Final Session – Shakespeare and Stoppard (Hamlet, Rosencrantz and Guildenstern scenes) – The Rehearsal Room

Nathan Agin

Hi there, I’m Nathan Agin. Welcome to the Working Actors Journey rehearsal Room. We started this project in June, 2020 and it came out of what we could do with all the time during the pandemic. We found that having the time to deeply explore just one scene over a month has really excited everyone involved. 

Now for those who are new here, if you’ve watched the previous sessions, you have a little bit more context. If this is the first thing you’re, you, you’re seeing, I hope you really enjoy the session ahead and definitely go back and check out all the weeks that led up to this. But if you are new, what you’re gonna see tonight, even though it’s the final session, it’s not meant to be a final performance. Nothing’s really locked in stone. It’s rather just a continuation of the work in progress. And this is just the next step. 

It is also an opportunity. This whole workshop and and rehearsal room series is an opportunity for artists of different generations and backgrounds to collaborate, learn from one another, and to continue the lineage of honing this craft by doing The rehearsal room continues the great theatrical history of apprenticeship where newer and younger artists get to see up close how professionals work after 30 plus years. The questions to ask how to explore material, how to communicate your thoughts, how to take direction. 

And it’s never been, it’s one of the things I love about this. It’s never been a top down structure here. Great ideas and questions come from all directions. Everybody has been so welcoming of that dynamic of, of learning from one another. 

What’s also great is we can explore different casting, being more conscious to gender and age or race than theater sometimes can be. And we can bring artists together from all over the place. Sometimes it’s people that haven’t worked together for 20 years or never worked together but wanted to. And through the wonder of technology, we can make that happen. 

I do wanna mention that our next session coming up in the month of July, we’re gonna be doing weekly sessions of, it’s, it’s something we tried in the past and we’re bringing it back. It’s called Acting the Role and it’s gonna be with director Erica Rols. Rude. As we focus on the role of Beatrice in much Do about Nothing, we’re gonna work with a few different actors looking at different scenes and monologues over the course of the play with those actors and just really kind of try to unpack and, and y you know, piece out what’s going on and, and they explore the character in the same kind of depth that we’re doing here with the scenes. So we will continue posting the weekly sessions on YouTube for free, for all to enjoy. Be sure to subscribe to the channel and click for notifications. You can support the project via Patreon, get early access to all the sessions, plus a podcast version starting at just $5 a month. Thank you to some of our patrons, Joan, Michelle, Christian, Jim Magdalene, evar, Claudia Cliff, and Jeff helping us keep some of the administrative lights on. 

And that is, it would, you know, as you’re watching the session, if you have comments, feedback questions, throw them in the comments below. I’ll, I’ll do my best to, to respond and maybe you, you might even see some of these artists involved there as well. So I will have everybody do a quick hello. So you can get kind of oriented and acclimated to who is doing what and then we’ll get into it. 

It might be helpful, Jeffrey, you’re Gideon, if you guys want to kind of set up after the introductions where we are in the play or, or what’s, you know, what has kind of happened very briefly up to this point so that people, most people are probably even roughly familiar with Hamlet, but it might be good to just share a few plot points, key plot points to the story. So with that, I will turn it over to Jeffrey, our director for a quick round of hellos and I will come back at the end. We can do a little q and a. And so I’ll see you guys at the end for that. 

Geoffrey Wade

Thanks Nathan. Right, my name is Geoffrey Wade. I’m the director of this particular session. I’ve done a few of these. Really enjoy it, enjoy the collaboration and the miracle of having someone in Northern California where Na Nathan is and us in Southern California and even further south where Gideon is and Hawaii, where Nick is. It’s just, it, it’s a real, it’s a marvel and it’s wonderful. 

I, I don’t know if to say I’ve always wanted to somehow WW weave together the Rosecrans and Guild and stern scenes in Hamlet. The two we’re gonna see and combine them with a scene in Stop Bards Rosecrans and Guild Stern are dead, which is what we’re, what we’re doing here, as you’ll see. And 

that’s it, you know, make full characters out of all these people. You know, Hamlet is probably as many books about Hamlet as there are about Abraham Lincoln. There are a lot of, it’s a deeply studied character, but the way these three work together I find fascinating. So with that, that’s the most general things. I’m gonna hand it over. 

Let’s have the, the actors introduce themselves and then Gideon, you last please. And then you can give us sort of do a misal and get us off that way. Okay. Thank you. 

Dan, why don’t you start, you’re next to me on, on my 

Daniel Cordova

screen. 

Geoffrey Wade

Go ahead. 

Daniel Cordova

Sure. So my name is Dan Cordova. I am in Redlands, California in the wonderful Inland Empire. I’ve really enjoyed these last three weeks that we’ve had four weeks of, of doing this process. I just wanna say really quickly, you know, thank thanks to everybody on this project and Nate, it’s usually when you do a play, you don’t get the opportunity to go nearly this far in depth into any one scene. So that’s a unique opportunity to really kind of more, more deeply understand what is going on. Because if we were doing a production of Hamlet, we very likely wouldn’t get, wouldn’t have the time in rehearsal to really get this deep into it. So I really like these sessions for that, that kind of reason. But that’s me. 

Let’s go to Nate 

Marcelo Tubert

Or Nick. 

Nick Cagle

Hi, I’m Nick Cagle. Aloha. I’m No worries, no worries. I’m, I’m, I’m all the way in Hawaii. So it’s such an honor to be here with people from all over the country. 

It would be so difficult under any other medium to be able to meet with these people and, and discuss these works of genius. And I, it’s a great honor to be here. I’m very excited. 

We don’t know which character we get to play, which is for the fun and for us. So I’m very excited and thank you very much for having me. 

Marcelo. 

Marcelo Tubert

Yeah. Hey, Marcelo Tubert here and I’ve had the great pleasure of I think doing some of the very first workshops with Nathan and I’ve worked with Jeffrey and I’ve known Nick and I got to work with Gideon before and always a, a fun time, always a challenging time and it’s a wonderful process, all process. Stay outta the results and let’s, let’s, oh yes, we do get to switch around, which has been fabulous and we all get a chance at Hamlet and, and each one of the Gilda Sterns and roles and crans, which we can’t tell apart. Alright, thank you. That’s it. 

Gideon Rappaport

Okay. I’m Gideon Rappaport working as dramaturg on the project. I’ve taught Shakespeare for a thousand years and written books and my job is right now to introduce something of the plot. 

Hamlet is in shock because his father’s dead. His mother has married the uncle he doesn’t like a ghost of his father’s appeared and told him that he’s been murdered by his uncle, by the his brother, the king’s brother and Hamlet. 

Hamlet has determined that he has to number one, play it madness so they don’t suspect that he knows anything. And number two, try to figure out whether the king is actually guilty or the ghost is from the devil. Instead of telling true information, when our scenes first, first scene opens, 

Rosen Krantz and Gilden Stern are meeting Hamlet for the first time in the play. They were, they’re old school friends from, let’s call it middle or high school. 

Hamlet also has a friend of his at college graduate school, and that’s Horatio, but we’re not gonna include him in this scene. 

And there the Hamlet is meeting these two friends who’ve been asked by the king and queen to figure out what’s gone wrong with Hamlet because he is behaving insanely. 

The only thing I want to add is that there are two kinds of cliche madness types that Shakespeare’s making use of, they’re cliche images of what caused people to go mad in the Renaissance. One of them is unrequited love and the other is unfulfilled ambition. 

And the kind of madness hamlet’s going to be engaged in performing is the madness of unfulfilled ambition. He’s pretending to it because that’s, that’s their diag rosecrans and Gild Stern’s initial diagnosis. 

So with that, I will pass it back to Jeffrey and he can give parts and we can get started. 

Geoffrey Wade

Great. Thank you. So in, in the spirit of continuing to, to, you know, work some techniques and process it on this, I, I’m gonna start with the opposite of what we were doing last week, which was to go through the text very carefully, very slowly, and trying to connect with each other as much as possible via zoom. 

The, the slowness of that particular technique meant we didn’t get through everything with every person, which is impossible, but it, it certainly gave everyone a, a feeling of what we’re going for in these scenes and exploring characters. What I’d like to do this time is what’s often called an Italian rehearsal. 

And in this one guys, you actually will be more, more chained to your text than you were last time because the idea with this is to go through as quickly as possible, yet still maintaining the values that we’ve been working on for three weeks. Now, 

in, in my experience, Italian rehearsals are often valuable and sometimes an extraordinary waste of time. It depends on how seriously they’re 

Marcelo Tubert

approached 

Geoffrey Wade

and there. So I’m not gonna tell you what not to do. Yes, I’ll start with that. I’ll start with what not to do. It’s not a, just a rote reading of the text as fast as you can possibly do it. It is moving through the text as quick as you can possibly do it, removing all pauses and ezras except, you know, if, if, if the pause is, has as much value as a word, keep the pause, but tighten it up. I want everything as tight as possible. All cues picked up immediately. It, it forces us to do many things. The most important of which is to act on the line, not between the line, not that there’s been any of that going on, but this is in, in general about Italian rehearsals. 

So we’re gonna do that. 

And we may not have all, all, all three changeups because I would like to do that and, and you know, maybe chat about it and then move on to, to giving each of you a chance to go through it, you know, in the mixup that we’ve been doing, the mixups we’ve been doing without, without an assignment, without thinking about things. You know, a sort of final, final take at it and we’ll, we’ll talk about those in the spirit of this Italian rehearsal. I’d like to do all three of these scenes. For those of you who are just observers who haven’t seen what we’ve been doing, we’re doing the two scenes involving Rose Kranz and Gild Stern in Hamlet with a scene from the Stoppard play. Rosen Kranz and Gild Stern are dead in the middle of that, that that stoppard scene follows on immediately from, it follows on in imagination from the first Hamlet scene. 

And that scene of course centers on the, on the, the two friends rather than Hamlet himself. So I would like to go through the, go through this once, maybe twice with, with you guys, but with no particular discussion. We’re not gonna be correcting you about things. You’ll get words wrong, things will come out a little wrong. It doesn’t matter. The idea is to just to keep that feeling of urgency moving ahead regardless and, and all that. 

There was something else I was gonna say but I can’t remember so 

Marcelo Tubert

well In the, in the, in the spirit of the Italian run through, you know what this is? 

Geoffrey Wade

No, what’s this? 

Marcelo Tubert

It’s a dead Italian and you know this because if he was alive, he’d be going in that Gate. 

My father’s favorite joke. So it’s 

Geoffrey Wade

God, rest it. Lovely. 

Marcelo Tubert

I know I have become my father. Not a bad, not a bad thing. 

Geoffrey Wade

That’s no, no, wonderful. You, you have wonderful parents. Okay, that’s good. So, so we’ll, we’ll do it there. I’d like to start this time with what has often been our, our last grouping, which is Nick as Hamlet, Dan as Rosen Crans and Marcelo as Gilden Stern. 

I did, I did remember the one other thing I wanted to tell you, and I’m just gonna read these sections. You don’t have to look it up, but these are the breakdowns that I gave you for the scenes, the sort of names of the beats. Again, just to remind us to get us into the world. 

And you may have, we, we didn’t have any explicit changes, but you may have had changes in your mind. Anyway, this first scene opens the, i I titled it greeting friends about halfway through, you know, I don’t know, not halfway through 20 lines in it becomes discovering why they’re here plus planting the seed of ambition 

that goes on much longer until hamlet’s line, but in the beaten way of friendship. And at that point we start with pressing the question. 

He’s pressing the question of why they’re actually here after Gilden Stern finally admits, my Lord, we were sent for the new beat is neutralizing them with facts, actually put known facts ’cause these are facts that are known to everybody as he describes the classic symptoms of melancholy. And then inevitably the way Hamlet does, he drifts into his own self-examination. 

And that continues through the scene. 

The Rose Andres and Gil Stern scene I just called determining the atmosphere. 

And the final hamlet scene we start with, 

oh God, do I have this? 

Sorry, I turned some pages over too quickly. 

No, I take that back. Determining the atmosphere, sorry lads, determining the atmosphere is the beginning of the second Rosen Kranz and Giler of the, of the recorder scene determining the atmosphere, starting with good, my Lord vouch safely award with you. 

It goes through. Then the next beat starts with Rosen Kran. Then thus she says, your behavior has struck her into amazement and admiration. And I call this bit delivering the message, which only lasts a few lines until Rosen Kranz for Lauren Little line, my Lord, you once did love me. 

