King Lear - Final Session: "The Art of Character and Conflict" - The Rehearsal Room

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>> Nathan Agin: All right, so, uh, I've admitted,
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uh, uh, people from the waiting room.
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And we'll give, you know, maybe another 30 seconds or
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so just in case anyone, um, is still. Still
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finding parking. You know, making sure they
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have everything they need.
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Holding the curtain briefly.
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>> Lizzie King-Hall: Why did that make me laugh?
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>> Annie Occhiogrosso: So very
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funny.
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>> Nathan Agin: Those of us who have been to a lot of theater and running late know.
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Know what it's like.
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>> Jeanne Sakata: Randall. Annie, I'm dying to know. Have you ever,
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uh, worked on Arthur Miller?
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>> Lizzie King-Hall: Hm.
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>> Annie Occhiogrosso: We worked with. We haven't done a
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play, but we did immerse
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in, um. With. With,
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um. All My Sons.
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Because we had an actress
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who, uh, asked us if she. She
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was cast as the mother. This is one of another thing
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that we did with various actors.
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Um, she would come to New Jersey.
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She lives in the set in South Carolina. She would come for
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about two weeks and have us take her through the whole
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role. And so that
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allowed us to learn the play as we were
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helping her. And we fell in love with. Randy almost did
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a production. What? Randy. Just before the pandemic,
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I think. Right. Or was it right after? But
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they wanted us at Centenary to do a production of
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All My Sons. Um, but it just never. We
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just couldn't find the time to do it.
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>> Randall Duk Kim: So we.
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>> Randall Duk Kim: We discovered that that play has such close links
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with ancient Greek tragedy.
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>> Jeanne Sakata: Ah.
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>> Randall Duk Kim: You know, Arthur Miller. You can. You can feel
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the ancient Greek roots on that. That piece.
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>> Jeanne Sakata: M.
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>> Randall Duk Kim: Yeah.
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>> Annie Occhiogrosso: I. I did do An Enemy of the People.
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And. And that's what made us so interested
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in doing Arthur Miller. Because we love. And
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we have our own translation of An Enemy of the People. It
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was done by a man by the name of John Wyatt who
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worked at our theater. He knew the roots
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of so many languages that there was none he
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couldn't learn within two weeks. And he learned
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Hawaiian. Um,
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he did all of our translations because he
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knew that the punctuation meant a lot to
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us. Whenever he could, he would go to the
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playwright's handwritten notes or,
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um, the original. As close to the original text
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to show us every dot, dot, or, you know,
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ellipse or every piece of punctuation.
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And so it was as a, um,
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wonderful translation, uh, of
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Enemy of the People. He did our Oedipus. He
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did, um. Ah. What was the other one? Servant
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of Two Masters. Comedy. Comedy of
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asses.
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>> Tom Farber: Um, one X.
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>> Annie Occhiogrosso: That's right. Right.
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I would.
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>> Jeanne Sakata: I'd wondered. I wondered, Randy, if you had ever played a
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Willy Lohman.
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>> Randall Duk Kim: Oh, my God.
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>> Annie Occhiogrosso: I think that would be amazing.
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>> Jeanne Sakata: You know, one of the Books I have here. It's. Oh,
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I have it somewhere. It's, um,
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Salesman in Beijing. When.
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>> Randall Duk Kim: Yes, yes, yes, yes.
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>> Jeanne Sakata: I loved it because, you know, that whole
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thing of, well, you grow in your
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career, in your early career, you read all these amazing
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plays, but then you say, well, I've never seen anybody that looks
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like me do that.
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>> Randall Duk Kim: That's right.
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>> Jeanne Sakata: So when I opened up that book, I said, oh, my God,
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here's like an Asian, um, a Chinese,
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uh, Loman family. And immediately that put it in
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my head, oh, someday I hope I get to do that.
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And, um, all my sons too.
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Um, I love that place. I'm so, so glad you
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worked on it.
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>> Randall Duk Kim: Yeah.
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>> Nathan Agin: Well, for those watching, we could talk about theater.
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>> Jeanne Sakata: Uh.
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>> Nathan Agin: Oh, sorry. No, no,
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nothing wrong. Nothing wrong with the conversation. That's just. That's.
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That's the beautiful part about all of this. And I was
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thinking, I'm like, boy, what an amazing service, uh,
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to have, uh, two actors, uh, and theater
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artists like Randall and Annie at your disposal to take you
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through an entire play. Uh, we did a
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workshop where a couple actors, um, who
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had played Lord and Lady M. From Shakespeare's play
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worked. Uh, you know, kind of took actors through those
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roles, which was. Which was really fascinating. And it's just
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like. It's so interesting to look at a play from that
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perspective where you're tracking the characters, which you guys did a little
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bit, um, you know, with. With the scenes leading up to.
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To what you're doing. Um, and so, yeah, no, it's.
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It's, uh, it's. It's really exciting. And, um,
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um. Um, Magdalene put in the chat that
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she. She loves this conversation and those amazing books.
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So, um, thank you, Magdalene, for. For that. Um,
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and I'm just going to make a couple adjustments
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here. Okay. We'll try to
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keep, um, anything that comes in technically
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to a minimum to. So that all of you guys, all of you
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artists can, um, you know, just kind of focus on the work.
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But I think we can, uh, get started here. I think we're
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all ready to go. So. Hi, everybody. My name
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is Nathan Agan. Welcome to, uh, the rehearsal
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room. A faction of the Working Actors
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Journey. Uh, we've been doing these,
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uh, workshops monthly. We restarted them
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earlier this year, and we've been doing them
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here, uh, online. And it's been a
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great place to, um, allow
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artists to explore text in depth in, uh,
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a way that they rarely get to do even in professional
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theater. Uh, so this has been a lot of fun, and we focus
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on one scene over the Course of a month. Um,
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and what's also exciting for
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me as a producer, but then I think for the artists
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themselves. And we were just talking about this a
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little bit when Jeannie brought up the book.
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Uh, it was, um. What was it,
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what was the title of the book in Beijing? Uh, Jeanne?
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>> Jeanne Sakata: Salesman in Beijing.
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>> Nathan Agin: Salesman in Beijing. Well, one of the things I love about
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these workshops is that we are not beholden to the
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same, um,
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maybe constructs or ideas that some theaters feel
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like they have to, um, be tied to in terms of
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casting or things like that.
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We can be more conscious with gender or age or
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race than maybe some theaters feel they can be.
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So it's. It's been very refreshing and
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exciting to see actors explore parts that maybe
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they feel like they've uh, they've missed or they've been
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passed them by or whatever. Just, just getting the chance
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to dive into the words and uh, the characters have been really
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exciting. And then of course, uh, oftentimes we can
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bring artists together who either have never worked
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together because of geographic reason reasons,
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or it's been 20 or 30 years since they've worked with
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people. Uh, so that's, that's been a fun part of
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this too. So, um, but today
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we're going to focus on uh, the final session of King, uh,
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Lear, Act 2, Scene 4. And I'll let everybody
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in the group introduce themselves, uh, briefly in just a second.
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Now I'll wrap up my little, uh, administrative
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things here. We are, uh,
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patron supported, uh, to cover some of the production costs. So
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I just want to give a quick shout out to our patrons.
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Joan, Michelle, Christian, Jim
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Magdalene, Ivar, Danielle, Kevin and
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Frank. Thank you so much for uh, supporting this
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work and allowing it to be possible.
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Uh, and in July, uh,
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we are going to focus on an
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adaptation of Virginia Woolf's to the
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Lighthouse. Director, uh, Brian
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Nelson wanted to look at that uh,
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novel. It was written I think in
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1927. And he's kind of put together an adaptation
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and we, we have a great, great uh, cast. We have
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professional actors. Alberto Isaac, Angie
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Bird, Charlotte Northeast, and Mike Gerbe.
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And once again we have actors far flung all
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over the country coming together to work on this.
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Uh, and for those, uh, uh, watching, um, you
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can. I'll be sure to include links if you'd like to sign up
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to receive both video and audio replays of those
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sessions. Typically those will be available on uh,
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Thursdays, uh, through the month of July.
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So, um, yeah, we have that coming up and just excited
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to continue this going and
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just the Opportunity for this work
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to happen. It, uh, never gets old for me. I'm like a kid in
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a candy store every week where it's just exciting to hear these
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discussions and all this stuff. And it seems
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the artists really enjoy this too. So
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I, uh, think that's enough for me. I will mention, uh,
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just for uh, the purposes of
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questions, um, if you're unfamiliar with
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Randall, uh, and Annie's work, they largely focus on
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the First Folio. And of course there are other discussions that
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this group has been having, uh, along the way. But uh,
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that is where their work is kind of geared. So if you have
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any questions, uh, about First Folio
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work or things that you have about the text,
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this is a great place to bring that m up. You can drop those
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questions in the chat and I'll collect all those toward the end. Uh,
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it's not to say that we can't discuss, um,
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stylistic, uh, or. Or character, uh,
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situations, but you, uh, know, there can
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be an infinite number of interpretations of the
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scenes. But uh, you know, I think. I think for
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purposes today, um, as they like to
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say, uh, the mantra here is like, let's just. Let's do
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the play. Let's do the play. So, um,
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that's what we're going to focus on. Uh, and uh. And that's
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that. So I will again be monitoring the chat
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for any questions. I'll come back in a little bit once
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the group has kind of done whatever work they'd like to.
