’re nothing. And I think she’s pushing on a truth. You’re afraid is real. Right? We all have imposter syndrome. 

We’re all just so afraid. I think that’s a nerve she touches. She doesn’t even know she’s doing it. Maybe she does. I don’t know. That’s you. But, so here’s what I find fascinating. She gets to this place of wait, wait, wait. Does she see through my robes and my wig and whatever? 

And then Isabella, when you downshift, because authority though would air like brothers ha have the kind of medicine in itself. 

It’s okay to be gentle from here all the way to the end. You got something from him. You’ve got a humbleness or a connection, right? Why are you talking to me? I think you see that as an opening. 

And you can be sweet all the way through. Notice you go to your bosom. That’s like my brothers. If it confessed it, let it not sound upon your tongue against my brother’s life. It’s like prayers for him. Notice he doesn’t give a rejoinder. He gets an aside. She speaks into his such sense that my sense breeds with it. 

And he just goes, bye, please turn back. Right? I just think it’s a gentle thing that begins to open him up. 

I’ll bribe you. Gentle. Right? 

Beautiful maidens praying for you. Gentle heaven. Keep your honor safe. I don’t think she ends the scene with spite. I think she ends the scene with like I got through to you. I 

probably, I’m trying to think in life when I’ve wanted approval from someone, which is everyone all the time. 

And here, I think when he says he opens the door 

Even on, it starts to open on why you put these words on me. But obviously it really opens on, I will be think me coming again tomorrow and just the joy of, I got through to you the approval. 

So I’d like to try that before I run out of time. I’d like to try that run all the way from. 

How about wine 1 56? We cannot weigh our brother with ourself. 

Let’s just see how that plays out. 

Charlotte

We cannot weigh our brother with ourself. Great men may just with saints, his witt in them, but in the less foul pronation. 

Rachel

The art in the right girl. More of that. 

Charlotte

That in the captain’s but AIC word, which in the soldier is flat blasphemy. 

Rachel

Art of that mor aunt. 

Paul

Why do you put these sayings upon me? 

Charlotte

Because authority though it like others have yet a kind of medicine in itself that skins the vice or the top. 

Go to your bosom, knock there and ask your heart what it doth know. That’s like my brother’s fault. 

If it confess a natural guiltiness such as is his, let it not sound a thought upon your tongue, against my brother’s life. 

Paul

She speaks into such sense that my sense breeds with it. 

Fa well. 

Charlotte

Gentle my Lord, turn back. 

Paul

I will be Thank me. Come again tomorrow. 

Charlotte

Hark how I’ll bribe you. Gentle my Lord. Turn back. 

Paul

How bribed me. 

Charlotte

I with such gifts at heaven shall share with you. 

Rachel

You admired all else. 

Charlotte

With fond sickles of the tested gold or, or stones whose, whose rate are rather rich or poors fancy values them, but with true prayers that shall be up at heaven and enter their air. Sunrise prayers from preserve its souls from fasting needs. Hold. 

Stefan

Hold. Just go back to go to your bosom. That was so beautiful. The just that go to your bosom knock there, right? You’re not being a fan. You’re just, here’s my one last thing and Paul, I wanna give you, I’m gonna ask you to really take time when she speaks in to such sense that my sense breed with it. Let that, let the audience in on, whoa, something new has happened here. 

And let that filter through the rest of this scene. Okay? And just something that she says gets in there. 

So go to your bosom from there. Please. 

Paul

Do you think, Stefan, that’s not a shared line, right? Sure. Against my brother’s life, she speaks into such sense. You think that. 

Stefan

For right now, I want it not shared. Okay. I want it just say, oh my God, I just let that in. Go to your bosom, please. 

Charlotte

Go to your bosom. Knock down and ask your heart what it does know. That’s like my brother’s fault. 

If it confess her natural guiltiness such as his, let it not sound a thought upon your tongue, against my brother’s life. 

Paul

She speaks. And to such sense that my sense breeds with it. 

Fa you. Well. 

Charlotte

Until my Lord turn back. 

Paul

I will be Thank me. Come again tomorrow. 

Charlotte

How I’ll bribe you. Gentle. Good. My Lord, turn back. 

Paul

How bribe me. 

Charlotte

I with such gifts that heaven she’ll share with you. 

Rachel

You admired all else. 

Charlotte

Thought with fond sickles of the tested gold or stones whose race are either rich or poor as fancy values them, but with true prayers that she’ll be up at heaven and enter their air. Sunrise prayers from preserved souls from fasting maids whose minds are dedicated to nothing temporal. 

Paul

Well, come to me tomorrow. 

