A Midsummer Night's Dream (3.2), Week 3: "Words as Weapons" - Lovers Fight | The Rehearsal Room

Join us as we dive into the lovers fight: Helena is pursued by both Lysander and Demetrius, Hermia threatens Helena, and Lysander and Demetrius prepare to duel - from Shakespeare's A Midsummer Night's Dream.

🏁 In this session, highlights include:

➤ How to convey action through language

➤ Utilizing plosives and elongated vowels to enhance emotional impact

➤ Vocal dynamics and the use of sound to express conflict

Featuring DIRECTOR James Newcomb, DRAMATURG Gideon Rappaport, VOICE Ursula Meyer, HELENA Anne Gee Byrd, HERMIA Maggi Veltre, DEMETRIUS Michael Kirby, LYSANDER Garret Botts. With your host, Nathan Agin.

Episode Transcript

(00:00):
Well, I was, thinking about this this week, and I

(00:04):
was looking at the scene and I, you know, was
reminded, you know, and thinking about having seen
this scene in production and been in it and, and
how physical this scene is, you know, how really
physical this scene is, aside from the. The

(00:27):
language and how great and rich the language is
and the circumstances and, you know, the conflict
in the scene. But, you know, it's a really
physical scene. You know, I mean, you know, not
yet so small, but I can reach and scratch your
eyes out and she leaps and, you know, Lysander and
Demetrius oftentimes catch her, you know. So,

(00:50):
since we don't really have that. But I was just
thinking about. I was looking at some of the
things, some of the language that the guys have
and some of the things that, we might want to take
a look at based on the work that we've already
done, with the text over the last couple of weeks

(01:12):
of, seeing how we can use the language to sort of
physicalize, if that makes sense. And I was
thinking about opportunities to look for. And
Gideon, you can. You might be able to help with
this. And the idea of, plosive consonants, you
know, extended vowels that can imply movement, you
know, I'm not talking about specific movement, but

(01:35):
just like using plosive, you know, consonants,
repetitive plosive consonants as it, you know, to
really use those, you know, to imply, you know,
like you're punching somebody or, you know,
pushing somebody or, you know, throwing somebody
aside or, you know, moving around the stage in

(01:56):
angst, you know, and with a vowel and you know
what I'm saying? Does that make sense to you guys?
Yes. Batter them over the head with your
consonants.
Yeah, yeah, that, that we really use those, you
know. Where was it? Let me see if I can find.
There was one particular that made. Started me

(02:19):
thinking about this and ah, it's towards the end,
actually. There's. There's lots of them. But it
was. I think it's a line of Demetrius. And I kind
of gave the guy short shrift. I know, last week
because we didn't spend a whole lot of time
focusing on you guys because there's so much with
the women in the scene. but, And we might be able

(02:39):
to do that anyway. But let me see if I can find
this.
I've got one right at the start of Hermia's when
she says, being our shoes in blood, plunge in the
deep and kill me too.
Yeah, the.
Be the p. The deep and the Kill the K and kill are
all, you know, kind of.
Yeah, that's what Ursula. I overheard that part.

(03:02):
Ursula was talking to you, Maggie, about those
very words and how rich they are and how you can
really use those P's and K's, you know, Let.

(03:22):
Me just see if.
Were you looking at. For if thou dust intend never
so little show of love to her thou shalt abide.
No, I think it's Abay. It is a very good example.
You just hit him with that bee and Abay it.
Yeah, yeah.

(03:42):
Where?
Oh, gosh, I'm so sorry.
Oh, I just want to do it. I did this at the
Huntington when they had their Huntington
Shakespeare day once, and we did it 12 times in
one day. I did this scene, the full out, drag out,
physical knocking, fight round that. This scene is

(04:04):
12 times in one day. I have never been some more.
Well, I was never more tired before I had children
in my life as it was that day.
Yeah, I think, an opposite example, when Demetrius
is falling asleep, you can use the, sorrow, the

(04:25):
grow O sorrow, and heavier, the eh sound and the O
sound just to be kind of, After the fierce vein,
you kind of let go and you're just sinking into
sleep with those vowels.
Yeah, there's a lot of wide open vowels in that,

(04:46):
for sure.
I'm so sorry, guys. I can't. I cannot find it.
Do you have any word in mind we can look for it?
Yeah, yeah, I mean, you know, it's like pop it.
That's, you know, and then, you know, pop it, you

(05:07):
know, really pop that. You know, that P's, you
know, I mean, all of those P's and T's and, you
know, and K's and, you know, all those plosives,
you know, you can really go to town on. I think,
well, it'll come up, you know, hurt her, strike

(05:28):
her, kill her dead. All right, blah, blah, blah.
Anyway, that was what my thinking was about
something that we could take a look at in terms of
the language and really getting this to sort of,
you know, dynamically, sort of pop. It was
actually starting to do that when we did the read
through when we did last week, the second time we

(05:52):
started to go through it. Garrett, you had to
leave. I know, but, it really was starting to get
that feel to it. and I just think we can take it a
little further with the idea of action with the
word, even though we're not using action, but use
the word as an action, you know, if that if that

(06:12):
makes sense.
I got a good example for, Michael at line 178.
Nine with the P's and disparage and peril and the
B in a by. So that's a place where he can just hit
him with those plosives.

(06:34):
Well, how about if we start the first scene, you
know, I mean, just the beginning of it, you know,
read through it, and, we should commandeer.
Elizabeth to do Angie's part.
I mean.
Yeah. Hey, Elizabeth.
She'll probably be in by the time we get to her.
Yeah. Hi.

(06:56):
do you have a copy of this script?
I think I could find it.
if you give me your email, I can send you the copy
of the scene.
Well, I can just put the.
In the.
Yeah, you can just drop a link in the chat. The
folder link. Let me see if I can find that.
I want. Put it in the chat. I'm going to do it
right now.

(07:18):
Great.
Angie, we're not giving up on you, I promise.
I don't have her tied up in the closet.
is this all about Angie right now?
It's in there.
Great.
Thanks, Maggie.

(07:44):
Awesome.
Yeah, well, why don't we just launch in until
Angie joins us and, I don't know. Gideon, did you
work with. I should have asked this question
earlier, but did you work. Have you worked with
anybody this week?
not since last week, no.

(08:05):
Okay. All right, well, let's let me know.
If I've forgotten the days all come mixing
together, but I think last week, not this week.
Yes, well, shall we, just leap in and I'll take
some notes, and, if you have anything comes up or

(08:27):
you get inspired in the moment you want to go back
and run something, we can do that.
Great.
O, 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

(08:49):
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 Hermia.
I'll believe as soon this whole earth may be

(09:09):
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 so should the murdered look, and so
should I pierced through the heart with your stern

(09:29):
cruelty. Yet you, the murderer, look as bright, as
clear as yonder Venus in her glimmering sphere.
What's this to my Lysander? Where is he? Ah, good,
Demetrius. Wilt thou give him me?
I had rather give his carcass to my hounds.

