Misalliance (2 scenes), Week 3: "Manners and Mayhem" - The Rehearsal Room - The Working Actor's Journey

Episode Transcript
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>> Nathan Agin (00:00):
Coming back to Shaw.

>> Erica Raltrude (00:01):
Back to Shaw, he would have loved all this.
I, it's funny because I, I, I
just a couple of things I looked
up and just made sure
that Shaw indeed
wrote the like, stage directions and things like that.

(00:21):
And I got, yeah, he was known for writing
extensive and detailed stage directions and production
notes, often including descriptions of characters,
appearances, mannerisms and
motivations, as well as specific instructions for set,
lighting and sound. So,
yeah, the clues
are fantastic because I was also rereading the play and I

(00:44):
was like, oh, yeah. Oh, and just,
it's just a fun gymnasium about
things to play with. anyway, and then
I looked up, a hey Penny
paper just to know what
it was and historical
context. It was in the 19th

(01:05):
and early 20th century. So it came out, you
know, in the, basically the Edwardian era. The
introduction of hey Penny newspapers was a significant development
in the history of British newspapers. Low price
made newspapers more affordable for working class and middle
class readers, leading to increased
readership and influence. Examples. I love

(01:25):
this. Some notable examples of hey Penny
papers include the Daily Mail, Daily
Express and Daily Mirror. So
can't blame all the really shitty fake news
on Fox. we got a Daily News
Daily, you know. Anyway, and then the impact.
The rise of the Haypenny newspaper had a

(01:45):
significant impact on the press, leading to increased
circulation and the development of more
sensational and popular journalism.
And I, it just brought back all these memories.
When I first moved here, it
was really kind of cool. Even if it was like the 25 cent
Daily News or whatever everybody

(02:06):
was reading.

Yeah.

on the subway and they'd leave their papers for
people to pick up and start reading once they got
on. It was so cool.
And books and things like that. And then
came the cell phone. I'm starting to turn into one of those
people like back in the day.

No, that's really helpful. I mean I had, I'm glad you looked
that up because I had a slight sense of like that it was a,
he was a disparaging comment. Like you got this out of your, you know, National
Enquirer kind of thing. I did look up, I, it, I think
the British pronunciation is actually hapney. I
think like, like, like 10, like 10
pence. 10 pence is tuppence and
half. Ah, half penny is hapney. I think

(02:50):
I'm pretty sure about that idea.

>> Paul Nicholas (02:52):
That's my understanding as well.

Yeah.

So it's almost like hey Penny.

That's what my grandparents would call it. Hapenny.

So do you. Are your grandparents still with
us?

Oh, no.

Oh, I'm sorry.

Oh, thank you for thinking I'm that young, but no.

Oh, well, you know, I'm going to.

Disappear off camera for a little bit, but I'm still listening.

Okay, bye. Hi, Theo.
So he is, they're doing the changing of the guard.
his wife is stepping in to take care of Theo,
who is napping at the moment, hopefully.
and Michelle is running a
little bit late. Sir.
What you guys want to talk about?

(03:35):
is there, do you have any questions like as you read these
scenes are. There are like overall questions where you're
like, I have no idea what this
is, or tone
or
speed or
anything.

I mean I, I also don't have answers to those questions,
but I don't have questions like if we were doing this
for real, I would just be like,
okay, you know, whatever the director wants, let's give it a
try.
Yeah. Yeah, that's,
it's so I haven't like, I don't have
any decisions about those things, but I also don't really have

(04:17):
questions, just open to whatever.

Today I was really,
today was kind of miffed at the idea that we're not in a
room and we can't get up physically and, and
try on the idea of being
stiffer as opposed to a little more
relaxed. Because I still
like, because I was looking at the, the

(04:40):
basically the upstairs downstairs
aspect of how things are
tiered, like for your Downton Abbey or
upstairs downstairs. You know what that
was? Because I keep thinking
about Johnny
and Hypatia in that it
started. Is my window open? It is not. That's

(05:03):
loud. Anyway, they started
out small shop.
So at what point did it, did they
start making enough money?
Because very early on, like at 13, they
stopped education for young girls because
young girls would then be sent into the workforce.

and you said Johnny and
Hypatia started out in a small shop, but
actually their dad did.

Right, their dad did.

So when they came around, was he
already successful?

Well, that would be the question that I don't think is
answered in the the play itself
because I think, I think Mrs.
Tarleton was with him on the
rise because in her
monologues about trying
to learn how to be.
And she said, you know, when I first, when we first had the money,

(06:01):
I, I thought I had to behave a certain way.
and I was appalled by actually how the
aristocracy, you know,
dealt with, one another.
Oh, I did Want to point out for Mr.
M. Johnny, it's
shortly after.

(06:25):
Where are we? Lord, Summer has some. When.
When. After. When the girls come in and stop,
Johnny from beating up,
Bentley. Which he isn't.
Come on, come on, come on, come on, come on. I thought I was at the beginning.
All right.
Sorry.

(06:46):
Ah, so, you
know, scolding him and, you know,
trying to fix Bunny and get him off the ground.
And Hypatia, says. I do declare,
Mama that Johnny's brutality makes it impossible to
live in the house with him and Johnny
deeply hurt. It's
27 years, Mother, since you had that row

(07:08):
with me for licking Robert and giving
Hypatia a black eye because she bit
me. I have no idea who Robert is. That's the only
time it's ever mentioned it's another sibling.
I promised you then that I'd never raise
my hand to one of them again. And I've never
broken my word. And now, because this
young whelp begins to cry out before

(07:31):
he's hurt. You treat me as if I were a brute and
a savage. And I
just. I do think it's interesting.
I kind of love that shop. Put that in there to
sit. I'm not. I did. I. I
promised, you know. And I kept that
promise. That idea

(07:53):
of, And I presume I can never forget if
Johnny is the eldest.

I, was. I was about to ask that question. I was also about to ask if
Robert was another sibling that is somehow
no longer around.

Oh, I think.

>> Nathan (08:10):
Oh.

Oh. Oh, I think it is because
in. Oh, Mrs.
Tarleton. Tarleton.
when she's talking about, Clarion. Will,
bear with me as we wait for our
full group?

(08:31):
I wonder whether they laugh at us when they're behind
by themselves. Who? Well, Bentley and his
father and all the other toffs in their set.
Oh, no. That's only their way. I used to
think that the aristocracy were a nasty, sneering
lot and that they were laughing at me and John.
They're always giggling and pretending not to care much about

(08:52):
anything. But you get used to it. They're the same
to one another and to everybody. Besides, what does it
matter what they think? It's far worse when they're
civil because that always means that they
want you to lend them money. And you must never do that,
Hypatia, because they never pay. How can they? They
don't make anything, you see. Of

(09:12):
course, if you can make up your mind to regard it as a
gift, that's Different. But then they generally ask
you again and you may as well say no at
first as last. You needn't be afraid of the
aristocracy, dear. They're only human creatures like ourselves after
all. And you'll hold your own with them easy enough.
And where does it say,

(09:33):
Oh, well, there's. Well, Michelle's not hearing
this so I can bring it up later. But
she talks about
The.
They put her on a committee. They put me in to get a big
subscription out of John. I'd never heard such talk

(09:54):
in my life. The things they mentioned and the. The.
It was the Martianess that started it. What
sort of things? Drainage.
She tried three systems in her castle and
she was going to do away with them all and try another. I didn't know
which way to look when she began talking about it. I thought they'd
all have got up and gone out of the room. But not a bit of

(10:16):
it, if you please. They were all just as bad as she.
They all had systems and each one swore
by her own system. But it goes down
to, I
burst out crying. I couldn't help it. It was as good as telling me
I'd killed my own child
because,
her. That was just two months after I'd

(10:38):
buried poor little Bobby.
And that was the very thing he died of. Poor little
lamb. So
that's what happened to Robert. And I wonder
if he wasn't the
baby. Baby like Johnny.
Hypatia. Robert.

(11:00):
but he died of diphtheria.
So because Hypatia is like well, you know, I'm
glad you don't do that. And she goes, oh no. From that moment
on I was in charge of all of it. To
make sure that I didn't lose another child again.
So now we know who Robert is.

(11:22):
but yes, what I was thinking about
physically is to sort
of was to play with some of the descriptions that
he had Shaw has for
the reactions like bursting with
rage and how to do it and
nice. and how physically we could differentiate

(11:43):
Johnny from Bentley.
so I'm not quite sure how we could try doing that in
zoom. But we could come up with
something together. I would.

Makes it challenging.

It really, really, really does.

So I'm ah, I'm. I'm here and listening.
I have m. An off camera baby. maybe
off, maybe maybe offline. There'll be an on camera
baby. But for the purposes of the recording
I don't have his permission to share his likeness.

Diva.

But yeah, I mean I Don't know. Like, I was thinking
a little bit about Bentley today about just,
you know, they say how he's. He kind of looks like a 70 year old,
but, or acts like a 70 year old, but looks like a 17
year old. And so I think there is probably a,
a very stiff rod up his jacket,
to some degree of like, you know, how. How he

(12:39):
walks until he's, you know, reduced to tears and
reduced to being a little baby.
and I'm not sure when Michelle can arrive, but
I'm totally fine if you want to start
working one of the scenes and just having one of the guys
do the other parts. Like, you know, you can start the Joey
Hypatia scene and have Paul Reed hiatus Hypatia,

(12:59):
or, you know, your call. I mean, we can keep doing some
general discussion or if you want to dive into the scenes,
then, you know, I'm trying to help punt,
with you, but it's your call as director.
Okay, let's vamp.

Let's vamp.
because like we did with Cymbeline, I was actually going
to try today by flipping the people to read.