Starting with that line, I call the scene pressing the cause, 

pressing the, the, the cause of tr trying to find out the cause for his discontent. 

And then starting with, oh the recorders, let me see, is taking command, it’s obviously Hamlet taking command of the situation. Of the atmosphere. 

Gideon Rappaport

Jeffrey? Yes. 

Geoffrey Wade

Can 

Gideon Rappaport

I just, I I didn’t mention the background of the second scene in my intro. Oh yes, Go 

Geoffrey Wade

ahead, 

Gideon Rappaport

please do. 

Geoffrey Wade

I 

Gideon Rappaport

should Just add for people who don’t know it, that that second scene comes after the play, within the play that Hamlet has set up in order to determine whether the king is guilty or not, based on his reaction to the play within the play. And the king has reacted extremely and Hamlet and Horatio have so far, it’s either before this or after this, they agree that the king is guilty and the ghost was telling the truth in the midst of this Rosen Krantz and Gilster come in and that’s the part we’re looking at. 

Geoffrey Wade

Great. So any questions? Everybody cool questions? Excellent. Let’s start. As I said, Nick Hamlet, Dan is Rosen Marcelo as Gild and stern and I, I’m gonna go away if, if it begins to flag, I’ll come back and remind you to pick up the pace. But otherwise quick as you can, but keeping the values, that’s very important. All right, Liz, off you go when you’re ready, 

Marcelo Tubert

isn’t it Jeffrey? Pick up. You know, you don’t have to rush the line, just pick up the queue. We’ll make pick up 

Geoffrey Wade

the queue also. But yes, that’s true. Also move through the line as quickly as you can. 

Nick Cagle

Okay? 

Geoffrey Wade

Okay, off you go. 

Marcelo Tubert

My honored Lord 

Daniel Cordova

My most dear Lord, My 

Nick Cagle

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

Daniel Cordova

As in the different children of the earth, 

Marcelo Tubert

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

Nick Cagle

Nor the souls of virtue 

Daniel Cordova

Neither my Lord. Then 

Nick Cagle

you live about her waist are in the middle of her favors, 

Marcelo Tubert

faith Or privates. We 

Nick Cagle

In the secret parts of fortune almost true. She is a trumpet. What news? 

Daniel Cordova

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

Nick Cagle

That is doomsday in the air but your news is not true. Let me question more in particular. What have you my good friends deserved at the hands of fortune that she sends you to prison? Heather 

Marcelo Tubert

Prison. My Lord 

Nick Cagle

Denmark’s a prison 

Daniel Cordova

then Is the world one 

Nick Cagle

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

Daniel Cordova

We think not so my Lord. 

Nick Cagle

Why then is none to you for there is nothing either good nor bad, but thinking makes it so to me it is a prison. 

Daniel Cordova

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

Nick Cagle

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

Marcelo Tubert

which Dreams indeed or ambition for the very substance of the ambitious is merely the shadow of a dream. Dream 

Nick Cagle

itself is but a shadow 

Daniel Cordova

Truly. And I hold ambition of so Ian, light equality that it is but a shadow’s shadow Then 

Nick Cagle

are our beggars bodies and our monarchs and outstretched heroes. The beggars shadows shall we to the court for by my fay, I cannot reason 

Marcelo Tubert

we’ll 

Daniel Cordova

Wait upon you, 

Nick Cagle

No such matter. I will not sort you with the rest of my servants for to speak to you like an honest man. I am most dreadfully attended but in the beaten away of friendship. What make you at Elsinore 

Daniel Cordova

To visit you? My Lord. No other occasion. 

Nick Cagle

Bigger than I am. I’m even poor and thanks. But I thank you and sure dear friends, my thanks are too dear A hip, a haney. Were you not sent for? 

Is it your own inclining? Is it free visitation? Come, come deal justly with me. Come, come nay speak. 

Marcelo Tubert

What shall, what should we say, my Lord, 

Nick Cagle

Anything but to the purpose you were sent for. And there’s a kind of confession in your looks which your modesty have not craft enough to color. I know the good king and queen have sent for you 

Daniel Cordova

To what end my Lord 

Nick Cagle

That you must teach me. But let me conjure you by the rights of our fellowship, by the constancy of our youth, by the obligation of our ever preserved love and by what? More dear, a better pur, a better proposer can charge you with all. Be even indirect with me. Whether you were sent for or no 

Daniel Cordova

What say you. 

Nick Cagle

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

Marcelo Tubert

My Lord. We were sent for 

Nick Cagle

I will tell you why. So shall my anticipation prevent your discovery and your secrecy to the king and queen. Mot no feather I have of late, but therefore I know not lost all my mirth, forgone all custom of exercises. And indeed it goes so heavily with my disposition that this goodly framed the earth seems to me a sterile promontory. This most excellent canopy. The air look you this brave or hanging firmament, this majestical roof fretted with golden fire away appear nothing, congregation of vapors, but a piece of work as a man, a noble and reason how infinite in faculties inform in moving, how expressed and admirable in action. How like an angel and apprehension, how like a God, the beauty of the world, the paragon of animals. And yet to me, what is this quintessence of dust? 

Mandel delights not me. No. Nor a woman, neither though by your smiling you seem to say so 

Daniel Cordova

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

Nick Cagle

Why did you laugh then when I said, man delights not me. 

Daniel Cordova

I think my Lord, if you delight noted man what? Lent and entertainment the player shovel Steve from you. We coded them on the way. And here are they coming to offer you service. 

Nick Cagle

Gentlemen, you are welcome to elsinore your hands. Come then thence of welcome is fashion and ceremony. Let me comply with you in this garb, Les my extent to the players, which I tell you must show fairly outwards should more appear like entertainment than yours. You are welcome. 

But my uncle, father and aunt mother are deceived 

Marcelo Tubert

In what my dear Lord 

Nick Cagle

I am. But mad north northwest when the wind is southerly, I know a hawk from a handsaw. 

Marcelo Tubert

Hmm. 

Daniel Cordova

Yes. 

Marcelo Tubert

What I 

Daniel Cordova

thought you 

Marcelo Tubert

No. 

Daniel Cordova

Ah, 

Marcelo Tubert

I think we can say we made some headway. 

Daniel Cordova

You think so? 

Marcelo Tubert

I think we can say that. 

Daniel Cordova

I think we, he made us look ridiculous. 

Marcelo Tubert

We played it close to the chest of course. 

Daniel Cordova

Question and answer. Old ways are the best. He was scoring off us all down the line. 

Marcelo Tubert

He Caught us on the wrong foot once or twice perhaps. But I, I thought we gained some ground. 

Daniel Cordova

He murdered us. 

Marcelo Tubert

He might have had the edge. 

Daniel Cordova

27 3. And you think he might have had the edge? He murdered us. 

Marcelo Tubert

What about our evasions? 

Daniel Cordova

Oh our evasions were lovely. Were you said for he says, my Lord we were set for, I didn’t know where to put myself. 

Marcelo Tubert

He Had six rhetorics. It 

Daniel Cordova

Was question and answer. All right. 27 questions. He got out in 10 minutes and answered three. I was waiting for you to deve. When did he gonna to start delving? I asked myself 

Marcelo Tubert

And two repetitions. 

Daniel Cordova

Hardly a leading question between us. 

Marcelo Tubert

We got his symptoms, didn’t we? 

Daniel Cordova

Half of what he said meant something else and the other half didn’t mean anything at all. 

Marcelo Tubert

Ordered ambition, a sense of grievance. That’s my diagnosis. 

Daniel Cordova

Six rhetorical and two repetitions leaving 19 of which we answered 15. And what did we get in return? He’s depressed. Denmark’s of prison. And he’d rather live in a nutshell, some shadow play about the nature of ambition which never got down to cases. And finally, one direct question which might have led somewhere and led in fact to his illuminating claim. Do tell a hawk from a handsaw 

Marcelo Tubert

When the wind is southerly 

Daniel Cordova

And the weather’s clear, 

Marcelo Tubert

It isn’t. He can’t. 

Daniel Cordova

He’s at the mercy of the elements. 

Marcelo Tubert

Could my Lord I vouch save me award with you 

Nick Cagle

Sir. A whole history. 

Marcelo Tubert

The king sir, 

Nick Cagle

I sir. What of them 

Marcelo Tubert

In his retirement Marvelous distempered 

Nick Cagle

With drinks, sir? 

Marcelo Tubert

Oh my Lord. With collar. Your 

Nick Cagle

wisdom should show itself more. Richard, to signify this to his, to the doctor for for me to put him to his purgation wood. Perhaps punch him into more collar. 

Marcelo Tubert

That Good? My Lord Put your discourse into some frame and stare. Start not so wildly for my affair. 

Nick Cagle

I am tame sir, pronounce 

Marcelo Tubert

The queen. Your mother in most general affliction of spirit has sent me to you. You 

Nick Cagle

are welcome. 

Marcelo Tubert

Thank my good, good my Lord. This courtesy is not of the right breed. If it shall please you to make me a wholesome answer, I will do your mother’s commandment. If not your pardon. In my return shall be the end of my business. 

Nick Cagle

Sir, I cannot. 

Daniel Cordova

What my Lord 

Nick Cagle

Make you a wholesome answer. My which diseased. But sir, such answers I can make you shall command. Or rather as you say, my mother, therefore no more. But to the matter my mother. You say 

Daniel Cordova

Then thus she says, your behavior has stuck her into amazement and admiration. 

Nick Cagle

Oh, wonderful son that can so astonish a mother. But is there no sequel at the heels of this mother’s admiration? In part 

Daniel Cordova

She desires to speak with you in her closet air. You go to bed We 

Nick Cagle

shall obey where she 10 times our mother Have you any further further trade with us further. 

Daniel Cordova

My Lord, you once did love me. And 

Nick Cagle

do you still by these pickers and stealers 

Daniel Cordova

Good my Lord. What is your cause of distemper? You do surely bar the door upon your own liberty if you deny your griefs to your friend. 

Nick Cagle

Sir, I lack advancement. 

Daniel Cordova

How can that be when you have the voice of the king himself for your succession in Denmark? 

Nick Cagle

I, sir. But while the grass grows, the proverb is something musty. 

Oh, the recorders, let me see. To withdraw with you. Why do you go about to recover the wind of me as if you would drive me to a toil? 

Marcelo Tubert

Oh my Lord. If my duty be too bold, my love is too un mannerly. 

Nick Cagle

I do not well understand that. Will you play upon this pipe? 

Marcelo Tubert

My Lord, I cannot. Believe me, I cannot. 

Nick Cagle

I do teach you. 

Marcelo Tubert

I know. No touch of it. My Lord. 

Nick Cagle

It is as easy as lying. Govern these vantages with your fingers and thumbs, give it breath with your mouth and it will discourse the most. E eloquent 

Marcelo Tubert

music. Look you, these are the stops. But these cannot I command to any utterance of harmony. I have not the skill. 

Nick Cagle

Well, look you how unworthy a thing you make of me. You would play upon me. You would sing to know my stops. You would pluck out the heart of my mystery. You would sound me from my lowest note to the top of my compass. And there is much musics excellent voice in this little organ. Yet cannot you make it speak splu? Do you think I’m easier to be played on than a pipe? 

Call me what you will though you cannot fret me. You though you can fret me. You cannot play upon me. 

Geoffrey Wade

Nicely done guys. Very nicely done indeed. 

Nick Cagle

Yeah, 

Geoffrey Wade

I I actually did make a few notes, but we didn’t s stop midway mostly to most. They were mostly about things that were so good. 

And I, because I wanna read I was why I always feel there’s a, an obligation to reassure people how useful this kind of thing is. 

So let, let me just start. I’m sure Gideon mil have something to stay. 

But the start of the top scene, my honored Lord my most dear Lord was fantastic for, for my money. That’s a great way to do the scene. Al almost at that pace. Just, you know, boys together again. Great. Really good. 

And immediately what happened was, as has always been in this kind of rehearsal, the operative words just began to leap out the someone says goodley, what’s early on? 

I can’t, I can’t remember what it’s now. 

Gideon Rappaport

Line 2 62 63. 

Daniel Cordova

Yeah. 

Geoffrey Wade

Yes. 2 63. Yeah. See 

Gideon Rappaport

2 64. Sorry. 

Geoffrey Wade

Good goodley leapt out terrifically also prison. I’m not gonna do each one, but just, it was really great. Using those words and using ’em that strongly is terrific. Who says the way it’s probably Rosen Kres right then is your ambition. 

Daniel Cordova

Yeah. Then your ambition makes it one. 

