A Midsummer Night's Dream (3.2), Week 2: "Jealousy & Confusion" - Lovers Fight | The Rehearsal Room - The Working Actor's Journey

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
What I wanted to do very briefly, as I mentioned

(00:02):
just a minute ago, is, I'd love for, Maggie, and
Garrett and then everyone else, just briefly, to
share, a little bit about what brought you
specifically Maggie and Garrett, to the workshop,
what you guys were excited about doing or how you
got involved or where you are in your journey. and
yeah, just so. I mean, I know you guys have
already worked together, but that way, the
introductions that I should have made, sure we did

(00:22):
last week at least. We'll check that box this
week. So, how about, Maggie, you're returning, so
how about you can start?
Well, I'm returning, but I am the baby in the
group because, I just, started doing Shakespeare a
few summers ago, maybe less than five years ago,
and since I retired, I've had a little more time.
And I've also been a, ah, member of the,

(00:44):
Shakespeare Society, the San Diego Shakespeare
Society, and gone to their monthly readings.
there's a woman in La Jolla who, in northern, San
Diego, who has conducted monthly readings as well.
And since then, online, there's actually a lot
more. So I've been going to something, four days a
week, but I've been in the workshop before, and it
just seems like, oh, my gosh. I mean, this is just

(01:06):
so incredible. We're sitting here and we're
tearing apart the scripts, and we have a chance to
go over it, and I'm, like, going. And I'm with all
these real actors, and it's just thrilling. It's
just thrilling. Thank you for having me.
Oh, we're thrilled you can be part of this. Yeah.
and, Garrett, just, like, how I came,

(01:27):
Yeah, just, you know, what brought you to this,
you know, briefly, kind of where you are in your
career and what you're, you know, looking for and,
out of this.
Yeah.
Yeah, I guess I started listening to the podcast a
few years back when I was studying, at Antias with
Armen. A guy had talked about how inspired. He was
so inspired by this podcast, he flew from, like,

(01:48):
Kansas to come and study with Armin. And I was
very much like, well, if that was that good, I'm
gonna have to check out the podcast. yeah, and I
was just really kind of, I was really fascinated
by the format of getting that chance to really
break something apart with, other. Other actors
who've been doing this for so long. You know, I
use. Sometimes I'll take a Shakespeare class, and

(02:09):
it's just like, it's so I guess it's just really
nice to be the person that has to learn the most
in the room. And, that's. That was really what I
was looking the most forward to. yeah, and to make
connections, too. I'm getting, I'm kind of at that
point where I'm, like, looking at grad schools
again, so trying to figure out which. Which
schools I want to go to and just like, you know,
brushing up on my Shakespeare before, I think

(02:31):
about that for next year.
Well, great, Fantastic. and I know to some degree
everybody else on the call, but anybody else want
to share a little bit about, where you are in your
lives or, you know, I mean, Jamie, of course, you
shared a lot last week, you know, about your
professional resume and all that, which is great.
And, anyone else? Michael. Michael, you haven't

(02:51):
given you a chance to speak.
I've.
I know I fell in love with Shakespeare a very long
time ago. straight out of undergrad,
I.
went to London, studied at the London Academy of
Music and Dramatic Arts for their summer
Shakespeare program. Came back to LA and was,
like, doing one liners on TV shows. And I'm like,

(03:11):
I want to act. And then I found Anteas Classical
Theater Company again. Connects many of us. and I
got to study with some great people and they
inspired me to go to grad school and then New
York, and I went to the Old Globe, in San Diego.
I, got my master's there, and then I was in New
York for seven years doing regional theater all
around. And now I'm back in LA and, doing

(03:33):
Shakespeare on Zoom.
Thank you for having me.
Nathan and I, have known each other a long time,
and I, was honored to be asked, to come and join.
So thank you so much. This has been great. And
last week was an inspiration knowing that.
Oh, yeah.
Gotta really delve into this stuff and do all the

(03:54):
work and so, it's good to be back.
Great. Well, I only reach out to the best, so. Not
a problem.
Angie, I think it's ironic. I've been listening to
Dakin Matthews has these, short.
What is that? A podcast that he discusses his

(04:17):
insight into Shakespeare and he's a fabulous
dramaturg. The best, the best I've ever run into.
But in any case, I was sort of having so much fun
listening to them, but mourning the fact that
there was actually nothing left for me to play. In
Shakespeare's day, anyone my age was dead, and it

(04:38):
was a Boy playing her part. Anyway, so there's
left Volumnia and the Countess in Allswell. That
ends well. Anyway, so I was feeling bad about that
and then Nathan, God love him, suggested, this. So
voila.
Great. Wonderful.

(04:59):
By the way, I did, hire, my coach from last time,
my, acting coach, and she helped me out with a
monologue, for an audition. And I did get a part.
And so, and in England, they're letting an
American come and play the part of the nurse on a
small stage for a small 60 hour Shakespeare in

(05:22):
May.
Wow.
I know. It's like, what? Really? I almost started.
I wasn't going to tell people because I thought,
oh, this probably isn't going to happen. But. And
I did get offered the part.
Once you get booked. Yeah, once you're booked, you
can tell people.
Yeah. Look out. You look out, Hollywood. Look out.
Kevin Branagh, where are you? I'm here.
Yeah.
All right, well, cool. and, yeah, I think I don't

(05:45):
want to shortchange Gideon, but I think,
everybody's at least talked to you probably
individually or knows you.
Michael, have you ever worked with Gideon?
You had never worked with Gideon?
I don't believe so.
I might have seen you at the Globe when you were
in some performance there, but we haven't worked
together.
You guys are all in San Diego? You in San Diego
also?
San Diego, yeah.

(06:08):
And Jamie too, yeah. all right, well, thank you
for indulging the introduction and I'll, turn it
over to our master, ceremonies, Jamie here, and
you, guys can get back to it.
Hello.
Hello.
yeah, so, well, first of all, any insights in the

(06:30):
last week that anybody has to share? Anything,
when you were working on it that, surprised you or
you,
Well, Ursula had mentioned that she, you know,
worked with all those great vocal people. And I
was like, oh, yeah, the voice work. One of which
she mentioned was Patsy. Yeah, I love this book.

(06:54):
And so I started working on that and going back to
the basics and doing the exercises that she talks
about in this book. and, you know, because it's so
brilliantly written and it is all.
In the text, it's just, it's just.
There to be mined. And it's just so much fun to
play with the consonants and the vowels and the
sounds themselves.

(07:15):
Yeah, it really. That's well said, Michael,
because, you know, it's, within the boundaries of
the rules of the verse. It's endless, endless,
mind to be Mined, you know, in terms of how. What
tactics you use. I mean, I always talk about

(07:36):
tactics in terms of, your, strategy throughout the
course of the scene, both individually as
character, but also, how the scene. The strategy
of the scene in general, how it is structured in
the language, but also how the four of you, in
what tactics you use, work out what it is you need

(07:58):
to get and what you need to find out within the
course of the scene, you know, and there's any one
of an, you know, infinitesimal number of tactics
that you can take, you know. And whenever I talk
about that, whenever I say, you know, talk about,
you know, this is a potential tactic that you
could try here. You know, last week we were
talking about, early on, you know, I think

(08:21):
Michael, one of your early lines was, and if I do,
what shall I get there from? You know, how. You
know, it can be any one of a number of ways that
that can be read, you know. so I'm just saying,
you know, that's one of the things that I love
about it is that it's. It's endlessly, you know,

(08:41):
giving. You just keep looking and you find more
and more and more. Anybody else.
I just wanted to add to that that it. It takes a
lot of the burden off you because the more you
look at what he's giving you, the richer it
becomes your performance. You don't have to invent
it. You don't have to become a poet or, invent

(09:03):
emotion or. You know what I'm saying? You read it
out of what he's given you, and it's so rich that
he does a lot of the work for it.
Yeah, yeah, yeah. Anybody else?
I think it always strikes me when you go through
and you figure out what some of these phrases and
words mean in the times that they were created, in

(09:25):
the times that they were written. there's just
like things where you sit there. If you had not
done that mining work, I think that Michael talked
about that meaning and that deeper feeling just
wouldn't come across. And it's just there was a
lot of those moments, I think before, like the
morning before. And then also when I was working
with Gideon on Friday, where it was just like
finding out. I was like, oh, that's what that

(09:47):
means. Like, that's that new discovery that kind
of helps me key into the scene and the characters
and what Shakespeare was doing.
Terrific.
I just should say, Jamie, we did some very good
work the other day. Maggie and Garrett worked with
me through the play, and we just, I think, made a

(10:09):
lot of progress.
Oh, terrific. Well, how do. How do people feel
about just, Do you want to start reading the
scene? I mean, just read through it based on the
work that you guys have done. And, you know, if, I
have some notes, I can, add them and. So why don't
we. Why don't we do that?

(10:29):
The whole thing from the top? Yeah.
All right.
Oh, why rebuke you, him that loves you so Lay
breath so bitter on your bitter foe.
Now I but chide, but I should use thee worse. For

(10:49):
thou, I fear, hast given me cause to curse. If
thou hast slain Lysander in his sleep, being o' er
shoes in blood, plunge in the deep and kill me
too. The sun was not so true unto the day as he to
me. Would he have stolen away from sleeping

(11:12):
Hermia? I'll believe, as soon this whole earth may
be bored, and that the moon may through the center
creep, and so displease her brother. And so
displease her brother's noontide with the
Antipodes. It cannot be but thou hast murdered

(11:33):
him. So should a murderer look so dead, so grim.
So should the murdered look pierced through the
heart with your stern cruelty. Yet you, the
murderer, look as bright as clear as yonder Venus
in her glimmering spear.

(11:54):
What's this to my Lysander? Where is he? O good
Demetrius, wilt thou give him me?
I'd rather give his carcass to my hounds.
Out, dog. Out, cur. Thou drivest me past the
bounds of maiden patience. Hast thou slain him?
Then henceforth be never numbered among men. Oh,

(12:19):
once tell true, tell true, even for my sake. Durst
thou have looked upon him being awake. And hast
thou killed him sleeping? O brave touch. Could not
a worm and adder do so much and adder did it for

(12:40):
with doubler tongue than thine, thou serpent,
never adder stung.
You spend your passion on a misprized mood. I am
not guilty of Lysander's blood, nor is he dead,
for aught that I can tell.
I pray thee, tell me then, that he is well.
And if I could, what should I get therefore? Yeah.