Rachel

Go to ts well away. 

Charlotte

Heaven, keep your honor safe. 

Paul

Amen. For I am that way, going to temptation where prayers cross. 

Charlotte

At what hour tomorrow shall I attend your lordship. 

Paul

At any time for noon. 

Charlotte

Save your honor. 

Paul

From thee, even from thy virtue. 

What’s this? Well, what’s this? 

Is this her fault or mine? The tempter or the tempted who sins most. Huh? 

Not she, nor does she tempt, but it is I that lying by the violet in the sun. Do as the ion does not as the flower corrupt with virtuous season, can it be that modesty may more betray our sense that woman’s lightness having waste ground enough? Shall we desire to raise the sanctuary and pitch our evils there? Oh, fine, fine, fine. 

Be what does thou, or what a thou Angelo does thou desire her foully for those things that make her good. Oh, let her brother live thieves for their robbery have authority when judges steal themselves. 

What do I love her that I desire to hear her speak again and feast upon her eyes. What is that dream on 

oh, cunning enemy. That to catch a saint with saints, that’s bait. Thy hook. 

Most dangerous is that temptation that to God, us on to sin in loving virtue. Never could the trumpet with all her double vigor, art and nature once stirred my temper. But this virtuous maid subdues me quite 

ever till now when men were fond, I smiled and wondered how. 

Stefan

There it is. So beautiful thought. So too. I Paul, you had this it, what is it? I dream on a cunning enemy that what is it? Can, 

I’m sorry. What do I love her? That I desire her to speak again and peace upon her eyes. What is that I dream on was so dangerous for you, for Angelo, that then the, the back third of that speech was his ego coming back out to catch a saint. You get a saint and, but it was so human. 

Seduces me quite, I love it when actor can take one word and kind of just have it ring. It’s just little word quite, but ugh, we don’t use quite like that the way we should. I thought that was beautiful. The phis were so lived in oh, fi Phi, right? That’s just, this takes guts. It’s a, it’s, that’s a, a masterclass Paul. And just you, right? Letting, letting those words and the images just mess with you and then you wanna get ’em off you. And I’m glad you, you didn’t ignore my note, but you didn’t need it. Really. My note was, you seriously, right? You were like, oh, like you made the fis the thing and then the next line was just, just run with it. That was gorgeous. I. 

Paul

Tried to take the note about building from there. 

Stefan

No, it was a false note because of the line you did before. Seriously never like, like total bss then Nathan. 

Paul

Build from. What does though? 

Stefan

What’s that. 

Paul

From? What does though? I try to build from there. Like a, like I. 

Stefan

Oh yeah, no, it’s great. But the phis were so ugh. They, I just loved it. I love all this, all this sweetness back here. 

And the only thing I would say if we get to do it again, maybe we don’t, is go to your bosom knock there. It could be even more of a gentle, it’s almost like advice, Hey, here’s what you should do. Put gas in the car, go to McDonald’s and get his Snickers. Like, it’s just simple. So he has the room guys. 

Hi Nathan. 

Nathan Agin

Hey there. No, that, that, that was wonderful. And I’m just thinking, I was like, you guys are all welcome to just, you know, continue to meet weekly and work on the scene. Definitely. So, you know, just as much as you like. But No, no, it was, it was, there were many, many moments I could, I could pick out from, you know, your work today that you, you know, there were, there was the, the, the tete between Isabel and Angelo that, you know, I saw you, you guys talked about how the construction of some of the text was either syntactically complex or, or things didn’t flow in certain way. But there were moments where, you know, Charlotte and Paul, you guys were so in it in terms of like attacking each other that things really flowed. Like, it, it just, it just kind of fell out of you that you didn’t have to think about, well what’s, how do I say this? And how do you know it? 

Just those that kind of happened organically, which was fun to see and see how that evolved and what I, at least what I read into Paul with your, with your monologue at the end, that you were almost, you couldn’t wait to talk to, I mean, I guess in the larger context, the audience of like, as soon as you get them out of the door, it’s like, what is going on? Like, you know, there are, there are moments with, you know, Angela could be played different ways where like suddenly like he’s left and like, wait a second, what’s happening? And whereas I felt what I was watching was this guy like you, you realized like a few minutes earlier, like, something is happening and I need to talk to somebody about it. 

And just in this context, it’s the audience. So I I I, I may be projecting, but that was me as an audience member, what I took away from that. And I really enjoyed that. And, and again, there were moments that I could talk about, but I, I do wanna get to some, some questions and things like. 

Paul

That. I think you’re right. I think, I think when he is alone, he drops the shield. 

Nathan Agin

Yeah. 