(09:50):
Out, dog. Out, cur. Thou drivest me past the
bounds of maiden patience. Hast thou slain him?
Then henceforth be never numbered among men. O,
once tell true, tell true. Even for my sake. Durst
thou have looked upon him being awake. And hast

(10:13):
thou killed him sleeping? O brave touch. Could not
a worm, an adder do so much? An adder did it, for
with doubler tongue than thine, thou serpent,
never adder stung.
You spend your passion on a misprized mood. I am

(10:34):
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 therefor?
A, privilege never to see me more. And from thy

(10:57):
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 debt
which bankrupts sleep doth sorrow owe, which now,

(11:21):
in some slight measure it will pay. If for his
tender here I make some Stay.
Why should you think that I should woo in scorn?
Scorn and derision never come in tears. Look, when
I vow, I weep. And vows so born, in their nativity

(11:42):
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
Druse kills truth, O devilish holy fray. These
vows are Hermia's. Will you give her o'? Er? Weigh
oath with oath, and you will nothing. Weigh your

(12:03):
vows to her and me put in two scales will even
weigh, and both as light as tail.
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.
O.
Helen. Goddess, nymph. Perfect, divine. To what,

(12:29):
my love, shall I compare thine eyne? Crystal is
muddy. O, how ripen. Show thy lips, those kissing
cherries tempting grow. That pure, congealed
white, high Taurus snow, fanned with the eastern
wind turns to a crow when thou hold' st up thy

(12:49):
hand. Oh, let me kiss this princess of pure white,
this seal of bliss.
Spice. Oh, hell. I see you are all bent to set
against me for your merriment. If you were civil
and knew courtesy, you would not do me thus much
injury. Can you not hate me as I know you do? But

(13:09):
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
heart. You both are rivals and love Hermia. and
now both rivals to mock Helena. A. Ah, trim

(13:30):
exploit. a manly enterprise to conjure tears up at
a poor maif 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

(13:54):
yield you up my part and yours of Helena to me
bequeath whom I do love and will do till my death.
I'm here, but I can't find my place in this group
now.
Oh, good.
We're, at 171.
Yeah. You can hear me then?

(14:14):
I can hear you, Angie.
It's good to hear.
Oh, my God.
You did it.
You did it.
Thank you, Ms. Dennehy. 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, why.

(14:36):
Sojourned. And now to.
Hey, everybody. can we hold just for a second?
Yeah.
what I'd like to do is to go back to, the top
when, Helena's entrance with, Lysander. And so
that we can get. So then we can get Angie engaged
in, Of course.

(14:59):
I'm asleep.
While we're waiting. Michael.
Hm?
You're adding a. Guestwise, there's no a.
Oh, I did again. All right.
Thank you.
I mean, I keep thinking it's a guest and that's
not what it is, but thank you.
It's an adverb.
Thank you.
You're welcome. And also to. Instead of TA2, I got

(15:23):
a couple other. But, I'll wait.
Yeah.
Yeah.
Thanks, Gideon.
Yeah. Cool.
So, why don't we take. Why should you think that I
should woo and scorn, right from your line. And
Garrett, I'm just gonna. Can you just try and say
this line just for my benefit? This.

(15:46):
You tell me what you want? Yeah. What do you want?
Yeah.
Try and do this whole speech as if you're bawling.
I mean, as if you are trying. You're just sobbing.
Okay, I'll try.
Sure.
Hm.

(16:10):
Why should you think that I should woo in scorn?
Scorn and derision never come in tears.
Look, when I vow, I weep.
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?

(16:32):
You do advance your cunning more and more when
truth kills truth. O devilish holy fray, these
vows are. Hermes, 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

(16:53):
weigh, and both as light as tails.
I had no judgment when to her ice wore.
But, nor none in my mind. Now you give her o'. Er.
Demetrius loves, her, and he loves not you.
O Helen, goddess, nymph, perfect, divine. To what,

(17:14):
my love, shall I compare thine eyne? Crystal is
muddy. O, how ripen. Show thy lips those kissing
cherries tempting grow that pure congealid 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

(17:36):
of bliss.
Bright. O, help. I see you all are bent to. Just a
minute. Oh, my God. I'm trying to juggle too many

(18:03):
things at once here. just a minute.
Take your time.
Now, this other thing is betraying me, and my, my
script isn't working right. Just a minute.
M.

(18:29):
Oh, God, this is hideous.
I'm sorry.
And,
Angie, do you have a copy of the play? Just pick
up a copy of the play if you have.
I, I, I do. I don't know why this is not behaving

(18:50):
right. I've never had it Here. Here. Okay. okay,
now, Now I. Oh, Spite. Shall we start there? I'm
so sorry. Can we start at oh, Spite?
No worries.
Yes.

(19:10):
Oh, I see you all are bent as you set against me
for your merriment. If you were civil and knew
courtesy, you would not do me thus much injury.
Can you not hate me as I know you do you. But you

(19:31):
must join in souls to mock me. 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 and love Hermia. And
now, Ah, both rivals to mock Helena. A, trim

(19:54):
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 to make you sport.
You are unkind, Demetrius. Be not so, for you love

(20:15):
Hermia, this you know I know. And here, with all
good will, with all my heart and Hermia's love, I
yield you up my part and yours of Helena to me
bequeath, whom I do love, and will do till my
death.
Never did Marcus waste more idle breath.
Lysander. keep thy Hermia. I will none. If e' er I

(20:40):
loved her. All that love is gone, my heart to her
but his guestwise sojourn'd. And now to Helen is
home returned, there to remain.
Helen, it is not so.
Disparage not the faith thou dost not know to thy
peril thou aby it dear. O, look where thy love

(21:02):
comes. Yonder is thy dear.
O dark night. That from the eye whose 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 thou

(21:23):
brought 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, who more enguilds the night than all yon

(21:45):
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 do

(22:08):
perceive they have conjoined, all three, to
fashion this false sport in spite of me. Injurious
Hermia, most ungrateful maid, have you conspired?

(22:36):
Have you with these contrived to bait me with this
foul derision? That 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. Oh, is all forgot, all school

(22:59):
days, friendship, childhood innocence? We, Hermia,
like two artificial gods, have with our needles
created both one flower, both on one sampler,
sitting on one cushion, both warbling of one song,
both in one key, as if our hands, our sides,

(23:23):
voices and minds had been incorporate, so we grew
together, like to a double cherry, seeming parted
but an union impartation. Two lovely berries
molded on one stem, so, with two seeming bodies
but one heart and Will you rent our ancient love

(23:48):
asunder to join with men in scorning your poor
friend? It is not friendly. Tis not maidenly, our
sex as well as I may charge you for it, though I
alone do feel the injury.
I am amazed at your words. I scorn you not. It

(24:09):
seems you scorn. I'm sorry. I am amazed at your
words. I scorn you not. It seems that you scorn
me.
Have, ah, you not set Lysander as in scorn to
follow me and praise my eyes and face? And made
your other love, Demetrius, who even now did spurn

(24:30):
me with his to call me goddess, nymph, divine and
rare, precious, celestial. Wherefore speaks he
this to her he hates? And wherefore doth Lysander
deny your love, so rich within his soul to tender

(24:52):
me for but by yourself. setting on by your
consent. What though I've been on so many graces
you so hung upon with love. So fortunate. So

(25:14):
fortunate. So fortunate. Oh.
Age.
Manager, do we have a line?
It's me. I just can't. I just keep losing.

(25:36):
Everything conspires against me tonight. But so
hung upon with love. So fortunate, but miserable
most to love unloved. This is a pity rather than
despise.
I understand not what you mean by this.

(25:57):
I do persever, counterfeit sad looks. Make mouths
upon me when I turn my back, Wink each at other.
Hold the sweet jest up. This a support will carry.
Chubby chronicle, if you have any pity, grace or

(26:19):
menace, you would not make me such an argument.
But fare you well. Tis partly my own fault, which
death or, absence soon shall remedy.
Stay, gentle Helena, Hear my excuse. My love, my
life, my soul. Fair Helena.