(13:03):
Therefore a privilege never to see me more. And
from thy hated presence part I so. See me no more.
Whether he be dead or no, there.
Is no following her in this fierce vein here.
Therefore, for a while I will remain so.
Sorrow's heaviness doth heavier grow for debts

(13:25):
that bankrupt sleep Doth sorrow owe, which now in
some slight measure it will pay, if for his tender
hierarchs of.
Stake.
Why should you think that I should woo in scorn?
Scorn and derision never come in tears.
Look, when I vow, I weep.

(13:46):
And vows so born, in their nativity all truth
appears. How can these things in me seem scorn to
you, bearing the badge of faith to prove them
true?
You do advance your cunning more and more when
truth kills truth. O devilish holy fray. These

(14:06):
vows are Hermia's. Will you give her o', er, weigh
oath with oath, and you will nothing. Weigh your
vows to her and me put in two scales will even
weigh, and both as light as tails.
I had no judgment when to her.
I swore well, nor none in my mind. Now you give
her o'.
Er.

(14:26):
Demetrius loves her, and he loves not you.
Oh, Helen. Goddess. Nymph. Perfect, divine. To
what, my love, shall I compare thine eyne? Crystal
is muddy. how ripen? Show thy lips those kissing

(14:49):
cherries tempting grow, that pure congelid white.
High Taurus snow, fanned with the eastern wind,
turns thou hold' st up thy hand. O, let me kiss
this princess of pure white, this seal of bliss.
O.

(15:11):
O hell. I see you all are bent to set against me
for your merriment. If you were civil and new
courtesy, you would not do me thus much injury.
Can you not hate me as I know you do? But you must
join in souls to mock me too. If you were men, as

(15:34):
men you are in show, you would not use a gentle
lady so to vow and swear and super praise my
parts, when I am sure you hate me with your
hearts. You both are rivals in love, Hermia. Now
both rivals to mock Helena. A trim exploit, a
manly enterprise, to conjure tears up in a poor

(15:55):
maid's eyes with your derision. None of noble sort
would so offend a virgin and extort a poor soul's
patience all to make you sport.
You are unkind, Demetrius. Be not so. For you love
Hermia, this you know I know. And here with all
good will, with all my heart. In Hermia's love, I

(16:18):
yield you up my part and yours of Helena to me
bequeath, whom I do love, and will do till my
death.
Never did Machus waste more idle breath.
Lysander. keep thy Hermia. I will none if e' er I
loved her. All that love is gone, my heart to her
but as a guest Wise sojourned. And now to Helen.

(16:40):
Is it home returned there to remain?
Helen.
It is not so disparage not the faith thou dost not
know, lest to thy peril thou aby it. Dear. Look
where thy love comes.
Yonder is thy dear dark night, that from the eye
his function takes the ear more quick of

(17:01):
apprehension makes, wherein it doth impair the
seeing sense, it pays the hearing double
recompense. Thou art not by mine eye. Lysander
found mine ear, I thank it brought me to thy
sound. But why unkindly didst thou leave me so?
Why should he stay, whom love doth press to go?

(17:25):
What love could press Lysander from my side?
Lysander's love that would not let him bide. Fair
Helena, who more engulfs the nights than all yon
fiery o's and eyes of light, why seek' st thou me?
Could not this make thee know the hate I bear thee
made me leave thee so you speak.

(17:48):
Speak not as you think. It cannot be.
Lo.
She is one of this confederacy. Now I perceive
they have conjoined, all three, to fashion this
false sport in spite of me. Injurious Hermia, most
ungrateful maid. Have you conspired, have you with

(18:10):
these contrived to bate me with this foul
derision? Is all the counsel that we two have
shared, the sisters vows, the hours that we have
spent when we have chid the hasty footed time for
parting us.
Ah.
Is all forgot, all school days, friendship,

(18:31):
childhood innocence. We, Hermia, like two
artificial gods.
Have.
With our needles created both one flower, both on
one sampler, sitting on one cushion, warbling of
one song, both in one key, as if our hands, our

(18:54):
sides, voices and minds had been incorporate. And
so we grew together, like to a double cherry,
seeming parted, but yet in union, in partition,
two lovely berries molded on one stem. So, with
two seeming bodies but one heart. And will you

(19:15):
rent our ancient love asunder, to join with men in
scorning your poor friend? It is not friendly. Tis
not maidenly our, sex as well as I may chide you
for it, though I alone do feel the injury.
I am amazed, at their words. I scorn you not. It

(19:36):
seems that you scorn me.
Have you not set Lysander as in scorn to follow me
and praise my eyes and face and measure other
love? Demetrius, who even but now did spurn me
with his foot to call me goddess, nymph, divine,
rare, precious, celestial. Wherefore speaks he

(19:59):
this to her he hates? And wherefore doth Lysander
deny your love, so rich within his soul, and
tender me forsooth, affection but by your setting
on, by your consent. What though I be not so
engraced as you, so hung upon with love so
fortunate, but miserable most to love unloved.

(20:24):
This you should pity rather than despise.
I understand not what you mean by this.
I do per sever, counterfeit sad looks. Make mouths
upon me when I turn my back. Wink each and other.
Hold the sweet jest up. This sport well carriage

(20:46):
shall be chronicled, if you have any pity, grace,
or manners. You would not make me such an
argument. But fare you well. Tis partly mine own
fault, which death or absence soon shall remedy.
Stay, gentle Helena. Ah, hear my excuse. My love,

(21:08):
my life, my soul, Fair Helena.
O excellent sweet.
Do not scorn her so.
If she cannot entreat, I can compel.
Thou canst compel no more than she entreat. Thy
threats have no more strength than her weak
prayers. Helen, I love thee. By my life I do. I

(21:28):
swear by that which I will lose for thee to prove
him false. That says I love thee not.
I say I love thee more than he can do.
If thou say so, withdraw, and prove it too.
Quick.
Come, Lysander. Whereto tends all this?
Away, you Ethiop.
Oh, no, no.

(21:49):
He'll seem to break loose. Take on as you would
follow. But yet, come, not. You are a tame man.
Hang off, thou cat, thou burr, Vile thing, Let
loose, or I will shake thee from me like a
serpent.
Why are you grown so rude? What change is this?
Sweet love thy love. Out, tawny Tartar.

(22:13):
Out.
Out, loath in medicine. O hated potion, hence.
Do you not jest?
Yes, sooth, and so do you, Demetrius.
I will keep my word with thee.
I would I had your bond for sieve. A weak bond
holds you. I'll, not trust your word.
What, should I hurt her? Strike her? Kill her

(22:36):
dead? Although I hate her on an arm or so.
What, can you do me greater harm than hate? Hate
me? Wherefore? O me. What news, my love? Am I not
Hermia? Are, you not Lysander? I am as fair now as

(22:58):
I was erewhile since night you loved me, yet since
night you left me. Why, then you left me. Oh, the
gods forbid. In earnest shall, I say?
Ay, by my life, and never did desire to see thee
more. Therefore be out of hope of question. Of,

(23:22):
doubt, be certain nothing truer. Tis no jest that
I do hate thee and love Helena.
Oh, me. You juggler. You canker blossom. You thief
of love. What, have you come by night and stolen
my love's heart?
From him fine, in faith. Have you no modesty? No

(23:46):
maiden shame? No touch of bashfulness? What, will
you tear impatient answers from my gentle tongue?
Fie, fie, you counterfeit.
You puppet.
You puppet.
Why so? Ay, that way goes the game. Now I perceive
that she hath made compare between our state

(24:08):
statures. She hath urged her height and with her
personage, her tall personage, her height.
Forsooth, she hath prevailed with him. Are you
grown so high in his esteem? Because I am dwarfish
and so low. How low am I, thou painted maypole.

(24:31):
Speak. How low am I? I am not yet so low, but
that, my nails can reach unto thine eyes.
I pray you.
Though you mock me, gentlemen, let her not hurt
me. I was never cursed. I have no gift at all in
shrewishness. I am a right maid. For my cowardice.
Let her not strike me. You perhaps may think,

(24:53):
because she is something lower than myself, that I
can match her.
lower. Hark again, good Hermia.
do not be so bitter with me. I evermore did love
you, Hermia. did ever keep your counsels. Never
wronged you, save that in love to Demetrius. I

(25:14):
told him of your stealth into this wood he
followed you. For love I followed him. But he hath
chid me hence and threatened me. To strike me,
spurn me, nay, to kill me too. And now so you
will. You will let me quiet, go to Athens will I
bear my folly back and follow you no further. Let

(25:37):
me go. You see how simple and how fond I am.
Why get you gone? Who is't that hinders you?
A foolish heart that I leave here behind.
What, with Lysander?
With Demetrius.
Be not afraid. She shall not harm thee, Helena.
No, sir, she shall not, though you take her part.
Oh, when she is angry, she's keen and shrewd. She

(26:00):
was a, ah, vixen when she went to school. And
though she be but little, she is fierce.
Little again, nothing but low and little. Why will
you suffer her to flout me thus? Let me come to
her.
Get you gone, you dwarf. You minimus of hindering
knotgrass maid, you bead, you acorn.

(26:24):
You are too officious in her behalf that scorns
your services. Let her alone. Speak not of Helena.
Take not her part, for if thou dost intend never
so little show of love to her, thou shalt aby it.
Now she holds me not.
Now follow. If thou, darest to try whose right of
thine or mine is most in heaven.

(26:46):
Follow.
Nay, I'll go with thee.
Cheek by jowl, you, mistress, all this coil is
long of you. Nay, go not back.
I will not trust you. Ay, nor longer stay in your
curst company. Your hands than mine are quicker
for the fray. My legs are longer, though to run.

(27:09):
Away.
I am amazed and know not what to say.
Hey, well done. Well done, everybody.

(27:34):
I was trying to think of the boys holding me back
and me swinging and I can't reach anybody.
No.
Yeah, that's exactly right. when I directed this,
I did it as a, Everybody was in pajamas. It was a
slumber party.
Ah.
It was actually the dream of an eight year old boy
who had all of the stuffed animals of the lion and

(27:57):
the donkey on his bed. And he had a clock radio on
the side of his bed and he set the time and he had
been reading Midsummer Night's Dream. And then,
you heard the theme of from Peter Pan. And it just

(28:17):
kept going as all the characters came in and
picked up the bed and carried it, circled it and
then carried it off. And then you heard a ticking
clock, just ticking. And then lights came up and
there was Theseus and Hippolyta and Philostrate
and the. And they were all in pajamas. He was in
like, Hugh Hefner black silk pajamas. She was in

(28:39):
this incredible nightgown and Phyllis Straight was
in these striped pajamas, you know. But anyway, so
what happened when they went to the into the
forest and the fairies transformed it is that they
like huge beetles, they carried in these, velour
packs that were filled with primary, colored

(29:02):
pillows. And they spread them all over the space
so that when we got to the quartet, it was a
pillow fight. It ended up becoming this like this
wild pillow fight with pillows being thrown and
hitting everybody. So it got to be really, really
physical, you know, with it. But, but anyway, and

(29:22):
the little boy of course was the changeling child
who was having the dream. He's the. That's who he
was in the dream. But anyway,
Where was that, James?
that was for the, usc. Usc, graduate program.
Gosh, that was. I can't remember how long. Oh,
2008. yeah. So it was, Yeah, it was really fun.