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Um, and uh, I hope you enjoy it. But with that, I'll turn it
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over to Randall and Annie and um, the rest of the group. And
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if, like I said, if you guys can do just some brief, um,
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very brief introductions of who you are and ah, your. Your
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connections to either Shakespeare or other things like
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that, that would be great. And I'll
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disappear.
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>> Randall Duk Kim: Okay. Come back.
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>> Nathan Agin: I will, I will.
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>> Randall Duk Kim: Don't worry.
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Later.
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>> Annie Occhiogrosso: Who would like to start?
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>> Randall Duk Kim: You go first.
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>> Annie Occhiogrosso: I co founded the American Players Theater with Randall
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Kim. We have shared a
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wonderful, um, partnership,
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um, uh, in the theater for
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53 years. And so the
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kind of directing that I think you'll
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see today is steeped in the
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text. Um, I'm not a conceptualist.
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I'm somebody who says, let's look at the script and
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let's see if we can have Shakespeare's script come
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alive. When we started the American Players Theater,
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we promised the audience that they could come up
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our wonderful hill and see the plays
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totally uncut, um,
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and not updated because we were
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very curious about, uh, the play itself.
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And that's what we're trying to pass on now, um, to
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this group of. Of actors. And we're having a
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wonderful time doing it. So, Randy, I guess you can pick it up
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from there, huh? Huh?
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>> Randall Duk Kim: I'm actor and his fellow
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explorer.
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That's it.
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>> Annie Occhiogrosso: Randy, say a little bit about your background.
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>> Randall Duk Kim: Oh, I started acting when I was
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18 years old. Uh,
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my. The main influences at that period. I had seen
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a production of Oedipus Rex and Hamlet,
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and that turned me on to a material that
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I would never have dreamed of getting
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involved with. Then, uh, I saw an
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actor by the name of Morris Karnofsky who
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gave me the light that I needed to light
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my way through life and my work.
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He set the example. He was a model. Uh,
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and of course, he was the old man in the.
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The group theater during the 30s.
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Um, but I had, uh, his
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shylock. I was, uh, particularly
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indelibly imprinted on my soul.
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And I tried to
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find how that kind of
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work could be done. And I've spent
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my life trying to find it.
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>> Annie Occhiogrosso: I think one of the things that Randy rarely mentions in
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the connection with King Lear is
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that, um, Morris and his wife,
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Phoebe Brand, came out to the American Players Theater
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and directed Randy in King
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Lear. I sat by their side and assisted
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them. Um, but it was wonderful to see
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Morris pass his Lear on to Randy.
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I wish it could have all been there. Um, it was
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magnificent. But that. That made Lear
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very special to us. And that's why we continued working on
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it even till today. Yeah.
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Yeah. So, Thomas, shall we sneak down to
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you?
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>> Tom Farber: Yeah, we can do that.
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>> Nathan Agin: Uh, hello, everyone.
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>> Tom Farber: My name is, uh, Tom Farber. Um, I
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started acting when I was 15
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years old. I mostly did contemporary plays. A
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few musicals here and there as well. Um,
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I met Randy and Annie when I was
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19. I had the option
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to either do an English Shakespeare class or do
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an intensive with them. And I chose to do
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an intensive of Merchant of Venice with them
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and took one look at Randy and Annie's talent. I was like, well,
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this is the pedestal. This is where I
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have to be with my acting now.
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Um, and I've recently started working
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with them consistently again.
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I think November of last year is when we started
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really working together on the classics. Um,
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and, uh, that's all I really have to say.
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>> Annie Occhiogrosso: Good. And Jeanne.
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>> Jeanne Sakata: Hi, everyone. I'm Jeannie Sakata. Uh,
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I am an actor and playwright. I
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actually started acting kind of late.
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I was on my way to becoming a. A library and
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information science specialist. And then
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I attended East West Players,
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Asian American company here in Los Angeles, and
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saw a play about a, uh, Japanese American farming family,
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Wakako Yamauchi's Emma Sol Shall Dance.
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And that totally turned my life around. Uh,
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I became an actor starting off at east west and then
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branching out into regional theater
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and some TV and film,
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and also became a playwright. And I
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wrote a solo show about a young college student named
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Gordon Hirabayashi, who during World
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War II, defied and legally challenged government orders
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to mass incarcerate all people of Japanese ancestry on the West
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Coast. And I feel very fortunate to
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have had the career I've had. But one thing that I've always regretted
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is that I haven't been able to do as much classical
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theater as I hoped when I was first
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starting out. So, um, a workshop like this is
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just balm for the soul for
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me. And, um, thank you, Annie.
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And thank you, Randall. And, um,
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thank you, Nathan, for the opportunity.
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>> Annie Occhiogrosso: And Lizzie.
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>> Lizzie King-Hall: My name is Lizzie King Hall.
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>> Lizzie King-Hall: Um, I am a good example of when they
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tell you only become an actor if there's nothing else
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you could possibly do. Um,
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because I can't imagine myself doing anything
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else. Um, I've been doing Shakespeare since
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high school, uh, and it's
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wonderful. We talked a little bit during this month
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about growing, uh, with it.
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It's such a human experience
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to play Shakespeare that it,
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um, always applies to your life
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along the way. So it's wonderful
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00:15:53,136 --> 00:15:55,952
to touch in at this age, at
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this moment with, uh,
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with these actors and this character. So
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I, I, I too, thank everyone.
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>> Annie Occhiogrosso: Good, good. Um, I
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guess then we should begin.
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>> Nathan Agin: Yeah.
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>> Annie Occhiogrosso: Um, and I thought the best way to do it was to, would be to
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start with the scene. Unless you guys had
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00:16:15,400 --> 00:16:17,984
any questions or thoughts about
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00:16:18,072 --> 00:16:20,992
last week or, uh, or any of the work. If you
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00:16:21,016 --> 00:16:23,872
do, I'll open it up to you. If not, let's just
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jump in and do the same.
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>> Lizzie King-Hall: Great.
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>> Randall Duk Kim: Okay.
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>> Tom Farber: I'm good to just jump in?
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>> Jeanne Sakata: Yeah.
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>> Annie Occhiogrosso: Okay. Good.
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>> Randall Duk Kim: All right.
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Good morrow to you both.
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>> Tom Farber: Hail to your grace.
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>> Lizzie King-Hall: I am glad to see your highness.
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>> Randall Duk Kim: Regan, I,
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I know you are. I
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have reason to,
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to think that if thou shouldst
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not be glad, I would divorce
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me from thy mother's tomb. Sepulchering an
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adulteress. Uh, are you
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free? Uh, some other time for
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that. Beloved
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Regan, thy sister's
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naught she hath tied
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Sharp toothed unkindness
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like a vulture here
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I can scarcely speak to thee. Thou wouldst not
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believe with how depraved a
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quality. O Regan.
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>> Lizzie King-Hall: I pray you, sir, take patience.
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I have Hope you less know how to value her
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desert than she to scant her duty.
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>> Randall Duk Kim: Say, how's that?
387
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>> Lizzie King-Hall: I cannot think my sister in the least would fail
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her obligation. If, sir,
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perchance, she have restrained the riots of
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your followers. Tis on such ground, and to
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such wholesome end as clears her from all
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blame.
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>> Randall Duk Kim: My curse is on her.
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>> Lizzie King-Hall: Sir, you are old. Nature
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in you stands on the very
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verge of his confine. You should be
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ruled and led by some
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discretion that discerns your state better than you
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00:18:14,694 --> 00:18:17,402
yourself. Therefore I pray you, that to our
400
00:18:17,426 --> 00:18:20,218
sister you do make return. Say you
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00:18:20,274 --> 00:18:21,670
have wronged her.
402
00:18:22,130 --> 00:18:25,130
>> Randall Duk Kim: Ask her forgiveness you but
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mark how that becomes a house. Dear
404
00:18:28,042 --> 00:18:30,602
daughter, I confess that I'm old.
405
00:18:30,786 --> 00:18:33,738
Age is unnecessary. On my
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00:18:33,794 --> 00:18:36,714
knees I beg that you'll vouchsafe me
407
00:18:36,802 --> 00:18:38,762
raiment, bed and food.
408
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>> Lizzie King-Hall: Good sir, no more. These are unsightly tricks. Return
409
00:18:41,874 --> 00:18:43,070
you to my sister.
410
00:18:43,920 --> 00:18:44,010
>> Annie Occhiogrosso: Never.
411
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>> Randall Duk Kim: Uh, Regan. She hath abated me of half
412
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my train, looked black upon
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me, struck me with her tongue, most serpent
414
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like, upon the very heart. All the stored
415
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vengeances of heaven fall on her in grateful
416
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top. Strike her young bones,
417
00:19:01,576 --> 00:19:04,220
you taking airs with lameness.