Geoffrey Wade

Yeah, ambition leapt out again. It was great. It’s like, woo ooh. I, well I know what the answer is. Ooh, ooh, ooh. You know the the over eagle eager school kid. Great. Just great stuff. 

Nick. You did a really interesting thing on, I could be bounded in a nutshell, count myself king of infinite space, but that I have bad dreams. You made that last clause. 

It it, it had a whole different tone. Even at that pace you were going through. You, you could see hamlet’s mind shifted. It, it almost became a a, a introspective or a, you know, parenthetical. I just want to encourage that kind of thing. Those kind of shifts are are great. 

It it’s sort of him as he always does, sort of recognizing something in himself. It was great. 

Two around line 2 95. 

Again, I’m, I’m acting for a little more acting now than, than I tasked you with. But this hamlet’s whole line bigger than I’m, I’m even poor in thanks. Were you not sent for, is it your own inclining? Is it a free visitation? 

Each of those has to, has to, 

has to be pressing them harder. 

Nick Cagle

I 

Geoffrey Wade

I think, I think you can allow Hamlet to, or any of you who’s doing Hamlet. I think we can allow Hamlet to be getting, to be getting quite clearly impatient with them. Right? 

So then come and he says, come, come deal Justin. Come, come. He says come four times, it’s, come on, come on, come on, come on. 

Nick Cagle

Yeah. 

Geoffrey Wade

I think we can go that far and anything but to the purpose is sort of the capper of it. Well, what do you want me to say? Anything? Just don’t, don’t be fucking lying to me. 

Right. 

That that’ll carry us, us through. I think it’s, it was all there. I’m just encouraging you to go even further. 

Three 15, what happens there? Well, good. My lord, we were sent for gild and stern. I love the way you gave up on that. Really physically. Everything about it is like, oh no, okay. Okay. We, we were sent for whatever you did. It was great. 

What, what I’m finding is that the, the bigger you make all these impulses you have, the, the better they work. 

Three 20 to three 30 roughly. 

The, the whole I have of late speech Hamlet, I, I love the build. There’s a gr a great build in that right through the quintessence of dust. It was terrific. 

Good, good way to climb the ladder. 

The Rosen Grands and Gild stern scene was good. I loved the way guys were playing the extremes. Loved Rosen Crans as incredible andm patience with Gild Stern and Gudden stern being so defensive. 

You know, so the tables turn there because Gild Stern usually comes off as the smarter one. And 

Nick Cagle

I had to mute it ’cause I was laughing again. Yeah. 

Geoffrey Wade

Oh yeah, you, you have to mute. 

Nick Cagle

I thought, 

Geoffrey Wade

I dunno. Gideon says he does. I was definitely laughing. It 

Nick Cagle

was terrific. 

Geoffrey Wade

A couple more, just a couple more. 3 35 Gild and Stearns Gild and Stern in this beginning of this y your second scene here in, in Act three or whatever it is, but particularly good, my Lord put your discourse into some frame and start not so wildly from my, my affair. 

I think it’s, it’s, this is what I’m seeing from you guys and what’s emerging. It’s more, it’s interesting if Gild and Stern is really following orders here and he gets a little, what the English would call shirty a little. 

It, it, it, it’s almost, he’s almost giving hamlet an order. 

He’s treading pretty treading a pretty fine line on his status in the court here, 

Marcelo Tubert

overstepping his bounce perhaps a bit 

Geoffrey Wade

a, a a a little bit. So, and what made me think it was, was your reading it, it was nice but it was a little bit friendly. It was a little bit emotional, you know, it was a little bit, come on, gimme a break here. I think it’s, I’ve been ordered to do this. You’re behaving like a shit. Do, do answer me. You know, I I’m, I’ve come here actually this time with a real assignment from the king, so stop fucking around. That gives us a way, a place to go with Rosen. Kranz is you, you did love me once, right? He’s the one who, who gives an emotional appeal to this. But if, if, and I’m, I’m at looking at all of you because I hope you’ll all have a chance to do it. But you know, if we can find these differences, it’s great. And I’ve suddenly realized that it is actually written in there and, and then 365 rosecrans sort of in, in opposition to this. So the antithesis is that of this is good my lord, what does the cause of your distemper you do surely bar the door upon your own liberty if you deny your griefs to your friends. 

I suddenly think if that’s rosencrantz once again trying to say save yourself, man. You’re 

Daniel Cordova

right. 

Geoffrey Wade

What you’re, you’re this craziness, it’s gonna put you in prison or worse. Right? 

So it’ll give us this nice difference. You’re book you’re, you’re both not coming at him the same way. And when he doesn’t respond to Gilden Stearns sort of ordering him around, Rosecrans takes over. It also sets up the very final thing with Hamlet talking to Gilden Stern. It’s Gilden stern. He pix on it’s Gilden stern who he breaks the, the recorder on or screams at for that final bit. Right? I don’t know. You think you are, you can’t, you can’t play me. 

So great work. Is this something you wanted to say Gideon? 

Gideon Rappaport

I only have three small notes and they’re all negative. Of course. 

No, I thought it was really good and I was laughing in the r and g and it was wonderful to hear it through without all those pauses. It was great. I just have three things. Line three 10 Hamlet, the word with all is a throwaway. It’s not ever to be stressed. 

The more dear, a better proposer can charge you with all. 

Nick Cagle

Oh charge 

Gideon Rappaport

With, with all just means with charge you with, we would say we wouldn’t charge you with. Right. 

Nick Cagle

So 

Gideon Rappaport

you have to feel with all to be just nothing more than with next line 360 1. 

I lost my line. Numbers hold 

three. Oh it’s in the last scene, right? 

Nick Cagle

We shallow Bay 

Daniel Cordova

Bay. 

Gideon Rappaport

No, by these pickers and Steelers 360 4. I’m sorry. When you say, when you say pickers and Steelers, give us an image of hands. ’cause people aren’t gonna know what that means. 

And I think the image will help. 

And from 3 84 on this is I think mostly gilden stern canon. Yep. 

Stress on can rather than on not 

Marcelo Tubert

I did not do that. 

Gideon Rappaport

You did not do that. 

Geoffrey Wade

No. 

Gideon Rappaport

Or rather you did not do that. I 

Marcelo Tubert

did not. And yet I have it marked. It’s 

Gideon Rappaport

and you say it, you say it about four times. So just, 

Marcelo Tubert

And and I said it wrong every time. My goodness. 

Nick Cagle

It’s like Haney for me. Haney, 

Geoffrey Wade

You you were, you were close. You were trying. It’s it’s actually, I even marked it on, on Hamlet’s last though. There’s much music, excellent voice in this little organ. You cannot make it speak. 

Gideon Rappaport

Yes. I I forgot to add Hamlet to the, 

Geoffrey Wade

That’s hamlet. So it’s, it’s just difficult for us. And if it doesn’t feel slightly uncomfortable, you’re probably not doing it enough. It’s that 

Marcelo Tubert

thing. My Lord, I cannot, That’s 

Geoffrey Wade

it. Yeah. And that doesn’t sound weird. It it works. Believe it or not, you Believe it. 

Daniel Cordova

Can I ask really quickly then, then in 3 92 he says, I have not the skill, should it be I have not the skill just for the sake of the same rhythm. Does it come off that like that? 

Geoffrey Wade

Because 

Daniel Cordova

If he says that I have not the skill, it kind of is con contradictory to the I can. 

Gideon Rappaport

Yeah. I I think you’re right Daniel. Yeah. I think it should go for have rather than not. 

Geoffrey Wade

Yeah. 

Nick Cagle

Mm. 

Gideon Rappaport

It’s not mine. I don’t own it. 

Geoffrey Wade

Yes, yes. 

Very good. 

Let’s see, we have about an hour and a quarter left. 

So would would another group like to have a crack at this? 

Daniel Cordova

You 

Geoffrey Wade

wanna try this? Let’s, oh, I don’t know. 

I’m just going backwards through my, my groups here. 

Let’s do it again just so o other people can have a, have a kind of go at it and then seriously we’ll, we’ll we’ll go through each of you just doing the scenes as, as you wish. 

So let’s this time do Dan as Hamlet. Marcelo is Rosecrans and Giddon stern is Nick. So I hope you were listening 

Daniel Cordova

And do it at the Italian read through. Yes. 

Geoffrey Wade

This is an, this is another Italian 

Daniel Cordova

read through 

Geoffrey Wade

and I hope you were all listening to everybody else’s notes. The, again, the idea is, and which you all took extremely well. I’m sort of saying this for the benefit of all our listeners out there who we can’t see. 

What was great was that sort of pressure in the, in the small of your back. I like to sometimes think made you sort of go bigger and it made your, your shifts quicker and and more distinct. And those are all good things and which I hope you’ll retain when we go through at a somewhat slower pace. So feel free to go big, feel free to go big. That is my overall arching note. So once again, here we go. 

Danis Hamlet, Marcelo is Rosen Kranz gild and stern as Nick. 

Off you go 

Nick Cagle

My honor. Lord 

Marcelo Tubert

I almost dear Lord 

Daniel Cordova

my Excellent good friends, how dust spell gild. Ah, Rosen Krantz good lads. How do you both 

Marcelo Tubert

as The indifferent children of the earth 

Nick Cagle

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

Daniel Cordova

Nor the soles of her shoe. 

Marcelo Tubert

Neither my Lord. 

Daniel Cordova

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

Nick Cagle

Bather privates. We 

Daniel Cordova

In the secret parts of fortune. Oh most true. She is a trumpet. What news? 

Marcelo Tubert

Oh my Lord. But that the world’s grown honest 

Daniel Cordova

Then is doomsday. But your news is not true. Let me question you more in particular. What have you my good friends deserved at the hands of fortune that she sends you to prison? Heather 

Nick Cagle

Prison. My Lord 

Daniel Cordova

Denmark’s a prison 

Marcelo Tubert

Then is the world one 

Daniel Cordova

The goodly one in which there are many confines boards in Dungeons, Denmark being one of the worst? 

Marcelo Tubert

We think not so my Lord. 

Daniel Cordova

Why then is none to you for there is nothing either good or bad, but thinking makes it so to me it is a prison. Why 

Marcelo Tubert

then your ambition makes it one, it’s too narrow for your mind. Oh 

Daniel Cordova

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

Nick Cagle

Which dreams indeed are ambition for the very substance of ambitious. Of the ambitious is the shadow of a dream. 

Daniel Cordova

A dream itself is but a shadow 

Marcelo Tubert

Truly. And I hold ambition of so area and lighter quality that it is but a shadow. Shadow 

Daniel Cordova

then our, our beggars bodies and our monarchs and outstretched heroes. The beggar shadows shall we to the court for by my fate, I cannot reason 

Nick Cagle

We’ll wait upon you. 

Daniel Cordova

No such matter. I will not sort you with the rest of my servants for so for to speak to you like an honest man. I am most dreadfully attended but in the beaten way of friendship, what make you at Elsinor 

Marcelo Tubert

To visit you? My Lord. No other occasion 

Daniel Cordova

Beggar that I am, I am even pouring Thanks. But I thank you and sure dear friends, my thanks are too dear a Hany, were you not sent for? 

Is it your own in planning? Is it a free visitation? Come come deal justly with me. 

Come, come nay speak. 

Nick Cagle

What should we say? My Lord, 

Daniel Cordova

Anything but to the purpose you were sent for. And there’s a kind of confession in your looks, which your monies have not craft enough to color. I know the good king and queen have sent for you 

Marcelo Tubert

To what And my movement 

Daniel Cordova

That you must teach me. Let me conjure you by the rights of our fellowship, by the constancy of our youth, by the obligation of our ever preserved love and by what More dear a better proposer can charge you with all. Be even and direct with me. You were. Whether you were sent for or no. 

Marcelo Tubert

Say you 

Daniel Cordova

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

Nick Cagle

My Lord. We were sent for 

Daniel Cordova

I will tell you why social, my and dissipation prevent your discovery and your secrecy to the king and queen. Molt. No feather I have of late and wherefore, but wherefore I know not lost all my mirth, forgone all custom of exercises. And indeed it goes so heavily with my disposition that this goodly frame the earth seems to me as sterile promontory this most excellent canopy. The air look you this brave or hanging firmament, this majestical roof fretted with golden fire. 

Why? It appears nothing to me but a foul and pestilent congregation of vapors. 

What a piece of work is a man. 

How noble, in reason how infinite in faculties, in form and moving how express and admirable in action. How like an angel in apprehension, how like a God, the beauty of the world, the paragon of animals. And yet to me, what is this quintes of dust? 