(26:42):
Oh, excellent, sweet.
Do not scorn her so.
If she cannot entreat, I can compel.
Thou canst compel no more than she entreat. My
threats have no more strength than her weak
prayers. Helen, I love thee. By my life I do. I

(27:03):
swear by that which I will lose for thee to prove
him false. That says I, I love thee not.
I say I love thee more than he can do.
An't thou, say so? Withdraw and prove it too
quick.
Come, Lysander. Whereto tends all this?
Go away, you raven's claw.
Oh, no, no.

(27:24):
He'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 bur vile thing, let
loose, or I will shake thee from me like a
serpent.
Why are you grown so rude? What changes this sweet

(27:44):
Love thy love.
Out, tawny tartar. Out. Out. Loathd medicine. O
hated potion, hence.
Do you not jest?
yes, sooth, and so do you, Demetrius.
I will keep my word with thee.

(28:05):
I would I had your bond, for I perceive a weak
bond holds you. I'll, not trust your word.
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 a news, my love? Am not

(28:33):
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
the gods forbidden. In earnest, shall I say?

(28:53):
Ay, 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 Helena.
Oh, me. You juggler. You canker blossom. You thief

(29:21):
of love. What, have you come by night and stolen
my love's heart from him?
Fireface. Have you no modesty? No maiden shame? No
touch of bashfulness? What, will you tear
impatient answers from my gentle tongue? Fly. Fie,

(29:43):
you counterfeit, little puppet. You puppet.
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

(30:05):
prevailed with him. Are you grown so high in his
esteem because I am so dwarfish and so low? How
low am I, thou painted maypole? 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

(30:26):
not hurt me. I was never cursed. I have no gift at
all in shrewishness. I'm a right 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.

(30:49):
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
unto Demetrius, I told him of yourself. Unto this
wood he followed you. For love, I followed him,

(31:12):
but he hath chid me hence and threatened me to
strike me, spurn me, nay, to kill me too. now, so
you will let me quiet, go. To Athens will I bear
my folly back and follow you no further. Let me
Go. You see how simple and how fond I am.

(31:35):
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's angry, she's keen and shrewd. She

(31:58):
was a vixen when she went to school, and though
she be but little, she's 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. Made you bead, you acorn.

(32:20):
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

(32:45):
heaven?
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, I, nor longer stay in your

(33:05):
cursed company. Your hands than mine are quicker
for a fray. My legs are longer, Though to run
away.
I am amazed, and, know not what to say. What to
say.

(33:29):
This is so bizarre.
Jamie. Jamie, you're muted. Jamie, you're muted.
Sorry. There we go.
yeah. Hey, that was terrific. Under trying
circumstances.
I think I'm so basking in those consonants, I
can't tell you how happy you all have made me.

(33:50):
That was fabulous.
Yeah. I was talking, Angie, before you came on, I
started this rehearsal by talking about how
physical this scene is, ordinarily, and because we
don't have that, we need to use the words. We need
to use the language to imply action. And the way

(34:11):
we do that is a lot. Elongating vowels, using the
O's, and, the plosive consonants to sort of hit
with those, you know, And, And it was. It's just
terrific. Everybody was. Was doing that
wonderfully.
Just terrific. Terrific. I've got a bunch of
little notes, but, I'll give them when you're
ready.

(34:32):
Yeah, I have.
Go ahead, Angie.
I have a question. And that was. It occurred to
me, I think bashfulness must have had a slightly
different meaning than we give it. I mean, is it
as in abashed, that kind of bashful, as opposed to

(34:53):
shy?
where. Where is the Word coming. It's had several
meanings. But where are you?
Yeah.
Ah. Have you no modesty? No. No bashful, whatever.
Something.
Ah.
Ah, yes, yes. So there. It's. It's, It's like a
synonym for. For chaste. Modesty. Maidenly.

(35:17):
Maidenly. What's the word?
Maiden. Shame, I say. Yes.
Yeah. Shame. Or just. Just modesty. Just the not
putting yourself forward.
Yeah. Yeah. Okay.
yeah. So, I'm just gonna. I'll start because, I

(35:38):
have. I have a note on the first, sound. Michael,
it's for you. Are you still there, pal? Are you.
he walked away for just a second. He'll be right
back.
Oh, okay. All right. Well, actually, this is a
note for everybody who has an O. Who has an O,

(36:01):
particularly at the beginning line. You know,
that. I mean, I'd like to get the impression that
he's.
Oh, there we are.
Hi, Michael. Those O's are really important, and
we're sort of giving them short shrift. And I
think that we can expand them. one is, You have

(36:22):
two of them, Michael, you know, O, Helena. And the
very first O that you have. And if we could. The
very first sound in the scene. And if we could use
that O to give a sense of carrying into the scene.
So really elongate that. Okay.
I was playing with the second part of the line,

(36:44):
which is lay breath so bitter foe. So she said
something super bitter to me. And so that's what I
was playing with on this last one. Responding to a
bitter cut, like.
Oh, sort of a thing. Yeah, I get that. If you
could even, like, elongate that even.

(37:04):
Sure.
You know, Whoa. I mean, sort of like that, you
know.
Yeah, I'm happy to do it. I was just trying
something different.
Yeah. The only reason why is it tends. As opposed
to popping it as a plosive. If we use the O to
start the whole scene, it tends to launch us into

(37:27):
it, you know, because we've got a wide open vowel,
you know?
And I still think you can play that intent just by
elongating that sound.
Absolutely.
Yeah. You can be in pain. It means she's hurt you.
Yeah.
Hm.

(37:49):
Ah, my next one, the sun. this is for you, Maggie.
You sort of gave a little bit short shrift to. The
sun was not so true unto the day. And I think you
can really use sun, you know, really high point
that the sun was not so true to the day as he was

(38:11):
to me, the sun, you know? and it's A nice. Again,
a nice open vowel to close it off doesn't give the
value of, what your intention is about using.
Talking about the sun as a metaphor for his love
for you. Right. His devotion to you.
The sun is true to the day. Yeah.

(38:32):
True to the day. Yeah. Oh, Demetrius, I got one
here.
Most.
A lot of these notes you'll find Gideon. And, I'll
probably be on the same page about a lot of these
because I was really focusing on sound and using
the sound for action. There's a couple of things

(38:54):
that are, sort of quality, but are different. But,
Anyway, this one is in the rhyme of clear and
sphere.
I think you can get a little more mileage out of
sphere. Great. So you don't cut it off because the

(39:17):
clear is fairly quick. But you can really use that
rhyme and use the sphere, As yonder Venus in her
glimmering, you know.
Yeah.
I just think you can get some mileage out of that
image of what a sphere is.
I think you can lead into that by giving more on

(39:38):
glimmering. So that hard G and glimmering can lead
to the. Yeah. The bigness of the sphere.
Great. Let's see. Yeah. Here's another O. This is
for Hermia trying, to find a line.

(40:00):
Oh, once tell true. Line 70.
Oh, once. Yeah, the O.
You can.
Maggie. Oh, you know, just like a plea, like the
heavens, you know. Oh, you know, once tell true.
Because you've got an O once, you know, so you can
really use, that to come in just, you know, to
this new tactic. Just tell me the truth.

(40:27):
And with brave touch too, then. But not as much as
at the beginning of the.
Uh-huh. Yeah.
Yeah.
Exactly. Yes. Oh, yeah, this, Michael, this is for

(40:57):
you. aught that I can tell. Yeah, you can maybe
toss that off just a little bit. As far as I know,
you know.
Sure.
You know, I think that can be a little bit more of
like. As far as I know that guy's alive. You know,
I don't know where he is, but it's as I know he's
not dead.