(29:45):
And that was the one where I used Frank Zappa
music, you know, with sort of. With Marimba's, you
know, sort of, children's piano. There was a lot
of children's sort of sounding music, but it was,
it was some of Zappa's stuff. So, anyway, it was,
It was really, really fun. Oh, and at the end,

(30:05):
when the. When they carry the bed back in at the
end of the party and they carry the bed back in,
and, the alarm goes off and it's playing Peaches
in Regalia, which was the song that they danced
to, which was another version they danced to at
the end before the, bell. The chimes go off to
and. But you saw this hand come out and turn off

(30:27):
the clock radio, and then out popped Puck, dressed
in the same pajamas that the little boy had been
in, and did the epilogue. Anyway, it was fun. That
was my Midsummer's dream, and I'm sticking to it.
Okay, That was really good, everybody. Yeah, you
did a lot of work, a tremendous amount of work. I

(30:49):
mean, I have. I have a few notes, that I hope that
I can decipher as I write these things down. but,
let me just go. sorry, let me get back to my
script here. Some of these I wrote the, line

(31:13):
numbers on, and some of them I did not, so we'll
hope that I can find them. But,
Jamie, I've got a few, too, so.
Yeah, go ahead.
Do you want me to chime in with you at the same
line, or do you want me to just wait and do them
all at once?
Well, I don't know. You know, how about if we just
go through it and I'll give notes from where I am
in the script, and if you have any that I, As. I.

(31:34):
As I'm moving forward, any behind me, you know, to
add to or, you know, know, then we can do it at
the same time. Yeah, there we go.
Yeah, just in general Hermia. I just wanted to,
say, there is, as, you know, and you're doing it.

(31:57):
And I'm just going to say that it'd be great to
sort of high point it, that you have this sort of
sweet, sort of, what I wrote sexy, sexy, babe kind
of thing attitude that you have with Lysander on
occasion, you know, and the. And the sweet, you
know, girl that, you know, daddy's little girl can
do no wrong. And then there is this unbelievable
fierceness which, Helena talks about, you know,

(32:19):
from your past and that the juxtaposition of those
times when you are. And I've got a few specifics
there, but of, when you are sort of coquettish
and, you know, playing the role that, you know,
Lysander loves, you know, the Hermia that Lysander
loves, and then that doesn't work. And so we
oftentimes get that juxtaposed that attitude and

(32:40):
that aspect of Hermia with the, you know, just the
fierceness that she has, you know, and how, raw
that is. So, And, yeah, so let me just get this. I
have. Cause I said it's hermia. Cause where is

(33:03):
that?
It's line 40.
Oh, yeah, it's right at the top.
Cause to curse.
Yeah, you need to really hit that. Cause. Okay,
yeah. you know, I've caused to curse. That's the
reason why you, you know, so, you can. You can.
You can high point that.
Okay.

(33:25):
The,
Ah, good, Demetrius, you say, what's this? To my
Lysander? Where is he? You can try a new tactic,
maybe softer tactic on, Ah, good, Demetrius, you
know, you know, so that we, you know, you can
elicit the response that he gives you of being,
you know, sort of like, slightly, not flirting,

(33:46):
but kind, just a different, like, softness or
sweetness. Try and get him to tell you, and then
he comes back with, you know, well, what do you
give me if I do?
Well, that's a lot later. Yeah, but. But so it's,
is this. This is on line 65. No.
Yes. Okay. Yes.
Yeah.
So, but just before that, she's like. She's what?

(34:07):
Yeah, yeah, there's a couple of times that's.
Yeah, that's right. Agar, Demetrius, wilt thou
give him me? That's another point where you can be
a little bit softer.
Just switch.
And then you switch to out, dog, out, curve. So,
yes, you know, you juxtapose those anytime that
you can find anything where you do that, where
you, you know, are using a different method,

(34:27):
different technique to get the information you
need, and then you.
Make it obvious suddenly.
Yeah, yeah.
all right, while we're here, Demetrius, line 63.
you hit the pronoun her, but I think you want to
go all the way to glimmering sphere for the
contrast.

(34:47):
Oh, okay.
In other words, we're not talking about anyone
else's glimmering sphere.
Didn't realize I did it. Okay.
Yeah. And then, we're at outdog. Out, Curt. So,
Maggie, you hit dog more than out, and I think you
need to hit out. And the reason I say so is the
line begins with that sound out.
Okay.

(35:08):
And it also ends with that sound in bounds.
Okay.
So you can use that.
Okay.
yeah, this is the other thing. I pray the Tell me
then that he is well, this is, line 79.
Okay.
As I was hearing you, you know, you've already

(35:30):
gone sort of back that softness. And then, you
know, it pisses you off and that, you know, that
it has to be him that's killed Lysander. Why else
would he have gone away? But I think this is kind
of a genuinely sincere statement of. I pray thee
tell me then that he is. Well, you know, just tell

(35:50):
me that he's okay, you know, even though I. You
don't know where he is, or if you don't, just tell
me he's okay, you know. And then when he comes
back with, And if I, you know, however, you know,
Michael wants to take that. But it does imply that
he sort of come. Comes into you, you know,
physically. That's what I would do, you know. And
Michael, you might want to, you know, boy, I talk

(36:11):
about.
Bear with.
Me because I get these. But you might want to come
into the camera just a little bit closer on and
you know, and take a little Sajura there. you
know, pray thee tell me what that he is well. And
if I could, you know, what should I get there for
you? Just come in a little bit closer to the
camera. And then, Maggie, you can come into the

(36:34):
camera, you know, a little bit closer. So it's. So
we get the idea that you're coming in like this
and a privilege never to see me more, you know,
and then. And then, you know, like. Like pull back
and let him have it with the. With the next part.
Okay.
Okay, good. While we're here, Maggie, line 74.

(36:55):
doubler should just be two syllables, not three.
Did I keep doing that with doubler tongue? With
doubler tongue and.
Or did it for. With doubler tongue?
Yeah, with doubler tongue.
Okay. And I want to reiterate what Jamie said
about the fierceness, because in line 84. no, 85.
Yeah, 84. Demetrius says there's no following her

(37:17):
in this fierce vein. So that means the stuff that
comes before, somewhere in what comes before the
fierceness has to appear.
Yeah. Two characters refer to your fierceness.
Both Helena does and, Demetrius.
Okay.
You know, it's the interesting, Interesting things
of what this circumstances bring out in. In all

(37:40):
of, you know, like there's. I'm going to get to
this a little later. I'll talk to. About the guys.
But with, you know, Helena, that, you know,
there's a kind of. Even though there's something,
pleasurable about the way that they talk about

(38:03):
you. Nobody's ever talked about you that way, this
way before. And so despite the fact that you
believe it's all three of them making sport of
you, there's something about, as it goes along,
that you actually get slightly more conceited. I
mean, you think of, you know, the, the tape, the
tables being turned, you know, that, Hermia, is

(38:25):
the sweet girl who can do nothing, but she's
actually quite, you know, who has all the
attention. But she's. She's actually quite fierce
and very, you know, sort of conceited. And you are
not. You're more plain, you know, because you
don't. You've never had that kind of attention.
Now you're getting all this attention and it's
getting heady, you know, I have some specifics

(38:46):
about that too. But there's something also quite,
you know, thrilling about, you know, having all
this attention, you know, so there's what.
Gideon, I was just going to say there's a way of
saying stop doing what you're doing to test
whether they really mean it or not.
Yeah, right.
In hope that maybe they really do mean it.
Yeah.

(39:06):
And they're, you know, anti or muted.
It's hard to do that without physicality.
Yeah, that's true, but.
And there's just something about the. I was
thinking about this too. About, you know, you are
the center of attention. All of their attention. I
know, really. I mean, I know Hermes going after
Lysander and wanting.
But.
But it's all about you.
So.
And that is something that's never happened. which

(39:31):
explains a little bit why you go on and on and on,
I think, why you talk a lot. Okay. here. Here's,
Lysander.
Mm.
I just want to say, while you're paused, that

(39:52):
Alexander Garrett, you brought out the rhymes
really nicely.
I'm glad. Thank you.
Talked a lot about rhymes the other day, so.
Yeah, yeah, the rhymes were great. Ah. Yeah.
Yeah.
So I just would like you to try something,
Garrett, with this. Is that, you know, why. Why
should you think that I should woo and scorn,

(40:13):
Scorn and derision never come in tears.
I'm crying, I'm weeping.
You know, there's something about, you know, How
do I. The thing about Lysander's sort of self
assurance in the beginning and that, you know, he

(40:34):
has the, Hermia's father's.
no, not that.
Ah.
Anyway, just a kind of,
What am I Trying to say self assuredness, that is,
that is shattered when we see him coming in in
tears, you know, telling Helena, I'm not, I'm not

(40:58):
making fun of you. I sincerely, desperately love
you. So I think there is something about the depth
of the emotion in this first speech that sets up
why it is that you are in such. What's happened
before you've come into the scene. So you are, you
know, really kind, of coming in devastated. You're
not understanding me. Why would I be crying? You

(41:20):
know, Please, please, you know, look, you know, I
vow, I weep and vows so born in their nativity,
all truth appears. You know this. I'm telling you
the truth. Look at me. I'm a mess.
Right.

(41:41):
Which is great because, you know, we, offset that
if you're really falling apart trying to. And,
and, and Helena comes back with. You do advance
your cunning more and more, you know, that we
offset the fact that she believes you're, you're,
you're, you're making fun of her, you know, and,
and it's not, you know, so, so does that make

(42:03):
sense? Am I making, am I articulating anything
clearly?
Yeah, I think I get it.
To play with the depth of, emotion. To play the,
Yeah, because with more sincerity in that line.
Yeah.
The more tell me if I'm, I'm hitting it on.
Yeah, yeah, yeah. I just think you can play with a
deeper sense of like, please, you know, whereas

(42:31):
Demetrius loves her, not you. Oh, yeah, that's
Lysander. yeah, here it is. it's line, 39. This is
one pronoun I think you can hit. Yes, Demetrius
loves her and he loves not you. So the antithesis

(42:55):
of her and you, you know. Okay, oh, Demetrius,
when you wake up, right, this, this is a, this is
a place where I think, you know, because Lysander

(43:16):
says he loves her and he loves not you, and you
wake up and you immediately love.
Helen.
right. So I think there's, there's value in taking
time with the, Seeing her and saying the line, oh,
Helen, just give it a little cesura. Give a little

(43:38):
beat, you know, before, you know. So we see. You
see her, we see you take her in. We see, you know,
and you're looking at a goddess and a nymph. You
know what I mean? I mean, she's divine and, and
really I want her, you know, really sex and the

(44:00):
sexiest woman I've ever seen, you know? and
throughout that speech, give yourself time to be
Inspired. So it isn't just, ah, Ah, sort of, a
fait accompli. But she is your museum. She is, you
know, suddenly inspiring you to, you know, to

(44:23):
articulate the gloriousness of her. You know what
I mean? So you're coining it in the moment.
Yeah, for sure.
How? He says how. what can I compare you with?
he's trying to find words for this amazement.