Oh, yeah.

so that they could get a try of
hearing the other lines. And my idea behind this, Dylan,
is, is sometimes when you
flip it around and you end up
reading the other person's parts,
A, you realize the stuff that you're not listening
to and you're not hearing, but

(13:46):
B, getting their perspective on any
level sort of enriches what's
going on for you. But it's also just
interesting, too. I don't know. Paul could speak
to it because I made him do it.

so, I mean, I'm available to
read and certainly read the scene,
but you pick what you want to do, Erica.

All right, well, would it be too
distracting for you to read with Theo there?

I don't think so until Theo going.

To give you notes.

Yeah. Decide. Yeah. He'll be whispering in my ear like, no,
no, no, you're yelling too much. Eric has already told
you that note.

All right.
yeah, we might as well, because we're still going to be working through you boys,
right?

Sure. Yeah.

So, let's start from the top
with, Johnny and Bentley.

All right. And just. Just to be certain, I'll be reading
John Lee, Johnny and Paul Reed Bentley.
Okay.

Yeah. Well, no.

Did you not want to flip it?

Not yet.

Oh, I see. Okay.

Yeah, I think I'd rather have you on screen because we didn't get
through the whole scene if I Recall in the first
session.

I think we did get through the whole scene, the first session.
and I think we read through it quickly last, week as
well.

Well, Hypatia and Joey went quicker because it's shorter. But,
then we read it once.

Yes. Yeah, but I don't think, Yeah, I
mean, m. We certainly haven't, like, worked every part of the scene.

Yeah, that's what I'm talking about. Working it. So let's. Let's, do
that right now. We'll see where the bumps are, where we
have gotten it, get through that,
and then go from there. Hopefully, Michelle
will have joined us at this point.

Okay, cool. All right, so I'll just do. We'll read our
scene. All right, cool.

Great.

Great. I'll read as Bentley when you are
ready. Set, go.
You know what?

Let me reduce this screen so I can see you while I'm
talking. Give me
one quick second. Sorry.
Apologies.
Sorry. I should have done this earlier. Sorry. Here we

(16:06):
are.

It's okay.

Damn it, Theo, you're on.

The US Stage manager has really let us down.

All right, here we go.
Hello.
Where's your luggage?

>> Nathan (16:28):
I left it at the station. I've walked up from
Hazelmere.

Oh.

Then who's to fetch it?

>> Nathan (16:37):
Don't know, don't care. Providence, probably.
If not, your mother will have it fetched.

Not her, business exactly, is it?

>> Nathan (16:46):
Of course not. That's why one loves her for doing
it. Look here. Chuck away your silly weekend
novel and talk to a chap. After a week in that
filthy office, my brain is simply blue
moldy. Let's argue about something
intellectual.

No.
Now, seriously, Bunny. I've come
down here to have a pleasant weekend and
I'm not going to stand for your
confounded arguments. If you want
to argue, get out of this and go over to the Congregationalist
ministers. He's a nailer at arguing. He
likes it.

>> Nathan (17:20):
You can't argue with a person when his livelihood depends
on his not letting you convert him. And would
you mind calling. Not calling me Bunny. My
name is Bentley Summerhays. Would you please.

What's the matter with Bunny?

>> Nathan (17:34):
It puts me in a false position.
Have you ever considered the fact that I was an
afterthought?

An afterthought on earth, do you mean?

>> Nathan (17:43):
By that I.

No, no, stop. I
don't want to know. It's only a dodge to start an
argument.

>> Nathan (17:52):
Don't be afraid. It won't overtax your brain. My
father was 44 when I was born. My mother was
41. There was 12 years between me and the
next eldest. I was unexpected. I was
probably unintentional. My brothers and sisters are
not the least like me. They're the regular thing that you always get
in the first batch from young parents. Quite pleasant,
ordinary. Do the regular thing sort. All body and no

(18:15):
brains like you.

thank you.

>> Nathan (18:19):
Don't mention it, old chap. Now I'm different.
By the time I was born the old couple knew something.
So I came out all brains and no more body than is
absolutely necessary. I am really a good
deal older than you. Though you were born ten years sooner.
everybody feels that when they hear us talk.
Consequently, though, it's quite natural to hear me calling
you Johnny. It sounds ridiculous and

(18:41):
unbecoming for you to call me Bunny.

Does it? By George.
You stop me doing it if you can,
that's all.

>> Nathan (18:51):
If you go on doing it after I've asked you
not, you'll feel an awful swine.
At least I should. But I suppose
you're not so particular.

I'll tell you what it is, my boy. You
want a good talking to and I'm going to
give it to you. If you think that because your father's a
KCB and you want to marry my sister you can
make yourself as nasty as you please and say what you
like, you're mistaken. Let me tell
you that except for Hypatia, not

(19:23):
one person in this house is in favor of her
marrying you. And I don't believe she's happy about it
herself. The match isn't settled yet. Don't forget that
you're on trial in the office because the governor
isn't giving his daughter money for an idle man to live on
her. We're on trial here because my
mother thinks a girl should know what a man is like in the house before she marries

(19:44):
him. That's been going on for two months now. And
what's the result? You've got yourself thoroughly
disliked in the office. And you're getting yourself to
thoroughly disliked here. all through your bad manners and your
conceit and your damned impudence. You
think clever.

>> Nathan (20:00):
That's enough. Thank you. You don't
suppose I hope that I should have come down if I had known that
that was how you all feel about me.

No, no, no. Don't run away.
I'm going to have this out with you. Sit
down. Do here.

>> Michelle Schultz (20:20):
Ah.

That's the advantage of having more body than brains,
you see. It enables me to teach you manners.
And I'm going to do it too. You're a spoilt young
pup and you need a jolly good licking and if
you're not careful, you'll get it. I'll see to it next time
you call me a swine.

>> Nathan (20:37):
I didn't call you a swine. But you
are a swine. You're a beast. You're a brute. You're a cad.
You're a liar. You're a bully. I should like to wring your
damned neck for you.

Try it, my son.

M.

Fighting isn't in your line. You're too
small and you're too childish. I
always suspected that your cleverness wouldn't come to
very much when it was brought up against something solid. Some
decent chap's fist, for instance.

>> Nathan (21:09):
I hope your beastly fist may come up against a mad bull
or a prize fighter's nose or something solider than
me. I don't care about your fist. But if
everybody here dislikes me,
Well, I don't care.
I'm sorry I intruded.

I didn't know.

>> Nathan (21:28):
Oh, you beast.

You pig.

>> Nathan (21:30):
Swine. Swine. Swine. Swine. Swine.

All right, my lad, all right.
Sling your mud as hard as you please. It won't stick to
me. What I want to know is this.
How is it that your father, who I suppose is the
strongest man England has produced in our time.

>> Nathan (21:47):
You got that out of your halfpenny paper. A lot you know about
him I.

Don'T set up to be able to do anything but
admire him and appreciate him
and be proud of him as an Englishman.
If it wasn't for my respect for him, I wouldn't have stood your cheek
for two days, let alone two months. But what I
can't understand is why he didn't lick it out of you when you were a
kid. For 25 years he kept a place twice
as big as England in order. A place full of seditious

(22:13):
coffee coloured heathens and pestilential white
agitators in the middle of a lot of savage tribes.
And yet he couldn't keep you in
order. I don't set up to be half the man your
father undoubtedly is. But by George, it's lucky for
you you were not my son. I don't hold
my own father's views about corporal punishment being
wrong. It's necessary for some

(22:36):
people. And I'd have tried it on you until you first learned
to howl and then to behave yourself.

>> Nathan (22:42):
Yes, Behaviour wouldn't come naturally
to your son, would it?

Now, you keep a civil tongue in your head.
I'll stand none of Your snobbery.
I'm just as proud of Tartleton's underwear as you are
of your father's title and his KCB and all the rest of
it. My father began in a
little hole of a shop in Leeds no bigger than
our prime, no bigger than our pantry. Down the passage

(23:07):
there he once.

>> Nathan (23:09):
Oh, yes, I know. I've read it. The Romance
of Business or the Story of Tartan's
Underwear. Please take one. I took one
the day after I first met Hypatia. I went and bought half
a dozen unshrinkable vests for her sake.

Well, did they shrink?

>> Nathan (23:28):
Oh, don't be a fool.

never mind whether I'm a fool or not. Did they shrink?
That's the point. Were they worth the
money?

>> Nathan (23:35):
I couldn't wear them. Do you think my skin's as thick as
your customers hides? I'd as soon have dressed
myself in a nutmeg grater.

Oh, pity your father didn't give your thin skin a
jolly good lacing with a cane.

>> Nathan (23:48):
Pity you haven't got more than one
idea. If you want to know. they
did try that on me once when I was a small
kid. A silly governess did it. I
yelled fit to bring down the house and went into convulsions
and brain fever and that sort of thing for three
weeks. So the old girl got the sack
and serve her right. After that I was let

(24:11):
do what I liked. My father didn't want me to grow
up a broken spirited spaniel. Which is
your idea of a man, I suppose.

Jolly good thing for you that my father made you come into the office and
shoe what you were made of. And it didn't come to
much. Let me tell you that when the governor
asked me where I thought you ought to be. You
ought where we ought to put you. I
said. Make him the office boy. The governor said
you were too green and so you were.

>> Nathan (24:39):
I dare say so. Would you be pretty green
if you were shoved into my father's scent? I
picked up. I picked up your silly business in a
fortnight. You've been at it 10 years and you haven't
picked it up yet.

Don't talk rot, child. You know you
simply make me pity you.

>> Nathan (24:57):
Romance of business indeed. The real
romance of Tartan's business is the story that you
understand anything about it. You never could explain any
mortal thing about it to me when I asked you see
what was done the last time. That was the beginning
and the end of your wisdom. You're nothing but a
turnspit A what?
A turn. Spit. If your father hadn't made a roasting jack for

(25:20):
you to turn, you'd be earning 24 shillings a week behind a
counter.