(41:18):
Yeah.
Oh, here's. Here's another one. you might be able
to use, So sorrow's heaviness doth heavier grow.
Uh-huh.
Michael. So sorrow could be a yawn. You could, you

(41:38):
know.
Great.
because you've got that big open.
So sorrow, you know, you've got a.
Whole series of them. Sorrow, grow sorrow again.
Oh, so you can.
I mean, you could throw in a yawn anywhere you
wanted with those two. Sorrow. Oh, sorrows.
Yep.
So sorrows, you know, think about that because

(42:00):
they're big, nice and open while we're.
Right there. you said which instead of that. For
debt that bankrupt sleep does O doth sorrow O. And
the next line is which. So.
Yeah, I said. I said that.
You said which instead of that in the. In line 87.

(42:23):
And you got the next one right, so. So it was two
witches in a row, but you want a that and then a
witch.
Gotcha. Okay. Gotcha.
Yeah. Garrett, I thought that was. I thought that
was great when you did the sobbing, the crying,
sort of like weeping puppy dog thing. that really

(42:43):
worked for it. Yeah.
There was a part of me that was getting the
birdman images of like, oh, did I give you enough
range?
Good.
I'm glad it's working.
I like that a lot.
while we're there, 127. I think you just want to

(43:05):
bring out the word truth a little more. Even in
your weeping.
In their nativity, all truth appear. So I have to
be speaking true because I'm crying. You got me.
Garrett. Yes.
I was just writing it down.
Thank you.
I think, in your response when, she says, your

(43:28):
vows to her and me, put in two scales will even
weigh, and both as light as tails.
Right.
You can really. I was an idiot. I was an idiot
then. I had no judgment. I was stupid. You know,
Now I know what real love is. You know, I was. But
I had no judgment. Means I'm, I was an idiot, you

(43:50):
know, So I really think you can. You can, you
know, say I didn't know what I was doing. I, you
know, really use that. I was right, you know.
Yeah. Okay, here's. What is this?

(44:14):
I have.
Oh, yes.
so, Michael, the O in O. Helen.
You can play with it, but I think we. It can be

(44:39):
this O. Helen can be the same thing, but it can
also be. The O can be the first sight. And then
Helen identifies the goddess. You know what I
mean?
First the O is like. What is that? You know, so we

(45:03):
really use the O for the gobsmacked, you know,
like, never seen anything like it. And then. Name
it.
It's almost the theme of the speech. You've got O
there, and then you've got oh, how ripe. And then
you've got O. Let me kiss. So you've got a lot of

(45:26):
variety of O's, but they're all.
You know, it's like there's no comma, there's no
semicolon. It just says oh, Helen. But I really
always have felt, and this is just my own personal
take, that the O is the awakening. And however you
want to play it, the stunningness of the vision
and then the realization that it's Helen and then

(45:48):
what Helen is, you know, for sure. Yeah.
I'm. While we're here, Michael, in Taurus snow,
don't add the extra s because it dumps in a little
unstressed syllable we don't want so that pure
congealed white high Taurus snow. You have to mean

(46:09):
it possessive. But don't say the extra s with me.
Yeah.
Lysander.
Yeah.
this speech, I've got line 165. You are unkind,
Demetrius. Be not so. you might want to try a

(46:31):
tactic of It always seems to me like Lysander's
kind of the reasoner, the pre law student that,
you know.
Yeah.
And so the tactic here is like, you know, I know
this, you know, and we understand, both of us,
that where this lives. You know. And so, you know,

(46:54):
I bequeath Helena, Hermia. I give up Hermia to you
and let me have Helena. You know, you've always
wanted Hermia. Now you can have her and I'll have
Helena. It's just sort of like a reasoned
argument, I think, in that speech.
A reasoned formality. Reason.

(47:16):
Yeah.
Kind of like we both know where this lives. You
know, we don't have to come to blows over this. I
mean, you know, you know, and I freely give Hermia
up. you know, I freely give her to you.
Okay.
And then let, and then you let me have. You know,

(47:37):
it's a nice contract you're offering to him.
You know, this is going to work for all parties.
Yes, exactly. And then underneath that, you know,
Helena comes out and never did mocker's more idle
breath. You know. But I think it's a real
different tone in the way that you address him
about this. It's very reasonable.

(48:00):
Yeah.
And you know, I mean, you can come back to him,
Demetrius. I mean, depending on how you want to
play it. But you know, decimal. You can keep her,

(48:22):
you know. You know, you know, if I you know. So
you're explaining it to him. That's not how it's
going to work. And there it's going to remain. And
you could, you could have at the end of the speech
with there to remain A, slight implied threat.
Right.

(48:42):
Just not before that, though. Like, before that,
we're horse trading.
Yeah, yeah, yeah. This is my answer to your offer.
it's not gonna work. I love Helen. And then stay.
Alright.
It's also in this speech there's a contrast with
Lysander, because in truth, you have home returned

(49:07):
in loving Helen, Helena, because you loved her
originally till you saw Hermia's eye, and now
you're back because of the love juice to where you
should be. Whereas he is betraying Hermia, his
true love, by offering her to you. So this legal
discussion has also a division in reality as well.

(49:33):
Yeah.
Right.
And it helps to set up the thing where we're
eventually going to go, of course, is that, you
know, you're willing to kill each other. But we
don't need to go there because we'll reason this
out because we both know where it lives, don't we?
Yeah.
And it doesn't. And then, you know, you know, and

(49:57):
Helen, it is not so. But then we get into despair.
Is not the faith that thou don't. What you don't
know. Don't talk about what you don't know. You
know, you don't know how deep this goes. And in
fact, if you do, I'll kill you. You know, if you
do imply that you don't, you know, that you know

(50:18):
where this lives. I'm going to take you to task.
And it really becomes a very unveiled threat, you
know, and then suddenly, if it wasn't for Hermia
coming in, you know, what. What would happen?
Would you get. Would you go to blood? I mean,
would he stand up? You know, it has to have that

(50:40):
sort of sense. Like what?
And then.
Oh, here's. Look where thy love's come. Right,
right.
That'll solve it.
Yeah, that'll solve it. Here she is. Yeah.
Well, we're right there. Maggie, I know we're
working up the O's, but there's no O in this. Your
first line here. Dark night. I can't hear you

(51:04):
because you're muted.
Jamie asked me to add that.
Oh, he did? Okay, I take it back.
What did I ask you to add?
Ah.
Oh, yes, I did. Yes, I did.
Okay.
Oh, yeah, Angie, here's one. I've got one for you.
And it's,

(51:34):
The last thing I said was never. Did mockers waste
more idle breath.
Where is the merriment?
Oh, Ah, it's coming up, I think. Oh, no, maybe it

(51:58):
was way before.
Yeah, I think it's Way before.
Yes, it's way at the beginning.
Yeah, sorry, Yeah, I picked that up.
You know, the. Oh, spite o hell. The epiphany. You
understand that. You see that they're all bent.

(52:21):
It's for enjoyment, for entertainment. So I think
you can really hit that merriment as part of the
epiphany.
Yeah, yeah, gotcha.

(52:43):
event has a double meaning. So it means
determined, but it also means crooked.
Yeah.
So they're. They're crookedly determined to have
fun at your expense.
I'll leave that to you.

(53:08):
Okay. 178. Demetrius.
What?
Sorry, hold on a second. Oh, no, never mind.

(53:31):
Already gave it. oh, Lysander, after, Helena's.
Speech, let's see where.
Where she's going to leave.
Can you hang on one second?
Yeah, yeah, sure, sure.