(44:44):
Yeah. I mean, it's just jaw dropping. I've never
seen anything like it. I mean, it's gobsmacked.
Pole axed, you know?
Great word.
Yeah.
Right. Right there. I just want to, suggest 142 to
143, that it's an enjambment. Michael. how. Ripen,

(45:05):
show thy lips. Do you know what I mean by
enjambment? So it runs on to the next line, so you
don't pause at the end of show.
Okay?
Follow through on the thought. And while we're
talking about enjambment, I want everybody to
listen to Angie's enjambments, because they're
just fabulous. She is a textbook example of how to

(45:31):
say an enjambed lie. Thank you.
So, one of the things also about the end of your
speech, this princess of pure white, the seal of
bliss, you know, as that speech builds in
gloriousness and, awestruckness and absolute
sincere. Never seen anything in nature like this

(45:53):
before, but it sets up the juxtaposition of O,
spite. Oh, hell, the more that speech builds, the
more we undercut it with oh, spite.
And it's the same letter. Seal of bliss ends on
all those S's, and then we get, oh, S. Spite.
Yeah.
so it just goes absolutely contrast.

(46:14):
And Angie, I think you can take just a little
pause after he finishes that speech to just take
that in and then go, Oh, yeah. And the other thing
I wrote down is that, later in this speech, the O

(46:36):
trim exploit, you know, a manly enterprise that
you can really go sarcastic with, that you can
really, like, just let it drip with. This is. Oh,
this is great, guys. Yeah.
Huh?
Uh-huh.
Yeah, you can really let that. You know that. You
know, this is. This is not. You're no gentleman. I

(46:58):
mean, this is awful. Yeah. okay, here we go.
Demetrius. Faith thou dost not know.
178.

(47:18):
Disparage not the faith thou dost not know.
Before you say it. Line 174.
Demetrius, you put in an A as a guestwise, but
there's no A guestwise is an adverb there.
Gotcha.
Do you know what I mean?
Yep.
Okay.

(47:40):
Thank you.
Sure.
You can get. I think, Michael, a lot of mileage
out of despair is not the faith thou does not
know.
Uh-huh.
Nobody has a deeper faith. Nobody is more in love
than I. You don't know what you're talking about.

(48:00):
You can really set that up.
Yeah.
Because.
Exactly. Or you're going to pay for it, you know?
You know, and to thy peril. Because this is the
first, implication of. Of a threat, you know, And.
And there's something where it just sort of drops

(48:20):
in the seriousness of this, you know, that you can
really lay that in, quite directly, quite
adamantly, you know, really, you know, don't. You
don't know what you're messing with. You don't
know what you're talking about, you know?
Yeah. Yeah.
And if you do question it, you know, your life is
on the line.

(48:40):
Yeah.
Okay.
Hermia.
Oh, yeah, here we go. Hermia's entrance. You know,

(49:13):
this is. I think this is a. This is a. For me
anyway. And, Kidding. You can. This is, to me, a
difficult transition.
Yes.
Right here. Because, you know, oftentimes you see,
you know, Hermia run in and just grab Lysander,
you know, and put her face up, you know, to him.
And, you know, and there's something. Because it

(49:36):
sort of all stops so that you can say this speech
about hearing his voice and all this stuff. and I
would like to add, I, think, an extended. I know

(49:58):
it's not in the script, so, Gideon, I don't know
how you feel that. But I would like to add an. Oh,
Dark Knight.
That.
From the eyes, you know, like, I've been
listening. I've heard his voice. Is it this way?
No, it's.
It's this way.
No, it's that.
Oh.
Oh, here he is. You know, that I hear. I hear him.

(50:18):
So we have sort of an extended O that leads into,
you know, dark night. From the eye, his function
takes the ear more quick. And I think you can
maybe, you're so grateful that you found him, that
it is almost like, what is that called? Logaria,

(50:41):
where you just. You're vomiting words, so it all
comes out in one burst.
Okay.
Now, it's really, really quick, you know, Dark
Knight from.
That.
From the eye of his function takes to the ear more
quick. It has to be clear, but it really has to be
like, oh, I'm so glad to see you. I'm so glad to
see you, you know. Why? You know how I found you?
I could hear you.
You.
You know, I think I'd like to try that anyway.

(51:04):
Okay, I'll try it.
Let me just add, to that, the four line. We talked
the other day about those four lines being kind
of,
Yeah, they were supposed to be more general, and
then she had really generalizations and platinum
science.
Uh-huh.
But I want to piggyback on Jamie by suggesting
that she's been wandering around in the dark

(51:24):
looking for Lysandra, and can't see where he is,
and suddenly she hears his voice. So she is making
herself feel better in a way. She's suddenly
excited because there's hope again for the first
time after she thought he was murdered. And now.
And she couldn't find him. So she's tying herself
to this natural phenomenon, which is like a

(51:47):
miraculous thing. Right. You can't see, but it
sharpens your hearing. That's why I've heard him.
Things are better. I'm drawn to him now by his
voice. Even though I can't see, I couldn't see
where he was. So that it generates some of the
excitement that Jamie's, talking about.
Yeah, I think that's right, because you can't.
Nobody can get a word in edgewise because it's all

(52:10):
coming out with such. It's such a relief. Go
ahead. Up until you say, sorry, Mynheer, I thank.
It brought me to thy sound, and let there be a
beat. Yeah, but why did you leave me? You know,
it's like that, you know, I still don't know why
you did that.
Yeah. This whole thing about having been murdered,

(52:32):
that's over with. She doesn't have to worry about
that anymore. He's there and she still just. She
didn't hear any of this other stuff before. She
doesn't know that.
Right.
Is there any sense possibly, that they see her
before she sees them? So as they're going like,
oh, there she is. And as she's like, oh, she's
real. You know, she's kind of real. Then she's

(52:53):
kind of walking up to it, and then when she says
this little speech, it's like she's kind of
excited, but she probably hasn't quite seen him
yet. And then when she gets to this, oh, that
sound, that's what brought me.
I've seen that done. And it does kind of work when
somebody. When you make that interest and all
three of them look at you sort of like neutrally,

(53:14):
and then you Launch. Herme. launches into this.
And, yes, it can. The only thing that we can't get
in Zoom is.
No, no. I'm just saying for my sensibilities to
kind of try to think of it that way. Okay.
Yeah. But I do think there's something in the
relief of it. And then, you know, it's like, we

(53:36):
can let that hang, that question, but why,
unkindly, does that leave me? So she just felt,
you know, Garrett can just simply. Well, because
why would I stay with you when I took me someplace
else? Why would it. You know, am I supposed to

(53:58):
have a special feeling for you?
Yeah.
Am I supposed to have it.
Care how you found me right there? Yeah.
Yeah. Just, you know, why would I. Why would I
stay?
Now, this is also my next line. I know that

(54:20):
there's a kind, of a general sense in Shakespeare
to use the questions, very, What do you call it
legitimately? but isn't there a little bit of a
sense of a rhetorical question in this for her? I
mean, because she's like, why would Lysander leave
me? Lysander's not gonna leave me.

(54:41):
He says that love. His love in the next line.
Lysander's love. So.
Well, yeah, the line later. Right.
Yeah.
But he said, why should he stay whom love doth
press to go? So that you can't understand. What if
he loves you? What love would take him away? So
you can make it a real.

(55:02):
Question, and you can make that question, you
know, like, I mean, another tactic is, you know,
sweetie, baby, honey pie, my baby, baby, baby, you
know, why would you go, you know? I mean, just
like, you know. You know, give me a kiss. It's so
good to be, you know? You know, so. So that.

(55:23):
Uh-huh. So that.
That could be, like, the beginning of what love
could press like that, you know, it's like. Well,
you know, so there's something to that about. It's
a growing, dawning realist. It takes you forever.
Yeah. It really does get it, you know?
It does take you forever, you know, to, like, put

(55:44):
it like, this is real. What?
You know?
Yeah.
Because I have a series of notes here. Like, what
the fuck are you talking about?
Right?
What are you talking about? You know, I don't get
it.
she doesn't understand. I mean, maybe you're
talking about where she, Anyway, I'm can't get.
I'm getting ahead.
No.
When I get there. but however you want to go

(56:07):
ahead. Gideon.
I just wanted to say part of that Is because this
is a result of magic, and we're all, in a sense,
in that state. How did this. How can this be? How
can this be happening? Are there fairies doing
this? Is it love juice? What's going on here? I
mean, we have that in general, and she is in the
middle of it, and she doesn't know about Puck and

(56:28):
Oberon and the flower. so it's completely
bewildering.
Well, it's not that. I mean, she missed all that
other conversation, too, so even though they're
kind of saying it, she's still coming in from.
This is. I'm just coming back to my boyfriend.
Right.
You know, can't wrap my head around this. Right.
Literally, the world is turned upside no.

(56:48):
Matter what they say.
Yeah, yeah.
Helena, let me just check real quick. I don't
know, Angie, how you feel about this, but I wrote
down low. She is one of this confederacy as a

(57:12):
bigger realization. And, you know, is there any
gloss? I know that the, one. What we have for
punctuation at the end of that line is, an accent
mark. But, Is there ever. Do you know, Gideon, in
any of the, text that you have, is there a
question at the end of that?

(57:33):
I don't think so, but I'll check. Let me look.
Well, those first three lines strike me as.
Yeah, yeah, yeah, yeah. Ah, yeah, they are. But I.
But even though they're, an aside to you, sort of

(57:57):
a spoken, subtext, still is like, she's.
Part of this.
You know?
Ah.
Just like, again, wrapping your head around low,
you know, that's why I asked if there's. If
there's any gloss that has a question mark.
I don't. I don't see a question mark. But I think,

(58:19):
I think, Angie, you can hit the she instead of the
low more. In other words, the shock is you've been
dealing with this confederacy of these guys trying
to mock you. Now she comes in, your best friend.
We're going to hear about how you're all one heart
together for all these years, and now she is

(58:40):
making one of them to make fun of you. So it can
be. It can take all the energy of recognition in
that. And she doesn't. She, Helena doesn't have
any other explanation immediate to her of why
Hermia would say that.
Yeah. And then you proceed in the rest of that

(59:04):
speech to sort of take her to school, and you talk
about your relationship with all of these
metaphors of how close you are, closer than Men
closer than any. You know, we have a bond that is,
you know, goes beyond, You know, anything else.