If you don't take that back and apologize for your bad manners,
I'll give you as good a hiding as ever.

>> Nathan (25:30):
Help. Johnny's beating me. Oh, murder.

Don't. Don't be a fool.

Stop that noise, will you?

I'm not going to touch you.
Well done. Well done.
And Theo, put. Put in a couple of
awesome. Awesome. Yeah.

Also, he also disappeared magically.

Does he actually exist?

It was just me all the time.

Yeah, I.
I was thinking this time through a couple of
different things.
You guys have the lucky slash unlucky
job as the first scene of building the
story, right? So there's expositional
moments that need to be absolutely clear without

(26:15):
thudding us over the head.

Sure.

So there are moments,
like this whole story about
purchasing the shrinking vests.

>> Nathan (26:28):
Right?

The romance. The leaflet. The romance.

excuse me, excuse me. The non. Shrinking
vests.

Oh, God.

Thank you.

I stand corrected. Thank you. Young
Tarleton,
Bentley's, birth story
about explaining why people think he's
old on the inside, but young on the outside.
His whole coming along thing,

(27:04):
no, brains, nobody. So, he saw when he launches
it. My father was 44. My mother was
41. I was unexpected
and setting up
in a way. It's the antithesis sort of idea with.
We do with Shakespeare.
my brothers and sisters, they're not like me at all.
They're regular. The normal is what is. But I am

(27:26):
this, this, this, this, this. No brains,
nobody. And while it's also the,
the expositional, it's the way to just, you know,
you're telling your story. It is something that we definitely
need to clock.

Sure.

Our ears are getting used to Shaw at the beginning as
well. It's fun, fun
responsibility.

And I've been really. I've
been having a little challenge with that speech because he
ends that whole thing with consequently, though,
it sounds fine for me to call you Johnny. It sounds
ridiculous for you to call me Bunny.
So
is he launching into that story for an

(28:06):
intellectual argument that he wants at the top,
that he says he wants at the top? Like, hey, why don't we talk about
this? Or, I want
to have you thought about this? Because
I just asked you not to call me,
Bunny, and you don't really seem to
care about that. So this is my
roundabout way of getting

(28:28):
to. This is why it sounds ridiculous for you to Call
me Bunny. Does that make sense? Am I making sense?

No, no, no. I totally get it. yeah, because I was thinking about this in a way,
these are the moments where you can. I wanted to
work some of his passive aggressiveness
so, you know, don't be afraid. It won't overtax your
brain. You know, that it's something that sort of, you know, I'll
just put this here, you know, you're going to be fine,
you idiot. My father was 44. You

(28:55):
know.

Got it. Okay. Okay.

Easily. But I think it is his way of
trying to create a greater status over Johnny.

Okay.

Without pulling class, he's
relying on, My intellect
is clearly far
superior to yours.

So it's just, it's just such a
fascinating word choice of afterthought. Because
he's. It sounds like
it's going to be an argument. It sounds like it's going to be a debate of something
like, you know, this philosophical, like, you
know,
But it ends up being, you know,

(29:36):
and this is why, you know, I'm. I'm
older than you.

It. Yeah. It's funny because when I first heard it, I thought, is he.
Is he trying to like make Johnny feel sorry
for him when he first says afterthought?

Right. Yes. Yeah.

And I'm like, is he trying to pull a sympathy card?
I'm not sure here. but. So I think we should try
it a couple of different ways to
see, how it goes. If,
M.
And is this the. Has, has he ever
done this before? Has he ever had

(30:14):
to put anybody in their place or.
Because also the way he said. Have you ever considered the fact that I was an
afterthought? And it's. Afterthought. Right,
sorry. Afterthought.

>> Nathan (30:26):
Ah, afterthought.

Yeah, yeah, yeah.

an afterthought.

and I just looked it up because, you
know, always helps to be crystal clear on this
stuff. What he's referring to is
my, you know, I was unplanned.
Right. And my
parents just, you know, had sex
and my mom got pregnant.

Yeah.

And. And they, they weren't expecting it, but
they are, but they.

Quite unusual. 41 year old woman
done for 10 years and sure.
Bang.

Yeah, yeah, yeah.

So it wasn't. Yeah. So unexpected.
And I guess afterthought being.
Oh, shit, this was not in their realm of
thinking.

>> Nathan (31:14):
Right.

And abortion was, was not a, consideration. It
just, you know. Yeah.

And since she didn't think she could get pregnant, I would
imagine I, I would imagine it Was too late,
too. She probably would
be showing pretty proud, you know, thinking
at first she's losing weight or she's gaining weight and
she's not feeling good. Why would you think it was a
pregnancy?

(31:40):
I would say. Oh, before he launches into. With an
afterthought, Johnny, just keep plowing
through with, afterthought. What do you mean
by that? And just a quick.
Bentley's about to launch. No, no, no.
I don't want you to go there. Just think of it
like one sentence. You're just going to keep

(32:00):
moving through that.

You've given me a launching pad of, What do you mean by.

>> Nathan (32:04):
Oh, good.

Yeah, exactly.
So. And for Johnny, a lot of it
is about the business, trying to make the point
about the business. Did the vest shrink?
No. What are you talking about? I'm trying to make a point
about product and understanding

(32:27):
the business and,
sending it up that way. And I,
M.

Do you think he's. Do you think Johnny is
detaching that
from their
argument, or is it attached to the argument? Is it
a part. Is it all part and parcel of the
argument they're having?

Let me look.
Yes, I tried it on you till
you first learned to howl and then to behave yourself
because. So we go from capital punishment. Was
what I would have done if I'd been raising you.
Yes. Behavior wouldn't come

(33:16):
naturally to your son. Contemptuously,
stung into sudden violence. Here's a question I
want you to think about, because I have a feeling he would have
broken his promise to his mom if they hadn't come out and stopped
it. I have a
feeling Bunny is the kind of guy

(33:37):
who can get under your skin so bad
that that's it, you know,
and finally does it, you know?
that that would be my idea. you know, and he said,
I'm just as proud of Charlton's underwear as you are of your father's
title in his. Casey B. Now,

(33:57):
my father began in a little shop.

Right.
So. So when he says they.
The. Well, what I'm trying to say is they didn't
shrink, did they? Am I. Am
I saying this is why
I'm proud of him, or
is it. Oh, by the
way, let me forget what we're arguing

(34:23):
about right now. You said you bought a pair. I. I
am constantly, concerned
with whether or not we live up to our advertising.
So tell me, did they shrink, or is this. That's what I'm
saying. Is this a separate thing, or is it all part of the same
argument.

I, I this moment has,
It's a little like talking to a teenager when they're like, I
know this happened, this happened, this happened, this
happened. And it's coming back with,
okay, you know so much.
Did they shrink? You know,
he's making the point about business. If you
think you know what you're talking about, you really

(35:01):
don't. So if you're going to say to me that
because you read the pamphlet, you understand our
business, so here's a business
lesson for you
that we have made money off of all these
years. Did it work?
And it did. And I understand that about
business.

Okay, that makes sense.

You know what I mean?
Couldn't wear them. Pity your father didn't give you a thin skin
a jolly good lacing the story
about
Bentley. Pity you haven't had.
Got one more idea. more than one idea, if you
want to know. They did try that on me once when

(35:47):
I was a small kid. Now here's.
Is this true?

I, I think it is. And I think he's rather
proud of this.

Yeah.

and it's just like, oh, you know, okay, you want, you know,
you think you're going to teach me some manners? Well, guess, guess what, the
joke's on you. They already tried that, and
it didn't work.

Right. And is it. I believe that
this, this happened. but is he
glossing this at all?

M. Interesting.

Making a little shiny because I'm like, three weeks.
He was Brain fever. You know,
it's like how stories you've been telling your whole life suddenly
get a little bit more detailed with things
that they or may not.

Right? Yeah, that's a good point.

but, I mean, I,
I.

There, there's, someone I know who worked for
a doctor and raised. Helped raise two
kids, kind of a nanny situation.
And, the kids were one
way with her, and then just like a total kind of
terror with the dad because I think he just couldn't
control them. Like, not that she was the nanny was

(36:58):
mean, but she just established boundaries. And
I think I get the impression that,
you know, even though, Summer Hayes, you
know, ruled this country, at home, he's just like, I, I don't know what to do. Like,
I, I don't know how to control this kid. Like,
he says it too.

He's like, I can, I can handle this. And they're
savages and they're blah, blah, blah, blah. But
my kid, Bentley, yeah.

My other ones, they would listen to me, like, I didn't have to do
much. They just. They just feared me or respected me.
Bentley didn't do that. And I'm just. I don't
know what to like. I don't know how to make him
not do what he wants to do.

Yeah. How do I fix this?

But yeah, I. In terms of, like, if there's any
embellishment,
I mean, certainly as a kid, he had his own, like, kind of
understanding of how things were going. Like, it was his
perspective of like, oh, yeah, I was running the house and blah, blah, blah,
blah. But, I don't. Yeah, it's a good question.

And the idea of,
How much of. Are the moments that you actually enjoy telling
the story?

Oh, yeah, sure.

And bitch got the sack. Well.

And I think. And I even, I. I seem to recall, like,
his, like, using kid there is like a
very kind of slangy term, I think.
Like, I don't think it's. It's something that was
normally used.

Which one? What state?

Well, when he says. He says when I was a small kid, like, the fact
that he, like. I think that's just. It's kind
of a turn of phrase that was maybe newer or just used in
different classes or whatever that picking.

Up this stuff from Hypatia.

Maybe that. And also I think he kind of.
He might enjoy, like, oh, I was a. You know, I was a small
kid, or there's some kind of derision or
whatever. I think he's using that word. there's
some. Obviously there's some reason behind the fact that he picks up.
He's not like, you know, when I was a small child, he could have said small child,
which I think would be more kind of fitting with what he's saying. But he

(38:57):
says small kid.