(53:52):
You're skipping ahead. Angie.
Yeah.
in line 197, lo. She is one of this confederacy.
Uh-huh. Two things. One, she rhymes with
confederacy. And two, she is the sort of the theme
of the whole speech. You're talking about Hermia
and your relation to her. So I'm inviting you to

(54:16):
give a hit on the shelf rather than on the one.
I'm leaving it to you. Just. Just see if it feels
good.
Yeah.
Okay. That's me until 2:36.

(54:37):
Yeah, go ahead. Mine is. Is 2:15.
Okay. Angie, by your setting on. Oh, what though.
It's line 235.
Yes. What though I be not so great.
Yeah. So you're saying what though I be not so.
But I think what though is a single phrase. So

(55:01):
what if. So what if.
Yeah, gotcha. What though I, what though I be so.
not. What though I be. I got it.
Yeah. So you don't have to invent something for
the what. And then 254. Am I still ahead of you?
I've got one for 250.
Okay, so go.
right after she. Helena's just partly my own fault

(55:23):
with death or absence soon shall remedy. Garrett,
she's leaving. So there's an imperative with stay
gentle.
Hell no.
You know. Yeah, I think you can really, you know,
like, wait, wait, don't go. Don't go. You know,
here, let. Listen to me.
You know,

(55:46):
Don'T let her go. Don't let her go.
Demetrius, if she cannot entreat, I can compel.
you just sort of swallowed. Cannot. And almost. It
was cannot. But we're bringing out the Consonants.
And you were doing it so beautifully all the way
through. So, Gideon. Yeah, this was.

(56:07):
This was the example I was looking for at the top
of rehearsal. It was that, if thou. Thou canst. if
she cannot entreat, I can compel. Yeah, I mean,
like, really like.
But do it all through the line. Cannot. Also has a
T in it.
Yes, all of it.
And treat has two T's.

(56:29):
Yep.
They're punches.
They're. They're.
They're like, if she cannot treat, I can compel.
You know, I mean, you just pop them, you know, as
if you're popping him in the chest.
And Lysander, too, can do it on Prove it too, with
If thou say so, withdraw. 263. Prove it. Prove it

(56:51):
too.
And he can also use it on 255. Thou canst compel
no more than she entreat. You know, you can see
how it would be pushed to the chest. Pom pom, Pom
pom, You know, both of them pushing twice.

(57:14):
So, yeah, just in both of those. Those lines. She
can't. If she cannot entreat, I can compel. If
thou canst compel, thou can't compel no more than
she entreat. Both of those plosives really use
those.
and it's a chiasmus. entreat, compel, compel,
entreat. So you're echoing each other, mirroring
each other in a way.

(57:35):
Yeah. That's why I would think it would be a pop
in the chest for bump. bump, bump.
You know, right, left, left, right.
And then, you know, it's like, I'm wasting my time
with this guy. Helen needs to know just how much I
love. So there's a real shift in thy threats. Have
no more strength than her weak prayers. And then

(57:55):
back to Helen, Right. You know, and you could
probably really use to prove him false that says,
I love thee not.
Yes.
Okay.
And then you can spit the T's in. not.

(58:17):
Yeah, yeah.
The line starts with a T and it ends with a T.
And 271.
Garrett,
you've got cat burr. You know, filing. Let loose.
You know, you can. You can do it loose or I will

(58:40):
shake. You can use the shake or you can loose, you
know, I mean, you can you can really, you know,
use those words, you know, shake. Onomatopoeia,
you know, to, you know, in that. In the serpent,
you know, I don't know, play with it. Look, take a

(59:01):
look at it. And see which ones you want to, you
know, extend. Loose serpent. Both of them, you
know, shake.
That said, I have to say, in those several lines,
the consonants were coming out fabulously.
They were. They really were.
Yeah.
my next one is, like, 291.

(59:24):
All right. 279. Demetrius. here again, same thing.
perceive the p and perceive the p and the D in
bond and the T's in trust, not trust and the D
back again in word. So those are places where it
takes more time to do it that way. So it's not.

(59:48):
It's not like throwing the line away, but, in a
way, dwelling on the consonants. I'm not telling
you how to do it. I'm just saying those are the
kinds of plosives, that Jamie's talking about that
you can bring out there. Oh, yeah.
Strike her, kill. Hurt her. Strike her killer

(01:00:09):
dead, you know? Really pop those.
Yeah, pop those ones. Okay.
I'm next to 296.
Let's see, I got 291 here. Oh, I just thought the

(01:00:30):
way you came right in on the short line in Ernest.
Ell, I say I by my life. You know, your reading of
that, however you did, it was terrific because, I
mean, it just was like, nya, nyah na na na. Sort
of, you know, sort of like.
More of a mocking tactic with that one.
Yeah, yeah, yeah, yeah. It was good. Yeah. Oh,

(01:00:50):
Hermia.
Ah.
You have. Because Helena says five, you
counterfeit you puppet, you. She pops that puppet.
You know, you have to top it. And there's a

(01:01:11):
question mark there. You know, it's.
It's.
It's an exclamation point. Several of them, and a
question mark. So it has to go. You're calling me
a puppet? You, know, you can really pop that. And
then. Oh, I get it. You're gonna make fun of my
height again.

(01:01:34):
I want to go back up a couple of lines to, 296.
Maggie. Yes. Juggler is two syllables, not three.
It weakens it if you put the juggler in. So just
make it hit with two. Good.
Juggler. Juggler.

(01:01:55):
Juggler. I hit it.
Juggler. Like a juggler vein juggler.
You know, this is one. I'm just going to throw
this tactic out as a possibility, too, because you
can hit it, you know, because we're doing all
these plus plosives, but you could also say it
with venomously, through your teeth. jug, you

(01:02:22):
know, you really like you. You know what I mean?
And then it, you know, you canker blossom you
know, then you've got all those pluses, but you
can.
The.
You and juggler, you know, just you, basically.
But.

(01:02:52):
Painted maypole.
Yeah.
So you're asking her a question, right? How low am
I? You painted maypole. Leave a little sejura
before maypole, and then speak. You know, it's
like, you ask the question, she doesn't answer.

(01:03:15):
Speak.
so we really get, like. You ask the question, you
know, how low am I You painted Maple.
Speak.
with the idea that if she says anything insulting,

(01:03:35):
she's going to go after her with her nails.
Yeah, yeah, yeah, yeah, yeah, yeah. Ah, here, I'll
show you. You know?
Well, she can't win.
That's how little I am.
I'm 327. Am I ahead of you or, M. Helena.

(01:03:56):
No, go ahead.
Okay, Angie.
Uh-huh. Huh?
you're hitting all the pronouns, which works.
Okay. But I'd like you to try hitting followed the
first time and then throw it away the second time.
So you bring out the pronouns as you go through

(01:04:16):
the list. I don't know if that's clear.
Oh, yes, I see. Yes. I just discovered all the
pronouns, so I forgot the followed. Good. Thank
you.
And you don't have to hit both followed, but the
first one.
Yeah, I understand.
Yeah. Okay.

(01:04:37):
And I think, also, Angie, on that same speech.
When you get to strike me, spurn me, nature, kill
me, too.
Uh-huh.
I think you can ladder each one of the. Strike me,
spurn me, kill me. Each one of those gets worse
and worse. Right. I mean, so we hit those, and

(01:05:03):
each one building to kill.
Right?
Yeah.
And kill me, too is a direct echo of, Hermia's
earlier line. Yes. The fairies have driven them
to.
I mean, it really is. Yeah. It's just intense. I
mean, so intense. I'm at 344, Lysander. This is

(01:05:28):
the three. 40. seven, I think.
Yeah. I'm at three, four. Okay. Hermia. will you.
I'm at 344. Hermia.
Okay, I got you.
Why will you suffer her to. You didn't. You didn't
give me two. So this is another place to give me a
full two. Because of your anger.