(59:28):
We. We grew up together. We know each other. We.
And I think there is a kind of, ah, trying to say,
a sweetness, so that it's not all, ah, an
indictment of her, but that there is a shift that
happens. and I think it's in, after. To bait me

(59:52):
with this foul. Duration is all. The counsel that
we have shared. All the time we were together, we
shared each other's deepest secrets, you know,
And, I mean, I visualize this as a moment where
you go off alone and you are sitting together and
you're. You know, how could you. You can't do this
after all we've shared, after all we've been

(01:00:13):
through, you know, so that it's. And reminding her
of how, Of just how close we were and how special
that bond was. So I think it's a. It's a, slightly
different tone that then at the end, doesn't get
necessarily too chastising, but, I mean, it's not

(01:00:33):
friendly, it's not maidenly, you know, and then.
And then a sort of, warning about it, and. She
doesn't know what you're talking about. But do you
know what I'm saying, Angie? Does that make sense?
It sounds like you're saying that Helena is really
more bemused than, absolutely sure that that's
what Hermia's up to.
I think you do, without question, suspect that

(01:00:56):
she's part of the Confederacy. You just need to
take her to school to remind her of what it was we
shared together, how long we've known each other.
We did this together. We were like this, and we
were like.
Yeah, but you're suggesting. You wanted a question
at the beginning, and now you want a softness in
it, which means that you're suggesting that she

(01:01:17):
doesn't quite believe that. What she says.
Well, yeah, I suppose what I meant by the question
is this rhetorical question. Not necessarily.
I know, but a rhetorical question is still not an
assurance.
Yeah.
Hear what I'm saying. It sounds to me like what
you're telling me is she's not quite. She doesn't

(01:01:38):
quite believe it yet.
Yeah. Yes. Yes. And if it is true, this is what
the consequences are. Our sex as well as I. We,
may chide you for it, though I alone do feel the
injury. Yeah. I mean, I think you are needing to.
You know, it is hard to believe that she would do

(01:02:01):
this based on the relationship that you have had
over these many years.
Okay, let me try.
What.
I think I understand from what you're saying.
Okay.
Can I just say something about the structure of
the speech? You sort of mentioned it, Jamie. it
starts out in accusation until the derision at

(01:02:22):
202. And then she goes into this memory of what
they've been, what they've meant to each other, in
a sense, trying to compute how these two things
could go together. And she carries us, herself and
us away and trying to persuade or remind Hermia of
what they've shared. And then it comes back to the

(01:02:43):
accusation. Will you rent our ancient love
asunder? And then she goes back to the accusation.
So the accusation sort of brackets this, This
recreation of. Of what Hermia's actions seem to be
undermining or destroying.
Yeah.
Let me just try it once with the idea that she's

(01:03:06):
trying to figure it out.
Sure. I just wanted to say at line 207, Angie.
Huh?
We, Hermia, like two artificial gods. Think of the
T in two and the T in artificial as related to
each other. So there's a. I just meant bring out

(01:03:27):
the T and the word artificial.
Okay.
We sort of swallowed it, and I think you can bring
it out, and it. It makes it more pointed. Great.

(01:03:48):
also on 223. 220. Is that right? 223. Why did I
say h. Our sex.
As well as I may chide you for it, though I alone
do feel the injury.
Yeah, sorry, I was just looking. Go ahead, Gideon.

(01:04:08):
No, I'm not in the right line, so I'll find where
it is.
Yeah, Angie.
Ah.
In, line 206.
All spiritual.
Friendship, childhood innocence, when we have

(01:04:29):
chit. The hasty foot of time for parting us. I
think maybe, there is mileage in the O. Is all
forgotten. you know, as you. As. Because that sets
you up to talk about, you know, the. Again house.

(01:04:50):
The specifics of how close you are. But. But the.
You know, it's like. I think there's something
there about. I mean, is that. Did you forget all.
Is that why. You know, have you forgotten all
this? Yeah, I think there's. You can really take
your time, you know.
That's the title.
Yeah, yeah, yeah. Oh, it's all forgot. Exactly.
Yeah.

(01:05:11):
That's good.
Oh, ancient, Ancient love. Where is that. Is that
at the end of that speech?
220.
220. Yeah, I heard that. I've heard that line a
million times, but I heard it differently this

(01:05:31):
time. And Will you rent ancient love asunder?
Ancient love. You know, it's like that's how far
back it goes. And it's not. It seems as if it's
not just the ancient love between Hermia and
Helena, but the ancient love of women together,

(01:05:52):
aside from men, away from men, you know, because
you. You mentioned that, there's something about
the depth of the love, that profoundness of the.
Of woman to woman, you know, that is beyond it. So
that you can really. That's how. That's even more
so. You know why this is so incredulous? Why it's

(01:06:12):
so, you know, like.
It's good.
I like that.
Yeah.
Okay. what's. Oh, God. I wrote down. All right,
Hermia, I. I scorn you. Not.
About this one. Where you want the emphasis.

(01:06:34):
Where is that?
225. 226.
226. Yeah. Yeah.
I scorn you not. It's okay to put it on the knot.
Yeah, I think that that is exact. Well, and also.
Yes, but also just like, what are you talking
about? You know, again? I mean, why are you

(01:06:55):
bringing up all of this stuff? And, I'm.
Why?
You know, it's like, I don't. I don't get it. I'm
not, I'm amazed at your words.
Right.
That line that we're talking about, just bring out
the stresses in the. In the regular pentameter,
and you'll hit it.
Yeah.
Scorn you not. It seems that you scorned me.

(01:07:16):
Okay.
Yeah. That's what. It's all right. Built in.
Yeah. Yeah, but that's another one.
She's not angry yet, though, right? She's just
confused.
She's consternated.
She said, I scorn you not. What? Yeah, exactly.

(01:07:36):
What are you talking about? And while she's
talking, she's remembering the sweetness, too.
She's thinking, none of this.
Ah.
Is not true.
Nothing's changed. I mean.
Yeah, yeah. Okay.
I'm trying to put it together, and it seems that
you, by saying this to me, that our sex, as well
as I may chide you for it, though I alone do feel
the injury. What are you talking about? Scorning

(01:07:59):
me? Not the other way around. I mean, it's just
like, you know, injure you.
Yeah.
Okay, I found the line with H, as I wanted to
point out. Angie. Yeah, it's, line 233, not 23.
33. Wherefore speaks he with an H. This to her. He

(01:08:21):
hates all those H's. Ah, you can use those to get
the huffiness or the, whatever. I don't know what
to call it. Exasperation. Okay. They're supporting
you in that.
Angie, this is, starting at line 230. I think you

(01:08:43):
can get some mileage out of, that he called you a
goddess and a nymph. Divine, rare and precious and
celestial. It's not just a goddess and a nymph,
but it's all those things, you know, and that you.
You know, it's.
It.
Even though you're saying he's. He's making fun of
you. But it felt pretty good. All of those things,

(01:09:06):
you know, like, you can really, like kind of.
That's heady stuff to be called a goddess and rare
and celestial. So I'm just saying you can. You
can, you know, you. You say all of them.
In other words, I absorbed all of them.
Yeah.
Yeah.
And you kind of, you know, you're giving yourself
away. That. It felt pretty good, you know, Good.

(01:09:28):
That's, If he'd meant it, I can't. I'd like to
believe it.
I'd like to believe it. And it. And he said it to
me, and, you know, he said. Demetrius said it to
me. You know, he called me a goddess. You know,
you kind of get carried away with it and, you
know, and then it's like, what, Okay, good. 240. I

(01:09:56):
really think you can be like, on, Hermia.
On.
I understand not what you mean by this. I've seen
this. I've seen this sort of thrown away, you
know, I understand not what you mean by this, but
I think this is the height of the. Of your

(01:10:17):
frustration, you know, and I think you can really
go to town on. I understand not, what you mean by,
what is going on. You know, I mean, I think you
can really, you know, let. Let it. Let that fly. I
don't know what you're talking about. You know, I
mean, it's so frustrating.
Yeah. I think it'll help to do what we said, which

(01:10:37):
is, hit, understand, stand instead of not.
I have it marked in my pages. But when we were.
When we got into the scene, I went ahead and just
did it on the screen.
Oh, the pentameter there is. The iambics are going
to help you support what Jamie's saying. And, in
the, Helena line 240, I think this U is a. Ah,

(01:11:01):
trochee. So it puts a lot of weight on the word.
On the first syllable in pity. Bum, bum, bum, bum.
I think that'll help you drive that last line.
Yeah, I think that's right. It's like you're
banging your head against a tree. You know, it's
with each. I understand not what you mean by this.

(01:11:24):
just like, I can't. So lost about what's going on
on. And it's so frustrating. Angie, on, say, line
245. Oh, you, you could play with this. I, I, I'll
throw it out, and you can, you know, but there,

(01:11:45):
There may be a little bit of sort of false
melodrama in the end of it. You know that. Because
it, it does seem a little bit just partly my own
fault, which death or absence soon shall remedy.
I'm going off. No, no.
Yeah, you did.
Yeah, yeah. You can really, you can really, you
know, sort of use that speech to play the victim,

(01:12:07):
you know.
Right.
while we're there, Angie, you said mine own fault,
but it's my own fault.
Oh, yes, absolutely.
Line 248.
let's see. I've got. 285.

(01:12:27):
Okay, hold on. 276. Oh, okay. Hermia.
276. Okay.
Yeah. 276. I think this is another trochee.
Bum, bum, bum.
bum.
Do you not jest? Is that what you mean?
We know who you're talking to, so it's not so much
the you, it's, it's the jesting that's the

(01:12:48):
shocker.
That didn't sound like it. Do you not jest?
I just. I want you to try it. I heard you say.
I thought I did just that, too.
I heard you say, do you not jest?
Do you not jest?
Yeah. So just. You have the option to do it either
way, and I want you to know that. That's all.
But she's. This is also when it's really. I mean,

(01:13:10):
finally she's starting to actually take it
seriously. Like, oh, my God.
You mean you're not joking?
Yeah. Yeah. Okay. Thank you.
and then at 280, Jamie, I don't know where you
wanted to come back in.
No, go ahead. I'm. 285 is my next.
Okay, so 280. Demetrius, you hit the. Your. I'll

(01:13:33):
not trace your word, but the antithesis is not his
word and someone else's. The antithesis is word
and bond. So it's. I wish I had your bond, which
is your guarantee, some collateral to hold,
because I don't trust your word.