Paul

He puts down the mask and faces himself. 

Nathan Agin

Yeah. I mean, and, and. 

Paul

Themselves through the audience. 

Nathan Agin

Right? And, and there, you know, there are many characters that that use the audience. And of course they use it, you know, for different reasons. You know, it serves a, a different purpose depending on the character and what they’re, what they’re doing with the audience and, and how they use it to confide in or, or you know, gloat or whatever it is. But no, no, this was, this was great and I, and I really, you know, for those that weren’t present for, for the weeks leading up to it, it’s just, it’s always so wonderful to see how the work evolves. And you know, for those who might just be watching this, it, it might be easy to think like, wow, you know, these guys were, you know, they must have been doing this in week one. 

And it’s not to take anything away from your, your talent and your skill as a group, but it’s just how much, how much it can grow in, in just a few weeks and how many different levels you guys all find in this, just given the time to really investigate it. So it’s, you know, it’s, it’s such a joy. 

I do wanted to ask a couple questions and I’ll, and I’ll mention, we have one audience member Gideon, who he was so sorry, he, I think he saw the first run. He is like, he’s like, oh, I have guests staying with me. I I have to go. But he, you know, he wanted to watch this. He really enjoyed it and he said it was great work. 

He, he meant threw in a couple comments that he was saying, you know, suggesting that maybe Isabella is, you know, going into the nunnery trying to escape a city filled with corruption, you know, for example, like, you know, Lucio embodies that. 

And I think you guys touched on the point of like why, or touched on Gideon’s point of what attracts Angelo to Isabella. And Gideon was suggesting, you know, she arouses him because he finds virtue seductive. I know you mentioned you guys were talking about that and she’s obviously innocent and virtuous. So it’s, it’s, as you guys were discussing, it’s not, it’s not that she’s attractive, even if she is, it’s, it’s that, you know, it’s that virtue that Gideon was suggesting. So what I wanted to, I just wanted to ask a couple a few questions here. 

Stefan, starting with you. What, what drew you to this scene in particular of, I mean, I I know it’s a kind of a tall ask of like Stefan and in all of the plays that you could choose from and, and all of the world, what would you, what scene would you like to work on? And you came back with this, so, so how did this, how did this come to mind? 

Stefan

I knew I, so I’ve directed this play once right? With students and, and I wanted to, I wanted to attack it again. I, I’m now old enough where I’m, I’m getting to repeat just a little bit and it’s such a joy to finally go, wait a minute, I need to do that again. 

And, and then I also knew these were great roles that, that just, I had enough here to, to work on for, for for four weekends. And yeah, there’s great questions in here about how much do people know about themselves and it’s, it’s a flirt scene. That’s not a flirt scene. It’s such a unique and bizarre scene, even in a lot of Shakespeare’s place. You think about it in much ado, you know, Beatrice and Benedict don’t know themselves and then the community helps them know themselves. But this is a really terrifying scene for both of them in a sense. 

And that’s what. 

Nathan Agin

I was thinking. Yeah. 

Stefan

It’s hard and. 

Nathan Agin

And, and it, and, and in a lot of the plays where you have this Teta Tet, the characters have some history, but these are two characters who’ve never met before and, and have this connection in front of us have, you know, it it’s, it revealed right in front of us that that of something going on. And so yeah, it is, it is a very exciting scene in that, in that regard. 

I would love to hear from, from the actors, and I’ll start with Rachel. You know, you’re playing the Provost and Lucio and I think you exemplified that there are no small roles. I mean, I loved, you know, over the weeks hearing, you know, your questions and, and the discussion about what’s going on with these two characters and what’s their point of view and where are they coming from. 

Were there particular things that surprised or challenged you about either of those parts or both of those parts? You what, what, what, what did, what, what was your experience? Yeah. 

Rachel

Honestly, I think the biggest challenge for this scene in particular, and then balancing these characters against one another is the challenge of doing this over Zoom. I’m usually like, the start of a process is finding it in the body, which, like, weirdly as a voice actor, I’ve got this tiny box, but even then I’m like busting at the seams trying to find sure the body is, and I have been appreciating throughout the weeks that we’ve worked on this scene, the number of times we’ve talked about the beats being, and then you turn around or, and the door probably closes and then you come back through the door. Like the, there’s so many moments and there’s actually a lot of comedy in the physical of this that just, I’m dying to be in the same room with these wonderful people to like actually get to explore that. But I think a lot, lot of the notes from one, the podcast that you shared with us between sessions where the professor talked about the. 

Nathan Agin

Yes, Gideon who had, had, had some notes today. He was, he was, he was the one, yeah. 