(01:05:51):
Yes. Why will you suffer her to flout me thus?
Don't hit it. Don't hit it. Just pronounce it.
Yes.
Yeah. Because you want to hit flout.
Yes.
You want to get all the value of flout. Yeah.
Yeah. But it weakens flout if you say tough.
Yeah, yeah.
And then my. My last one's 3. 5. 3. I don't know

(01:06:13):
if that's where you are.
Oh, I've got one here. 3, 47. it's actually
Lysander's. Get you gone, you dwarf.
And then the next line. You minimus.
Minimus.
You minimus you are. That's how little you are.
Okay, Just like, leaning in, like, making her.
But you're a minimus of hindering. Knotgrass, you

(01:06:34):
know, you bead, you acorn. You know, just like,
really use that minimus.
And you can do it all through the line because M,
the N in minimus is also in hindering, and the M
in minimus is in maid at the end of the line.
Yeah, all that line can be minimizing.
Yes, exactly.

(01:06:56):
My last one is Demetrius at, 353. what's the line?
Oh, little part. Little. Give me the T's in
little. You're just swallowing the tease. And
that's a place where you can.
Oh, gotcha. Okay.
It's parallel to the minimum we were just talking

(01:07:16):
about. Now you can go never. So little.
Right.
And then. Pow. Thou shalt abide. Okay, that's my
notes.
Yeah. thou shalt abide is a real threat. Real
like, Okay, here we go. We're back to where we
were right before Helena came in. I mean, Hermia

(01:07:38):
came in.
Yeah, that's.
And you can also, Demetrius, you can really hit
follow, you know, as a question mark. I'm not
following anybody, pal. You know, I'll take you.
You follow me, I'll go with you. Right. You know,

(01:07:59):
I'm not, You know, just really use that Follow,
follow.
All right.
good, guys. So this is what I was thinking. If we
could. If we could read it through with those
notes one more time, M would be swell.
Is there any chance we can take like a two minute

(01:08:19):
break?
Absolutely.
Is that okay?
Yeah. How about take five?
I've been drinking a lot of water.
Yeah, no, let's take five.
Five, and then I think there's enough time to go
through it.
Okay.
Thank you.
Angie. That was wonderful. Even on the phone, not
being able to see you.

(01:08:40):
You totally come through.
So good.
Great. this is all so bizarre. You know, one of
the things I wanted to fix in this was figuring
out which way to look to look. Like I was looking
at the men instead of hermia, and we're not going

(01:09:04):
to be able to figure that out.
Yeah, the problem is it's configured in
everybody's computer. Differently?
Yes. So.
Oh, does it really?
Yeah, you never know who's you know, it's like now
Michael is down below on mine, the lower left, and
he was in the center.
I just got kicked off a minute ago too, and I

(01:09:24):
needed the link again.
Yeah. So then you end up somewhere different.
Can Nathan pin us?
Really the only way that comes in is if you're
doing like a live stream where basically people
are going to watch. They're not on the zoom call,
they're going to watch it somewhere. And then you

(01:09:45):
can dictate what, what the arrangement will be.
there's a couple other minor things, but really,
you know, what Jamie said is correct. You know,
everybody. Because everybody can have their
settings different if they want to hide the non
video people, if they want to show the non video
people. So, you know, you just get into too many
options.
Unfortunately, when we did Toilets, and Cressida,
I tried to do that, Angie, and it was. I didn't

(01:10:07):
realize. I learned that it was configured
differently. If you have a two person scene like
we did, in a section of Troilus and Cressida with
Troilus and Cressida, and he did a sort of kiss.
They did a kiss. Well, with two people, because
they're the only two people on the screen. You can
sort of get the sort of. You can do some physical

(01:10:29):
stuff.
But.
Yeah, I mean all the actors that have done on
camera work, I mean it's a. That similar kind of
thing of like acting, you know, going towards the
camera.
Ah.
As, you know, as opposed to being able to use the
sides, as much.
Yeah, well, I'll just look around. They'll assume.
Yeah.
Either twitchy or.

(01:10:53):
Did you want to dress in anything.
In particular.
Costume wise?
What are you talking to me?
Yes, sir.
Pajamas. Should we wear pajamas?
No, I just, you know, it's like the. It's just so
fun to hear it and to hear it start to sort of get
dynamic and you know, a texture to it. And then

(01:11:16):
every time you hear it, Giddy and I will pick
something up and go, oh, here's a little bit more,
you know, and so you're sort of like kneading the
scene, you know, and then, you know, it bakes and
you guys work and then it comes out, you know, you
can tell I've been cooking a lot of sourdough
bread. But anyway, to use that metaphor, you know,

(01:11:38):
it's like, it's just fun to see and it's, you
know, there's no right or wrong. There's no. You
know, it's just. That's what I love about it. You
can find different textures, different qualities,
different tactics, different things. If we went
through it for. For months, you know? so, no, I
don't have anything. But let's. Now that we've

(01:12:00):
done these few notes and picked these things up,
let's see where it is with, what we've got.
So no costumes?
No costumes. We can all be pantless.
I was gonna say I have some joggers. who says we
aren't?
Yeah, like I am right now.
Come stand up.

(01:12:20):
I got these. Adidas.
Yeah.
Lysander likes to wear Adidas.
I'm in solidarity with my toddler. That's potty
training. We're just. No pants in the whole house.
That's how we did it with our kid, too.
Yeah.
We just let him walk around without diapers on,
and he suddenly went, oh, this doesn't work, does
it?
That's what we're doing right now. It's been fun
for the last three days, let me tell you.

(01:12:41):
Yeah.
And it'll.
And then it'll be over.
Yeah, that's done.
I will say that you're just waking up having slept
on the ground in the woods, so you can be
disheveled. Sweet.
Maybe even have some leaves in our hair or
something.
That's my state of being.

(01:13:05):
Shall we?
I had a friend in Ashland that told me once I'm
the only person he knows that could look like he
just got out of bed all day long. Congratulations.
I don't know. I bet Charles Bukowski could have
given you a run for the money.
Yeah, I suppose. You know, he might have gotten

(01:13:26):
me. I'm, just getting. Hold on just a second,
guys. There we go. All right, let me go away.
Why rebuke you, him that, loves you so? Lay breath

(01:13:48):
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
thou hast slain Lysander in his style, being o'
ershoes in blood, plunge in the deep and kill me
too. The sun was not so true unto the day as he to

(01:14:12):
me. Would he have stolen away from sleeping
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 brothers. Noontide with
the antipodes. It cannot be, but thou hast
murdered him. So should a murderer look so dead.

(01:14:35):
So grim, so should the murdered look. And so
should I, pierced through the heart with your
stern cruelty. Yet you, the murderer, look as
bright as clear as yonder Venus in her glimmering

(01:14:56):
sphere.
What's this to my Lysander? Where is he?
Ah.
good Demetrius, wilt thou give him me? Oh, let me
do that again, please. what's this to my Lysander?
Where is he? Oh, good Demetrius, wilt thou give

(01:15:16):
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. O,
once, tell true, tell true. Even for my sake,

(01:15:40):
durst thou have looked upon him being awake, and
hast thou killed him sleeping? O brave touch.
Could not a, worm, an adder, do so much an adder
did it, for with doubler tongue than thine, thou
serpent never adder stung.