(01:13:54):
Right.
Clear.
Yep.
Oh, I have a substitute for, ethiop. Ethiope.
Raven's claw.
Raven's claw.
Raven's claw. Because it's both. It's dark, and
it's also grabbing on.
That's good. Cool.

(01:14:16):
You want to try that, Garret?
That's very good.
Away you Ravensclaw. Yes.
No ethnicities maligned.
The only one I could remember was.
It's perfect because it's nature. He does that all
the time.
Yeah. Okay.
285.
Okay.
Okay.
Uh-huh.
There's a bunch of questions.

(01:14:37):
Yeah, me too.
I think this is, What did I write here? Turn on
the sexy. Sexy. Oh, you know, I mean, really work.
Oh, I see.
The thing that you. That, you know, that he loves
about you.
You know, didn't we just get it on?

(01:14:57):
I mean, you know, just, like, really, really use
that. you know. You know.
Oh, baby.
But I mean, through. Let's see.
Since night, you love me, yet since night you left
me. Why then? And then there's a shift. You left

(01:15:19):
me. You know, it's like you left me. You know, I
keep, You keep coming back to that. You keep
coming back, and now it's not. It wasn't Demetrius
who killed you. It wasn't, you know, you left me
in the woods.
In earnest. In earnest.
In earnest, shall I say? You know, you left me.
Yeah. This is when she's getting it.

(01:15:40):
She's getting it. Yeah. I mean, you're trying to
do this, and then you realize. No, wait a second.
I was left alone in the forest.
I just want to add right there that, you're
switching, R, U Not. And it's R. Not you.
Yeah, I did that every time, didn't I?
Yeah.
Looking straight at it, too.

(01:16:01):
Are. Ah.
Not you, Lysander. Are not you, Lysander.
Are not you, Lysander. Am I?
Not I. Hermia. Are not you. Okay, thank you.
sorry, I don't mean to take.
The same structure for both phrases.
Correct.
Am not I. Are not you.
Yes.
So, Garrett on, 200, 91. She says in earnest.

(01:16:26):
Shall I say, spell it out for her?
Great.
I mean, really. I mean, I would have you sort of
gradually grab her head and right in her face and
say, be out of hope, of question, of doubt. Be
certain nothing truer.
Okay.
I'm not joking, man. I hate you. And I love her. I

(01:16:51):
mean that. This is as cold as it gets. I mean,
it's just really spell it out for her, because
then she's gonna.
Turn.
And she turns on Helena.
Yeah. She's been taking so long to get the point.
Just giving every synonym you can think of for the

(01:17:14):
same thing, just all piling it up. If she doesn't
get one word, she might get another one.
So you think the reaction might be from Hermia,
just fall into a puddle of tears, you know? Well,
you know, and there is the beginning of that with
maybe the oh, me. And then a sharp turn to

(01:17:39):
absolute fierceness and really use.
You.
Juggler.
I mean, just, you know, dig into that word.
Yes.
You know, all of you, particularly you, juggler.
You canker blossom. You thief. I mean, you just
let her have it, you know?
Okay.
Because he set you up for what we think is going

(01:18:02):
to be poor. Hermia's, you know, just gonna. You
know, she's just gonna collapse and then, boom.
Helen is not going to be surprised.
No, she's seen it. She's seen it. Yeah. and the
rest of that speech just is, you know, really,

(01:18:23):
really fierce.
340.
Wait a minute.
Go ahead. Go ahead.
304 premia. Of course, when you said, why, so you
were.
Yeah, I messed up again. Come back again for that.

(01:18:44):
Yeah, you were fudging. You were. You couldn't
decide whether to really make it a question or the
statement. So I just need you to decide what you
want to do with it.
Right.
I don't think it's a question. I personally think
it's. Oh, that's the way it is. I. That way.
Aye, that kind of thing.
That's what. That's my sense. But Jamie might have

(01:19:05):
another. But whichever you do, you got to make it
clear you can't. Where are you?
Sorry.
Line 304. Puppet. Why so. Aye.
That way goes the game. So we talked about this,
Maggie and.
I. Yeah, I know, and I. And I couldn't. I could
not understand the note I wrote.
Oh, that's. So.
I was like, you know, so I'm just.

(01:19:27):
You know, the other thing is, is that the inner
id. You know, sort of that both you. We have this
wonderful speech of Helena's about how close you
were. Like two cherries with one stem. And, you
know, how. How this ancient love that we shared
and now, where it really lives, starts to come

(01:19:47):
out, you know, how you really felt about each
other, you know, how manipulative you were. You
know, that Helena thinks that Hermia was, you
know, and.
And vice versa.
And vice versa. You know, just that.
That.
That other thing is coming out, you know, so
palpably. I mean, I have in 340.

(01:20:08):
The.
sorry, real quick. Just for Angie, that. That
speech, Oh, when she is angry, she is keen and
shrewd. I mean, it just sums up in three lines
where that whole long speech you have about how
close you were. This is where, you know, in three
lines, you completely, completely dismiss all of
that.
Well, she was.

(01:20:30):
Yeah, she actually was a. Yeah. You know, so.
So there. There's a.
There's a lot of that, you know, particularly in
this section where that shifts, if. If I can. So
that, you know. Also, I. I didn't. There's not a
lot of. I haven't given a lot of notes, to,
Demetrius Lysander in the course of this. And I
think the next time that we look, I'm going to

(01:20:50):
look a little closer at it. But there is
something. I don't know if I talked about display.
Did I talk about display at all in fighting and
culture and all that?
I don't think so.
Okay, well, in all of nature and in, every,
warrior culture, there is something that's called
display. And, in certain cultures, a number of

(01:21:14):
cultures, it has to do with, the clothing that is
worn in warfare, to intimidate your opponent so
that, you seem more fierce. That's where war paint
comes from, you know, headdresses, you know, to
look more fierce than your opponent. It's a
display of power and intimidation. This is true

(01:21:35):
with animals, as well. when they, when you have
two, bighorn sheep who are going to fight, they
will circle each other and display and try and
intimidate before they attack. If you've ever been
in a bar and you've seen two guys sort of get into
a confrontation, it's usually guys. It's not,

(01:21:58):
solely, male. But you see it a lot with guys.
You'll see guys puff up.
They'Ll be.
In confrontation with each other and their chests
get real big and they do this kind of action where
they're, you know, doing this. It's sort of an
aggressive move, but not really hitting you.
That's also display. And there is a lot of this in

(01:22:21):
this scene, I think, where there is implied, I'll
kill you, you know. And, in my opinion, anyway,
most of it is actually display because neither of
you are real fighters or real killers or real, you
know, neither of you come, from that kind of

(01:22:43):
culture or come from that background. So, I just
want you to think about tactics of whenever you're
in this confrontation. I gave you one particular,
Michael, where you say you don't, understand the
faith, whatever that line is, but you know where.
And you do imply a threat, but subsequently, it

(01:23:04):
isn't until you actually go. I mean, Hermia grabs
onto Lysander. But there's something about the way
that you confront each other and throw threatened
each other, which is false. It's true in what you
say, you mean it. But the actual we don't see you
go at each other. We don't see you. You know, it

(01:23:24):
isn't until the end. And I also suspect that I'll
go with you cheek by jowl. Well, let's just see
who goes first. So there's a pause, and then you
both go at the same time, you know, or you slowly
go off, you know, because neither of you are going
to give quarter, but neither of you really want to

(01:23:46):
fight. Does that make sense?
More Benfolio than Tybalt.
Yes, yes, yes, exactly. so I would just say that
out to there. I think that's everything I have.
I got two more very brief ones. Sure. Demetrius
339. I think you want to hit. Shall try it.

(01:24:17):
No, sir, she shall not. Though you take apart.
Yeah. Try it like that and try it the other way
and see what you like.
Okay.
And then, Hermia. Ah, the last one I've got is,
let me come to her. you can hit the two. In
Shakespeare's language, to him means attack, like

(01:24:40):
siccim. So you can say it, let me come to her, but
I think it's stronger is let me come to her.
Bum, bum, bum, bum.
Yeah, I like that.
Starting with a trophy and then turn into an eye.
Yeah.
And that's actually the thing, is that the only
person who actually is violent is Hermion.

(01:25:02):
Right?
Sweetest, sweetest girl. Daddy's little girl. And
she actually tries to claw her best friend's eyes
out.
She coming for my man. I mean, come on. All bets
are off.
Yeah, I know. I get it. You know, it's like, I,
mean, that's another juxtaposition is and will you
side with men, you know, over our ancient love

(01:25:25):
And. Well, as it turns out, yes.
And so would you. And so have you. She thinks she
has.
Yeah.
I think she's done it. You did already.
So.
Yeah, I had a question. Yes, go ahead, Go ahead.

(01:25:46):
and I might have said this to you, Gideon, I'm not
sure because I didn't write anything down, but at
line 344. Because, she said, you know, she says a
little. Again, nothing but low. And why will you
suffer her to flout me thus? I mean, is that just
a vestige of her, a sense that Lysander, even

(01:26:08):
though, you know, he's told her this, she seems
like she's gotten. But this is this vestige of
thinking, aren't you gonna come in here and defend
me like that? It just seems, you know what I'm
saying? It's like, why does she ask him still for
anything?
Yeah, she. That's right.
It's just leftover. It's a leftover habit.
Yeah.
Where is chivalry? You know, where is.
Where's your. Where's your manliness defending me

(01:26:31):
from this attack? And, he has to repeat himself.
Get you gone, you minimus. You hear? He has to
call her name.
It just seems funny. Yeah, it seems funny to me
because didn't she already say, my nails can get
to you? Like she's already implied that she can
scratch this person's eyes out, but she's saying

(01:26:51):
to them, why aren't you defending me?
Yeah, I think that's exactly right. You know,
they're holding you back. They're holding you back
from killing her, you know, and then why aren't
you defending me?
Smack.
You know, like an eighth grade girl.
Yeah, I'm kind of think of it like she's a little
gymnast, you know, and so even though she's been
this little thing, it's like this, You know, this

(01:27:12):
can blow anytime.
Okay.
Thank you for that.
I think all three of them are scared to death of
you.
They're terrified.
You know, again, you know, it's just frightening,
when you finally get it and when you go off, I
mean, it's just.
Wow.
Okay.
I think Lysander's never seen this side of her

(01:27:34):
before.
Don't you forget it.
Lysander hasn't.
If there's one thing he remembers after he loses
the fairy juice, it's going to be her anger at
this moment.
No, that'll be gone.
I'll be gone.
I promise. Happy ending to this play. Yeah. Yeah.