418
00:19:04,560 --> 00:19:07,080
Fie, sir, fie. Nimble
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lightnings dart your blinding flames into
420
00:19:10,064 --> 00:19:12,682
her scornful eyes, infect
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00:19:12,746 --> 00:19:15,514
her beauty. You fen sucked fogs,
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00:19:15,562 --> 00:19:18,250
drawn by the powerful sun to fall and
423
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blister the blest gods.
424
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>> Lizzie King-Hall: So you will wish on me when the rash mood is on.
425
00:19:23,730 --> 00:19:26,410
>> Randall Duk Kim: No, no, Regan. Thou shalt never have my
426
00:19:26,450 --> 00:19:29,114
curse. Thy tender
427
00:19:29,162 --> 00:19:31,370
hefted nature shall not give thee o'er to
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00:19:31,410 --> 00:19:34,298
harshness. Her eyes
429
00:19:34,394 --> 00:19:37,380
are fierce. But
430
00:19:37,420 --> 00:19:40,228
thine to comfort and not
431
00:19:40,284 --> 00:19:41,000
burn.
432
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>> Annie Occhiogrosso: Tis not in m thee what, uh,
433
00:19:47,650 --> 00:19:49,012
tis not in thee.
434
00:19:49,156 --> 00:19:51,604
>> Randall Duk Kim: Tis not in thee to
435
00:19:51,772 --> 00:19:54,516
grudge my pleasures, to
436
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cut off my train, to bandy
437
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hasty words, to scant my sizes, and
438
00:20:00,300 --> 00:20:03,140
in conclusion, to oppose the
439
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to bolt the door against my coming in.
440
00:20:06,124 --> 00:20:08,596
Thou better knowest the
441
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offices of nature, bond of
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childhood, effects of
443
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courtesy, dues of
444
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gratitude. Thy
445
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half of the kingdom hast thou not forgot
446
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wherein I thee endowed.
447
00:20:26,380 --> 00:20:28,200
>> Lizzie King-Hall: But, sir, to the purpose.
448
00:20:30,460 --> 00:20:33,240
>> Randall Duk Kim: Who put my man in the stocks?
449
00:20:33,540 --> 00:20:35,240
>> Tom Farber: What trumpet's that?
450
00:20:35,540 --> 00:20:38,412
>> Lizzie King-Hall: I note my sister's. This approves
451
00:20:38,476 --> 00:20:40,636
her letter, that she would soon be here.
452
00:20:40,708 --> 00:20:42,092
>> Annie Occhiogrosso: Is your lady come?
453
00:20:42,276 --> 00:20:44,956
>> Randall Duk Kim: Yea, this is a slave, whose easy
454
00:20:44,988 --> 00:20:47,900
borrow'd pride dwells in the sickly grace of her. He
455
00:20:47,940 --> 00:20:50,640
follows out varlet, from my sight.
456
00:20:51,060 --> 00:20:53,964
What means your grace, who
457
00:20:54,052 --> 00:20:56,892
stalk'd my servant Regan? I have good
458
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hope thou dost not know on't. But
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who comes here? O, uh,
460
00:21:02,478 --> 00:21:03,530
heavens.
461
00:21:07,070 --> 00:21:09,926
If you do love old men, if your
462
00:21:09,998 --> 00:21:12,838
sweet sway allow Obedience. If you
463
00:21:12,894 --> 00:21:15,830
yourself are old, make it your cause.
464
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Send down and take my part.
465
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Art not ashamed to look upon this beard?
466
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Regan. Will you take her by the
467
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hand?
468
00:21:33,010 --> 00:21:35,946
>> Jeanne Sakata: Why not by the hand, sir? Uh, how
469
00:21:36,018 --> 00:21:38,954
have I offended? All's not offence
470
00:21:39,002 --> 00:21:41,370
that indiscretion finds, and
471
00:21:41,410 --> 00:21:43,190
dotage terms so.
472
00:21:43,490 --> 00:21:46,410
>> Randall Duk Kim: Besides, uh, you're too tough. Will
473
00:21:46,450 --> 00:21:49,098
you yet hold? Who stop?
474
00:21:49,234 --> 00:21:50,544
My servant.
475
00:21:50,722 --> 00:21:53,492
>> Tom Farber: I set him there, sir, but his own
476
00:21:53,516 --> 00:21:56,516
disorders deserve much less advancement.
477
00:21:56,708 --> 00:21:58,660
>> Randall Duk Kim: You did you?
478
00:21:58,780 --> 00:22:01,252
>> Lizzie King-Hall: I pray you, father, being weak seems
479
00:22:01,316 --> 00:22:04,212
so. If, till the expiration of
480
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your month you will return and sojourn with my
481
00:22:07,116 --> 00:22:09,588
sister, dismissing half your
482
00:22:09,644 --> 00:22:12,580
train, come then to me. I am now
483
00:22:12,620 --> 00:22:15,604
from home, and out of that provision which shall be needful
484
00:22:15,652 --> 00:22:17,950
for your entertainment.
485
00:22:19,090 --> 00:22:21,930
>> Randall Duk Kim: Return with her and 50
486
00:22:22,050 --> 00:22:24,922
men. Dismiss'd now. Rather I
487
00:22:24,946 --> 00:22:27,802
abjure all ruse, and choose the wage against the
488
00:22:27,826 --> 00:22:30,682
enmity of the air. Be a comrade with the wolf
489
00:22:30,746 --> 00:22:33,498
and owl, necessity sharp pinch'd.
490
00:22:33,594 --> 00:22:35,030
Return to her.
491
00:22:36,530 --> 00:22:39,354
By the hot blooded France
492
00:22:39,402 --> 00:22:42,362
that dowerless took, uh, our youngest born. I could as
493
00:22:42,386 --> 00:22:45,312
well be brought to knee his throne and
494
00:22:45,466 --> 00:22:48,180
squire like pension, big to keep
495
00:22:48,220 --> 00:22:50,960
base life afoot. Return with her.
496
00:22:51,340 --> 00:22:54,244
Persuade me rather to be slave and sumpter
497
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to this detested groom.
498
00:22:56,452 --> 00:22:58,840
>> Jeanne Sakata: At your choice, sir.
499
00:23:01,420 --> 00:23:04,420
>> Randall Duk Kim: I prithee, daughter, do
500
00:23:04,460 --> 00:23:05,880
not make me mad.
501
00:23:09,500 --> 00:23:10,280
Ay,
502
00:23:13,590 --> 00:23:16,170
I will not trouble thee. My child
503
00:23:16,870 --> 00:23:19,502
will no more meet, no more see one
504
00:23:19,526 --> 00:23:21,950
another. But
505
00:23:21,990 --> 00:23:24,990
yet thou, uh, art my
506
00:23:25,030 --> 00:23:27,870
flesh, my blood, my
507
00:23:27,910 --> 00:23:30,862
daughter, or rather
508
00:23:30,926 --> 00:23:33,806
a disease that's in my flesh, which I must needs call
509
00:23:33,878 --> 00:23:36,840
mine, knows how'r to boil a
510
00:23:36,880 --> 00:23:39,624
plague sore, an embossed
511
00:23:39,672 --> 00:23:42,380
carbuncle in my corrupted blood,
512
00:23:43,920 --> 00:23:45,820
that I'll not chide ye.
513
00:23:47,040 --> 00:23:49,752
Let shame come when it will. I do not
514
00:23:49,856 --> 00:23:52,500
call it. I do not, uh,
515
00:23:53,040 --> 00:23:55,688
I do not bid the thunder bearer shoot, nor tell
516
00:23:55,744 --> 00:23:58,220
tales of thee to hide, judging Jove
517
00:23:58,960 --> 00:24:01,896
mend when thou canst, be better
518
00:24:01,968 --> 00:24:04,860
at thy leisure. I can
519
00:24:04,900 --> 00:24:07,900
be patient. I can stay with Regan, I
520
00:24:07,940 --> 00:24:09,440
and my hundred knights.
521
00:24:09,860 --> 00:24:12,620
>> Lizzie King-Hall: Not altogether so. I
522
00:24:12,660 --> 00:24:15,644
looked not for you yet, nor am provided
523
00:24:15,692 --> 00:24:18,268
for your fit welcome. Give
524
00:24:18,324 --> 00:24:21,292
ear, sir, to my sister, for
525
00:24:21,316 --> 00:24:24,076
those that mingle reason with your passion must be content
526
00:24:24,148 --> 00:24:26,920
to think you old and so.
527
00:24:27,380 --> 00:24:29,400
But she knows what she does.
528
00:24:30,290 --> 00:24:31,950
>> Randall Duk Kim: This well spoken.
529
00:24:32,290 --> 00:24:34,938
>> Lizzie King-Hall: I dare avouch it, sir. What, 50
530
00:24:34,994 --> 00:24:37,962
followers? Is it not well? What should
531
00:24:37,986 --> 00:24:40,810
you need of more? Yea, or
532
00:24:40,850 --> 00:24:43,626
so many? Sith it both charge and danger
533
00:24:43,658 --> 00:24:46,458
speak gainst so great a number? How in one house
534
00:24:46,514 --> 00:24:49,210
should many people under two commands hold
535
00:24:49,250 --> 00:24:52,122
amity? Tis hard, almost impossible.