Rachel

Oh, lovely. He kept me company on a very long drive, so thank him for me. 

But the way he talked about characters and being foils for one another got me thinking about, oh, provost and Lucio and getting to play that comparison. 

And then last session, Stefan, you actually comparing Lucio to John Rafi from Parks and Rec just kind of unlocked some of that there, which was just so much fun. Just like such a fun character. So no, it would be really, really lovely and rewarding to get to just put this on its actual feet in the same space together. 

Nathan Agin

Well, and, and what I, what I’ve observed from a lot of these workshops and, and I think this is true with any production that can do the text work. I mean, I think if you guys were to meet, to put it on its feet, so much of the blocking I think would be almost there because you’ve already, you, you know, like you already have these instincts based on what’s going on with the characters. You’ve already investigated so much time that I don’t think you would be like, well, you know, do you move over there? Or maybe you, you know, it’s like, no, I think you’ve, you’ve already kind of laid the groundwork that I think the blocking would actually come very quickly because you’ve, you’ve all investigated what’s, what’s going on underneath. But yes, it would, it is. Yeah. 

Paul. 

Paul

Sits in the chair the whole time. 

Nathan Agin

And then it’s, and then it’s just what he, what he does with the papers when he is shuffling them or, you know, filing them and. 

Paul

And on his false exit, he exits. He just wheels away. 

Nathan Agin

Well, all right. Well Paul, since, since you jumped in there, I, I’d love to hear what, what did you discover about working on Angelo over these weeks? So were there ideas you had coming into this that were either confirmed or supplanted with, with new things? 

Paul

The only idea I had was that, that it’s very, it’s a confusing scene and it can be looked at on the surface, on face value of the words, but there’s so much going on underneath and it was a little bit confusing. And that has now been supplanted with some clarity. It’s, and, and I think the clarity is finding the humanity of him that underneath the literal and figurative robe that he is wearing, there’s a real guy in there and he’s complex. Yeah. And he’s flawed and he is virtuous in most respects, but he is put in a difficult situation and he has weaknesses. 

And I really appreciate s Stefan urging us to really touch, connect to the humanity under the, under the works. 

Nathan Agin

Well, and, and I think, you know, there are often cases of the, the people that are the most controlling or the most domineering are often the most insecure. That there’s, that there’s something going on underneath that they have not resolved, and so they’re acting out or projecting in a certain way. So yeah, I mean, it’s not to psycho, I’m not gonna psychoanalyze the character in this moment, but it’s just something to kind of continue to unpack of like, why is this, why is he so hell bent on, on, on following all these rules? What is going on there? And, and yeah. So it just leads to a lot of interesting discussion questions that you guys have had. 

Paul

And the scene, the scene after this is even more complex. Yeah. What drives him to, to Right. Come out and say, you must give your body to me, it’s very strange. Yeah. 

Nathan Agin

No, I know. It’s. 

Paul

The, the greatest instruction or summary of what an actor is that I’ve ever heard, and I totally stole it. And I say it in all my classes, the words are like boats on an ocean, and our job as actors is to find the ocean. 

And this process has been, for me, finding the ocean Cool. Because I understood the words. Yeah. But Stefan has helped us to find what’s going on under all those boats that are floating on top of the ocean. 

Nathan Agin

Very cool. Well, Charlotte, you know, I, I would love to hear, you know, you had worked on Measure for Measure before playing other characters. Is that correct? Am I m remembering that right? 

Charlotte

Yeah, I played Provost overdone elbow, Maryanne the other nun. 

Nathan Agin

You, you did a one, you did a one person production thing. Everybody. Right? 

Charlotte

I did Everybody That wasn’t the Duke, Angelo or Isabella, basically, and Luci. Oh, wow. Yeah, yeah. So. 

Nathan Agin

So, you know, you had some familiarity with the play. What was it like stepping into the shoes of Isabella? 

Charlotte

I mean, it was, it, the, the gal who played her in the production I did was fantastic and, and such a just, she melded that, that innocent fire that I think that I was very much discovering tonight. And what I did discover is that, you know, it, like, it’s something you said at the beginning that, that, you know, we like to explore people playing roles and they would normally wouldn’t play. And I, you know, I do realize that age has very much a lot to do with who this person is. And I walk in with my 40 plus year old brain and put that on it. And so that tonight is a lot of peeling that away in a really interesting experiment of, of that petulance and that that, what do you mean? You know what I mean? That, that I would, I would as a 40 something year old would go, well, I’ve got to put it in a box and present it in a way that I do. 

So that’s been really, really interesting and sort of tearing away my idea of like, well, nuns are very sedate and stage and they say things. 