Man delight’s. Not me, no nor woman. Neither though by you’re smiling, you seem to say so. 

Marcelo Tubert

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

Daniel Cordova

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

Marcelo Tubert

Do you think my Lord, if you delight not in man, what lent an entertainment to players shall receive from you? We coded them on the way. And here are they coming to offer you service. 

Daniel Cordova

Gentlemen, you, you are welcome to elsinore your hands. Come then thence of welcome is fashion and ceremony. Let me comply with you in this God bless my extent to the players, which I tell you must show fairly outwards should be, should more appear like entertainment than yours. You are welcome. 

But my uncle, father and aunt mother are deceived. 

Nick Cagle

Well in what my dear Lord 

Daniel Cordova

I am. But mad north northwest when the wind is southerly, I know a hawk from a handsaw. 

Nick Cagle

Hmm. 

Marcelo Tubert

Yes. 

Nick Cagle

What 

Marcelo Tubert

I thought you No. Ah, 

Nick Cagle

well I think we could say we made some headway. 

Marcelo Tubert

You think so? 

Nick Cagle

I think we could say that. 

Marcelo Tubert

I think we can say he made us look ridiculous. 

Nick Cagle

We played it close to the chest. Of course. 

Marcelo Tubert

Question and answer always are the best ways. He was scoring off of us all down the line. He caught us 

Nick Cagle

on the wrong foot once or twice perhaps. But I, I thought we gained some ground. 

Marcelo Tubert

He murdered us. 

Nick Cagle

But he might have had the edge. 

Marcelo Tubert

27 3. And you think he might have had the edge? He murdered. What 

Nick Cagle

about, What about our evasions? 

Marcelo Tubert

Oh, our evasions were lovely. Were you sent for? He says, my Lord, we were sent for, I didn’t know where to put myself. 

He 

Nick Cagle

had six rhetorics. 

Marcelo Tubert

It was question and answer. All right. 27 questions. He got out in 10 minutes and answered three. I was waiting you for I was waiting for you to deve. When is he going to be delving? I asked myself 

Nick Cagle

And two repetitions. Hardly 

Marcelo Tubert

A leading question between us. We 

Nick Cagle

got his symptoms, didn’t we? 

Marcelo Tubert

Half of what he said meant nothing else. And half of what he said meant something else and the other half didn’t mean anything at all. 

Nick Cagle

Thwarted ambition, a sense of grievance. So that’s my diagnosis 

Marcelo Tubert

Picks rhetorics. Two repetitions leaving 19, of which we answered 15. And what did we get in return? He’s depressed. Denmark’s a prison. And he’d rather live in a nutshell, some shadow play about the nature of ambition, which never got down to cases. And finally, one direct question which might have led somewhere and led in fact to his illuminating claim to tell a fuck from a hand saw 

Nick Cagle

When the wind is southerly And 

Marcelo Tubert

the weather’s clear 

Nick Cagle

And when it isn’t, he can’t. 

Marcelo Tubert

Is that the mercy of the elements? 

Nick Cagle

Good. My Lord. Thou save me a word, 

Daniel Cordova

Sir. A whole history. 

Nick Cagle

The king sir. 

Daniel Cordova

Hi sir. What of him 

Nick Cagle

In his retirement Marvelous distempered 

Daniel Cordova

with Drinks, sir? 

Nick Cagle

No, my Lord with color, 

Daniel Cordova

Your wisdom should show itself more. Richard, to signify this to the doctor for for me to put him to his pation would perhaps plunge him into more color. Good. 

Nick Cagle

My Lord. Put your discourse into some frame and start not so wildly from my affair. I 

Daniel Cordova

amain sir pronouns 

Nick Cagle

The queen. Your mother is in most great affliction of spirit has sent me to you. 

Daniel Cordova

You are welcome. 

Nick Cagle

Yeah. Good. My Lord. This courtesy is not of the right breed. If it shall please you to make me a wholesome answer, I will do your mother’s commandment. If not your pardon. And my return shall be the end of my business. 

Daniel Cordova

Sir. I cannot. 

Marcelo Tubert

What my Lord 

Daniel Cordova

Make you a wholesome answer. My witch diseased. But sir, such an answer as I can make you shall command, or rather as you say, my mother, therefore no more. But to the matter. My mother, you say, 

Marcelo Tubert

And thus she says, your behavior had struck her into amazement and admiration. 

Daniel Cordova

Oh wonderful. That can astonish a mother. But is there no sequel at the heels of this mother’s admiration? 

Marcelo Tubert

She desires, she desires to speak with you in her closet or you go to bed, 

Daniel Cordova

We shall obey where we shall obey. Where she 10 times our mother have you any further trade with us? 

Marcelo Tubert

Oh Lord, you once did love me 

Daniel Cordova

And still do by these pickers and Steelers. 

Marcelo Tubert

Good my Lord. What is your cause of distemper? You just thoroughly bar the door upon your own liberty. If you deny your grief to your friends, 

Daniel Cordova

Sir, I lack advancement. 

Marcelo Tubert

Look at that. Be when you have the voice of the king himself for your succession in Denmark. 

Daniel Cordova

Nice sir. But while the grass grows, the proverb is something musty. Oh, the recorders. Let me see. One to withdraw with you. Why do you go about to recover the wind of me as if you would drive me into a toil? 

Nick Cagle

Oh my Lord. If my duty be told too bold, my love is too unmanly. 

Daniel Cordova

I do not well understand that. Will you play upon this pipe? 

Nick Cagle

My Lord, I cannot. 

Daniel Cordova

I pray. You 

Nick Cagle

Believe me, I cannot. I 

Daniel Cordova

do bese. You. I 

Nick Cagle

know. No touch of it. My Lord. It 

Daniel Cordova

Is easy as lying. Governs these vintages with your fingers and thumb give it breath with your mouth and it will discourse most eloquent music. Look you. These are the stops. 

Nick Cagle

But these cannot I command to any utterance of harmony. Add not the skill. 

Daniel Cordova

Why? Look you now, how unworthy a thing you make of me. You would play upon me. You would seem to know my stops. You would pluck out the heart of my mystery. You would sound me from my lowest note to the top of my compass. And there is much music, excellent voice in this little organ. Yet cannot you make it speak slu? Do you think I easier to be played on than a pipe? Call me with instrument. You will though. You can fret me. You cannot play upon me. 

Geoffrey Wade

Oops. Oops. Here we go. Nice, nice, nice again guys. Very nice. My first note to Hamlet on line 3 47 cannot, 

Marcelo Tubert

You’re gonna have nightmares about that. You 

Geoffrey Wade

All are. I 

Nick Cagle

know. It’s Weird. 

Geoffrey Wade

It’s, And it’s, it’s really important in that line, 

Gideon Rappaport

You’re gonna have worse nightmares when I tell you not to hit the damn pronouns. 

Marcelo Tubert

Yeah. 

Geoffrey Wade

But along those same lines, gild and stern, the way you picked up that note about making him somewhat more efficient and, you know, going beyond his actual status was great. 

The way you were ordering ’em around. 

I, I find it interesting again, I just noticed now this line 3 35, again, it’s just in general to Guild and Stearns. Good. My Lord. Put your discourse into some frame. It’s a real Shakespearean thing, you know, if this were verse that put would be at the beginning of a line. It’s, and it’s, it’s got those great plosives and it put, you know, it, it’s, it’s an order there, there’s a reason Shakespeare chose to use that short plosive word. 

Nick Cagle

Interesting. It 

Geoffrey Wade

makes it into a, a, a command. 

Nick Cagle

Yeah. 

Geoffrey Wade

This is just, again, something that’s coming out as you guys are doing it. I’m just this somewhat problematic line, sir. We’ll wait, we’ll wait upon you. 

Yes. 

Gideon Rappaport

You’ve gotta hit wait, not you. It’s 

Geoffrey Wade

wait, my Lord. We’ll be your servers, we’ll be your waiters. We’re gonna be your servants. We’ll wait upon you. It’s almost with a bow and what he says. No, no, no. Come on, come on, come on. No, no, no. I’m gonna treat you like servants. Okay. Let me 

Gideon Rappaport

just say, if you say we’ll wait upon you, it’s like your answering him. Wait, you’re waiting upon us, which is nonsense. That would never happen. 

Nick Cagle

So 

Geoffrey Wade

that’s 

Gideon Rappaport

Don’t, don’t hit the pronoun. 

Geoffrey Wade

We, yeah, we’ll we’ll be your servants. A and then 

you’re 

Nick Cagle

back. 

Geoffrey Wade

That was the only one I hadn’t in all the way to three. 

It was all again, really lots of really good stuff. Three 16, 

Dana, I love the way you took that note about 

building the pressure on them. 

And then there, there is this big break to the beat that, that, that I’m calling neutralizing them with known facts. 

It’s starting, it’s, it’s, it’s sort of your choice. I will tell you why social anticipation prevent your discovery to the king and queen I have of late, but somewhere in that you have to take, I think the actor has to take all that pressure off. It’s like, okay, let’s just sit down now and I’ll tell you what the trouble is. Right? 

And this is just, again, this is just sort of dynamics of the scene. 

You, you all are getting that great build, forcing them so they, they finally do it and it’s, it’s like a balloon is burst or you know, the, the pressure is off. 

So it gets quite thoughtful. Again, it’s this wonderful speech, I think it’s quite thoughtful, sort of luring them men with this classic description of what melancholy is. But then he, he can’t help but be caught up in his own personal thing. So for that to happen, I think he has to have sort of relaxed into himself if, if you will. Okay. That’s for everyone. 

And Hamlet, 

oh, this is, this is after, we’ll wait upon you. 

No, it’s similar. H hang on just one second. 

Oh, this is in the beginning. Sorry. This is the beginning of the Rosecrans and Giler where, where you’re saying, sorry everyone, let me comply with you in this garb, lest my extent to the players, which I tell you must show fairly outwards, right? He’s saying, I gotta look good for the, I gotta look 

Nick Cagle

good for the, 

Geoffrey Wade

for these guys. I don’t want them to seem more welcome than you are. Right. 

Nick Cagle

So fairly is the operative word there? 

Geoffrey Wade

I think so. Or, or at least a, a equal stress to 

Nick Cagle

outline. I see. Yeah. 

Geoffrey Wade

It, it’s, it doesn’t mean equally. It means, what’s the word I’m looking for? Fair in the sense of looking good. 

Nick Cagle

Hmm. Right. 

Gideon Rappaport

Beautiful. 

Geoffrey Wade

Yeah. Okay. That’s all. Again, another interesting thing 

Gideon Rappaport

I’m going to, I’m going to give my few and most of ’em are pronouns. Line 2 59, what have you, my good friends deserved at the hands. No, it’s what have you deserved. 

Got it. You got it? 

Marcelo Tubert

Yes. 

Gideon Rappaport

Okay. 3 41 in that first part, 

Geoffrey Wade

Oh wait, over there 

Gideon Rappaport

I want to hear more on Lenin. I’m, I’m losing the point of Lenin, so I just need to hear a little more there. 

And the second part, the second scene line 3 27, both of you did this in the last two readings. I did not hear the word is, I don’t know whether the sound went out or whether you didn’t say it, but I saw what of him in his retirement most, most in his retirement. Marvelous distemper. I didn’t hear the is in his retirement. So I don’t know why, but I’m just pointing that out. 

Line 3 45 gild and stern. 

If not your pardon. And my return don’t hit the, my hit the return. 

So it’s a parallelism. Your pardon? And my return. So we wanna hear pardon and return rather than your and my and 3 96 

you would sound, what, what was it? 

Oh, pluck out the heart of my mystery. Don’t hit the my hit the mystery. 

We know he is talking about himself. We don’t need the mind, we need the mystery. Okay. That’s it. 

Having said all that, I have to say it was also really good. It, it, it moved and I understood it all. So bravo. 

Geoffrey Wade

Bravo indeed. I I’m, I’m about to sneeze. No, no, I guess I’m not, let’s give ourselves, I’m not gonna go through this a third time. I think everyone’s got the, the feel of it. 

What what we will do is start with 

just doing, you know, final, final goes. Again, you’re not final performances. It’s our last chance to go through them in, in any way you consider, however you, you feel you wanna do it. But we’ll have, sorry, Marcelo is Hamlet, Nick as Rosen Krantz and Dan as Gilden Stern, 

Marcelo Tubert

which is how we did very first meeting. 