(01:16:00):
You spend your passion on a misprized mood. I am
not guilty of Lysander's blood, nor is he dead,
rot that I can tell.
I pray thee, tell me then, that he as well.
And if I could, what should I get therefore?

(01:16:21):
A privilege never to see me more, and from my
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

(01:16:44):
heaviness doth heavier grow for debt that bank,
rout, sleep, doth sorrow owe, which now in some
slight measure it will pay. If for his tender here
I make some stay.
Hm, m. Why should you think that.

(01:17:04):
I should win woo in scorn?
Scorn and derision never come in tears. Look, when
I bow, I weep and vow 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

(01:17:24):
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,
weigh oath with oath, and you will nothing weigh

(01:17:45):
your vows to her and me Put in two scales will
even weigh, and both as light as tails.
I gave 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.

(01:18:06):
O.
Helen, goddess, nymph, perfect, divine. To what,
my love, shall I compare thine eyne? Crystal is

(01:18:27):
muddy. O, how ripen, show thy lips, those kissing
cherries tempting grow, that pure, congealed white
High Taurus, snow fanned with the eastern wind
turns to a crow when.
Thou hold' st up thy hand.
Oh, let me kiss this princess of pure white, the

(01:18:49):
seal of bliss.
Hell, I see you all are bent to set against me for
your merriment. If you were civil and knew

(01:19:11):
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
men you are in show, you would not use a gentle

(01:19:31):
lady so to vow and swear and super praise my
parts, when I am sure you hate me with your heart.
You both are rivals and love Hermia, and now both
rivals to mark Helena a trim exploit. A manly

(01:19:53):
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.
You are unkind, Demetrius. Be not so, for you love

(01:20:16):
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 do till my.
Death Never did mockers waste more idle breath.

(01:20:41):
Keep thy Hermia. I will none. If e' er I loved
her. All that love is gone, my heart to her but as
guestwise sojourned. And now to Helen. Is it home
returned there to remain?
Helen, it is not so.

(01:21:02):
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.
O dark night, that from the eye his function

(01:21:23):
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 me to thy sound. But why unkindly didst
thou leave me so?

(01:21:43):
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. who more engilds the night than all yon
fiery oaths? And m eyes of light? Why seek' st

(01:22:06):
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.
She is one of this confederacy. Now I perceive

(01:22:27):
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 these contrived to bait me with this foul

(01:22:47):
derision? All the counsel that we two have shared,
the sister's vows, the hours that we have spent
when we have chid the hasty footed time for
parting us, oh, is all forgot on school days.

(01:23:10):
Friendship, childhood innocence. We, Hermia, like
two artificial gods, have with our needles created
both one flower, both on one sampler, sitting on
one cushion, both warbling of one song, both in
one key, as if our hands, our sides, voices and

(01:23:32):
minds had been incorporate. 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

(01:23:53):
heart. And will you rent our ancient love asunder,
to join with me, men, in scorning your poor
friend? It is not friendly. Tis not maidenly, sex
as well as I may chide you for it, though I alone

(01:24:14):
do feel the injury.
I am amazed at your words. I scorn you not. It
seems that you scorn me.
I do not set Lysander as in scorn to follow me and
praise my eyes and face. And made your other love,

(01:24:35):
Demetrius, who even but now did spurn me with his,
foot to call me goddess, nymph, divine and rare,
precious celestial. Wherefore speaks he this to
her he hates? And wherefore doth Lysander deny

(01:24:59):
your love, so rich within his soul, and tender me
for soothe affection, but by your setting on, by
your consent. What, though I be not so in grace as
you so hung upon with love so fortunate, but
miserable most to love unloved. This you should do

(01:25:23):
pity rather than despise.
I understand not what you mean by this.
I do. Per severe sad looks. Make mouths upon me
when I turn my back. Wink each other, hold the

(01:25:45):
sleep just up. Then the sweet bought, well
carried, 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 my own

(01:26:07):
fault which death or absence soon shall remit.
Stay, gentle Helena, hear. my excuse. My love, my
life, my soul. Fair Helena.
Oh.
Excellent, sweet.
Do not scorn her so.

(01:26:28):
If she cannot entreat, I can compel.
Thou canst compel no more than she entreat. My
threats have no more strength than her weak,
precious 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.

(01:26:52):
I say I love thee more than he can do.
If thou say so, withdraw and prove it too.
quick.
Come, Lysander, where two tends all this?
Away, you raven's claw.
No, no, he'll seem to break loose. Take on as you

(01:27:12):
would follow. Yet come not.
You are a tame man.
Go, hang off, thou cat. Thou bur, vile thing, let
loose, for I will shake thee from me like a
serpent.
Why are you grateful, grown so rude? What changes

(01:27:32):
this sweet love?
Thy love. Out, tawny tartar. Out, out, loathed
medicine. O hated potion.
Ants.
Do you not jest?
Yes, soothe, and so do you, Demetrius.

(01:27:56):
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.
what, should I hurt her? Strike her? Kill her
dead? Although I hate her, I'll not harm her.

(01:28:17):
So what can you do me greater harm than hate? Hate
me wherefore? O, me. What news, my love? Am not I
Hermia? Are not you Lysander? I am as fair now as

(01:28:38):
I was erewhile. Since night you loved me, yet
since night you left me. Why, then you left me. O,
the gods forbid. In earnest shall I say?
Ay, by my life. And never did desire to see thee

(01:28:59):
more. Therefore be out of hope of question, of,
doubt, be certain, nothing drewr. tis no jest that
I do hate thee and love Helena.
Oh, me. You juggler. You canker blossom. You thief

(01:29:20):
of love. What, have you come by night and stolen
my love's heart from him?
Fine, I faith. Have you no modesty, no maiden
shame, no touch of bashfulness? What will you
care? Impatient answers from my gentle tongue.

(01:29:41):
Fie, fie, you chung of it. You puppet, you.
Puppet. 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.

(01:30:03):
Forsooth, she hath prevailed with him. Are you
grown so high in his 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.

(01:30:25):
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'm a right maid for my
cowardice. Let her not strike me. You perhaps may
think because she is something lower than myself

(01:30:45):
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 the same that in love
unto Demetrius I told him of your stealth unto

(01:31:08):
this wood. He followed you for love I followed
him. But he hath chid me hence and threatened me.
To strike me, spurned me, nay, to kill me. Me too.
now, so you will let me quiet, go to Athens will I

(01:31:29):
bear 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 that hinders you?
A foolish heart that I leave here behind.
What, with Lysander?

(01:31:51):
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 is keen and shrewd. She
was a vixen when she went to school. And though
she be but little, she gets fierce little again.

(01:32:14):
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 be, you acorn.
You are too officious in her behalf that scorns

(01:32:36):
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

(01:33:00):
Helena?
Follow. Nay, a go with thee cheek by jowl, you,
mistress all.
Ah, this coil is long of you. Nay, go not back.
I will not trust you. I no longer stay in your

(01:33:20):
cursed company. Your hands than mine are quicker
for a fray. My legs are longer, though to run
away.
I am amazed and know not what to say.
Nice. That was fun, guys.