536
00:24:52,266 --> 00:24:54,714
>> Jeanne Sakata: Why might not you, my lord,
537
00:24:54,842 --> 00:24:57,578
receive attendance from those that she calls servants?
538
00:24:57,674 --> 00:24:58,794
Or from mine?
539
00:24:58,922 --> 00:25:01,690
>> Lizzie King-Hall: Why not, my lord? If then they
540
00:25:01,730 --> 00:25:04,266
chance to slack ye, we could control
541
00:25:04,338 --> 00:25:07,242
them. If you will come to me. For now I spy a danger.
542
00:25:07,306 --> 00:25:10,090
I entreat you to bring but 5 and
543
00:25:10,130 --> 00:25:12,858
20. To no more will I give
544
00:25:12,914 --> 00:25:14,510
place or notice.
545
00:25:15,570 --> 00:25:17,750
>> Randall Duk Kim: I gave you all,
546
00:25:19,090 --> 00:25:19,770
and in good.
547
00:25:19,810 --> 00:25:21,002
>> Lizzie King-Hall: Time you gave it.
548
00:25:21,186 --> 00:25:23,550
>> Randall Duk Kim: Made you my guardians,
549
00:25:24,110 --> 00:25:26,822
my depositaries, but kept a
550
00:25:26,846 --> 00:25:29,398
reservation to be followed by such a number.
551
00:25:29,534 --> 00:25:32,102
What, must I come to you
552
00:25:32,286 --> 00:25:35,270
with five and 20, Regan, said you
553
00:25:35,310 --> 00:25:35,702
so?
554
00:25:35,806 --> 00:25:38,290
>> Lizzie King-Hall: And speak again, my lord, no more with me.
555
00:25:40,830 --> 00:25:43,318
>> Randall Duk Kim: Those wicked creatures yet do look well
556
00:25:43,374 --> 00:25:46,006
favoured when others are more wicked.
557
00:25:46,198 --> 00:25:49,196
Not being the worst stands in some rank of praise.
558
00:25:49,358 --> 00:25:52,272
I'll go with thee. Thy 50 yet
559
00:25:52,296 --> 00:25:54,880
doth double 5 and 20. And thou art, uh,
560
00:25:55,080 --> 00:25:56,128
twice her love.
561
00:25:56,264 --> 00:25:58,340
>> Jeanne Sakata: Hear me, my lord.
562
00:25:59,080 --> 00:26:02,025
What need you 5 and 20,
563
00:26:02,206 --> 00:26:05,152
10, or 5, to follow in
564
00:26:05,176 --> 00:26:07,904
a house where twice so many have a command to tend
565
00:26:07,952 --> 00:26:08,496
you?
566
00:26:08,648 --> 00:26:10,220
>> Lizzie King-Hall: What need one?
567
00:26:11,480 --> 00:26:13,500
>> Randall Duk Kim: Reason not the need
568
00:26:14,760 --> 00:26:17,376
A, uh, Basest beggars are in the poorest things
569
00:26:17,448 --> 00:26:20,166
superfluous. Allow
570
00:26:20,238 --> 00:26:23,090
not nature more than nature needs.
571
00:26:24,750 --> 00:26:27,270
Man's life is cheap as beast.
572
00:26:27,430 --> 00:26:29,130
Thou art a lady
573
00:26:30,430 --> 00:26:33,334
if only to keep warm were gorgeous. Why, nature
574
00:26:33,382 --> 00:26:36,358
needs not without gorgeous wearest, which
575
00:26:36,414 --> 00:26:39,254
scarcely keeps thee warm. But for true
576
00:26:39,382 --> 00:26:40,050
need
577
00:26:42,430 --> 00:26:44,410
you see me here, you, God,
578
00:26:45,840 --> 00:26:48,728
poor old man, as full of grief as age,
579
00:26:48,864 --> 00:26:51,800
wretched and bold. If it
580
00:26:51,840 --> 00:26:54,488
be you that stir these
581
00:26:54,544 --> 00:26:57,100
daughters hearts against their father,
582
00:26:57,520 --> 00:27:00,380
fool me not so much to bear it tamely.
583
00:27:00,960 --> 00:27:03,720
Touch me with noble anger. And
584
00:27:03,760 --> 00:27:06,584
let not women's weapons, water drops
585
00:27:06,632 --> 00:27:08,460
stain my man's cheeks.
586
00:27:09,360 --> 00:27:11,500
No, you unnatural, uh,
587
00:27:12,626 --> 00:27:15,474
hags. I will have
588
00:27:15,562 --> 00:27:18,190
such revenges on you both.
589
00:27:20,330 --> 00:27:23,250
I will do such things. What
590
00:27:23,290 --> 00:27:25,790
they are, I know not, but
591
00:27:26,090 --> 00:27:28,530
they shall be the, uh, terrors of the
592
00:27:28,570 --> 00:27:29,190
earth.
593
00:27:31,290 --> 00:27:34,210
You think I'll weep? Oh,
594
00:27:34,210 --> 00:27:36,780
uh, I'll not
595
00:27:36,820 --> 00:27:39,596
weep. I have full cause of weeping.
596
00:27:39,708 --> 00:27:42,636
But this heart will break into a hundred thousand
597
00:27:42,788 --> 00:27:45,372
flaws or ere I'll
598
00:27:45,436 --> 00:27:46,080
weep.
599
00:27:48,900 --> 00:27:49,680
>> Annie Occhiogrosso: Fool.
600
00:27:51,220 --> 00:27:52,880
>> Randall Duk Kim: I shall go mad.
601
00:27:55,380 --> 00:27:58,188
>> Annie Occhiogrosso: Good, good. We'll stop
602
00:27:58,244 --> 00:28:01,244
there. And next time I'd like to take it to
603
00:28:01,252 --> 00:28:03,872
the very end, if we could. Good. Okay,
604
00:28:04,016 --> 00:28:06,800
let me ask. Let me just first ask the
605
00:28:06,840 --> 00:28:09,780
question about. How do you find working with the folio?
606
00:28:11,720 --> 00:28:11,840
>> Nathan Agin: Us?
607
00:28:11,840 --> 00:28:14,420
>> Annie Occhiogrosso: Uh, yeah, you guys.
608
00:28:16,440 --> 00:28:19,280
>> Tom Farber: I mean, it's all I know at this point. Working with you
609
00:28:19,320 --> 00:28:19,904
too, so.
610
00:28:19,992 --> 00:28:20,240
>> Randall Duk Kim: Right.
611
00:28:20,280 --> 00:28:22,896
>> Lizzie King-Hall: It's got a change. But, um, I,
612
00:28:22,968 --> 00:28:25,776
I. It really reminds me of scoring
613
00:28:25,888 --> 00:28:28,752
a text. And it's almost like the score.
614
00:28:28,816 --> 00:28:31,676
This is such an obvious thing to say because this is what you've been
615
00:28:31,848 --> 00:28:34,548
proposing that it is. This is your thesis.
616
00:28:34,644 --> 00:28:37,604
It is like a score. Um, so
617
00:28:37,692 --> 00:28:39,640
I, But I don't.
618
00:28:39,980 --> 00:28:41,492
>> Lizzie King-Hall: Of course, you would memorize It.
619
00:28:41,516 --> 00:28:44,100
>> Lizzie King-Hall: But as I'm reading just
620
00:28:44,140 --> 00:28:46,468
reminds me that there's an option for
621
00:28:46,524 --> 00:28:49,240
length, an option for emphasis,
622
00:28:49,830 --> 00:28:52,200
uh, where to take the breath.
623
00:28:52,770 --> 00:28:55,652
Um, it is like someone 400 years ago
624
00:28:55,836 --> 00:28:57,786
scored, you know, the text.
625
00:28:57,898 --> 00:29:00,430
>> Annie Occhiogrosso: Yeah, yeah, yeah.
626
00:29:01,010 --> 00:29:02,106
Anybody else?
627
00:29:02,218 --> 00:29:05,178
>> Jeanne Sakata: Well, um, when you were talking, was
628
00:29:05,234 --> 00:29:07,674
it last week or maybe the last two weeks, Annie.
629
00:29:07,722 --> 00:29:09,630
About the commas.
630
00:29:10,450 --> 00:29:13,110
I mean, I think that the thing that really
631
00:29:13,570 --> 00:29:16,314
came to life for me in this last month
632
00:29:16,402 --> 00:29:19,402
is the idea of keeping the text
633
00:29:19,466 --> 00:29:20,602
very alive.
634
00:29:20,746 --> 00:29:21,210
>> Randall Duk Kim: Yes.
635
00:29:21,290 --> 00:29:24,282
>> Jeanne Sakata: Because I think that. And, you know, like I said, I haven't done
636
00:29:24,306 --> 00:29:27,010
as much classical theater as I would have
637
00:29:27,050 --> 00:29:30,018
liked in my career. And I
638
00:29:30,074 --> 00:29:32,722
think that I realized. I thought of it in such
639
00:29:32,746 --> 00:29:35,682
a. I think a more technical way. You know, the
640
00:29:35,706 --> 00:29:38,514
iambic pentameter and, you know, the stresses
641
00:29:38,562 --> 00:29:41,378
and where the trochees and the, you know, and all that.