Nick Cagle

Yeah. 

Geoffrey Wade

Excuse me. 

Nick Cagle

Full circle. 

Geoffrey Wade

And then, and then we’ll do, then we’ll do the other two. You know, we, we’ll continue on so that everyone has a chance to do this in his own, in his own tempo. 

But let’s just take, let’s take like, I don’t know, a few minutes, just a break to walk around a little bit, resettle yourselves and, and come back at 6 0 2, 6 0 7, 6 10 round in there. Okay. 

Nathan Agin

Hey guys, I thought I would pop on here and I, I won’t be doing any kind of halftime show, but for those watching, I, I wanted to once again really highlight the work that is, is happening. I, I, Jeffrey, you’re you’re welcome to be on your break. 

Okay. Don’t have to be part, I’m, listen, I didn’t want to pull you back into it, but no, I just wanted to take this opportunity to thank everybody for, for watching and, and I wanted to take an opportunity here to thank the artists in involved. It is, I I think quite a, quite a courageous thing to be willing to work in public, so to speak. And, and, and I love that so many artists have been part of this and, and that we continue to do this series. And, and my, my hats go off to all everybody involved in this process. 

We would love to continue this, love to see it grow. You can support us through Patreon, as I mentioned. If you go to patreon.com, WJ podcast, you can find more information there, links below for the video. 

And if you have ideas or things, thoughts come to you of what else we could offer, what else we could be doing that would make this series even better for you as whether you’re an actor, theater lover, educator, happy to take all of that into ation and make this something really great. I mentioned to a few people and, and definitely this was part of, I, I think some of my initial inspiration is now probably almost 45 years removed from it. But many will remember, or or many may know of John Barton’s playing Shakespeare series that the RSE did. And I think it was the late seventies, maybe they did in the early eighties as well. 

But it was a, it was a wonderful series and, and you can still find I think many clips and maybe even full episodes here on YouTube. 

It was definitely a bit more polished and refined and, and I think they had scripted what they wanted to talk about, but it was, the premise was a working rehearsal and I thought, well, it’s been at least 40 years coming up on now, 50 maybe we could, you know, use technology and, and try this out and, and just do it for a new generation and, and, and really get into the nuts and bolts. ’cause even with that series, as deep as they went on certain themes and topics may not have just gone as deep into the scenes themselves as we can here. So, so that’s part of the inspiration. So that’s what we’re, you know, what we’re doing and I think what we are doing, not just what we hope to do, but I think we’re actually doing it. 

So thrilled to have you part of this. And yeah, like I said, coming up next month we’re doing a slightly different shift where we’re gonna be focusing on one role over the month, Beatrice, from about nothing. And we did this before with the Macbeths where we had actors who had played those roles many times. Look at those roles, excuse me, with some actors, you know, it’s all very casual. I can take a drink of water, it’s okay. 

Even I sometimes feel like I have to get it right and get it perfect, but that’s not what this is about. 

The director Erica Rolr, she played Beatrice off Broadway and then I believe at the Great Lakes Theater Festival. 

So she has, you know, experience playing the part and is really excited to explore it. 

And we’ll be announcing, you know, who’s gonna be part of that very soon. And come on back to YouTube. All those sessions will be online as as we go. And, and I think it’ll be a lot of fun just to really dive deep and focus on one character. So I think I’ve vamped enough to get us to the time when Jeffrey wanted everybody back to close enough to it. 

So, so yeah, that wasn’t my intention, but if, you know, if, if I am nothing, if I’m nothing else, I am slightly long-winded. So, but that’s, that’s, that’s, that’s what I can do here. All right, I will, I’ll send it back to the group and we’ll see you guys in a little bit. 

Geoffrey Wade

Thanks Nathan. All right, with no more ado, let’s go through this again. 

Again. Marcelo is hamlet, nick as Rosecrans Gilden, stern as Dan and folding all this stuff together that we’ve been talking about. 

Let’s go through it. I got 

Marcelo Tubert

nothing 

Geoffrey Wade

more to say. 

Daniel Cordova

My honored Lord, 

Nick Cagle

My most dear Lord, 

Marcelo Tubert

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

Nick Cagle

At the indifferent children of the earth, 

Daniel Cordova

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

Marcelo Tubert

Nor the souls of shoe, 

Nick Cagle

Neither my Lord. 

Marcelo Tubert

And you live about her waist or in the middle of her favor. 

Daniel Cordova

Faith, her private. We 

Marcelo Tubert

In the secret parts of fortune. Oh most true. She’s a trumpet. What news? 

Nick Cagle

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

Marcelo Tubert

And is doomsday near. But your news is not true. 

Let me question you more in particular. What have you my good friends deserve that the hands of fortune that she sent you to prison, either 

Daniel Cordova

Prison, my Lord 

Marcelo Tubert

Denmark’s a prison. 

Nick Cagle

Well then is the world one 

Marcelo Tubert

Goodly, one in which there are many confines, wars and dungeons, Denmark being one of the worst? 

Nick Cagle

We think not so my Lord. 

Marcelo Tubert

Why then is none to you for there is nothing either good or bad, but thinking makes it so for me it is a prison. 

Nick Cagle

Why then your ambition makes it one T is too narrow for your mind. 

Marcelo Tubert

God, I could be bounded in a nutshell and cut myself a king of infinite space word. Not that I have bad dreams, 

Daniel Cordova

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

Marcelo Tubert

Dream itself is, but a shadow 

Nick Cagle

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

Marcelo Tubert

And our, our beggars bodies and our monarchs and outstretch heroes, the beggar, the beggar shadows shall wait to the court whereby my fa, I cannot, I cannot reason 

Daniel Cordova

We’ll wait upon you, 

Marcelo Tubert

No such matter. I will not sort you with the rest of my servants or to speak to you like an honest man. I am most strictly attended but in the beaten way of friendship, what make you at El Suno 

Nick Cagle

To visit you My lord, no other occasion 

Marcelo Tubert

Beggar that I am, I’m even poor and thanks but I thank you and sure dear friends, my thanks are too dear. I hate Penny. Were you not sinful? Is it your own inclining? Is it a free visitation? Come, come deal justly with me. Come, come nay speak. 

Daniel Cordova

What should we say, my Lord, 

Marcelo Tubert

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

I know the good king and queen that sin for you. 

Nick Cagle

To what end my Lord 

Marcelo Tubert

That you must teach me. But let me conjure you by the rights of our fellowship, by the constancy of our youth, by the obligation of our ever preserved love and by what more dear better prosper can charge you with all that even and direct be even and direct with me whether you were sent for or no 

Nick Cagle

What say you 

Marcelo Tubert

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

Daniel Cordova

My Lord. We were sent for 

Marcelo Tubert

I will tell you why. So shall my anticipation prevent your discovery and your secrecy to the king and queen molt, no feather I have of late, but therefore I know not lost all my mirth, forgone all custom of exercises. And indeed it goes so heavily with my disposition that this goodly frame the earth seems to me a sterile promontory. This most excellent canopy. The air look you this brave ore hanging heron man, this majestic roof threaded with golden fire. 

I, it appears nothing to me but a foul and pestle in congregation of papers. 

What a piece of work is man. How noble in reason how infinite in faculties inform and moving how express and admirable in action how like an angel in apprehension how like a God beauty of the world, the paragon of animals. And yet to me, what is this quintessence of dust man delights not mean or woman neither. 

Oh by you’re smiling, you seem to say so 

Nick Cagle

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

Marcelo Tubert

Why did you laugh then when I said man delights not me 

Nick Cagle

To think my Lord, if you delight not in man what lentin entertainment the players shall receive from you, we cod them on the way and hi that they are coming to offer you service. 

Marcelo Tubert

Gentlemen, you are welcome to elsinore your Hans, your hands come then they are pertinent of welcome is fashion and ceremony. Let me comply with you in this garb Les my extent to the players which I shall tell you must show fairly outwards, should more appear like entertainment than yours. 

You are welcome. But my uncle, father and aunt mother are deceived 

Daniel Cordova

In what my dear Lord 

Marcelo Tubert

I am. But mad north northwest when the wind is southerly, I know a hawk from a handsaw. 

Daniel Cordova

Oh 

Nick Cagle

Yes. 

Daniel Cordova

What 

Nick Cagle

I thought you 

Daniel Cordova

No. 

Nick Cagle

Ah, 

Daniel Cordova

I think we can say we made some headway. 

Nick Cagle

You think so? I 

Daniel Cordova

think we can say that. 

Nick Cagle

I think we can say he made us look ridiculous. 

Daniel Cordova

We played it close to the chest of course. 

Nick Cagle

Question and answer. Old ways are the best ways. He’s scoring off us all down the line. 

Daniel Cordova

He caught us on the wrong foot once or twice, but perhaps, but I thought we gained some ground. 

Nick Cagle

He murdered us. 

Daniel Cordova

He might have had the edge. 

Nick Cagle

27 3. And do you think he might have the edge? He murdered us. 

Daniel Cordova

What about our evasions? 

Nick Cagle

Well evasions were lovely. Were you sent for? He says, my Lord we were sent for, I didn’t know where to put myself. 

Daniel Cordova

He had six rhetorics. 

Nick Cagle

It was question and answer. All right, 27 questions. He got out in 10 minutes and answered three. I was waiting for you to delve. When is, when is he going to start delving? I asked myself 

Daniel Cordova

And Q repetitions 

Nick Cagle

Hardly a leading question between us. We 

Daniel Cordova

got his symptoms, didn’t we? 

Nick Cagle

Half of what he said meant something else and the other half didn’t mean anything at all. 

Daniel Cordova

Thwarted ambition, a sense of grievance. That’s my diagnosis. 

Nick Cagle

Six rhetorics and two repetitions leaving 19 of which we answered 15. And what did we get in return? He’s depressed. 

Denmark’s a prison and in a nutshell some shadow play about the nature of ambition which never got down to cases. And finally one direct question which might have led somewhere and in fact to his illuminating claim to tell a hawk from a hand saw 

Daniel Cordova

When the wind is southerly 

Nick Cagle

And the weather’s clear And 

Daniel Cordova

when it isn’t he can’t. 

Nick Cagle

He’s at the mercy of the elements. 

Daniel Cordova

A my Lord. Now save me a word with you 

Marcelo Tubert

Sir. A whole history. 

Daniel Cordova

The king sir, 

Marcelo Tubert

One of him 

Daniel Cordova

Is in his retirement Marvelous distempered 

Marcelo Tubert

With drinks. Sir, 

Daniel Cordova

No my Lord with collar Your 

Marcelo Tubert

wisdom should show itself more richer. To signify this to the doctor or for me to put him to his p purgation would perhaps plunge him into more color. 

Daniel Cordova

Good my Lord Put your discourse into some frame and start so wildly from my affair. 

Marcelo Tubert

I’m tames sir, pronounce The 

Daniel Cordova

queen. Your mother is most great affliction of spirit half sent me to you. 

Marcelo Tubert

You are welcome 

Daniel Cordova

And a good my Lord. This courtesy is not of the right breed. If it shall please you to make me a wholesome answer, I will do your mother’s commandment. If not your pardon And my return shall be the end of my business. 

Marcelo Tubert

Sir, I cannot. 

Nick Cagle

What my Lord 

Marcelo Tubert

Make you a wholesome answer. My wits diseased. But sir, such an answer as I can make you shall command. Or rather as you say, my mother, therefore no more. But to the matter my mother you say Then 

Nick Cagle

thus she says your behavior has struck her into amazement and admiration. 

Marcelo Tubert

A wonderful son that can so astonish a mother. But is there no sequel at the heels of this mother’s admiration? In part 

Nick Cagle

She desires to speak with you in her closet. There you go to bed 

Marcelo Tubert

We shall obey where she 10 times our mother have you any further trade with us? 

Nick Cagle

My Lord, you did love me once. 

Marcelo Tubert

I do still by these pickers and Steelers. 

Nick Cagle

Good my Lord. What is your cause of distemper? You do surely bar the door upon your own liberty if you deny your grief to your friend. 

Sir, 

Marcelo Tubert

I lack advancement. 

Nick Cagle

How can that be when you have the voice of the king himself for your succession in Denmark? 

Marcelo Tubert

Hi sir. But while the grass grows, the proverb is something musty. 

Oh the recorders. Let me see One to withdraw with you. Why do you go about to recover the wind of me to withdraw with you? Why do you go about to recover the wind with of me as if you would drive me into a toy? 

Daniel Cordova

Oh my Lord. If my duty be too bold, my love is too unmanly. 