(01:28:03):
Oh, well, what do you want to do? Do you want to
read it again or.
Or say it from memory?
Or do you want to. You want to digest it and come
back or what?
Let's read it again.

(01:28:23):
I think that's a great idea. I think that's a
great idea.
Did you actually come down for, a decision on line
304, Jamie, when she says puppet, and then why so
should be why so. Oh, what do you want? I'll try.
I can't promise sometimes what I think I'm doing

(01:28:43):
and what I'm doing aren't the same.
Well, I always think of it as the why so is like,
okay, why so. Okay, that's the way it is. I see it
now. You know, it's like, All right, all right.
Yeah, yeah, I get it now. I see.
And it can even be a question. But it means that,
like, oh, that's the way it is.

(01:29:05):
Why so.
That's right. That's right.
In other words, it's not why is this happening?
It's not why. Why is this. It's, The why is not a
question. The why is, an expostulation. But the
tone of voice can be either, oh, that's the way it
is.
Or it's where we're going. That's where you're
gonna take it? Oh, yeah. Okay.

(01:29:26):
That's where you're gonna take why so.
Or it could be, oh, that's the way it is. Like
with sarcasm.
Yeah, yeah, yeah, yeah, yeah.
Either way would be fine.
Either way is good.
It's just.
But it is a little like, I. Yeah, I see it now.
You gotta commit to it. That's, all.
Yeah, that's right. Don't throw it away. Yeah.
Okay.

(01:29:47):
I think I'm still not getting.
Well, try it. Do the line for us. Let's hear you
do it.
well, yeah. She called you puppet.
Puppet. Why?
So there you go.
Oh, that's all okay.
Yeah, yeah.
that's great.
Yeah. That's not.
Even though I can give as good as you give, you

(01:30:09):
know. You're going to call me a puppet? Well, I'm
going to call you a tall why.
So.
Okay.
Awesome.
I do apologize. I have a little bit of a time
constraint tonight. I just have to clock out at 5
till.
Oh, well, let's read as far as we can.
How's that?

(01:30:30):
Can we do that?
Sounds great. I do apologize.
No, not.
Damji's left us.
Oh, right.
Where'd Damji go?
She's not in the scene yet.
Oh, that's right. My bad.
I'm gonna enter.
I get it. I feel sorry.
she's gonna apparate into the scene. That's what
I. I gotta remember to.

(01:30:51):
Shut myself off too.
All right. Oh, why rebuke you, him that loves you
so? Lay breath so bitter on your bitter foe.
Now I but chide, but I should use thee worse, for
thou, I fear, hast given me cause to curse. If

(01:31:12):
thou hast slain Lysander in his sleep, being o'
ershews in blood, plunge in the deep and kill me
too. The son was not so true unto the day as he to
me. Would he have stolen away from sleeping
Hermia? I'll believe, as soon the whole earth may

(01:31:33):
be bored, and that the moon may through the center
creep, and so displease her brother's noontide
with the Antipodes. It cannot be but thou hast
murdered him. So should a murderer look so dead,
so grim.
So should the murdered look, and so should I,
pierced through the heart with your stern cruelty.

(01:31:56):
Yet you, the murderer, look as bright as clear as
yonder Venus in her glimmering spear.
What's this to my Lysander? Where is he? O, good
Demetrius, wilt thou give him me?
I'd rather give my his carcass to my hounds.

(01:32:17):
Out, dog. Out, cur. Thou drivest me past the
bounds of maiden's patience. Hast thou slain him
then henceforth be never numbered among men. O,
once tell true, tell true, even for my sake. Hast
thou killed him? Oh, I'm sorry. Durst thou look

(01:32:40):
upon him being awake? And hast thou killed himself
sleeping? O brave touch. Could not a, ah, worm, an
adder do so much? An adder did it for with doubler
tongue and atom, with doubler tongue than thine,
thou serpent never adder stung.

(01:33:00):
You spend your passion on a misprized mood. I am
not guilty of Lysander's blood, nor is he dead,
for aught that I can tell.
I pray thee, tell me then that he is well.
And if I could, what should I.
Get there for.

(01:33:22):
A, privilege never to see me more. And from thy
hated presence part I so. See me no more. Whether
he be dead or no, there.
Is no following her in this fierce vein here.
Therefore awhile I will remain so.
Sorrow's heaviness doth heavier grow for debt that

(01:33:46):
bankrupt sleep, doth sorrow owe, which now in some
slight measure, it will pay. If, for his tender
here I make some. Stay.
Why should you think that I should boo in scorn?
Scorn and derision never come in tears. Look, when
I vow. I weep and vow so, born in their nativity,

(01:34:08):
all truth appears. How can these things in me seem
strong to you, bearing the badge of faith to prove
them true?
You do advance your cunning more and more when
truth kills truth. O, devilish holy fray. These
vows are Hermia's. Will you give her o'?
Er?

(01:34:29):
Weigh Oath with oath, and you will nothing weigh
your vows to her and me put in two scales will
even weigh, and both as light as tails.
I had no judgment when to her.
I swore, nor none in my mind. Now you give her o'.
Er.
Demetrius loves her, and he loves not you.

(01:34:49):
Oh, Helen. Goddess.
Nymph.
Perfect, Divine. To what, my love, shall I compare
thine eye? Crystal is muddy. Oh, how ripen. Show

(01:35:11):
thy lips, those kissing cherries tempting grow,
that pure congealing white. High Taurus snow,
fanned with the eastern wind, turns to a crow when
thou hold' st up thy hand. O, let me kiss this
princess of pure white, this seal of bliss.

(01:35:35):
Bite. O hell. I see you all are bent to set
against me for your merriment. If you were civil
and new courtesy, you would not do me thus much
injury. Can you not hate me as I know you do? But

(01:35:57):
you must join in souls to mock me too. If you were
men, as men you are in show, you would not use a
gentle lady so to vow and swear and super praise
my parts, when I am sure you hate me with your
hearts. You both are rivals in love, Hermia. And

(01:36:22):
now both rivals to mark Helena a trim exploit. A
manly enterprise, to conjure tears up in a poor
maid's eyes. With your derision, none of noble
sort would so offend a virgin and extort a poor
soul's patience, all to make you sport.

(01:36:45):
You are unkind, Demetrius. Be not so, for you love
Hermia, this you know I know. And here with all
good will, with all my heart. In Hermia's love, I
yield you up my part and yours of Helena. to me
bequeath whom I do love, and will too, till my
death.
Never did mockers waste more idle breath.

(01:37:06):
Lysander, keep thy Hermia.
I will none.
If e' er I loved her. All that love is gone, my
heart to her but as guest wise sojourned. And now
to Helen. Is it home returned there to remain?
Helen, it is not so.
Disparage not the, Faith thou dost not know, lest

(01:37:28):
to thy peril thou aby it dear. Look where thy love
comes. Yonder is thy dear.
Dark night, that from the eye his function takes,
the ear more quick of apprehension makes, wherein
it doth impair the seeing sense, it pays the
hearing double recompense. Thou art not by mine
eye. Lysander found mine ear, I thank it brought

(01:37:52):
me to thy sound. But why unkindly didst thou leave
me so?
Why should he stay, whom love doth press to go?
What love could press Lysander from my side.
Lysander's love that would not let him bide. Fair
Helena, that more enguilds the night than all yon

(01:38:15):
fiery o's and eyes of light. Why seek' st thou me?
Could not this make thee know the hate I bear
thee, made me leave thee so?
You speak not as you think. It cannot be.
Lo.
She is one of this confederacy now I perceive they

(01:38:36):
have conjoined, all three, to fashion this false
sport in spite of me. Injurious Hermia. Most
ungrateful. maid, have you conspired, have you
with these contrived to bait me with this foul
derision? Is all the counsel that we two have

(01:38:59):
shared, the sisters vows, the hours that we have
spent when we have chid the hasty footed time for
parting us. Oh, is all forgot all school days,
Friendship, Childhood innocence?
We, Hermia. like two artificial gods, have with

(01:39:22):
our needles created both one flower, both on one
sampler, sitting on one cushion, Warbling of one
song, both in one key, as if our hands, our sides,
voices and minds had been incorporated. And so we

(01:39:43):
grew together, like to a double cherry, seeming
parted, but yet in union, in partition, two lovely
berries moulded on one stem. So, with two seeming
bodies but one heart. And will you rent our

(01:40:05):
ancient love asunder to join with men in scorning
your poor friend? It is not friendly. Tis not
maidenly our sex as well as I may chide you for
it, though I alone do feel the injury.
I, am amazed at your words. I scorn you not. It

(01:40:30):
seems that you scorn me.
Have you not set Lysander as in scorn, to follow
me and praise my eyes and face, and made your
other love Demetrius even but now did spring me
with his foot to call me goddess nim, divine and

(01:40:55):
rare, precious celestial. Wherefore speaks he this
to her he hates? And wherefore doth Lysander deny
your love so rich within his soul, and tender me
forsooth affection, but by your setting on, by
your consent. What, though I be not so in grace as

(01:41:22):
you so hung upon with love so fortunate but
miserable miracle most to love unloved, this you
should pity rather than despise.
I understand not what you mean by this.

(01:41:42):
I do persever, counterfeit sad looks. Make mouths
upon me when I turn my back, Wink each at other.
hold the sweet jest up. your vista port. Well,
carriage shall be quite chronicled, if you have
any pity, grace or menace. You would not make me
such an argument. But fare you well. tis partly my

(01:42:07):
own fault, which death or absence soon shall
remedy.
All right, guys, I'm sorry. I gotta.
I gotta clock out.
No, I didn't want to interrupt you guys. I will
see you when I see you.
Thank you.
bye.
Do you want to go on and have me read Lysander or

(01:42:28):
stop?
No. Sure.
Why not?
Yeah, let's just keep going so we can finish it.
That'd be great.
Stay, gentle Helena. Hear my excuse. My love, my
life, my soul. Fair Helena.
Oh, excellent.
Sweet, do not scorn her so.
If she cannot entreat, I can compel.
Thou canst compel no more than she entreat. Thy

(01:42:51):
threats have no more strength than her weak
prayers. Helen, I love thee. By my life I do. I
swear by that which I will lose for thee to prove
him false. That says I love thee not.
I say I love thee more than he can do.
If you say so, withdraw and prove it. Too quick.
Come, Lysander. Where to tends all this?