Yeah.

And, you know. Or like, you know, I. You know, I was.
I was just a kid and I could still run the house. So
there.

Yeah. Yeah,
yeah, yeah. He's. Yeah. His
language is. Is very interesting.
I just.

And he. And he says, my father didn't want me to grow up a broken spirited
spaniel. Now that's his interpretation of.

Ah.

It. His dad was probably like, no, I would have preferred you
to be a broken spirited spaniel.

Yeah. Yeah. And behave yourself, because you don't.

Yeah.

You know, off. the words are being used like his antics and
his behavior. And Bunny just
doesn't.

Which is. Which is a great setup by Shaw because, you
know, I'm painting this picture of, you know, my father was. Was
great and he supported me. And then you. We meet Summer Hayes and he'
Ah, what do I do with this kid?

Yeah, yeah. Has no idea.

Yeah.

well, and also he probably doesn't for the other ones because the
nannies probably raise the other kids.

Right, right, right. Yeah.

And they're brought into the room to say good night to
father.

Yeah.

M. But,
jolly good thing for you that my father made you come into the
office and show what you were made of.
And it didn't come to much. Let me tell you
that when, the governor asked me where we
ought to put you, make him the office boy, the governor said you were
too green. And so you were. So this is. Was

(40:24):
me. Here she is.

Hi, Michelle.

This was where I went the deep dive in terms of,
Because I was trying to figure out what an office boy would have done at this
period. And if again, like,
like the hapenny that
is it, like saying that's the
lowest job, that's the kid who empties out the
trash, that's the kid who, you know, in

(40:49):
our day and age would get hazed, that kind of a
thing. And even that job is too
much. Tarleton thought that job was too
much.

Oh, is that what office boy meant? Okay.

I think so. That's what I was. I was
trying to find, because, you know, the guy who'd
have to run to the deli and get the coffees and,
you know, that kind of a thing.

Right, because I have, like many actors say, I'm
not qualified for anything else. So, you know, it's like
Bunny is qualified to,
you know, talk. Talk a big game, and that's about
it.

Do you think this is Bunny's first
engagement?

Yeah. To be married? I, would. I would think so,
yeah.

Yeah.

And I. I would assume he fell pretty hard.
Like, I. I don't know. I don't know how many girlfriends.
Like, I don't even know if he's had girlfriends or, or,
you know, whatever. Maybe, maybe he's been on dates,
like chaperoned or, or arranged or, or
whatever. But, Or like talking to a
girl party or something. Yeah.

Is this, is this his first job, you think?

Oh, yeah, yeah, yeah, I think so.

Yeah.

And I think. And I don't think he really takes that
seriously either.

you know, I think he probably thinks that once. That once
the ring is on, he's going to be that
guy who lives off his wife's money
from dad.

Well, that or, Well, you know,
I'm so chummy with, Tarleton that he'll just give me the business,
you know, like, and then. Then I'll. I'll just run it. But,
like. But he doesn't. You know, even if he has that idea of, like,
running, like, he doesn't know what that means. He just thinks
I'll be in charge. Like, of course I would be put in charge.

The little. Makes me think of the family, the Bluth family from
Arrested Development.

Yeah. Yeah, He's a little bit of
bus. A little bit of buster. Yeah, he's a little bit of
buster.

Yeah. The last one to show up.
Surprise. and with Bentley, in response
to. Ah.
sorry. with
Bentley, in response to it, if I would find moments where you're a
little defensive because the
way, like, the way Bentley can get under Johnny's

(43:15):
skin, I think Johnny.
And that some of the things that you say earlier in the monologue
about. Well, you want to know the truth? Nobody
likes you. I don't even think
Hypatia does. I think
Johnny could enjoy that because
I finally had it. Now let this little
weasel have it. and,

(43:37):
well, talking about. You were talking about looking up afterthought. I was
looking up romance, because here's a
sentence that I admittedly don't
totally get. So. Romance of, business,
indeed. The real romance of Tarleton's business
is the story that you understand anything
about it. So in this

(43:57):
context, the real romance, is
it,
like, romance is an imaginary, wonderful thing and
magic happens in a romance?

Or is it fantasy?

Or fantasy. and so
the real fantasy, of Tarleton's business is a
story that you understand anything about it?

Yeah, I mean, I. And this may
be the obvious part of it, like,
the pamphlet, I think, is
titled, like, you know, read about this amazing, you know,
this beautiful story, of how Tarleton
built this empire, this underwear empire.
and, you know,

(44:42):
this.
Not fantasy, but like, this. This story,
this, you know, the room,
like, romance. How am m. I trying
to explain this?

yeah, this is where I got stuck.

The romance of business. It's the. The allure
of it, like, the.

>> Nathan (45:01):
The.

The, The allure of it, like, the. The,
I'm not finding the right words, but I
think. I think what he's saying
is. Yeah, that. That's not
the story. The story of this empire,
the story of Tarleton's, underwear empire, of how he built.

(45:23):
That is nothing compared to the fact that you
even understand how it works.

Right. But I'm, I was Wondering how he ties
that insult with romance
into it. And I like the idea of it being
like fantasy lie. It's an
interesting juxtaposition to say the romance
of business, you know,
that. That works together somehow with Tarleton because

(45:49):
of also who Tarleton is and how he is.
but then. Yeah, and then the. The. It's
going to be like a little bit of a Shakespeare sentence for
you to deliver it, you're going to have to understand completely what you're
talking about.

Right, right, right, right.

and. Or make the decision about what you're
talking. about how you interpret that.
so, I think I had one.
So as the scene builds, when is it hard for Johnny to
stop himself
from launching at that kit?

Well, that's a good question. There's one
that's in the text.

Yeah.

Where he says he gets in a bit of rage.
I'm trying to find it.

Ah, there's one. Oh, there's
one about Bentley.

it's when he's. It was. It's when he calls him a turn spit.

I think.

I'm searching for it, but I think it's when he calls him a turn spit
that,

I think that's the final one.

Yeah, that's really. That really gets him going.

Yeah. And I. It's interesting because now it's not
about intelligence, what the insult
is about. The
insult. haven't really been hitting with. You
don't know the business either. You know, you know the kind of
stuff. What an insult to
say. Your father had to build
this in order to give you

(47:29):
something to do and feel good about
it. Dad built the
roasting jack so you could be a turn
spit.
that.

Ouch.

Yeah, you.
I mean, it's. It's so
I think, like. Okay, I wanna. Where are
we at? We're at 902. Hi, Michelle,
before you go, before you.

Get off this scene.

Yeah. Oh, I'm not. M gonna. Yeah, yeah.

And poor Dylan hasn't said a word yet,
so I know you're gonna get off the scene, but,
speaking of looking things up,
shoe is just an
old way of spelling and
saying show. My question is,
is Johnny. Do we know. We

(48:21):
don't have a dramaturg, but do we know if in 19.
Oh, whatever this was,
do we know what version of the word shoe
show they were using?

We might have one.

Okay. One thing to know.

Johnny picking. Is Johnny choosing this, that.
That form of the word to make a
point?

No, no.

George Bernard Shaw was sort of like Henry
Higgins. He
actually developed a phonetic
Alphabet so that he could
more. More
accurately transcribed speech
if, there's an edition of Androcles and the
lion that is written in this

(49:09):
alphabetics.
He had very particular ideas and
somewhat occasionally,
eccentric about how
things were spelt.
One of them was S, H, E,

(49:29):
W for show.
It's just a Shavian spelling.

So he would. He would use it this way every time.

Yep. Every play it.
If you look, it should. It. It should say pops.

Huh? up. Yeah.

Yeah.

Okay, good.

Interesting. Interesting. Although. Although this is the only
time it catches my ear. Just the one time.
Huh?

I think Johnny says it a couple times at least.

>> Nathan (49:54):
Okay.

Yeah.

But, yeah, it's just a trick
of. An eccentric trick of his spelling.

Okay.

It is not meant to, as
far as I know, to indicate any
particular.

Like sending up an accent or, something like, you
know, if Bentley sends him, oh, I'll shoe
you and then he'll shoo
you.

Yeah, yeah.
It's just the way Shaw spelled that word.

Boy, I could go on a deep dive with that.

before we get too far from romance, I
looked it up. You know, just the simplicity of
doing that. and I think, by and large,
we probably all think of it as one of the definitions, which
is, you know, the love story, whatever. But
another definition is an
extravagant story or account that lacks
basis in fact.

(50:54):
So I think this perfect
romance of business, like, oh, this, you know, grand
tale that is not. Has anything to do with
reality. And it's like, you know, you know, the real,
you know, extraordinary, story is. Is that
you, you know, you. You know, any of this, you know,
like, you understand any of it. So I. I think I. I think.
Yeah, I think it's probably just a little meaning that we've just kind of lost

(51:17):
over the years.

So when working on this scene,
look at the level of insults and how
they are. How the
gradient curve, you know, happens when they
get. And they become less clever and a little more direct
and, ah, a little more pointed. As a result,

(51:40):
when it becomes personal, it's when it stops being
a comedy and. And for them
and. And be the thing that finally
gets Johnny to be, like my promise
to my mom, you know,
and, you know, Bentley,

(52:01):
I think, looking at Bentley. Why does Bentley do
this?
Why does Bentley risk this?
Do you know what I mean? Why does he keep touching the hot stove?
is this his way of getting attention? Is this his
way of, response?

I mean, he's been hurt. Like, he's been genuinely
Hurt. and so, I mean, there could be a sense of
lashing out to some degree,
that he's not entirely thinking clearly.

>> Nathan (52:33):
I mean, he's also a child.

Like, he's a child. he doesn't,
you know, he acts like he's
a refined adult, but he's.

>> Nathan (52:42):
He's a kid.