Marcelo Tubert

I do not well understand that. Will you play upon this pipe? 

Daniel Cordova

My Lord, I cannot. Believe me, I cannot. I 

Marcelo Tubert

coe you. 

Daniel Cordova

I know no touch of it. My Lord. 

Marcelo Tubert

It is as easy as lying. Govern these vintages with your fingers and thumb give it breath with your mouth and it will discourse most eloquent music. Look you, these are the stops. 

Daniel Cordova

But these cannot I command to any utterance of harmony. I have not the skill. 

Marcelo Tubert

Oh look you now how unworthy a thing you make of me. You would play upon me. You would seem to know my stops. You would pluck out the heart of my mystery. You would sound me from my lowest note to the top of my compass. And there is much music, excellent voice in this little organ. You yet cannot you make it speak blood. Do you think I am easier to be played on than a pipe? Call me what instrument? You will though you can fre me. You cannot play upon me. 

Geoffrey Wade

Nice guys. So without, without anything more, let’s go on to what was our first grouping today, which is nick is ham, Nick is hamlet. 

Marcelo Tubert

Dan I was gilden stern 

Geoffrey Wade

Y. Yes, you’re gild and stern and Dan is Rosen Krantz. 

Marcelo Tubert

Hey by the way Gideon, I had a me that I, I stressed in in that run that I just was like put I had to let go of that so that I continue 

Gideon Rappaport

I heard it. 

Marcelo Tubert

Yes. It was one at the end of the line. I thought, well no, not me, it wasn’t me. 

Gideon Rappaport

I’ll Say I only had two, two points and they were simple, not pronouns. So bravo everybody 

Geoffrey Wade

Go. 

Marcelo Tubert

Alright. 

Geoffrey Wade

I, the, the only thing I wrote down was, Nick, you did a great job with Lenin Lenin Entertainment. It was, 

Nick Cagle

it was 

Geoffrey Wade

perfect. It was great. Really nice. I I love everyone’s willingness to take notes and other people’s notes and all that sort of thing. 

Great. Just, just give yourselves a couple of moments ’cause you know, you’re, you’re switching characters now and again, feel free to go as far as you want. This is your last chance to do this in, in this particular group. So Go 

Marcelo Tubert

and possibly in, in, in my life. So 

Geoffrey Wade

pardon 

Marcelo Tubert

And and possibly in my life. 

Geoffrey Wade

No, no, no. You’ll get to do it again. 

Marcelo Tubert

Probably ham 

Geoffrey Wade

one way or another 

Nick Cagle

It’s 

Marcelo Tubert

Do ham but maybe rose ins and gild and stir. 

Geoffrey Wade

Yeah, there’s lots of time Anyway. Take a moment. Go big. Have fun. 

Marcelo Tubert

My honored Lord 

Daniel Cordova

My most dear Lord. 

Nick Cagle

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

Daniel Cordova

As the different children of the earth 

Marcelo Tubert

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

Nick Cagle

Nor the soles of her shoe. 

Daniel Cordova

Ah, neither my Lord. Then 

Nick Cagle

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

Marcelo Tubert

Faith, her privates we In 

Nick Cagle

the secret parts of fortune. Oh most true. She is a trumpet. What news? 

Daniel Cordova

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

Nick Cagle

Then is doomsday in ear. But your news is not true. Let me question more in particular. What have you my good friends deserved at the hands of fortune that see she sends you to prison hither 

Marcelo Tubert

Prison. My Lord 

Nick Cagle

Denmark’s a prison 

Daniel Cordova

Then is the world one 

Nick Cagle

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

Daniel Cordova

We think not so my Lord. 

Nick Cagle

Why then it is none to you for there is nothing either good nor bad, but thinking makes it so to me it is a prison. 

Daniel Cordova

Why then your ambition makes it one just too narrow for your mind. 

Nick Cagle

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

Marcelo Tubert

Which dreams indeed are ambition for the very substance of the ambition is merely the shadow of a dream. 

Nick Cagle

Dream itself is but a shadow 

Daniel Cordova

Truly. And I hold ambition of so Ian light equality that it is but a shadow’s shadow 

Nick Cagle

Then there are be then are our beggars bodies and our monarchs and outstretched heroes. The beggar’s shadows shall we to the court for by my fa, I cannot reason truly 

Daniel Cordova

Wait upon you, 

Nick Cagle

No such matter. I will not sort you with the rest of my servants for to speak to you like an honest man. I am most dreadfully attended but in the beaten way of friendship. What make you at Elsinore 

Daniel Cordova

To visit you? My Lord no other occasion 

Nick Cagle

Bigger than I am. I am even poor and thanks. But I thank you and sure dear friends, my thanks are too dear or hate me. 

Were you not sent for, is it your own inclining? Is it a free visitation? 

Come come deal justly with me. Come, come nay speak. What 

Marcelo Tubert

should we say? My Lord, 

Nick Cagle

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

I know the good king and queen have sent for you 

Daniel Cordova

To what end my Lord 

Nick Cagle

That you must teach me. But let me conjure you by the rights of our fellowship, by the the constancy of our youth, by the obligation of our ever preserved love and by what more dear a better proposer can charge you with all. Be even indirect with me. Whether you were sent for or no 

Daniel Cordova

What say you 

Nick Cagle

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

Marcelo Tubert

My Lord. We were sent for 

Nick Cagle

I will tell you why social shall my anticipation prevent your discovery and your secrecy to the king and queen. Molt, no feather. 

I have ablate but thefor I know not lost all my mirth be on all custom of exercises. And indeed it goes so heavily with my disposition that this goodly framed the earth seems to me a sterile promontory. 

This most excellent canopy. The air look you this brave or hanging firmament, this majestical roof fretted with golden fire. Why it appear with nothing to me but a foul and pestilent congregation of vapors. 

What a piece of work as a man. 

How noble in reason how infant and faculties form and moving how express and admirable in action how like an angel, an apprehension, how like a God, the beauty of the world, the parat of animals. And yet to me, what is this quintessence of dust, Mandel lights. Not me. No, no woman. Neither though by your smiling you seem to say so 

Daniel Cordova

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

Nick Cagle

Why did you laugh then when I said man delights not me. 

Daniel Cordova

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

Nick Cagle

Gentlemen, you are welcome to elsinore your hands. Come then thence of welcome is fashion and ceremony. Let me comply with you in this garb, lest to my extent to the players, which I tell you must show fairly outwards, should more appear like entertainment than yours. 

You are welcome. 

But my uncle, father, and aunt mother are deceived 

Marcelo Tubert

In what my dear Lord 

Nick Cagle

I am but mad north, northwest. But when the wind is southerly, I know a hawk from a handsaw. 

Marcelo Tubert

Hmm 

hmm. 

Daniel Cordova

Yes. 

Marcelo Tubert

What 

Daniel Cordova

I thought you 

Marcelo Tubert

No, 

Daniel Cordova

Nah, 

Marcelo Tubert

I think we can, we can say we made some headway. 

Daniel Cordova

You think so? 

Marcelo Tubert

I think we can say that. 

Daniel Cordova

I think we can see He made us look ridiculous. He Made 

Marcelo Tubert

it close to the chest. Of course. 

Daniel Cordova

Question and answer. Old ways are the best. He was scoring off us all down the line. 

Marcelo Tubert

He caught us on the wrong foot once or twice perhaps. But I thought we gained some ground. 

Daniel Cordova

He murdered us. 

Marcelo Tubert

He might have had the edge. 

Daniel Cordova

27 3. And you think he might have had the edge? He murdered us. 

Marcelo Tubert

What about our evasions? 

Daniel Cordova

Oh our evasions were lovely. Were you sent for? He says, my Lord we were sent for, I didn’t know where to put myself. 

Marcelo Tubert

He had six rhetorical. 

Daniel Cordova

It was question and answer. All right. 27 questions. He got out in 10 minutes and answered three. 

I was waiting for you to delve. What is he gonna start delving? I asked myself 

Marcelo Tubert

And two repetitions. 

Daniel Cordova

Hardly a leading question between us. 

Marcelo Tubert

He got his symptoms, didn’t we? 

Daniel Cordova

Half of what he said meant something else and the half didn’t mean anything at all. 

Marcelo Tubert

Awarded ambition, a sense of grievance. That’s my diagnosis. 

Daniel Cordova

Six rhetorical and two repetitions leading. 19 of which we answered 15. And what did we get in return? He is depressed. Denmark’s a prison. And he’d rather live in a nutshell, some shadow play about the nature of ambition which never got down to cases. And finally one direct question which might have led somewhere and led in fact to his illuminating claim to tell a hawk from a handsaw 

Marcelo Tubert

When the wind is southerly 

Daniel Cordova

And the weather’s clear 

Marcelo Tubert

And when it isn’t, he can’t 

Daniel Cordova

He at the mercy of the elements. 

Marcelo Tubert

Good. My Lord. Save me a word with you 

Nick Cagle

Sir. A whole history. 

Marcelo Tubert

The king Sir 

Nick Cagle

I sir, what of him 

Marcelo Tubert

Is in his retirement? Marvelous distempered 

Nick Cagle

With drinks, sir. 

Marcelo Tubert

Oh my Lord. With call 

Nick Cagle

Your wisdom should show itself more richer To signify this to the doctor for for me to put him to his purgation would perhaps plunge him into more color. 

Marcelo Tubert

Good my Lord. Put your discordance to some frame and start not so wildly for my affair. 

Nick Cagle

I am tame sir, pronounce The 

Marcelo Tubert

queen. Your mother is most great affliction of spirit has sent me to you. 

Nick Cagle

You are welcome 

Marcelo Tubert

Name my good Lord. This courtesy is not of the right breed. If it shall please you to make me a wholesome answer, I will do your mother’s commandment. If not your pardon. In my return shall be the end of my business. Sir, 

Nick Cagle

I cannot. 

Daniel Cordova

What my Lord 

Nick Cagle

Make you a wholesome answer. My wits diseased. But sir, such answer as I can make you shall command. Or rather as you say, my mother, therefore no more. But to the matter. My mother. You say 

Daniel Cordova

Then thus she says, your behavior hath struck her into amazement and admiration. 

Nick Cagle

Oh, wonderful son that can astonish your mother. But is there no sequel at the heels of 

Daniel Cordova

She desires to speak with you in her closet air you go to bed 

Nick Cagle

We shall obey where she 10 times our mother have you any further trade with us? 

Daniel Cordova

My Lord, you once did love me 

Nick Cagle

And still do by these pickers and steelers. 

Daniel Cordova

Good my Lord. What is your cause of distemper? You do surely bother the door upon your own liberty if you deny your grease to your friend. 

Nick Cagle

Sir, I lack advancement. 

Daniel Cordova

Can that be when you have the voice of the king himself for your succession in Denmark? 

Nick Cagle

I, sir. But while the grass grows, the proverb is something musty. 

Oh, the recorders. Let me see. One to withdraw with you. Oh, why do you go about to recover the wind of me as if you would drive me into a toil? 

Marcelo Tubert

Oh my Lord. If my duty be too bold, my love is too unnaturally. 

Nick Cagle

I do not well understand that. Will you play upon this pipe? 

Marcelo Tubert

My Lord, I cannot. 

Nick Cagle

I pray You 

Marcelo Tubert

Believe me, I cannot. 

Nick Cagle

I beseech you. I 

Marcelo Tubert

know no touch of it. My Lord. It 

Nick Cagle

is as easy as lying. Govern these vintages with your fingers and thumb give it breath with your mouth and it will discourse the most eloquent music. Look you. These are the stops. 

Marcelo Tubert

But these cannot I command to any utterance of harmony. I have not the skill. 

Nick Cagle

Well look you now how unworthy of thing you make of me. You would play it upon me. You would seem to know my stops. You would pluck out the heart of my mystery. You would sound me from the lowest note to the top as my X little organ. 

Can you make it speak slut? 

Do you think I’m easier to be played on than a pipe? Call me what instrument? You will though you can fret me. You cannot play 

Marcelo Tubert

upon me. 

What if you were a tuba? 

Geoffrey Wade

Good, good, good. Again, really good. We’re gonna just basically move on to the next one, which will be probably our last go through it. And that has Dan as Hamlet, Marcelo as Rosecrans and Nick as Gild Stern. Just, I’m just gonna give you a couple of tiny notes. 

I 

2 25, I don’t even know what that is Again, 

Nick Cagle

that open, it’s like Hamlet and Rosen Krantz and Gilden Stern are having a zoom. Call 

Geoffrey Wade

it, it is again, that opening was just great. 2 66. Whoever said we think not so 

Rose. 