642
00:29:41,514 --> 00:29:44,482
And, um. And I think that, you know,
643
00:29:44,506 --> 00:29:47,250
the real delightful thing about working with the first
644
00:29:47,290 --> 00:29:50,150
volume, what you said about the punctuation, the commas,
645
00:29:51,060 --> 00:29:53,900
really brought that alive for me, especially in the first scene when
646
00:29:53,940 --> 00:29:56,892
I'm making that speech, you
647
00:29:56,916 --> 00:29:59,676
know, about how I love my father the most.
648
00:29:59,828 --> 00:30:02,796
And it really came alive for me, observing
649
00:30:02,828 --> 00:30:05,660
the commas and making up
650
00:30:05,700 --> 00:30:08,492
that speech on the M, you know, on the fly, right in the
651
00:30:08,516 --> 00:30:10,700
moment. Because I totally caught off guard.
652
00:30:10,860 --> 00:30:11,388
>> Annie Occhiogrosso: Yes.
653
00:30:11,484 --> 00:30:14,396
>> Jeanne Sakata: The proposal and also gone roll,
654
00:30:14,428 --> 00:30:17,064
you go first. And whole game
655
00:30:17,152 --> 00:30:20,024
aspect of it, having to scope out, you know, what are my sisters going to
656
00:30:20,032 --> 00:30:22,952
say? So, um. So
657
00:30:23,136 --> 00:30:26,008
similarly, there's not as many comments for Goneril in this
658
00:30:26,064 --> 00:30:28,888
scene, but it really brought alive
659
00:30:28,984 --> 00:30:31,780
for certain parts that, you know, when I say,
660
00:30:32,080 --> 00:30:34,808
I, uh, hear me. And then I think it's comma, my
661
00:30:34,864 --> 00:30:37,700
lord, that there can be a moment where.
662
00:30:38,080 --> 00:30:41,032
Where she's, you know, I, uh, mean in
663
00:30:41,056 --> 00:30:43,800
that moment. He says, I'll go with. I'll go with.
664
00:30:43,840 --> 00:30:46,808
Conroe, you're only giving me 25, 50. Sounds good.
665
00:30:46,864 --> 00:30:47,816
>> Randall Duk Kim: I'll go with.
666
00:30:47,968 --> 00:30:50,600
>> Jeanne Sakata: I have to stop him. So it's hearing me, my
667
00:30:50,640 --> 00:30:53,144
lord, Right. All one. But.
668
00:30:53,312 --> 00:30:56,264
But that little pause. I
669
00:30:56,352 --> 00:30:59,304
began to wonder, why is there that little comma there,
670
00:30:59,392 --> 00:31:02,392
you know, And. And, um. Just little things like that
671
00:31:02,416 --> 00:31:05,176
throughout the scene. Little goodies, little tidbits were
672
00:31:05,248 --> 00:31:05,576
great.
673
00:31:05,648 --> 00:31:08,472
>> Annie Occhiogrosso: Yeah. I think. And I think the more you work with it, the
674
00:31:08,496 --> 00:31:11,368
more you'll see it's an interpretive tool, you know.
675
00:31:11,424 --> 00:31:14,190
I'm reminded that when Morris, um,
676
00:31:14,450 --> 00:31:16,890
gathered everyone around the table to do
677
00:31:16,930 --> 00:31:19,882
Lear, he said, um, I would like
678
00:31:19,906 --> 00:31:22,762
to say something now. And we all, you know,
679
00:31:22,786 --> 00:31:25,738
we took out pens and papers and we thought, we're Going to write
680
00:31:25,754 --> 00:31:28,106
it down. We'll never forget it. And he
681
00:31:28,178 --> 00:31:30,870
said, just talk.
682
00:31:32,050 --> 00:31:35,030
Okay, let's start rehearsal. And I thought,
683
00:31:35,410 --> 00:31:38,122
that's it. That's the great Morris
684
00:31:38,186 --> 00:31:41,098
Karnofsky. And he's saying, just talk. Where's
685
00:31:41,114 --> 00:31:44,010
the wit? You know? And I found ever
686
00:31:44,050 --> 00:31:46,310
since he said that, that
687
00:31:46,690 --> 00:31:49,482
actors don't talk, uh, uh, so
688
00:31:49,506 --> 00:31:52,122
often. And I think the Folio
689
00:31:52,266 --> 00:31:55,162
allows you to. I think, Jeanne, when you talk
690
00:31:55,186 --> 00:31:58,026
about the comma and the spontaneity
691
00:31:58,138 --> 00:32:00,954
of it, that that's what I think Morris
692
00:32:01,002 --> 00:32:03,770
was ultimately saying is that you
693
00:32:03,810 --> 00:32:06,762
don't know what you're going. Just. Just the way I'm speaking to
694
00:32:06,786 --> 00:32:09,562
you now, I don't have a speech that I have in my back
695
00:32:09,586 --> 00:32:12,064
PO Pocket. And I'm putting it forth.
696
00:32:12,192 --> 00:32:15,136
I'm thinking on my feet and expressing
697
00:32:15,168 --> 00:32:17,984
it. Um, and I find
698
00:32:18,072 --> 00:32:20,400
for me, over the years that that's what the
699
00:32:20,440 --> 00:32:23,168
Folio has helped with,
700
00:32:23,304 --> 00:32:25,936
is that people actually sound as if they're
701
00:32:25,968 --> 00:32:28,832
talking to one another. And
702
00:32:28,856 --> 00:32:31,792
I thought that reading that time through, I thought
703
00:32:31,816 --> 00:32:34,736
you guys were pulling it together beautifully.
704
00:32:34,850 --> 00:32:37,728
Um, there are a couple of suggestions that I want to make for the next
705
00:32:37,784 --> 00:32:40,598
step. Um, because I think.
706
00:32:40,734 --> 00:32:42,694
And I might be wrong, but I think
707
00:32:42,782 --> 00:32:45,670
sometimes, at least in some
708
00:32:45,710 --> 00:32:48,598
productions that I've seen, um, we
709
00:32:48,654 --> 00:32:51,446
tend to want to say this
710
00:32:51,518 --> 00:32:54,342
character is such and such
711
00:32:54,526 --> 00:32:57,240
evil, good, um,
712
00:32:57,240 --> 00:33:00,182
sweet, whatever. And
713
00:33:00,206 --> 00:33:03,174
that's what we play throughout. And I think what
714
00:33:03,262 --> 00:33:06,016
you're doing now is you're allowing those women
715
00:33:06,198 --> 00:33:08,828
to not do that, to not
716
00:33:08,884 --> 00:33:11,580
carry the coat of behavior
717
00:33:11,660 --> 00:33:14,364
or some kind of.
718
00:33:14,532 --> 00:33:17,340
I don't know, the adjective that describes the
719
00:33:17,380 --> 00:33:20,316
things you do by the end of the play. And that's
720
00:33:20,348 --> 00:33:23,180
what I'm looking for more. And there are
721
00:33:23,220 --> 00:33:26,028
even more moments, I think, that can happen, because
722
00:33:26,084 --> 00:33:28,840
I think sometimes we forget that
723
00:33:30,580 --> 00:33:33,500
we know the play now. The audience knows the play up
724
00:33:33,540 --> 00:33:36,414
to this point. Okay, we
725
00:33:36,502 --> 00:33:38,690
saw, uh, Regan,
726
00:33:39,050 --> 00:33:41,902
uh, leave her home when she heard Lear was
727
00:33:41,926 --> 00:33:44,462
coming. We heard. We said. And we
728
00:33:44,486 --> 00:33:47,086
heard the scene, uh, where
729
00:33:47,158 --> 00:33:50,078
Cornwall and Regan said, no, we're
730
00:33:50,174 --> 00:33:52,958
too tired. We're ill. Uh, we can't come
731
00:33:53,014 --> 00:33:55,998
to see the King now. And Gloucester's trying to convince them
732
00:33:56,054 --> 00:33:58,942
to come down. We've heard that. We in the audience
733
00:33:59,006 --> 00:34:01,502
have heard that. So you have an
734
00:34:01,526 --> 00:34:04,512
opportunity when you see your father. And I
735
00:34:04,536 --> 00:34:06,704
think it. It makes the skin
736
00:34:06,752 --> 00:34:09,664
crawl more, uh, than any evil
737
00:34:09,712 --> 00:34:12,592
you could ever. Tone of evil that you
738
00:34:12,616 --> 00:34:14,896
could put on it by welcome,
739
00:34:15,008 --> 00:34:17,696
welcoming him as if you have been
740
00:34:17,768 --> 00:34:20,688
dying to see him. Because we see
741
00:34:20,744 --> 00:34:22,672
hypocrisy come to life.
742
00:34:22,856 --> 00:34:24,016
>> Lizzie King-Hall: Yeah, yeah, yeah.
743
00:34:24,048 --> 00:34:24,256
>> Randall Duk Kim: Yeah.