(01:43:13):
Away, you raven's claw.
No, no, we'll seem to break loose. Take on as you
would follow. But yet come not. You are a tame
man. Go.
Hang off, thou cat. Thou burr, Vile thing, let
loose, or I will shake thee from me like a
serpent.
Why are you grown so rude? What change is this?
Sweet love, thy love.

(01:43:35):
Out, tawny tartar. Out. Out. Loathed medicine. O
hated potion, hence.
Do you not jest?
Yes, aseoth, and so do you.
Demetrius. I will keep my word with thee.
I would I had your bond, for I perceive a weak
bond holds you. I'll, not trust your word.

(01:43:56):
What, should I hurt her? Strike her? Kill her
dead? Although I hate her, I'll not harm her.
So what can you do me greater harm than hate? Hate
me? Wherefore? O me. What news, my love? Am I not
Hermia?
Am not I?

(01:44:16):
Oh. Am not I Hermia? Are not you Lysander? I am as
fair now as I was erewhile since night you loved
me, yet since night you left me. Why, then you
left me. O gods forbid. In earnest shall I say I

(01:44:38):
by.
My life, and never did desire to see thee more.
Therefore be out of hope of question, of doubt, be
certain nothing truer. Tis no jest that I do hate
thee and love Helen.
Woe me, you juggler. You canker blossom. You thief

(01:45:00):
of love. What, have you come by night and stolen
my love's heart from him?
A fine, I faith. Have you no modesty? No maiden
shame, no touch of bashfulness? What will you tear
impatient answers from my gentle tongue. Fie, fie,
you counterfeit, you puppet, you puppets.

(01:45:24):
Why so? Ay, that way goes the game. Now I perceive
that she hath made compare between our statures.
She hath urged her height, and with her personage,
her tall personage, her height, Forsooth, she hath
prevailed with him. Are you grown so high in his,

(01:45:47):
esteem? Because I am so dwarfish and so low? How
low am I, thou painted maypole? Speak. How low am
I? I am not yet so low, but that my nails can
reach unto thine eyes.
I pray you, though you mock me, gentlemen, let her
not hurt me. I was never cursed. I have no gift at

(01:46:10):
all in shrewishness. I am a bright maid. For my
cowardice, let her not strike me. You perhaps may
think because she's something lower than myself,
that I can match her.
Lower. Hark.
again, good Hermia, be not so bitter with me. I
evermore did love you, Hermia, did ever keep your

(01:46:33):
counsels. Never wronged you, save that in love to
Demetrius. I. I told him of your stealth unto,
this wood. He followed you for love, I followed
him. But he hath shed me hence and threatened me.
To strike me, spurn me, nay, to kill me too. And

(01:46:55):
now, sir, you will let me quiet. Go to Athens,
will I dare my folly back and follow you no
further. Let me go. you see how simple and how
fond I am.
Why, get you gone. Who is't that hinders you?
A foolish heart that I leave here behind.
What, with Lysander?

(01:47:16):
With Demetrius.
No, sir, she shall not, though you take her part.
Oh, when she is angry, she's keen and shrewd. She
was a vixen when she went to school. And though
she be but little, she is fierce.
Little again, Nothing but low and little. Why will

(01:47:39):
you suffer her to flout me thus? Let me come to
her.
Get you gone, you dwarf. You minimus of hindering
knot. Grass maid, you bead, you acorn.
You are too officious in her behalf that scorns
your services. Let her alone. Speak not of Helena.
take not her part, for if thou dost intend, never
so little show of love to her, thou shalt aby it.

(01:48:02):
Now she holds me not. Now follow, if thou darest
to try. Whose right of, thine or mine is most in
Helena.
Follow.
Nay, I'll go with thee, cheek by jowl.
You, mistress, all this coil is long of you.
I will not trust you. Ay, no longer. Stay in your

(01:48:23):
cursed Company. Your hands than mine are quicker
for affray. My legs are. Are longer, though, to
run away.
I am amazed and, know not what to say.
Oh, that's terrific, guys. That's terrific. That
really started to pop. Yes, it really did. It was
just so fun. Michael, remind me. I have an idea.

(01:48:46):
I'll go with the cheek by jowl. I want to just
hold it, for, like, 1, 2, 3, 4, 5. And then you
both exit at the same time. If we can get you to
both leave the meeting on a beat, where you just
are frozen, looking at each other, and then go.

(01:49:07):
And then go out. We'll try and do it so you go out
at the same time.
Awesome.
That was excellent. Angie.
One.
One quick little note, in your. Your speech to, to
Hermia. and will you side with men, Whatever that
line is, but hit the men.
Okay.
You know, so we. We juxtapose women and men.

(01:49:29):
I know. I forgot the big O before the night thing,
too, by the way.
No, that's okay. Really, guys, that was so fun,
because it really started to pop. It really. The
juxtaposition of where you go, how far fierce
Hermia gets, how ugly it gets at the end. I just.
It was.
It was really fun. It really was fun.
Angie, do you have, After I say you, mistress, all

(01:49:52):
this coil is long of you. Do you have nay go, not
back?
Oh, yes.
I'm sorry.
Yeah.
Did I jump it?
yeah. I wasn't sure you jumped her lie.
That's okay.
I did not mean to.
I'm sorry.
I have a question. I have about five notes. I'm
willing to stay and give them, but if people want
to go, I can stay.

(01:50:13):
Yeah, I'm good.
I've got to go because Ursula's making dinner. I'm
the luckiest man in the world.
Can you stay for five minutes or so?
yeah, sure.
Okay.
Michael, I have one note for you as well. Just
before I go, think about how you say Helen or
Helena. What is the quality of. Of how you. That
is different, the way you say her name to any

(01:50:36):
other word. Just play with that idea. All right?
Hey, guys, I'll see you next week. Have fun.
Really fun. Really great. Well, you guys, great
work.
Bye.
bye.
Bye. Angie, just one thing. At 1:38, in my mind, I

(01:50:57):
think it just means as I think, or, to my mind.
You know what I mean? It's not that it's sitting
in your brain. It's just, none to my mind. Now,
you Give her all.
Yeah.
You know what I mean? So you're hitting mind
instead of my. And it just wasn't reading to me,
that's all. That was my only note. You were just

(01:51:21):
fabulous. I love his note.
To slow that down and find it out later was great.
It gives air to that whole section.
okay. Hermia line 321. Oh, you're taking a whole
lot of time on lower hark again. But it completes

(01:51:43):
the pentameter of the previous line. Helena's.
That I can match her. And so I have a feeling that
you. You want to jump on this lower again. Let me
add her.
You know what I mean?
Yes, I do know. She doesn't have anything after
that, but it's that idea.
Yeah. Instead of making each word lower.
Hark again.
Yeah.
Or just hark again. There she goes again.

(01:52:04):
Okay, I think that'll work. Okay, ladies, you're
free. You can welcome to stay. I want to work with
Demetrius for just a minute. we'll go backwards
from the end, because that's where I am.
Demetrius, I still want you to try hitting shall.
I'm not. I'm not going to force you, but I want
you to try it to see what it feels like in that
line.
But I will try it harder.

(01:52:26):
Let me give you the line and let me hear it again.
No, sir, she shall not. Though you take her part.
Yeah, so when you say she shall not, it's like,
it's like almost an imperative. Like I'm
determined that she shall not. It's not just
future tense. You know what I mean? M. It's like
the difference between you shall go and you will

(01:52:47):
go. Okay, and then, ah, back up at 147. at 147,
you said princess, and we want 147. this princess
of pure white, this seal of bliss. For some
reason, you said Princess. I don't know why, but I

(01:53:11):
think I can help by suggesting that, the P's in
Princess and pure are echoing. So P and P.
Princess is pure. And then the S's at the end of
Princess and seal and Bliss are all, there for a
reason. All those S's. You're raising us and
yourself into this bliss. And Helena's gonna blast

(01:53:33):
it with the same letter O. Spite. So you want to
set her up for that, Spike, you want to set her up
with the S's. You get what I'm saying? Kiss
Princess.
S's at the end of Princess, too.
So that's what I mean. You got S's at the end of
Kiss, Princess, Seal, and Bliss. But the S's come

(01:53:54):
in whether you hit the syllable or not. And I
think there's no reason to mispronounce the word.
So anyway, try it. See what you think. okay. The
first. That first speech. 84 to 89. I haven't
worked with you before, so I want to give you my
metaphor about, archery, and then I'll let you go.
In archery, if you're shooting any distance, you

(01:54:16):
got to aim up so the arrow gets to its target. If
you aim to. If you aim straight at the target, it
just plunks. Plunks down to the ground.
Shakespeare's sentences. Shakespeare's phrasing
depends on getting through to the end of the
thought. my image is that the audience falls

(01:54:37):
through a trapdoor if you put pauses in the middle
of a thought or a middle of a line. So he gives
you the pauses where he wants to. And what I was
hearing in this particular speech was a whole lot
of pauses that. That made us lose the thread. Do
you get what I'm saying? So. So I just. I. My note
is, is not to bring in a pause where there isn't

(01:54:59):
one, but go for the end of the thought and. And
see how that feels when you do it.
Okay, great.
You want to do it for me, or do you want to check?
I've actually got to get to my kids. Right.
Okay. Okay, great. So I'll see you next week.
yeah, no, that's.
You know, that's just. It's.
I'm still working through that particular one
anyway.

(01:55:19):
Okay.
it's the metaphor of the banking and the owing and
the paying and the tendering and falling asleep
and being tired at the same time.
So the tired part, there's a lot going on. So I
just think, for example, if you go from so sorrows
heavy to oh, it starts on an O and it ends on an
O, and make that one thing, then you don't have to

(01:55:41):
work as hard. That's. That's beautiful.
Yeah.
Cool.
Try it. When you work on it, try it. Having said
that, I want to say great work tonight. Really
good.
Thank you very.
Everyone else has left, but no, really excellent
work by everybody. it's been very, very enjoyable
to listen to and just to see how it continues to

(01:56:02):
grow just in these last couple hours.
It's so good tonight. Really listening to it. That
second time through was just a joy yeah,
absolutely. Good work.
All right, well, I'll talk to you soon.
Yeah, see you guys next Monday. Have a great week,
Gideon. I'm sure I'll see you a lot sooner than
that.
See you sooner than that.
All right, have a great night, Gideon.
Thanks again for doing this. Okay, talk to you.

(01:56:23):
Bye.
Bye.

All Episodes

A Midsummer Night's Dream (3.2), Week 2: "Jealousy & Confusion" - Lovers Fight | The Rehearsal Room

Episode Transcript

Popular Podcasts

Stuff You Should Know

Dateline NBC

CrimeLess: Hillbilly Heist

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}A Midsummer Night's Dream (3.2), Week 2: "Jealousy & Confusion" - Lovers Fight | The Rehearsal Room