Yeah. he might be intellectually very
smart, but socially
he's.

Right. Not picking up cues.

Yeah.

yeah, because. And I think he. He's to some degree
assumes, well, this guy isn't going to hit me.
But even if he does, I, you
know, I can scream louder. Loud enough to get everybody to come
in.

Right.

Like, he won't actually hurt me. which is
why, you know, when he throws him into the chair, it's just like, you know, like,
yikes. What's. What's going on here?

Yeah, so,
I would love to read through it again, but we can
do that at the end, seeing how this.
How we go with y'all scene.

Do you want. Do you want us to. Can we. Can we read
it now? Or do you want to read it at the end?

Yeah, actually, yeah, with all of this in mind, if
you two do not mind. and
here's what I want in this read
through. And even if it takes you a beat,
I really want to hear.
I was saying to Paul and Dylan earlier,
it's. It's too bad that we don't have a

(53:50):
physical space where we're up on our feet. Or we could really
physically manifest and
see play, you know, over the top physicality or
whatever, just to get a sense of it in there.
so we got to use our words.

Right? Right, Right, right.

So,
pointedness.
go for the insult.
arch. if you're being passive
aggressive, lean into that.
and, yeah, let's,
let's, let's go for

(54:27):
that. Okay, M. That's at all helpful.
Okay. Have fun.

Hello. Where's your
luggage?

>> Nathan (54:52):
I left it at the station. I walked up from
Hazelmere.

Oh, and who's to fetch
it?

>> Nathan (55:01):
Oh, no, don't care. Providence, probably. If
not, your mother will have it fetched.

Not her business exactly, is it?

>> Nathan (55:09):
Of course not. That's why one loves her for doing
it. Look here, chuck away your silly
weekend novel and talk to a chap. After
a week in that filthy office, my brain is simply blue
mouldy. Let's argue about
something intellectual.

No, now seriously,
Bunny, I've come down here for a
pleasant weekend and I'm not going to stand your
confounded arguments. If you want to argue, get out of this and go
over to the Congregationalist
ministers. He's a nailer at arguing.
He likes it.

>> Nathan (55:43):
You can't argue with a person when his livelihood depends
on his not letting you convert him. And
would you mind not calling me Bunny? My name is
Bentley Summerhays, which you please.

What's the matter with Bunny?

>> Nathan (55:56):
It puts me in a false position. Have you
ever considered the fact that I was an afterthought?

An afterthought? What do you mean by
that? Stop. I
don't want to know. It's only a dodge to start an
argument.

>> Nathan (56:12):
Don't be afraid. It won't overtax your brain.
My father was 44 when I was
born. My mother was 41.
But there was 12 years between me and the
next eldest. I was unexpected.
I was probably unintentional.
My brothers and sisters are not the least like me.
They're the regular thing. You always get the. The regular thing that

(56:34):
you always get in the first batch from young parents.
Quite pleasant, ordinary. Do the regular thing
sort. All body and no brains like you.

Thank, you.

>> Nathan (56:45):
Don't mention it. Old chapter. Now
I'm different. By the time I was born, the
old couple knew something. So I came out
all brains and no more body than is absolutely
necessary. I am really a good deal
older than you. Though you were born 10 years sooner.
Everybody feels that when they hear us talk.
Consequently, though, it's quite natural to hear me calling

(57:07):
you Johnny. It sounds ridiculous and
unbecoming for you to call me Buddy.

Does it, by George. Does, it, By
George. You stop me doing it if
you can. That's all.

>> Nathan (57:21):
If you go on doing it after I've asked you
not, you'll feel an awful swine.
At least I should. But I suppose you're
not so, Particular.

I'll tell you what it is, my boy. You want a good talking
to and I'm going to give it to you. If you think that because
your father's a KCB and you want to marry my sister.
You can make yourself as nasty as you please and say what you
like, you're mistaken. Let me tell you
that. Except Hypatia, not one person in this
house is in favor of her marrying you. And

(57:52):
I don't believe she's happy about it herself.
The m match isn't settled yet. Don't forget that
you're on trial in the office because the governor
isn't giving his daughter money for an idle man to live on.
Her you're on trial here because my
mother thinks a girl should know what a man is like in the house
before she marries him. That's been going

(58:13):
on for two months now. And what's the result?
You've got yourself thoroughly disliked in the office,
and you're getting yourself thoroughly disliked here. All
through your bad manners and your conceit and your
damned impudence. You think clever.

>> Nathan (58:27):
That's enough, thank you.
You don't suppose, I hope, that I, should have come down if I
had known that that was how you all feel about me?

no, don't run away.
I'm going to have this out with you. Sit down, do you hear?
That's the advantage of having more body than brains, you
see. It enables me to teach you manners. And I'm
going to. And I'm going to do it too.
You're a spoiled young pup, and you need a

(58:57):
jolly good licking. And if you're not careful, you'll get
it. I'll see to that next time you call me
a swine.

>> Nathan (59:03):
I didn't call you a swine. But
you are a swine. You're a beast.
You're a brute. You're a cad. You're a liar. You're a
bully. I should like to wring your damn neck for
you.

Try it, my son.
Fighting isn't in your line. You're
too small and you're too childish.
I always suspected that your cleverness wouldn't
come to very much when it was brought up against something solid.
Some decent chap's fist, for instance.

>> Nathan (59:35):
I hope your beastly fist may come up against a mad
bull or a prize fighter's nose
or something solider than me. I don't
care about your fist. But if everybody here dislikes
me,
well, I don't care.
I'm, sorry I intruded. I didn't know.

(59:56):
Oh, you beast.

You pig.

>> Nathan (59:58):
Swine. Swine. Swine.

Swine.

>> Nathan (59:59):
Swine.

>> Erica Raltrude (01:00:00):
Now.

>> Nathan (01:00:00):
All right, lad, all right.

>> Paul Nicholas (01:00:04):
Sling your mind as hard as you please. It won't stick to
me. What I want to know is.
What I want to know is this. How is it that your
father, who I suppose is the strongest man England has produced
in our time.

>> Nathan (01:00:16):
You got that out of your ha'penny paper. As lot you
know about him, I.

Don'T set up to be able to do anything but
admire him and appreciate him and
be proud of him as an Englishman. If it wasn't for
my respect for him, I wouldn't have stood your cheek for two
days, let alone two months. But
what I can't understand is why.

He didn't lick it out of you.

When you were a kid. For 25
years he kept a place twice as big as England in
order. A place full of seditious
coffee coloured heathens and pestilential white
agitators in the middle of a lot of savage tribes.
And yet he couldn't keep you in
order. I don't set up to be half the
man Your father undoubtedly, is. But by George, it's

(01:01:00):
lucky for you you were not my son. I
don't hold my father's views about corporal punishment being
wrong. It's necessary for some people.
And I'd have tried it on you until you first learned to
howl and then to behave yourself.

>> Nathan (01:01:13):
Yes. Behaviour wouldn't come
naturally to your son, would
it?

Now, you keep a civil tongue in your head.
I'll, stand none of your snobbery.
I'm just as proud of Tartleton's underwear
as you are of your father's title and his
KCB and all the rest of it.
My father began in a little hole of
a shop in Leeds no bigger than our

(01:01:41):
pantry down the passage there. He
was,

>> Nathan (01:01:44):
Oh, yes, I know. I've read it. The
Romance of Business or the Story of
Tartan's Underwear. Please take one. I took
one the day after I first met Hypatia. I went and
bought half a dozen unshrinkable vests for her sake.

Well, did they shrink?

>> Nathan (01:02:01):

Never mind whether I'm a fool or not. Did
they shrink? That's the point.
Were they worth the money?

>> Nathan (01:02:11):
I couldn't wear them. Do you think
my skin's as thick as your customers
hides? I'd as soon have dressed myself in
a nut. I'd as soon have dressed myself in a nutmeg
grater.

Pity your father didn't give your thin skin a jolly good
lacing with a cane.

>> Nathan (01:02:28):
Pity you haven't got more than one
idea. If you want to know, they did
try that on me once when I was a small
kid. A, silly governess did it.
I yelled, fit to bring down the house and went into
convulsions and brain fever and that sort of thing
for three weeks. So the old girl got
the sack and serve her right. After that

(01:02:50):
I was let, do what I liked. My father didn't want
me to grow up a broken, spirited spaniel.
Which is your idea of a man, I
suppose.

Jolly good thing for you that my father made you come into the
office. And shoe what you were made of. And it
didn't come to much. Let me tell you that
when the governor asked me where I thought we ought
to put you, I said, make him the office boy. The governor said
you were too green, and so you were.

>> Nathan (01:03:16):
I dare say so. Would you be pretty green
if you were shoved into my father's set? I
picked up your silly business in a
fortnight. You've been at it 10
years and you haven't picked it up yet.

Oh, don't talk rot, child. You know, you
simply make me pity you.

>> Nathan (01:03:34):
Romance of business, indeed.

The real.

>> Nathan (01:03:38):
The real romance of Tarleton's business is the story
that you understand anything about it. You never could
explain any mortal thing about it to me when I asked
you. See, what was done the last time, that
was the beginning and the end of your wisdom. You're nothing but a
turnspit.

A what?

>> Nathan (01:03:54):
A turn. Spit. If your father hadn't made a roasting
jack for you to turn, you'd be earning 24 shillings
a week behind a counter.

If you don't take that back and apologize for your bad manners, I'll
give you as good a hiding as ever.

>> Nathan (01:04:07):
Help. Johnny's beating me.

Oh. Murder.

Oh.


Stop that noise, will you?

I'm not going to touch you. Shh, shh.
Well done. Well done.

I think we found out why he uses the word kid.

Yeah. Yeah, well.