744
00:34:24,288 --> 00:34:27,264
>> Annie Occhiogrosso: See what I mean? Because we know, we know
745
00:34:27,352 --> 00:34:30,218
what led up to it, so that
746
00:34:30,274 --> 00:34:33,066
helps that that's what in the end is going
747
00:34:33,138 --> 00:34:35,834
to let us know. Oh, my God. Is she really
748
00:34:35,922 --> 00:34:38,330
doing that? Randy, I would
749
00:34:38,370 --> 00:34:41,146
also suggest that when you,
750
00:34:41,218 --> 00:34:44,122
when you say I think you are, um, you're glad to
751
00:34:44,146 --> 00:34:47,002
see me. I, I, I
752
00:34:47,026 --> 00:34:49,546
would say try a sense of
753
00:34:49,618 --> 00:34:52,458
absolute relief because you've just been told
754
00:34:52,514 --> 00:34:54,954
that she was in on stalking Kent.
755
00:34:55,082 --> 00:34:56,054
>> Randall Duk Kim: Right, right, right.
756
00:34:56,162 --> 00:34:58,942
>> Annie Occhiogrosso: And that she wasn't going to come down to see you.
757
00:34:59,046 --> 00:35:01,870
So when she says, I'm glad to see you, I
758
00:35:01,910 --> 00:35:04,670
think the idea that, oh, thank God I still
759
00:35:04,710 --> 00:35:07,550
have, you know, and that's why I think, uh, my
760
00:35:07,590 --> 00:35:10,382
idea is to say, even joke a little bit about
761
00:35:10,486 --> 00:35:12,770
the mother, you know, uh,
762
00:35:13,590 --> 00:35:16,446
you know, I, I would say I'd have to say that she wasn't
763
00:35:16,478 --> 00:35:19,342
even your mother if that because of relief. I mean,
764
00:35:19,366 --> 00:35:22,254
I'm not, you know, from, for me to tell you how to
765
00:35:22,262 --> 00:35:25,160
act as a joke in itself, but, um, just
766
00:35:25,280 --> 00:35:27,910
giving, you know, take it and run with it.
767
00:35:27,910 --> 00:35:30,840
Um, okay, um, and then
768
00:35:30,880 --> 00:35:32,980
the next good thing is, are you free?
769
00:35:33,760 --> 00:35:36,648
So that gets put aside. Even though that's the
770
00:35:36,704 --> 00:35:39,640
reason. I keep saying that's the reason
771
00:35:39,760 --> 00:35:41,752
you want to talk to them.
772
00:35:41,936 --> 00:35:42,344
>> Randall Duk Kim: Yeah.
773
00:35:42,392 --> 00:35:45,048
>> Annie Occhiogrosso: Now, I mean, you have the other reason, of course, to tell her about
774
00:35:45,104 --> 00:35:47,768
Goneril and all of that. But what provokes
775
00:35:47,864 --> 00:35:50,648
this idea of, Let me. The king
776
00:35:50,744 --> 00:35:53,640
wants to see the father wants to see his daughter.
777
00:35:53,720 --> 00:35:56,424
The kingdom, all of that stuff that came before
778
00:35:56,592 --> 00:35:59,400
was because of Kent in the stocks. And
779
00:35:59,440 --> 00:36:02,056
so now when he's free,
780
00:36:02,208 --> 00:36:05,032
you decide, and you've heard that she's happy to
781
00:36:05,056 --> 00:36:07,848
see you. That can be put aside now. Now
782
00:36:07,904 --> 00:36:10,420
I can get back to sharing with her.
783
00:36:10,800 --> 00:36:13,352
You know, what your sister did to me. This is
784
00:36:13,376 --> 00:36:16,088
terrible. Then the next moment
785
00:36:16,184 --> 00:36:19,162
is the next shocker. And
786
00:36:19,186 --> 00:36:22,110
that, of course, is Regan's response.
787
00:36:22,430 --> 00:36:25,082
Um, that I have hope you
788
00:36:25,186 --> 00:36:28,090
less know how to value her dessert than
789
00:36:28,130 --> 00:36:30,986
she. I think you all have a
790
00:36:31,058 --> 00:36:33,578
little more time after the
791
00:36:33,634 --> 00:36:36,470
period to take in
792
00:36:37,010 --> 00:36:39,818
and determine what your
793
00:36:39,874 --> 00:36:42,794
response is. I think if it's an unfinished
794
00:36:42,842 --> 00:36:45,692
line, then you come right in. I get that. But
795
00:36:45,716 --> 00:36:48,140
there's a moment, for instance, um,
796
00:36:49,460 --> 00:36:52,220
let's see, even little
797
00:36:52,260 --> 00:36:54,732
things like, uh, uh, I'm m on the
798
00:36:54,756 --> 00:36:57,690
first part of the scene. Ah, Regan.
799
00:36:57,690 --> 00:37:00,556
Um, I cannot think my sister right
800
00:37:00,628 --> 00:37:03,360
in the least would fail her obligation.
801
00:37:03,940 --> 00:37:06,924
And at the end of it, you say, tis on such ground and
802
00:37:07,012 --> 00:37:09,628
to such wholesome end as clears her from all
803
00:37:09,684 --> 00:37:12,540
blame. And he finishes my curse. He comes
804
00:37:12,580 --> 00:37:15,260
right in. My curse is on her. Take just a
805
00:37:15,300 --> 00:37:17,984
moment for your next argument.
806
00:37:18,112 --> 00:37:18,416
>> Lizzie King-Hall: Yeah.
807
00:37:18,448 --> 00:37:21,072
>> Annie Occhiogrosso: And we'll see that. That. Oh, sir, you
808
00:37:21,096 --> 00:37:23,712
know, because I think if you come right in, it
809
00:37:23,736 --> 00:37:26,560
becomes almost argumentative. Rather than
810
00:37:26,680 --> 00:37:28,860
convincing him to go back
811
00:37:29,400 --> 00:37:30,740
to Goneril,
812
00:37:31,920 --> 00:37:34,848
um, the older you can make him
813
00:37:34,904 --> 00:37:37,792
be, the more feeble. And I think you have to
814
00:37:37,816 --> 00:37:40,512
ask yourself, how does one do that to an elderly
815
00:37:40,576 --> 00:37:43,392
person? It's not by beating them up,
816
00:37:43,416 --> 00:37:46,138
which neither one of you did. Um, but
817
00:37:46,194 --> 00:37:48,954
I'll throw that caution out there. It's by making them
818
00:37:49,042 --> 00:37:51,690
believe they can't do anything on their
819
00:37:51,730 --> 00:37:54,442
own. You really need us to
820
00:37:54,466 --> 00:37:57,450
care for you. And, um, I
821
00:37:57,490 --> 00:38:00,266
think Brandy. Uh, that brings me to the next
822
00:38:00,338 --> 00:38:00,950
one.
823
00:38:05,020 --> 00:38:05,320
>> Lizzie King-Hall: Um.
824
00:38:09,890 --> 00:38:12,682
>> Annie Occhiogrosso: Oh, and again, just a reminder. And I think you're doing
825
00:38:12,706 --> 00:38:15,322
it. And I would urge more just as a
826
00:38:15,346 --> 00:38:17,898
reminder in order to make the
827
00:38:17,954 --> 00:38:20,858
line, uh, you shall never have my
828
00:38:20,914 --> 00:38:23,790
curse. The tender. Thy tender hefted nature.
829
00:38:24,130 --> 00:38:26,970
Lizzy, we. He has to see that in you.
830
00:38:27,090 --> 00:38:29,802
So the. The kind of tightrope you're walking
831
00:38:29,866 --> 00:38:32,762
here has got to make him believe you are
832
00:38:32,786 --> 00:38:35,738
not goneral. You are not the daughter who would
833
00:38:35,794 --> 00:38:38,682
ever do. Because if you show any sign of
834
00:38:38,706 --> 00:38:41,658
that, then one wonders what it. You know, then we come.
835
00:38:41,714 --> 00:38:44,594
Then what happens is, as scholars now take it, and they'll
836
00:38:44,642 --> 00:38:47,346
say, well, he's mad. This is proof he's mad.
837
00:38:47,458 --> 00:38:50,290
But I don't think that that's what's happening. I think
838
00:38:50,410 --> 00:38:53,410
you want to. To, um,
839
00:38:53,410 --> 00:38:56,390
you know, let be the good sister.
840
00:38:57,370 --> 00:39:00,210
Be that. Be the nice sister. You know, until. Until
841
00:39:00,250 --> 00:39:03,202
you have to m. You know, change things when he
842
00:39:03,226 --> 00:39:05,480
won't listen. Okay. Um,
843
00:39:06,250 --> 00:39:09,192
I'll put my man in the stocks. Oh, Randy.
844
00:39:09,306 --> 00:39:12,204
After, um. I know it. My sisters approves
845
00:39:12,252 --> 00:39:15,212
her letter that she would soon be here is your lady
846
00:39:15,276 --> 00:39:17,980
come. That's one of those moments. Take a
847
00:39:18,020 --> 00:39:19,640
moment. See him.
848
00:39:19,940 --> 00:39:20,364
>> Randall Duk Kim: Yeah.
849
00:39:20,412 --> 00:39:21,100
>> Randall Duk Kim: Okay.