I don’t know you you you were laughing at it. It was great. That kind of energy is, is just wonderful. 

What I do wanna say is this time through, when we get to that last scene, give yourselves a a few more moments. Be before the end of that Rose Grand GU center dead scene, which continues to make me laugh again. Well done. 

Gideon Rappaport

Me too 

Geoffrey Wade

gi give all three of yourselves a moment and find a whole new level of energy. I I, this has been a little unfair because you know, in the play you’d have an hour and a half of stuff happening beforehand and this the huge play within the play scene and all that sort of thing. So give yourselves a couple of moments and get and and and, and just find a way to get your energy up to a pitch that you, you’re like, I don’t know, water dancing on a skillet. I mean, everybody’s dancing around, everybody’s moving around. Everybody is high. 

You know, hamlet’s adrenaline level is off the charts. 

Marcelo Tubert

You’re talking about the last scene, 

Geoffrey Wade

I’m talking about the very last scene, the, the the recorder scene. 

You know, everything up in the, to the play has led to this, this moment. It’s a dumb thing to say that’s true of any play, but you know what I mean? Yeah. So Hamlet needs to be up there. Rosen Krantz and Gilden Stern, their energy is equally up. They are now really in the thick of it. They are taking orders from these people, which are not, you know, sort of how’s he doing? You know, it’s like, bring that fucking kid to me and we’re gonna straighten him out. He is, you know, there is peril everywhere here and, and you know, by asking you to go through it previously, I sort of didn’t get a chance to do that. 

So this last time through, let’s all just grab onto that energy. I like the way this happened in this last time through Nick. You really took that, the end of the recorder scene to a, a, 

Daniel Cordova

a 

Geoffrey Wade

pitch, if you will. Which is the way I think it works. I think the fact that he uses that curse when he says blood, God’s blood, I think that’s a, there’s nothing casual about this. It’s, it’s not, he’s not going in. It’s like he’s essentially screaming at them, 

Marcelo Tubert

right? Yeah. He 

Geoffrey Wade

I’ll I I don’t need to take specific things. I need you all to get all of us to get our energy really cooking at the beginning of that scene. 

Okay? 

Daniel Cordova

I think there’s An urgency even right at good, my lord do save me a word with you, right? I mean it’s Like 

Geoffrey Wade

Yes, exactly. 

Daniel Cordova

Keep 

Geoffrey Wade

moving around. You’ve, you’ve been sent to find him and said, whoa, whoa, whoa. Hang on, hang on. Let me ask you something. Yeah. Right. It, it’s, and you, you’re giving him orders as, as we’ve altogether discovered is going on with Gild Ander at this point, you know, stop moving around. Literally stop moving around and let me talk to you and do what I’m telling you. The king and the queen have sent and he’s, he’s mocking you. He goes, what does he say? It’s, I sent sir whole history the king sir. I sir, what of him, you know, you’re, he’s those sirs are not, it’s not normal speak. Right? 

So get at each other. Everybody is on a very, very short leash at this point. Short fuse. Okay, good. Excellent, excellent work. I’m not gonna give you any more notes. Gian, you got anything you particularly wanna say 

Gideon Rappaport

Ever preserved? 

Nick Cagle

Oh, 

Gideon Rappaport

in the Rosen Krants and Gilden stern, two things. Daniel got it last time. Whoever it was didn’t get it. 27 3 means 27 to three. He won by 27 to three and then 

led. In fact, I think you want to hit in fact a little bit in the Rosecrans and Gilda stern scene. 

I mean our dead scene in fact led in fact to his illuminating claim to hawk from a hand saw. I think that sets up the joke. 

And then, let’s see, I think I just had two others but I’ll do those later. 

Geoffrey Wade

Alright guys, once again, give yourselves a moment to start even on the first one, the starts on these have been super, super good And then when we get past the Rose Andres Guild, the RG or dead scene, give yourselves a significant amount of time to get in the state. You need to be for that last one. 

Nick Cagle

Could you hear me? 

Daniel Cordova

You’re A little choppy. 

Marcelo Tubert

Choppy. Oh 

Nick Cagle

was I choppy? Lemme try again. All I was honored too. Here we go. My honored Lord 

Marcelo Tubert

My most dear Lord, 

Daniel Cordova

My excellent good friends at Dust Brown Gil Stern, ah, Rosen Krantz good lads. How do you both 

Marcelo Tubert

As the indifferent children of the earth 

Nick Cagle

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

Daniel Cordova

No the souls of her shoe 

Marcelo Tubert

Neither my Lord. 

Daniel Cordova

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

Nick Cagle

Faith, her privates. We 

Daniel Cordova

In the secret parts of fortune. Almost true. She is a trumpet. What news, 

Marcelo Tubert

Not my Lord, but that the world’s grown honest, yeah 

Daniel Cordova

Then is doomsday year. But your news is not true. Let me question you more in particular. What have you my good friends deserved at the hands of fortune that she sends you to prison? Heather 

Nick Cagle

Prison. My Lord 

Daniel Cordova

Denmark’s a prison 

Marcelo Tubert

That is the world one A 

Daniel Cordova

goodley. One in which there are many confines, wards and dungeons, Denmark being one of the worst. 

Marcelo Tubert

We think not so my Lord. 

Daniel Cordova

Hi then. There’s none to you for, there is nothing either good or bad. But thinking makes it so to me it is a prison. 

Marcelo Tubert

Why then your ambition makes it one. It’s too narrow for your mind. 

Daniel Cordova

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

Nick Cagle

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

Daniel Cordova

A dream itself is but a shadow 

Marcelo Tubert

truly. And I hold ambition of so ary and light equality that it is. But a shadows shadow 

Daniel Cordova

Then are our beggars bodies and our monarchs and outstretched heroes. The beggar shadows shall we to the court for by my fa, I cannot reason 

Nick Cagle

We’ll wait upon you. 

Daniel Cordova

No such matter. I will not sort you with the rest of my servants for to speak like an honest man. I am most dreadfully attended. 

But in the beaten way of friendship. What make you an elsinore 

Marcelo Tubert

To visit you? My Lord. No other occasion. 

Daniel Cordova

Bigger than I am. I am even poor and thanks. But I thank you and sure dear friends, my thanks are too dear a Hany, were you not sent for? 

Is it your own inclining? 

Is it a free visitation? Come, come deal justly with me. 

Come, come nay speak. 

Nick Cagle

What should we say? My Lord, 

Daniel Cordova

Anything but to the purpose you were sent for. And there is a kind of confession in your looks which your modesty have not craft enough to color. I know the good king and queen have sent for you 

Marcelo Tubert

To what? And my Lord 

Daniel Cordova

That you must teach me. But let me con to you by the rights of our fellowship, by the constancy of our youth, by the obligation of our ever preserved love and by what more dear a better proposer can charge you with all. Be even and direct with me. Whether you were sent for or no, 

Marcelo Tubert

let say 

Nick Cagle

You. Let say you. 

Daniel Cordova

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

Nick Cagle

My Lord. We were sent for 

Daniel Cordova

I will tell you why. So shall my anticipation prevent your discovery and your secrecy to the king and queen. Molt. No feather I have of late. But wherefore I know not lost all my mirth, forgone all custom of exercises. And indeed it goes so heavily with my disposition that this goodly frame the earth seems to me a sterile promontory. 

This most excellent canopy. The air look you this brave ore hanging firmament, this majestical roof, right with golden fire where it appears nothing to me but a bowel and pestilent congregation of vapors. 

What a piece of work is a man. 

How noble in reason, how infinite in faculties informed and moving, how expressed and admirable in action. How like an angel in apprehension, how like a God, the beauty of the world, the paragon of animals. And yet to me, what is this quintessence of dust? 

Man delight’s. Not me, no nor woman. Neither though by you’re smiling, you seem to say so 

Marcelo Tubert

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

Daniel Cordova

did you laugh then when I said mand delight’s not me 

Marcelo Tubert

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

Daniel Cordova

Gentlemen, you are welcome to elsinor your hands. Come them. 

The appert of welcome is fashion and ceremony. Let me comply with you in this garb, lest my extent to the players, which I tell you must show fairly outwards, should more appear like entertainment than yours. 

You are welcome. 

But my uncle, father and aunt mother are deceived 

Nick Cagle

And but my dear Lord, 

Daniel Cordova

I am but mad north northwest when the wind is southerly. I know a hawk from a hand saw. 

Nick Cagle

Hmm. 

Marcelo Tubert

Yes. 

Nick Cagle

What 

Marcelo Tubert

I thought you 

Nick Cagle

No, 

I think we could say we made some headway. 

Marcelo Tubert

I think so. 

Nick Cagle

I think we could say that. 

Marcelo Tubert

I think we can say he made us look ridiculous. 

Nick Cagle

We played it close to the chest of course. 

Marcelo Tubert

Question and answer old ways on the best ways. He was scoring off us all down the line. He 

Nick Cagle

caught us on the wrong foot once or twice perhaps. But I thought we gained some ground. 

Marcelo Tubert

He murdered us. 

Nick Cagle

He might have had the edge. 

Marcelo Tubert

27 3. And you think he had, he might have had the edge. He murdered us. 

Nick Cagle

What about our evasions? 

Marcelo Tubert

Our evasions were lovely. Were you sent for? He says, my Lord, we were sent for, I didn’t know where to put myself. 

Nick Cagle

He had six 

Marcelo Tubert

rhetorics. It was question and answer. All right. 27 questions. He got out in 10 minutes and answered. Three. I was waiting for you to delve, but is he going to de be delving? I asked myself 

Nick Cagle

And two repetitions, Hardly 

Marcelo Tubert

a leading question between us. 

Nick Cagle

Well we got it. The symptoms, didn’t we, 

Marcelo Tubert

Half of what he said meant something else and the other half didn’t mean anything at all. 

Nick Cagle

Thwarted ambition, a sense of grievance. That’s my diagnosis. 

Marcelo Tubert

Six rhetorics and two repetitions leaving 19 of which we answered 15. And what did we get in return? 

He’s depressed. Denmark’s a prison. And he’d rather live in a nutshell, some shadow play about the nature of ambition, which never got down to cases. And finally, one direct question which might have led somewhere and led him back to his illuminating claim. To tell a hawk from a hand saw 

Nick Cagle

When the wind is southerly 

Marcelo Tubert

And the weather’s clear 

Nick Cagle

And when it isn’t, he can’t. 

Marcelo Tubert

He’s at the mercy of the elements. 

Nick Cagle

Good. My Lord vouch. Save me a word with you, 

Daniel Cordova

Sir. A whole history. 

Nick Cagle

The king sir. 

Daniel Cordova

Hi sir. What of him 

Nick Cagle

Is in his retirement? Marvelous distempered 

Daniel Cordova

With drinks, sir. 

Nick Cagle

No, my Lord with color, 

Daniel Cordova

Your wisdom should show itself more. Richard, to signify this to the doctor, for for me to put him to his pation would perhaps plunge him into more color. 

Nick Cagle

Good. My Lord. Put your discourse into some frame and start not so wildly from my affair. 

Daniel Cordova

Tame pronounce 

Nick Cagle

The queen. Your mother in most great affliction of spirit has sent me to you. 

Daniel Cordova

You are welcome 

Nick Cagle

Nay. Good my Lord. This courtesy is not of the right breed. If it shall please you to make me a wholesome answer, I will do your mother’s commandment. If not your pardon. And my return shall be the end of my business. 

Daniel Cordova

Sir, I cannot. 

Marcelo Tubert

What my Lord 

Daniel Cordova

Make you a wholesome answer. My which diseased. But sir, such answer as I can make you shall command. Or rather as you say, my mother, therefore no no more. But to the matter my mother. You say 

Marcelo Tubert

Thus then thus she says, your behavior has struck her into amazement and admiration. 

Daniel Cordova

Oh, wonderful son that can astonish a mother. But is there no sequel at the heels of this mother’s admiration? 

Marcelo Tubert

She desires, she desires to speak with you in her closet air. You go to bed, 

Daniel Cordova

We shall obey where she 10 times our mother have you any further trade with us? 

Marcelo Tubert

My Lord, you once did love me. 

Daniel Cordova

And do still by these pickers and stealers. Good 

Marcelo Tubert

my Lord. What is your cause of distemper? You do surely bar the door upon your own liberty if you deny your grief to your friend. 

Daniel Cordova

Sir, I lack advancement. 