>> Nathan Agin (01:04:26):
And I heard. I. I heard you say it, too, this time, Paul.
Like that, you know. Yeah.

really great job, guys.
now, I want to, like, next week, work on
the. More. The fluidity over all that,
and connecting the thoughts I. I love. Thank you for
connecting that sentence. Like. No, no, no, no.
Beautiful, beautiful flow on that.

(01:04:55):
I just want you to try
Nathan, when you
go, you know, I'm sorry I intruded. I didn't know.
Oh, you beast. You pig. You swine. Swine, swine, swine, swine,
swine. Now and, like, put your
fist up. Put your. Like. Like. This is you trying
to prove, you know, I'm sorry I
intruded. I didn't mean to. Breaking down again. Oh, you.

(01:05:17):
Please use wise. Wise,
wise, wise, wise. No,
you know, so. Because Johnny
actually shows a little bit of compassion.

>> Nathan Agin (01:05:28):
Right, right, right.

All right. Okay.

>> Michelle Schultz (01:05:31):
I was laughing so hard.

Oh, my God. And. And then. Which
is the great transition, because you could just.
Johnny, look at him like, what the
hell? What?
Here's what I. What I want to know. How does your
father produce this?
You know, and I

(01:05:55):
loved your laugh. Paul.
on, And it didn't come to much.
I, loved how you guys really were taking the
hits as well as giving them.
Where is, Got that.
Thank you. And I also loved your thank you. After all, body

(01:06:16):
and no brains like you. It was sort of a
fabulous. And then also that speech
Johnny with. I'll tell you what it is, my boy. Now you want a good
talking to. Was great.
and,
I don't suppose, I.

>> Nathan Agin (01:06:35):
Hope that you.

Even more deeply wounded Bentley
after had bad manners of your conceit and damned impudence. You
think clever.
That's enough, thank you. You don't, You don't suppose, I
hope that I should have come down here knowing you
all felt that about me. And then Johnny says,
excuse me, I'm not done.

(01:07:03):
because I think you want to go off and cry.

>> Nathan Agin (01:07:06):
Right? Right.

And he stops you. And that's why we get
the. The, you know, fury of tears
and all that. You checked by a sob
and, breaking down again.

>> Nathan Agin (01:07:21):
And I don't want to take too much time away from the other scene, but it's interesting
because Bentley, is
almost completely reacting
to what Johnny is saying. Like, he's not
introducing new topics. Like, he's just
kind of responding. I mean, like, he talks a little.
You know, he brings up the romance of the story of Tartland's
underwear, but, like, very clear.

He was really good and clear on this one, this read,
anyway.

>> Nathan Agin (01:07:46):
But yeah, it's just. Just that, like, he's.
He's not introducing like, aside instead of what he
wants to do at the top, which is like, hey, let's talk about, you know,
things. It's like he's just kind of constantly
responding to. You know, he's just
in this, I think, very defensive position,
through the rest of that scene.

Like, not an intellectual debate.

>> Nathan Agin (01:08:08):
Yeah. Once Johnny nails him, it's just like, well.
Well, yeah.

Oh, yeah, yeah, yeah. And.
And looking at when he's. When he's good and when he's fumbling.
There's one part I don't, I
don't remember. I'll write you.
and.

>> Nathan Agin (01:08:25):
But, Erica, you were saying. Did you want Bentley to be even more wounded on
that? You, didn't think I. Oh, yeah, yeah.
Okay.

I just wanted to confirm. It's about the deeper wound, but
it's like the attempt to cover it. Cover it, Cover
it. Cover it.

>> Nathan (01:08:38):
Right.

You know, so that it.

It.

It's. We can watch the Lid on the boiling
water.

>> Nathan Agin (01:08:46):
Yeah.

Get a little bit more as the water starts.

>> Nathan Agin (01:08:48):
Little. Little quiver of the bottom lip, you know? Yeah, yeah. That kind
of thing. Okay, cool. Thank you.

So. And I would be fun with the voice stuff if.
If when you got upset, it pitched even higher.

>> Nathan Agin (01:09:02):
Spend the next week working, on that, you know.

I don't know.

>> Nathan Agin (01:09:06):
So I can get. Yeah.

>> Nathan (01:09:07):
Cool.

Joey and Her Bizarre
Darlings.
Let's start with reading, through it from what
we learned last time. So let's
do it.

Okay.

Mr. M. Percival.
Mr. Percival,
what are you.

Aha.

Aren'T you glad I've caught you?
No, I'm not
all confounded. What sort of
girl are you? What sort of house is
this? Must I throw all good manners to the
winds?
Do, do,
do, do, do.

(01:09:58):
This is the house of a respectable
shopkeeper. Enormously rich.
This is the respectable shopkeeper's daughter.
Tired of good manners.
Come, handsome young man, and
play with the respectable shopkeeper's daughter.
No, no. Don't you

(01:10:19):
know you mustn't go on.
Like this With a perfect stranger
from the sky? Don't
you know that you must always go on like this when you get the
chance? Oh, you must come
to the top of the hill. And chase me through the bracken.
You may kiss me if you catch me.
I shall do nothing of the sort.

(01:10:42):
Yes, you will. You can't help yourself.
Come along,
fool. Oh, come along.
Don't you want to?
No, Certainly not.
I should never be forgiven if I did.
You'll never forgive yourself if you don't.

(01:11:02):
nonsense. You are engaged
to Ben. Ben is my friend. What do you take me
for?
Ben's old. Ben was born
old. They're all old
here except you
and me and the man. Woman or woman
man or whatever you call her that came with you.

(01:11:22):
They never do anything. They only
discuss whether what other people do is
right. Come and give them something to
discuss.
I will do nothing.
Incorrect.
Oh, Don't be afraid, little
boy. You shan't get anything
more than a kiss. And I'll fight like the devil

(01:11:44):
to keep you from that. But we must play on the
heaven run through the heather.
Why?
Because we want too, handsome young man.
But if everybody went on this way.
Oh, happy. How, happy the world
would be.
But the consequences may be
serious.

(01:12:05):
Nothing is worth doing unless the
consequences may be serious.
My father says so. And I'm my
father's daughter.
I am the son of three fathers.
I mistrust these wild
impulses.
Take care. You're letting the moment
slip. I feel the first chill of the wave

(01:12:26):
of prudence.
Save me.
Oh, really, Miss Tarlton.

Oh, damn you.

I beg your pardon,
but since we've both forgotten ourselves, you'll please allow me to
leave the house.
Are you ashamed of having said damn you
to me?
I had no right to say it. I am very much ashamed of
it. I have already
begged your pardon.
And you're not ashamed of having

(01:13:01):
said really, Miss Tartan?
Why should I?
Oh, man.
Man.
Stupid, cowardly,
selfish, masculine male man.
You ought to have been a governess.
I was expelled from school for saying that. The very next

(01:13:23):
person that said really, Miss Tarleton to me,
I would strike her across the face. You were
the next.
I had no intention of being offensive.
I mean, surely there's nothing that can wound a lady. And
you.
Or at least,
I didn't mean to be disagreeable.

(01:13:47):
Of course, if you're going to insult me, I'm quite helpless. You're a woman.
You can say what you like,
and.
You can only say what you dare. Poor wretched. Isn't
much. Really,
Mr. Percival. You sit down
in the presence of a lady and leave her
standing.

(01:14:10):
Really, Mr. Percival? Oh,
really. Really.

Really. Really. Really, Mr. PercivAL.

How do you like it? Wouldn't you rather I.
Damned you, Miss Tarleton? Oh, I.
Patient, Joey. Patsy, if you
like.
Look here, this is no good.
You want to do what you like, don't
you?
No. I've been too well brought
up. I've argued all through this thing, and I'll tell you, I'm

(01:14:41):
not prepared to cast off the social bond.
It's like a corset. it's a
support to the figure, even if it does squeeze and
deform it a bit. I want to
be free.
Well, I'm tempting you to be free.
Not at all. Freedom, my good girl,
means being able to count on how other people

(01:15:04):
will behave. If every man who dislike
needs to throw a handful of mud in my face, and every
woman who likes me is to
behave like Potiphar's wife, then I shall be a
slave. The slave of
uncertainty, the slave of fear.
The worst of all slaveries. I mean, how would you like
it if every laborer you met in the road were to make love

(01:15:26):
to you?

No.

Give me the blessed protection of a good, stiff
conventionality among thoroughly well brought up ladies and
gentlemen.
Another talker.
Men like conventions because
men made them. I
didn't make them. I

(01:15:49):
don't like them and I won't keep
them. Now
what will you do?
Bald.
I'll catch you.

Really nice. Nice way you
retained what we've been doing this fantastic.
Nice. I. I had some good laughs. The,
the, I love
the. The. No, and, and
he. When he says it when you. Ooh,
no, I love that.

(01:16:23):
and
Yes. Okay,
here's what I want to play with.
well, here I just want to describe what, his

(01:16:44):
father's. Who his fathers were. The,
first one, the regulation natural chapter.
He kept a tame. Full of. He kept the tame
philosopher in the house. A sort of Coleridge or
Herbert Spencer kind of card, you know.
That was the second father. Then his mother had
an Italian, His mother was an Italian
princess and she had an Italian priest.

(01:17:07):
Always about. He was supposed to take charge of her
conscience, but from what I could make out, she
jolly well took charge of his. The whole three
of them took charge of Joey's conscience.
He used to hear them arguing like mad about
everything. You see, the philosopher was a free
thinker and always believed the latest thing.