850
00:39:21,260 --> 00:39:24,028
>> Annie Occhiogrosso: Right. Rather than just saying, oh, this is like.
851
00:39:24,084 --> 00:39:26,716
Otherwise, it seems like Lear just gonna be angry at anything.
852
00:39:26,828 --> 00:39:28,140
>> Randall Duk Kim: Right, right, right, right.
853
00:39:28,260 --> 00:39:30,750
>> Annie Occhiogrosso: All right. Okay. Um.
854
00:39:32,100 --> 00:39:34,908
And I. And Thomas, what are you.
855
00:39:34,964 --> 00:39:37,740
What is it that you're doing on what means. I know you're doing
856
00:39:37,780 --> 00:39:40,708
the folio, but what is it that you're
857
00:39:40,804 --> 00:39:43,428
asked. What does he surprise you
858
00:39:43,564 --> 00:39:46,564
in his reaction to Oswald?
859
00:39:46,612 --> 00:39:48,480
Are you angry? I can't tell
860
00:39:49,260 --> 00:39:51,040
what you're doing with the line.
861
00:39:51,870 --> 00:39:54,484
>> Tom Farber: Um, what I'm. Yeah, no, you go ahead. You go
862
00:39:54,492 --> 00:39:54,948
ahead.
863
00:39:55,084 --> 00:39:58,036
>> Annie Occhiogrosso: No, I was going to say, you know, I'm not. I don't want to pressure you into
864
00:39:58,108 --> 00:40:00,772
having. It's not a matter of a final answer. I just want you to
865
00:40:00,796 --> 00:40:01,360
be.
866
00:40:01,660 --> 00:40:02,324
>> Tom Farber: Yeah.
867
00:40:02,452 --> 00:40:03,636
>> Annie Occhiogrosso: Voice on It.
868
00:40:03,788 --> 00:40:04,506
>> Tom Farber: Yeah.
869
00:40:04,668 --> 00:40:05,278
>> Annie Occhiogrosso: All right.
870
00:40:05,334 --> 00:40:05,598
>> Tom Farber: Right.
871
00:40:05,654 --> 00:40:08,206
>> Annie Occhiogrosso: And I would put the same caution out to you. Take
872
00:40:08,278 --> 00:40:11,198
your, um. Your
873
00:40:11,254 --> 00:40:14,158
behavior, take it off of Regan, because
874
00:40:14,214 --> 00:40:16,878
I think Cornwall follows Regan very
875
00:40:16,934 --> 00:40:19,822
closely. He has a couple of lines in this play where
876
00:40:19,846 --> 00:40:22,686
he'll say, nor I, neither Regan. Or he talks
877
00:40:22,718 --> 00:40:25,502
to Edmund about her. Um, so I
878
00:40:25,526 --> 00:40:27,770
would take my cue from her.
879
00:40:28,070 --> 00:40:31,032
Okay. Okay. Um. I know
880
00:40:31,056 --> 00:40:33,880
it's a tiny little thing. What's happening for me
881
00:40:33,920 --> 00:40:36,232
now is you guys are filling it
882
00:40:36,336 --> 00:40:39,260
beautifully, and now I'm getting greedy.
883
00:40:42,240 --> 00:40:45,140
>> Jeanne Sakata: To me, it's starting to feel like a real family.
884
00:40:45,520 --> 00:40:48,510
You know, I feel like. I feel like, um.
885
00:40:50,560 --> 00:40:53,432
I mean, we've all had moments with aging parents,
886
00:40:53,496 --> 00:40:56,392
right, where we're trying to say, this is
887
00:40:56,416 --> 00:40:59,240
for your own good. You don't need
888
00:40:59,280 --> 00:41:02,152
all this, you know, I
889
00:41:02,176 --> 00:41:05,032
mean, in Lear, of course, it's, you know, the nights. But
890
00:41:05,136 --> 00:41:07,832
I know with my own dad, it was other things. We had to try and
891
00:41:07,856 --> 00:41:10,664
convince him, you know, we can take care of
892
00:41:10,672 --> 00:41:13,112
this now. But it was a matter of pride. You know, he
893
00:41:13,136 --> 00:41:16,072
wanted it. Starting to
894
00:41:16,096 --> 00:41:18,056
feel that way to me, which is really exciting.
895
00:41:18,168 --> 00:41:20,888
>> Annie Occhiogrosso: And I. It does. It feels to me like you. You are
896
00:41:20,944 --> 00:41:23,736
sisters. I feel the same thing. And that Randy's
897
00:41:23,768 --> 00:41:26,700
your father. I mean, it's starting to come to life that
898
00:41:26,740 --> 00:41:29,724
way. The thing we can never lose sight of, and it
899
00:41:29,732 --> 00:41:32,460
was occurring to me while you were reading it, while you were doing
900
00:41:32,500 --> 00:41:33,800
it, is
901
00:41:35,140 --> 00:41:37,900
Lear is astounded
902
00:41:38,060 --> 00:41:40,780
by this. Now, it's all well and good to say
903
00:41:40,900 --> 00:41:43,244
what Goneril has said earlier, that he's
904
00:41:43,292 --> 00:41:45,980
rash, that we saw his behavior with
905
00:41:46,020 --> 00:41:49,020
Cordelia, that, you know, and that
906
00:41:49,060 --> 00:41:52,060
is there. But we also
907
00:41:52,180 --> 00:41:54,456
have to somehow
908
00:41:54,568 --> 00:41:57,336
understand he gave
909
00:41:57,448 --> 00:41:59,860
his kingdom to you.
910
00:42:00,480 --> 00:42:03,060
That's what he's struggling with.
911
00:42:03,840 --> 00:42:06,232
You said you loved me
912
00:42:06,416 --> 00:42:08,700
deeply, thoroughly,
913
00:42:09,120 --> 00:42:11,144
and I gave you a kingdom.
914
00:42:11,272 --> 00:42:14,120
Absolutely. It's a fatal flaw,
915
00:42:14,200 --> 00:42:16,780
one would say, but nonetheless,
916
00:42:17,760 --> 00:42:20,118
that has to be underneath this
917
00:42:20,174 --> 00:42:22,502
somehow. Not just
918
00:42:22,686 --> 00:42:25,290
father, daughter, car keys,
919
00:42:25,450 --> 00:42:27,890
uh, that what's at stake here
920
00:42:28,590 --> 00:42:31,302
is a kingdom. And I. And
921
00:42:31,326 --> 00:42:34,230
again, in your imagination, my imagination,
922
00:42:34,390 --> 00:42:37,158
we go into a world of. What would that be
923
00:42:37,214 --> 00:42:40,118
like? It's not
924
00:42:40,174 --> 00:42:43,062
money. I mean, again, just. I think of
925
00:42:43,166 --> 00:42:45,990
funerals and how people fight over the remains
926
00:42:46,070 --> 00:42:48,646
of, you know, what was left behind and end
927
00:42:48,718 --> 00:42:50,770
relationships based on it.
928
00:42:51,380 --> 00:42:54,032
Um, and this. This. You have to
929
00:42:54,056 --> 00:42:56,912
multiply it. And Randy, I think that, ah, what I
930
00:42:56,936 --> 00:42:59,904
was getting more and more of in. In this
931
00:43:00,072 --> 00:43:02,752
was if you look at your speech
932
00:43:02,816 --> 00:43:04,820
to Regan, um,
933
00:43:05,480 --> 00:43:08,208
you say the caps come in. You're all
934
00:43:08,264 --> 00:43:11,072
lower. This the. No, Regan. Thou shalt never have
935
00:43:11,096 --> 00:43:11,952
my curse.
936
00:43:12,096 --> 00:43:12,928
>> Randall Duk Kim: Yes, yes.
937
00:43:13,024 --> 00:43:15,376
>> Annie Occhiogrosso: Nature's capitalized and then everything's
938
00:43:15,408 --> 00:43:17,340
lowercase. Until what?
939
00:43:17,770 --> 00:43:20,498
Offices of nature bond of
940
00:43:20,554 --> 00:43:23,122
childhood, effects of courtesy
941
00:43:23,266 --> 00:43:25,346
Jews. And look at here. Of
942
00:43:25,418 --> 00:43:28,098
gratitude. And look at the capital long
943
00:43:28,154 --> 00:43:30,754
spelling on kingdom. He's
944
00:43:30,802 --> 00:43:33,698
reminding her. So it's not just. No, you're
945
00:43:33,714 --> 00:43:35,550
too sweet to have this happen.
946
00:43:36,730 --> 00:43:38,990
You would never allow,
947
00:43:39,610 --> 00:43:42,568
you know, ingratitude to take over
948
00:43:42,754 --> 00:43:45,644
what I gave you. And I think it plants
949
00:43:45,692 --> 00:43:48,588
a seed in her. This is why I. I think
950
00:43:48,644 --> 00:43:50,480
she starts to weaken.
951
00:43:50,900 --> 00:43:51,356
>> Jeanne Sakata: Yeah.