Marcelo Tubert

How can that be when you have the voice of the king himself for your succession in Denmark? 

Daniel Cordova

I, sir. But while the grass grows, the proverb is something musty. 

Oh, the recorders. Let me see. One to withdraw with you. Why do you go about to recover the wind of me as if you would drive me into a toil? 

Nick Cagle

Oh my Lord. My duty be too bold. My love is too unmanly. 

Daniel Cordova

I do not well understand that. Will you play upon this pipe? 

Nick Cagle

My Lord, I cannot. 

Daniel Cordova

I pray. You 

Nick Cagle

Believe me. I cannot. 

Daniel Cordova

I do beseech you. 

Nick Cagle

I know. No touch of it. My Lord. 

Daniel Cordova

It is easy as lying. Govern these vintages with your fingers and thumb give it breath with your mouth and it will discourse most eloquent music. Look you these other stops. 

Nick Cagle

But these I cannot command to any utterance of harmony. I have not the skill. 

Daniel Cordova

Why look you now, how unworthy a thing you make of me. You would play upon me. You would seem to know my stops. You would pluck out the heart of my mystery. You would sound me from the lowest note to the top of my compass. And there is much music, excellent voice in this little organ. Yet cannot you make it speak. 

Do you think I am easier to be played on than a pipe? Call me what instrument? You will though you can fre me. You cannot play upon me. 

Geoffrey Wade

Excellent guys, what a great way to finish up this month. 

Gideon Rappaport

That was, that was wonderful. I was absolutely LOL at the end of the RNG or dead bit. I it was hilarious. 

Geoffrey Wade

It it’s it That was funny. There was a lot of funny stuff as there should be in the Hamlet. Well, especially the first part, but there’s even a smidgen of humor in in the, in the, the closing scene. 

Wh which I think is essential to the play. But it was, it was just great. I I want to tell you what a pleasure it’s been working with you guys, with everyone. It’s always a pleasure working with Gideon of course. But the way you were willing to take our numerous notes and and then execute them in, in your own way. I just, I I found it really admirable. And we came out with, you know, different versions of the same piece. 

And, and the one thing that I was really noticing these last few times through, especially the final time, was the variety each of you was finding within your speeches. You’re, you’re willing, you know, within your character, within your speeches, they, they, they had all different weights and colors and all that, all that stuff we love in actors. So, and that’s all you guys. So it’s just, it’s been a real pleasure. And I 

Gideon Rappaport

just want to add that the pleasure for me is that however you were doing it, and there is, was a lot of variety. 

The text, the clarity of the meaning was there. Solid. And that is just a joy to behold. ’cause it’s not because common. 

So bravo. 

Geoffrey Wade

Yeah. Well done. We, we we have a few more minutes I think Nathan. Yes. So 

Nathan Agin

Yes. Yeah, yeah, yeah, yeah. There 

Geoffrey Wade

Anything you you guys wanna say or contribute otherwise Yeah, please. Yeah. If you want or not. 

Nathan Agin

Well, I, I, I’ll as, as people are thinking of maybe things they would like to share about the, you know, especially for the actors about this process, about sharing roles. 

Yeah. There were a couple things that occurred to me as, as I was listening through it. And, and it’s, it’s just such a, a joy to be able to hear the language over and over and over. ’cause you hear new things and things land on you differently. And, and, and I actually, what I was reminded of, I had worked on a, an r and g scene from Stoppers play years ago. And one of the first things I think Gil Gilden Stern says is, you know, as there’s in the early in the play, he goes, we were sent for and, and like he’s kind of remembering that all this happens. And of course like, you know, with these scenes in context that it’s such a big thing of like, you were sent for just tell me and all of a sudden Gilden church’s like, wait, we were sent for, you know, like, it just, it just occurs to him in the moment. 

Which of course like knowing these plays and these scenes, it just adds even more humor to it. So I think it would be fun. And then building off, you know, Jeffrey, you talked about like, you know, I, you know, just how much overlap obviously there is in these plays and a lot of theaters have done these two plays in a rep now. I think, you know, to really raise the bar is you have these, these three actors rotating rep in, in these characters where you just get to see, you get to see the Hamlet all the way through the same actor playing it or Rosecrans. And then they can all switch it up. I think that’d be a lot of fun for the actors. 

It would probably be a, a nightmare for the director and anyone logistics, but I think it’d be a lot of fun. 

So yes. Now I, I Go ahead Jeff. I 

Geoffrey Wade

just wanna see if the guys have anything. I think, I know we’re running 

Nathan Agin

out of time. Yeah, Yeah, absolutely. 

Marcelo Tubert

I think, I think the switching off like that is fabulous. And of course, you know, as we get notes through each one, you know, like when I, when I was doing Gild and Stern the last time, I realized that in the second scene that I, I’m, I’m supposed like market in, you know, and I halfway through I thought, oh yeah, that was the note. And then I got more business like, but it’s, it is great because, you know, you just pick up pieces and then you can remember some you don’t others and then you hear other people’s do it, you go, oh yeah, that was what it was. Or maybe not. 

Right? I love the idea of switching off like this, especially with, well 

Nathan Agin

I love 

Nick Cagle

These two plays in Rep. That’d be cool. 

Nathan Agin

Yeah, yeah, 

Geoffrey Wade

yeah. 

Nathan Agin

Well, and, and, and Marcella, to build off your idea, I, I think it, it’s almost like the benefit of, you know, not only playing the part, but then you know, what you learn from, you know, if you’re in an acting class watching other actors do a scene where sometimes things are so obvious or clear to you and the audience, but not necessarily to the people, you know, doing the scene where they’re like, I, I can’t process or understand anything you’re telling me right now. 

And so, you know, and you have the benefit of like, hearing the note Jeffrey or Gideon might give and it’s like, ah, I’m not really getting that. And then you see someone else do it and you’re like, oh, okay, that’s Yeah. That’s what they were going for. Yeah. And, and like you said, you can see what works, what, what helps to build these moments. 

Marcelo Tubert

When we started Antis back Yeah. And we shared role. I mean, one of the great pleasures for me, I was such a proponent of, of that because yeah, you’d walk your, the person you were sharing the role with, go do a scene and you’d have this, oh my God, I am stealing. So stealing that because 

Geoffrey Wade

Oh yeah. 

Nathan Agin

Right. 

Marcelo Tubert

Perfect. You know, and, and you kind of get that same sense here. 

Nathan Agin

Yeah. Dan or Nick, did you guys have any particular thoughts about just the process of either working on these characters, you know, preconceived notions you had or, or curiosities you had or, or just about the sharing the roles aspect and anything? 

Daniel Cordova

Yeah, I, I mean, I, I just to to first of all, to tag onto what Marcelo said, I think, you know, at the end of doing it, you, we get notes from, from Jeffrey and from Gideon, but you would also kind of have your own notes from watching somebody else do the role that you’re about to do. So like, I’m watching, you know, maybe I’m watching Nick do Hamlet and I’m seeing things or hearing things maybe that Jeffrey didn’t catch or didn’t comment on, but that makes sense to me. So then that informs me again. And then when I get to do Hamlet, you know, so that’s, that’s a really interesting, yeah, obviously it would be beautiful, it would be lovely to have enough rehearsal time when doing a production to be able to have everybody kind of, you know, musical chairs, all the different roles and kind of understand things that would be just a, a wonderful experience. 

You know, take a year of rehearsal to do. 

Geoffrey Wade

Yeah. Russian rehearsal periods, you know, 

Marcelo Tubert

In 1993, I think think it was, we worked Troy and Cresta at the Taper two rehearsal hall for a year. 

Nick Cagle

Wow. 

Marcelo Tubert

And for a year exploring the text and the scenes. I, I still don’t understand it, but it was, it, it was a, it was a, it was a, a rare, it’s a rare situation where you’re able 

Geoffrey Wade

Oh 

Marcelo Tubert

yeah. Go And 

Gideon Rappaport

Marcello, I have to tell you to buy my book ’cause I’ll explain Tro and Cresta in the chapter on it and it’ll all come clear. But I also wanted to say that I once worked on a production of Tempest with Ellis Rab playing Prosper and Christopher Brown playing Ariel. And they weren’t getting the scene that Chris couldn’t, they, they weren’t nailing it. And the director kept talking to them and it wasn’t working. And I was the dramaturg and I said, okay, you two were gonna read this scene at the table and you’re gonna switch roles. And they just played the opposite part. 

And boom, the lights went on so that when they switched back, they, they had nailed it. 

Geoffrey Wade

Oh, good. 

Gideon Rappaport

And you can’t do that with every role in every character in a rehearsal. Normal rehearsal, but at, at crucial moments it sometimes, you know, breaks the log jam. 

Marcelo Tubert

Right. 

Nick Cagle

I found it really difficult. I don’t know how you guys felt about this, but for me it, it was so hard to switch from the Shakespeare to the stopper. It was like I had to switch my brain to a different area and then switch it back. 

And it was a really interesting challenge that I wasn’t aware of until I just did this. 

Geoffrey Wade

Interesting. Yeah. 

Daniel Cordova

I 

Gideon Rappaport

think 

Nick Cagle

that’s how it felt for you guys. 

Gideon Rappaport

I think, I think that’s one of the reasons why we were laughing so much in the, in the Rosen Krants and Gild Center dead part because it was a total difference of texture and, and much less, the weight of the tragedy wasn’t on it, but the weight of comedy was definitely on it. 

Nick Cagle

And it Yeah. Great relief. It was like, huh? 

Gideon Rappaport

Yeah. 

Nathan Agin

Yeah. But your, your ear, your ear definitely picks up on it. ’cause as soon as you go out of the, our the stopper scene, you hear vouch safe. 

Nick Cagle

Yeah, yeah. 

Nathan Agin

You know, almost immediately in that, that second Shakespeare scene and it’s like, okay, we’re in a different, we’re in a different universe now. Like it’s just, it’s just going to sound differently. 

But, and I’ll have to throw this out there for all the, all the theater nerds, if you ever get this on Jeopardy, Ellis Rab, the inspiration for Sideshow Bob on The Simpsons. So there you go. Kelsey Grammar worked for him in 

Nick Cagle

New York 

Nathan Agin

and, and just, and bookmarked that voice. And he was like, I, I gotta use this voice somewhere. And he became sideshow Bob. 

Geoffrey Wade

Alright, Good To 

Gideon Rappaport

know. Ellis. Ellis Rab was 

Nathan Agin

famous 

Gideon Rappaport

for chasing thieves away from his convertible where he put left 

Nathan Agin

packages, 

Gideon Rappaport

oh groceries. And they came to steal him. He stood up in the car and in a very loud voice, started speaking the speech from the Tempest. 

And they were so horrified and shocked, they just dropped it and ran away. 

Geoffrey Wade

That’s wonderful. That’s fine. What a great image. Also, how well, anyway, have a convertible 

Nathan Agin

Yeah, no, No, go ahead. Go ahead Jeffrey. Jeffrey. 

Geoffrey Wade

No, I was saying it’s insane to have a convertible in town full of groceries. 

Gideon Rappaport

Yes. Well, this was a while ago. Yeah, 

Geoffrey Wade

I know, But, 

Nathan Agin

Well, Well, listen, I, I wanna thank everybody for, for their participation and just it’s, it is been such a pleasure to, as an observer, dive deep into these scenes and, and just see how the work has, has grown so much over the weeks and it, it seems like everybody in the group has really enjoyed this. And I hope people following along have enjoyed it. I, I, I would be shocked if this didn’t improve your comprehending comprehension and understanding of, of the scene. I mean, it just, we just covered so much over the past four weeks and, you know, I, I hope this helps those watching whether you’re performing one of the roles, teaching the, the play, being a dramaturg on a production, you know, there’s a lot, there’s a lot here that you can take and, and use and Yes. So we will keep doing this. Come on back for, as we focus on acting, the role of Beatrice and what you do about nothing next month, support the project on Patreon. 

Go see theater, go, you know, go out in the world and see, see theater and hopefully you’ll have a, a better appreciation and understanding of the, of these plays. If you can see them theater near you or produce some theater. What a radical concept. If you don’t see the, the plays and theater happening that you want, put it on, put it out there. So that’s it. I think we can wrap up the public part of this this evening. Again, thank you Marcelo and Nick and Gideon and Jeffrey and Daniel. Really appreciate all of you guys being part of this. So thanks again and we’ll see you another time in the rehearsal room. 

Marcelo Tubert

Cool. 

Geoffrey Wade

Thank you. Good luck and good night.