So that, that’s been, it’s always interesting to, to physically inhabit a character that, that you wouldn’t normally play and, and suss out those motivations. So I that’s, that’s been, that’s been really, really exciting. And, and to, yeah, and to unpack all the little arguments. And when did the gloves come off and when do you put them back on and. 

Nathan Agin

Yeah. Yeah. Well, yeah, I mean, I, I think, you know, so many of us, particularly as actors, it’s like we’re trying to get back to that, like childlike innocence and, and just the sense of discovery in play because, you know, the world just kind of instructs us that no, we have to be very logical and, and very polite and all this kinda stuff. And, and so yeah, it was just an experiment to be able to let loose a little bit more. 

That’s really, really great to hear. And Miranda, I would love to hear, you know, I, I don’t think it came up at the beginning, but you know, you’ve been diving deep into this play through your work at Boston Court, you know, with the, with the, are, are they branding it like a, it’s not an adaptation, but like a inspiration of Measure for Measure or, or the, the new play that’s based on Measure for Measure. 

I would love to hear from you what, what you discovered or, or learned or, or were engaged by, by diving even more deeply into this play. I mean, I, I know you have to kind of work and prepare the play as a whole for that production, but being able to spend more time with just this scene, what, what were your takeaways? 

Miranda

Oh, really just, just so much gratitude friends, because it, as, as I think I said at the beginning, I love studying the plays as text, but they aren’t complete until they’re being performed. And this play in particular is so complicated. And this scene I think is, is so, there’s so much going on. And I certainly knew that from having read it, having taught it many times, working on, on Jessica Kansky very meta play, it’s called Measure Still for Measure. It’s about a group of actors who are rehearsing a production of Measure For Measure, what could go wrong and, and just really, really being able to focus in for, for these weeks with, with the four of you on this particular scene, which I, I really, I really think is pivotal for the characters, for the plot, for, for what Shakespeare is trying to do. 

And I still don’t know what he’s trying to do in this play, but, but it’s been very illuminating for me and just, just the joy of working on, on these lines repeatedly, seeing how all of you work together and just being able to really, really get in the weeds, you know, and really, really focus in. It’s a, it’s a drama to extreme this has, this has been a drama to extreme, so thank you. Well. 

Nathan Agin

Excellent. And, and I, I I’m so grateful that, that this is a space that, you know, has the time for a dramaturg to be as involved as they, as they can be. I mean, most, I mean, that’s sadly one of the first positions that, you know, is not necessarily cut, but just not even included in a lot of productions. You know, we’re like, well, we have to have costumes and we’ve gotta have sets and we’ve gotta have lights, but do we need to understand what we’re saying? Eh, we’ll figure it out. You know? So, no, I, I’m, I’m so grateful for, you know, the dramaturg to do this kind of work and devote themselves to really understanding the, the text and ’cause it’s just, it just adds so much because otherwise people are making guesses or best attempts. And, and to have somebody with your expertise, I think is, is really wonderful. So thank you, thank, thank you to, you know, thank you to you and, and thank you to everybody. I, you know, we’re just about of time and I wanna be respectful of everybody’s time here, but I, I just wanna say again, thank you guys for some great, great work tonight and over the last few weeks. 

Stefan

Well, it’s been a true pleasure, y’all. I’m, I’m not used to rehearsing this way, and I thought I’d try it, which is just text, just, we’re not gonna, we’re just gonna text the shit out of this and then work on character and everything, and you guys just went along. So I’m incredibly grateful. And should you ever be in Dallas, I don’t know why you would ever be in Dallas, but if you come to Dallas, I will give you bourbon. 

Paul

You know? 

Nathan Agin

Oh, MAs, right? Yeah. 

Paul

You know, Stefan, your three actors are in Philly. I’m. 

Nathan Agin

Just saying they’re, they’re, you know, maybe, maybe it’s not doubt. Thought about. 

Stefan

It actually. Yeah. Who, who doesn’t love a theater festival, right. 

Nathan Agin

Well, this was great. I will, I’ll kind of end the, the public part of the evening here. If everybody, you know, if all the artists can just kind of stay, put those on the call, you can either sign off now or I’ll move you back into the waiting room. And I just wanna thank everybody for your attendance for checking this out. I will be in touch via email so you can learn more about the Winter’s Tale next month and, and how to get involved and, and be a part of that. We’re excited to just keep this going as a monthly series for as long as we can. And I think personally, the quality of the work speaks for itself. 

Hopefully all of you saw that too, and you wanna keep coming back and, and enjoying the process and the journey. So with that, have a great night and thanks so much.