(01:17:27):
The priest didn't believe anything because it was sure
to get him into trouble with someone or another. And the
natural father kept an open mind and
believed whatever paid him best. Between the
lot of them, Joey got cultivated no end.
He said if only he could have had three mothers
as well, he'd have backed himself against
Napoleon. and

(01:17:50):
so it's. I was thinking about, you know, I
was talking about how I wish we'd had a whole room. We could
play some physical stuff
because
essentially Joey and Bentley are the
same class. So
how do we differentiate the
two? And Joey

(01:18:12):
makes me think he's. He's the high school football, you
know, captain who was nice to the nerds.
You know what I mean? But he.
Sometimes when you have so much
debate in your head and you've been trained that
way, it's hard to make a decision. And so I
think the key to

(01:18:34):
Joey is the
struggle less with her.
And more with what's going
on in his brains in terms of what is the
right choice.
And if there's a debate going on,
that makes it even harder because it's in the moment for her

(01:18:58):
and Hypatia,
I want you to play with being a little less
confident, be
daring
and have those moments of like, oh my God, I said that.
You know, like, I'm gonna
do this. You know, have.

(01:19:19):
You're having fun. You are having fun.
but you have never done this
before because you've never had a
playmate inspire you to do this
before. It's like
that first crush in a weird
way. I mean, just think about what

(01:19:39):
the romance that Bentley gave you
was probably like. He'll
do. Which is essentially what she says earlier
with her mother. She's like, I expected I'd be married.
This is my life. This is what's going to happen.
And bored out of her mind.
Which is why she sends the letter to Summerhays.

(01:20:02):
Who knows what she would have done. If Summer has
said, oh, I'll risk everything, come away
with me. Then what?
You know what I mean. She's not gonna think these things
through because she's still
young.

(01:20:22):
do do do, do do do. Okay, at the beginning,
remember? Okay. Yeah. Just
a little less confident, a little more risky.

Okay.

You know, less confident without going sad and
dour and beaten.

Erica?

Yes.

I'm so glad you said that because I heard something for the first
time tonight
and I wondered if she was being coy, but now that
you're saying, let's try it, less confident.
Maybe it was
sincere because she says,
come chase me, come be with me.

(01:21:03):
They're all boring. Let's go have some fun. And then
she says, you'll get nothing but
a kiss and I'll fight hard to not let you get
that.
And I wondered if that was just a
lie to sort of tempt him or to be
like, sultry or

(01:21:24):
seductive or if she really meant that. And
is. Does that tie into what you're saying,
like trying it to be less. Less?

I think so, because I think that the, the
problem with this scene sometimes, at least the way I've seen it
played, and it sort of comes, I think, with having rehearsed it
for weeks and then performing it and everything, it sort of becomes
by rote and we sort of take for
granted
the naivete of
manners. That's not maybe

(01:21:54):
the right phrasing of it, but
the excitement of it and
it's, it's.
Would it be that it's a comedic.

That is, that's in direct
opposition to her line,
don't you know you're supposed to always behave like this
when you.

Get the chance with
what I'm saying or what that line that heard you caught your
ear.

the, the idea that she is
less confident.
You think about that?

Well, I, I think she's just, she's,
she's very, I mean she is well brought, brought up.
She knows what she's supposed to do
and
she, I think she's a little bit, you know,
offended, by the
suggestion that

(01:22:54):
you know, she might
be too much of a slut.
She's just having fun
and. But she knows enough not to get
into trouble, right?

And sometimes when you're
being brave but
terrified. I once did this.
Couldn't believe I did it. I made myself do it. And I went
over to this guy. It was like the last night of
this program we were doing in Oxford. And it was sort of a
dance. And I went over to him, and I was
like, I'd like to kiss you

(01:23:32):
good night. And he
said, I didn't even know him very well. I'd been crushing on
him. He said, well, you could meet me at my
room in a little bit. I get there. He's not
there. He didn't. And,
it was. But it was that feeling of like, what the.

Did I just do?

I shouldn't be doing this. I'm not supposed to be doing this. But it
just sort of comes out. I
think I've lost the thread of what your point is. Paul.
But, I think it's
that.

Well, it was. It was more of a question because.
Well, I guess the question is, does she mean it when she says,
I'm going to fight like the devil to not let you kiss me?
Does she mean that? Or is that being coy?
What do you think, Michelle?

I think I, think that that's.
That's part. That's part of the game, you know,
she. You know, but she's. But she's.
She's.
She's serious. no, you're not going to get more than a kiss
out of me, but
we can still have fun. I'm going to fight like
the devil to, you know. So, so. So it. I think that
it goes from. From one to the. The

(01:24:41):
other in. In. In. In that one.

Well, and here's.

Here's a.

Here's a thought, too. The sort of. The first part of it.
You'll only get one kiss out of me.
Oh, my God. I mean, of course,
other things could happen, but, you know, but
it's not the, Like
she's got it in her back pocket, you know, I'll tell
you that. But we could do more.

(01:25:07):
I. I, really don't think. I think it's
happening in the moment
on these lines that sometimes
you can't believe what comes out of her mouth. And
I love how it just ends up boiling up
with men
made these rules, and I don't

(01:25:27):
like that. But
that could be the moment for her. I think it very
Shakespeare in that. And Very young, young
characters in Shakespeare. It's on the line.
Everything is happening in the moment
and that's what make. That makes them young.

(01:25:51):
drop down at this. I dropped out this guy, it was
great.
you make his music
because you're really sort of navigating this guy who's
stuck in these manners.
no, it doesn't m. Move. don't
you and I

(01:26:13):
think find those moments like
when you really ask both of you so when
you say don't you want to the naive
girl going well, don't you
having those moments of like this is not
going as the romance in my head had planned.

(01:26:35):
Do you know? And I will do nothing.
Where was it specifically that I would have
been? so many notes
from our last couple, things.
Yeah, when you get down to the end of

(01:26:56):
I have a note here, it looks like my handwriting says
dog.
but like another talker
that I think this just is her
truth. Men like conventions because men made
them. I don't like them. I
don't. Why do I have to go by these rules?

(01:27:17):
I won't keep them. Now what are you gonna
do? And I think
that logic at the end maybe the thing that
makes Joey go
wow, okay,
okay.

(01:27:42):
have, have fun.

Haha.

Really, Mr. Percival, you. Oh, really, really, really, really,
REALLY, Mr. Percival, how do you like it?
Really try and make him squirm a bit. This is what
it's like for me when somebody goes, oh, really, Mrs.
Tarleton, how do you like it?
You know, wouldn't,

(01:28:09):
you rather I damned you?
I've been too well brought up. And I think the
disappointment in moments is less about.
I think it's more about can I get through his
algorithms to change to get him to get up on
the hill? Because boy, if I can get to kissing him,

(01:28:31):
he might. He might open up even more.
And the disappointment is,
is. Is. Oh God, all this
training, all these things that people made up, like we're
supposed to do this. Who
says? I m think,
Because I think in this scene they get to a point, you know, we
talked about what. How did they develop through the scene?

(01:28:54):
I think there's a growth there.
I think they grow up a little bit and
they get. They meet at a place at the end of the
scene of
possibility and so why not? They're gonna go up in
the bracket and we're gonna hear
m.

(01:29:14):
Oh, Dylan, give
yourself a ah, chance to
register the slap.
I Because for one thing
he doesn't realize or doesn't think he said anything. He
didn't tell her. Yeah, he's just like
that. Comes out of nowhere and just.

(01:29:34):
Oh, I. Oh.
You know.
And but since we've both forgotten ourselves, you'll
please allow me to leave the house. Which is part
of manners.
But I think it should be like, what the
hell is going on here?

Yeah.

You know, and. And she's standing in his way.
And I think for Hypatia, it's about pulling
apart his thinking in an odd way to get
to where she wants to be with him. Does that make sense?

Yeah.

Let me get through this. This thing. Are you really ashamed
of saying damn
you? Really? Okay,
let's work through that a little bit.
And Dylan, it's that
I'm having these feelings I'm not supposed to because
the manners don't say anything about feelings.

(01:30:30):
It's like having some moments
of,
Enjoying her. Like,
am I supposed to be enjoying her? Because I. I do.
But no, that's not. She's not behaving the way
she's supposed to. Yeah,
I like it. What? M.

(01:30:50):
You know, we can find more specific.
Because if he really means it when he says, I have no intention of being
offensive. I didn't mean to because I've
been trained not to.
Ah, so have
you come up with. Surely there is

(01:31:11):
nothing that can wound any lady
in.

I think so.

Give it a shot. It's your. It's your quiet
thought. So.

I mean, surely there is nothing that can wound any
lady in the position that you're putting yourself
in.

Yeah. At
least.
so then he brings
it back on himself.
Manners. I didn't mean to be disagreeable.

Yeah.

and, it is an insult to be, you know, called a liar because
he's, you know, he's a pretty, pretty great
guy. You know, he's noble.
He's honorable. Liar.
You're calling me a liar?
but I think you kind of are lying a little
bit. I really didn't mean to be
disagreeable.

(01:32:13):
Yeah, maybe it's like in terms of it being a stock
answer because he can't finish the
sentence. Well, he
won't finish the sentence or he can't finish the sentence?
M. All
right, I want to read one.

One thing that I was thinking of was that at first he's putting
the blame on Hypatia. You
know, there's nothing in what I said that
would, you know, wound
any lady of reasonable temperament.
Reasonable mind. And then
he kind of almost gets the Sense that

(01:32:53):
trying to almost like putting himself in her
shoes a little bit. Well, I mean, I
didn't mean to be
disagreeable. Almost kind of to
me, to me accepting the fact that he.
That, that she. That she might have
legitimately taken offense. That's the way. That's what I
came. Came thought of.

Absolutely. I want you to play with that. Now here's the other
thing I want you to try as we read through the next one.
This scene always plays like
Hypatia knows what she's doing and she's drip.
She's driving the scene.
I'd love to find those moments for Hypatia
where she's I'm making this up, you

(01:33:36):
know. And when he drives
back with his arguments
to her, I'm gonna get. I'm gonna
get through your bramble in your head and,
and, and beg for, you know,
civility here because this is making me
uncomfortable. So does that
make sense what I'm saying about that? I mean, we'll have to find it. It's

(01:33:58):
sort of a general note and I know we're running out of time,
but that idea instead of, instead
of, Dylan, you always being on your back foot.
Having finding moments where you're on your front
foot and for Hypatia
finding moments of. Oh, he. Okay,
that argument. How do I get around that? Do.