(01:33:45):
Just fabulous.
Really, really clear. Really, really specific.
It's just so great. do we have time for. I just
have a few notes. Do you have any Gideon?
I have seven altogether.
Yeah, I think I have the same. Hermia. 64. Where
is he? Where is he? You know not. Where is he? I

(01:34:12):
think it's. Where is he? I think that the stress
is on. He's gone. Where is he? You know, Tell you
what.
She's the one that told me to say.
Oh, she did? Ursula said that she did.
She said, where's he? She said that it. They

(01:34:33):
stress.
There we go.
whatever.
Great minds don't think it.
Two runs I think you can hit.
Where?
And that'll do it.
Yeah.
Where oh, Jesus. Yeah. You guys are crazy.
Where is he?
Say it however you want. When in doubt.

(01:34:55):
64.
64. Where's 64? Let me get to it real quick.
God.
that's the same one.
That's the same one. Same speech. A privilege. Oh,
oh, oh. When he says, and if I do, what will you
give me? Therefore? If he comes in all smoochy,
smooch, sort of, you know, can you.
81.

(01:35:16):
Yeah. Can you, Can you start the. In the same tone
as he's giving you a privilege.
Oh, okay.
And then switch it. Never to see me more. You
know? You know, you can say. You can say the whole
line.
A privilege.
Never see me more in the same tone, you know, and
then go off. But it's just nice if he's gonna come
in like that and he's gonna do that. The. That

(01:35:37):
thing, you know, that little smarmy thing, then
give it back to him. Oh, Demetrius, good O's. I
actually had an idea about starting the scene next
Monday before you come on camera with just the O.

(01:36:00):
Oh, fun. You know what I mean? So all we hear is
the O, and then you both come on. Okay. Can we try
that? I just would love to hear it out of the
darkness. Hear the O. And then.
Yeah, yeah.
And, yeah, all your O's were good. The Helen

(01:36:20):
waking up. That O and then Helen was terrific.
yeah. the reasoner stuff that I talked to you guys
about, you know, where you're making the deal with
him, and then you come back with it. No, I'm not
taking that deal. Yep, all that was great. It
just. You can tie it up a little bit.
Tighten it up some more.
Just tighten it up a little bit.

(01:36:40):
Yeah.
Okay, great.
Hermia. 225. I am amazed.
Yes.
You can really, like, just be dumbfounded because
then you. You have, I, I know not what you mean by
this. You know, is after she comes back, you know,
so, really, like, I'm befuddled. I don't know

(01:37:04):
what. What is going on. I am amazed. God, I lost
it. let's see.
Oh, oh.
287. Hermia. that's,
You left me.
Yes.
If you can you finish the line, before you get the

(01:37:26):
realization. Let me. Let me get to it real quick.
So I can get, 289.
Don't slow down on that. On that left at all I had
been going through since you left.
Yes.
It's not.
You love me yet since night. You Left me.
Okay.
Then the realization. Wait, you left me?

(01:37:48):
Yeah.
As long as this doesn't throw anybody. this is,
287.
Is that 280? No, it can't be 287.
No. 313.

(01:38:09):
but that my nails can reach unto thine eyes.
Yeah.
Can we throw in a. At the end of that so that we
really get. So that, Angie, you have something to
play off of. I pray you, though you mock me,
gentlemen, don't you, you know, let her not hurt
me. You know, so that, So that we get the idea

(01:38:32):
that you're going after her. Is that okay, Angie,
if she throws that in?
Sure.
All right.
let's see. And there was.
I have one.
I think only one more. Let me come to her at,
3:45. Another.
Ah.
You know, so that, Lysander can, respond to it.

(01:38:57):
let me come to her. Get you gone, you dwarf.
You know, even as I'm saying that, ah, he can be.
Yeah. He could just like. Yeah, like, get you
gone, you dwarf. You know, and then set that up
so. So that we come out of, like, we get the. We
have to have. I realize we have to have some sense
that you're going after her. Reaching for her

(01:39:19):
eyes, you know, Let me come to her. You know, on
stage, we would. You would be held back. We would
do all this physical stuff, but we can't do it. So
we need something vocally to do that.
Yeah. Ah, I would just add, remember that you
can't both be making sound at once, because when
anyone's talking, it cuts out everyone else.
You're right.
Yeah.
So you can let her finish, Garrett. And Angie, you

(01:39:41):
can let her finish with the.
Ah.
You know, they'd come right in. That's all I got.
Okay. I got a very few. 160. Angie, exploit A
trim. Exploit. It's stressed on the second
syllable.

(01:40:01):
Oh, okay.
Exploit. Lysander. 190. Oh, Lysander's love, fair
Helena. It's a. Fair Helena is like an appositive
to Lysander's love. It's another way of saying
Lysander's love. So that would not let him by. It

(01:40:21):
has to be a kind of interruption. Lysander's love,
fair Helena. That's what I'm talking about. You
get what I mean?
yeah.
Okay.
237. 237. What was that?
Though I'd be not. So what. Oh, Angie, I think you

(01:40:44):
can make It a trochee instead of an IM. Instead of
what, though? Try what though? I be. Just see if
you. See if you like that. Dum da da dum.
Demetrius, line 261. Yeah, I think you can hit the

(01:41:04):
pronoun here instead of the do. Do doesn't.
Okay.
Have anything to do with loving more than he can
do. Yep. and Demetrius, 267.
Oh, seem to break loose. Give us the two on
instead of tuh, too.

(01:41:27):
Okay, great.
I don't mean hit it. I just mean pronounce it.
286. Maggie, I think you can. You can bring more
out in erewhile. What you're saying is I'm just as
beautiful now as I was before, so it's the before
idea that you want to bring out, I think. Do you
know what I mean?

(01:41:47):
Yes, I think so.
Okay. And then the last one. 304. Maggie, I'm
still not getting why so. I'm still not getting
what you mean by why, so. It feels to me like
you're, falling between two stools there.
Okay, so I want to, but I want to. I want to. I'm

(01:42:10):
actually questioning it. puppet. Why so.
Okay, fine.
Now that makes sense to me. I can hear that. So I
can hear it. If you push it either way. Either why
so? Meaning question, or. Uh-huh.
Aha.
I can get either of those. But you're.
I vote for aha. Uh-huh. I would go with the

(01:42:31):
realization. Oh, that's what she's gonna do.
In which case she says she's saying the hot in two
ways. Puppet. Oh. Aha. Uh-huh. That's the way it
goes. I think, Jamie's right about that. But in
any case, which. However you do it, it's got to

(01:42:53):
be. It can't be fudge. That's it.
Those are my notes, so I'm not.
I have a.
Yes.
Is it. Is it. Am I putting too many syllables in
confederacy?
No, no, no, no. I didn't hear it.

(01:43:16):
Okay.
Oh, no. Yeah. Though she is one of this
confederacy. You can elide it, but you don't have
to. It's an, unstressed syllable, so however you
want.
Okay, cool.
I loved how you brought out the rhyme, though.
That was great.
Yeah, yeah. All the rhymes.
A lot.
A lot of the rhymes were great. Were really,

(01:43:38):
really good all the way through.
The whole performance was really exciting.
Yeah, no, it's really, it's got some great juice.
Great juice.
Yeah.
Not great juice, but great.
Juice.
Fermented grape juice.

(01:44:01):
This performance was grape juice. so, yeah,
awesome, man. anything else, Gideon?
No, that's it. That's it. That's it.
All right, guys, good work. Good work, everybody.
let's, I'll see you next Monday.
Thank you.
All right.
Good Monday.
Well, I missed your faces.

(01:44:22):
Yeah.
Miss your face, too.
Angie. What?
Can I just have you for a second? I don't want to
bug everybody.
Sure, sure.
All right, I'll see you guys.
Bye.
Yeah. Thanks, everybody. Even with all the tech
hiccups, so. Yeah. appreciate you guys hanging in
there.