(01:34:20):
No, because I think that in the end is why
they. They actually are kind of a fun
couple to get together. I don't think
this is a discourse normally done
between. You know, you get the setup. Some guy comes
into the shop, sees you behind the counter and
buys six vests because you're the one he wants to be

(01:34:41):
engaged to. You know,
because he got to choose.
You're trying to choose. All right,
let's. Let's do 1M. One more read because, We got time for one
more read. Yeah.

Okay.
Mr. Percival?
Mr. Percival, where
are,

(01:35:14):
Aren't you glad I caught you?
No, I'm not
confounded. What's the. What sort of
girl are you? I mean, what sort of house is this?

Must.

Must I throw all good manners to the
winds?
Do do.

Do, do, do.

This is the house of a respectable
shopkeeper. Enormously rich.
This is the respectable shopkeeper's daughter
tired of good manners.
Come, handsome young man, and play with the
respectable shopkeeper's daughter.
No, no. Don't you know you

(01:35:58):
mustn't go on.
Like this with a perfect stranger
from the sky.
Don't you know that you must always go on like this? When
you get the chance, you must
come to the top of the hill and chase me through the bracken.
You may kiss me if you catch me.
I, I, shall do nothing of the sort.

(01:36:21):
Yes, you will. You can't help
yourself. Come along.

Fool.

Fool. Come along.
Don't you want to?

No.

Certainly not. I should never be forgiven if I
did.
You'll never forgive yourself if you don't.
nonsense. You're engaged
to Ben. Ben is my friend. What do you take
me for?
Ben's old. Ben was born old.
They're all old here except
you and me and the man.

(01:37:00):
Woman or woman man or whatever you call her that came
with you. They never do
anything. They only discuss whether what
other people do is right.
Come and give them something to discuss.
no. I will do nothing. Incorrect.
Be afraid, little boy.

(01:37:21):
You'll get nothing but a kiss.
And I'll fight like the devil to keep you from getting that.
Oh, but we must play on the hill and run
through the heather.
Why?
Because we want to. Handsome young man.
But if everybody went on in this.

(01:37:41):
Way, oh, how happy. How happy the world would
be.
But the consequences may be serious.
Nothing is worth doing unless the consequences
may be serious. My father says
so. And I'm, my father's daughter.
I am the son of three fathers.
Oh, I mistrust these. These

(01:38:02):
wild impulses.
Don't care. You're letting the moment
slip. I feel the first chill of
the wave of prudence.
Save me.
Really, Miss Tarleton.
Damn you.

(01:38:23):
I, beg your pardon, but since we've
both forgotten ourselves, you will please allow
me to leave the house.
Are you ashamed of having said damn
you to me?
I had no right to say it. Am very much ashamed of it.
I've already begged your pardon.
And you're not ashamed of having said

(01:38:44):
really, Miss Tarleton?
Why should I?
Oh, man.

>> Nathan Agin (01:38:51):
Man.

Mean, stupid,
cowardly, selfish,
masculine mailman. You ought
to have been a governed this.
I was expelled from school for saying that. The very next person
that said really, Miss Taron to me, I
would strike her across the face. You were the
next look.

(01:39:15):
I had no intention of being offensive. Surely
there's nothing that can wound any lady.
Liar.
Or at least I, I, I
really, I, I, I didn't mean to be disagreeable.
Liar.
Of course, if you're going to insult me, I'm quite
helpless.

You're all.

You can say what you like, and.
You can only say what you dare. Poor wretch. It isn't
much.

>> Nathan Agin (01:39:42):
Really.

Mr. Percival. You sit
down in the Presence of a lady and leave
her standing.
Mr. Percival. Oh,
really? Really, really, really, really.
Mr. Percival. How do you like
it? Wouldn't you rather I. Damned you, Miss

(01:40:05):
Tarleton. Oh, hi, patient Joey.
Patsy, if you like.
Look here, this is no good.
You want to do what you like.
Don't.
I have been too well brought up. I have
argued all through this and I'll tell you, I am not

(01:40:25):
prepared to cast off the social bond.
It's like, it's like a
corset. it's a support to the figure, even if it
does squeeze and deform it a bit. I want, I
want to be free.
Well, I'm tempting you to be
free. Not at all.
Freedom, my good girl, means being able to

(01:40:46):
count on. On how other people will behave.
If every man who dislikes me is. Is to throw
a handful of mud in my face, and every woman who likes me is to behave
like Potiphar's wife, then I shall be a,
slave. The slave of uncertainty,
the slave of fear. The slave, the worst of all slaves.
I mean, how would you like it if every laborer you met in the road were to

(01:41:07):
make love to you? No.
Give me the blessed protection of a good stiff
conventionality among thoroughly well brought.
Up ladies and gentlemen, another
talker.
Men like conventions because men made them.
I didn't make them. I don't like them.

(01:41:28):
I won't keep them.
Now what will you
do?

Bolt.

I'll catch you.

Oh, lovely. Oh,
that was so much fun.

It was so funny.

Oh my God. And it was so much more
even. In the back and forth. I felt
more the balance and getting some more. And your,
the look on your face at the end. Dylan was great. I thought,
yeah, he's going for this. It
didn't have to be huge, but this whole, whole her
argument lands so beautifully.
It's

(01:42:13):
Oh God. I don't feel like even giving you
the nuts because it's like, it
was great. I did. I really had a lot of fun watching it.
and I do love when you genuinely
just ask the questions.

Yeah.

And one of the things. And I hadn't told you to do this, but I
was thinking it and you went ahead and did it.
Michelle, when you were like,
okay, this is the house of a respectable shopkeeper,
enormously rich. This is the respectable shopkeeper tired of
good manners. You know, this is what
it is. It's not like, you know, any lure of he's

(01:42:51):
enormously rich. Nothing
on it. Just it was Great.
and I would think what
hit me this time was
an opportunity for you to show interest early
on. Joey is
you never. So she says you'll never forgive yourself if you

(01:43:11):
don't. And he's nonsense. Because he's
worried about the engagement.
So it's like
you have no idea how tempted I am. But you are
engaged to friend.

Yeah.

Thinking that that is should be the end of it.
Do you know what I mean? Friend. I
mean what do you take me for? Are you
interested in someone who would do that or.
I. Wow. Yeah.
I would lean in even more to all of this stuff. It's

(01:43:47):
so, so fun.
because I also understood the argument more
too. I heard it was
ah, clearer both scenes. I heard more. M. The
clarity of argument.
I've already begged your pardon. You're not ashamed of having said really
miss Doubt? And why should I?

(01:44:09):
And it's so funny because it's
her beginning to rail about men
starts and I, I made the connection on my, my
screen because it ah.
When she goes. Oh man. Man.

Mean stupid.

And then we one page later
get to
man makes the conventions.
You know. These are aha moments for her too.
She doesn't come on screen. Neither of them come on
screen knowing how the scene is going to end.

(01:44:46):
which I, I love.
you
coming towards and perhaps
the very beginning, the ill humoredly turning away from
her and coming towards the writing table when
she's like not. Maybe the ill
humoredly thing is because he

(01:45:06):
does like her and he doesn't want to be put in this position.
No, I'm not. I don't want to have to tell you.
I can't.

>> Nathan Agin (01:45:20):
yeah.

I think great work
on, on both parts today. Honest to
Pete done it 1001.

Good job.

Yeah. Even though we had, we had Theo
involved. You missed Theo. we didn't
get.

>> Nathan Agin (01:45:42):
He was. He's an off camera baby.

Yes, he's an off camera baby. But he did have
notes, so.

>> Nathan Agin (01:45:48):
Yeah, yeah, yeah. Surprisingly even for your scene. It was,
it was, it was a bit much.

M. He's. Yeah.

Did they take the form of spittle?

>> Nathan Agin (01:45:59):
Most of them? Yes. Yeah, you can disregard, you can disregard
most of the notes. They, they just, you know,
just a.

Lot of,
you know. So
cool your, your
patience. Dylan and I just.
They adore you all. This is so fun. Thank you so much for.

>> Nathan Agin (01:46:21):
Yeah.

My notes and going on this jungle gym.

>> Nathan Agin (01:46:23):
So yeah, that's great.

Next week we don't have an audience. Right?
That's not.

>> Nathan Agin (01:46:28):
Yeah, it's just. It's just going to be continuing like another
session like this. God willing, we'll all be here
right at the start time. And no, no,
no, craziness will, befall any of
us.

So, yeah, apologies. I was negotiating
a contract for an Oscar winning actor,
so.

Oh, that's. That's.

>> Nathan Agin (01:46:49):
You get the odd.

Tell us, can you.

>> Nathan Agin (01:46:53):
Damn it.

Just, just a film that's. That that's
coming up. And, yeah, it was somewhat time sensitive,
so I had to bolt through.

I would have loved it if you'd said, you know what, you guys,
I gotta go because I'm doing this thing.
You're gonna have to make time tomorrow. Bye.

>> Nathan Agin (01:47:11):
I have some shot of work on.

Yeah, got some stuff.

>> Nathan Agin (01:47:17):
Erica, I just have a question for you afterward, once everybody,
checks out. But, yeah, thank you guys, everybody.
great, great week.

See you next week.

See you next week.

Have a good rehearsal.

Thank you. Thank you.

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Misalliance (2 scenes), Week 3: "Manners and Mayhem" - The Rehearsal Room

Misalliance Team - with artists in California, Pennsylvania and New York!

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Misalliance (2 scenes), Week 3: "Manners and Mayhem" - The Rehearsal Room