952
00:43:51,388 --> 00:43:54,348
>> Annie Occhiogrosso: I think she hears it. She's weak. And that's why her point
953
00:43:54,404 --> 00:43:56,508
is. Stop talking to the
954
00:43:56,564 --> 00:43:58,876
purpose. Get to the point.
955
00:43:59,028 --> 00:44:01,932
>> Jeanne Sakata: I love that moment. To
956
00:44:01,956 --> 00:44:02,940
the purpose, dad.
957
00:44:03,020 --> 00:44:05,516
>> Annie Occhiogrosso: And thank God that trumpet blab. That
958
00:44:05,588 --> 00:44:08,492
trumpet comes in and he's. Now
959
00:44:08,516 --> 00:44:11,452
we get to Randy. The thing you were looking for a
960
00:44:11,476 --> 00:44:14,222
page ago. Who put my man in the
961
00:44:14,246 --> 00:44:17,182
stocks? That's what you want to know, right? That
962
00:44:17,286 --> 00:44:20,222
when you hear that what trumpet said you hear. I
963
00:44:20,246 --> 00:44:22,798
know it's my sister Regan. I
964
00:44:22,854 --> 00:44:25,210
suggest great relief. You don't have to
965
00:44:25,510 --> 00:44:28,238
thank God she's here. All right.
966
00:44:28,294 --> 00:44:31,294
Because when she comes in, you don't
967
00:44:31,342 --> 00:44:34,170
speak, uh, until she.
968
00:44:34,470 --> 00:44:37,342
She talks about, you know, you have that one at the. I pray you,
969
00:44:37,366 --> 00:44:40,246
father, being weak. But. But she takes over.
970
00:44:40,318 --> 00:44:43,078
Why not by the hand. And the fact that you take
971
00:44:43,134 --> 00:44:45,590
her by the hand. We know
972
00:44:45,630 --> 00:44:48,550
that you, Albany and Cornwall are
973
00:44:48,590 --> 00:44:51,526
preparing to fight each other. We've already
974
00:44:51,598 --> 00:44:54,310
heard that news. There's news abroad
975
00:44:54,390 --> 00:44:57,190
that. That is happening. And
976
00:44:57,230 --> 00:44:59,766
you go and you see him and you take her by the hand.
977
00:44:59,838 --> 00:45:02,790
Why? Because the bigger enemy is not
978
00:45:02,830 --> 00:45:05,808
each other. It's Lear. He can
979
00:45:05,864 --> 00:45:08,720
take it all back and then you can go fight all
980
00:45:08,760 --> 00:45:11,184
you want. But until we handle
981
00:45:11,232 --> 00:45:14,192
Lear, we've got to be friends.
982
00:45:14,376 --> 00:45:17,168
Then we'll. Then we can separate and fight each other.
983
00:45:17,304 --> 00:45:20,176
So that's why I think you rush over to her. He
984
00:45:20,248 --> 00:45:23,216
sees that. He's shocked after everything
985
00:45:23,288 --> 00:45:26,112
he's just said to you about
986
00:45:26,216 --> 00:45:29,120
her. And you take her by the
987
00:45:29,160 --> 00:45:31,912
hand. You've rejected everything that he's put forward
988
00:45:31,976 --> 00:45:34,340
forth. Now the sisters are in league,
989
00:45:35,200 --> 00:45:35,940
right?
990
00:45:38,640 --> 00:45:39,208
>> Lizzie King-Hall: Yeah.
991
00:45:39,304 --> 00:45:40,744
>> Lizzie King-Hall: Of kids too.
992
00:45:40,912 --> 00:45:43,320
>> Lizzie King-Hall: I was the only person who could really stand up to my
993
00:45:43,360 --> 00:45:44,300
grandmother.
994
00:45:44,660 --> 00:45:44,770
>> Jeanne Sakata: Mhm.
995
00:45:44,880 --> 00:45:46,940
>> Lizzie King-Hall: I think people felt
996
00:45:47,600 --> 00:45:50,552
or just anyone where like, oh, let's bring
997
00:45:50,576 --> 00:45:51,016
her along.
998
00:45:51,088 --> 00:45:52,660
>> Lizzie King-Hall: She's so good with him.
999
00:45:53,600 --> 00:45:56,408
>> Lizzie King-Hall: So much easier to be around him when she's there.
1000
00:45:56,464 --> 00:45:59,462
And I feel that when Jeannie comes in, I'm like, oh, she's going to
1001
00:45:59,486 --> 00:46:02,310
take over. She always
1002
00:46:02,350 --> 00:46:03,478
knows what to say.
1003
00:46:03,614 --> 00:46:04,530
>> Annie Occhiogrosso: That's right.
1004
00:46:06,510 --> 00:46:08,130
Okay. And then
1005
00:46:08,140 --> 00:46:09,640
m.
1006
00:46:11,550 --> 00:46:14,342
I love at your choice. It's a great
1007
00:46:14,366 --> 00:46:17,366
Moment. Um. Oh, Randy.
1008
00:46:17,398 --> 00:46:19,810
Now this next section starts with you.
1009
00:46:20,670 --> 00:46:22,170
When you do, um,
1010
00:46:23,470 --> 00:46:26,400
goodbye to her. Yes, I would
1011
00:46:26,440 --> 00:46:29,264
suggest that. But yet thou art my flesh, my blood,
1012
00:46:29,312 --> 00:46:31,580
my daughter. Well, let me ask you first, what.
1013
00:46:32,280 --> 00:46:35,100
What do you feel about that line
1014
00:46:39,320 --> 00:46:40,060
Are.
1015
00:46:45,420 --> 00:46:47,200
>> Randall Duk Kim: Um,
1016
00:46:53,570 --> 00:46:56,430
that no matter what my negative feelings
1017
00:46:56,770 --> 00:46:58,230
towards her are.
1018
00:46:58,530 --> 00:46:59,370
>> Annie Occhiogrosso: Yep.
1019
00:46:59,530 --> 00:47:01,110
>> Randall Duk Kim: She's a part of me.
1020
00:47:01,410 --> 00:47:04,210
>> Randall Duk Kim: I'm a part of her. We're down,
1021
00:47:04,210 --> 00:47:06,746
um, somehow.
1022
00:47:06,938 --> 00:47:09,866
>> Annie Occhiogrosso: Yes. And that's what makes it so
1023
00:47:09,938 --> 00:47:12,350
sad to say farewell,
1024
00:47:13,090 --> 00:47:15,498
you know. But yet you're my
1025
00:47:15,554 --> 00:47:17,840
daughter. You're my blood.
1026
00:47:18,670 --> 00:47:21,240
Um, so we get that and then
1027
00:47:21,620 --> 00:47:24,540
that keys off the next section of her being
1028
00:47:24,580 --> 00:47:26,400
a disease in your blood.
1029
00:47:28,340 --> 00:47:28,350
>> Nathan Agin: You.
1030
00:47:28,350 --> 00:47:30,940
>> Annie Occhiogrosso: Mhm. Gave birth to that. So
1031
00:47:30,980 --> 00:47:33,980
whatever is in her, some
1032
00:47:34,020 --> 00:47:36,400
part of you is responsible.
1033
00:47:36,980 --> 00:47:38,160
>> Randall Duk Kim: Yeah, yeah.
1034
00:47:38,600 --> 00:47:40,588
>> Annie Occhiogrosso: Um, but then
1035
00:47:40,724 --> 00:47:43,720
absolute security. But I'll not
1036
00:47:43,760 --> 00:47:46,520
chide you. And this is again one of those
1037
00:47:46,560 --> 00:47:49,384
moments where my heart breaks because he thinks
1038
00:47:49,512 --> 00:47:52,376
he's so secure he can say do what you want.
1039
00:47:52,448 --> 00:47:54,900
I'm not even going to yell at you. You know why
1040
00:47:55,200 --> 00:47:56,056
I have her.
1041
00:47:56,128 --> 00:47:57,608
>> Jeanne Sakata: I've got Reagan.
1042
00:47:57,784 --> 00:48:00,728
>> Annie Occhiogrosso: Yes. So that security, that
1043
00:48:00,784 --> 00:48:03,400
false security believing that
1044
00:48:03,440 --> 00:48:06,408
Regan is going to be there and what, it's
1045
00:48:06,424 --> 00:48:09,304
the same thing? Almost. Almost the same thing that Cordelia
1046
00:48:09,352 --> 00:48:12,352
does to him. It's false security. And
1047
00:48:12,376 --> 00:48:15,280
then she comes in with. Of course not
1048
00:48:15,320 --> 00:48:16,620
altogether so.
1049
00:48:18,200 --> 00:48:21,136
And I keep that a little. I would try keeping
1050
00:48:21,168 --> 00:48:23,968
it, um, uh, not
1051
00:48:24,024 --> 00:48:26,992
harsh. Look, I didn't. I didn't know
1052
00:48:27,016 --> 00:48:29,840
you were coming. Try to see it from my point
1053
00:48:29,880 --> 00:48:32,656
of view still,
1054
00:48:32,808 --> 00:48:35,440
because I think you're going to find. And you did
1055
00:48:35,480 --> 00:48:38,380
this. You started to build from there.
1056
00:48:39,640 --> 00:48:42,160
>> Lizzie King-Hall: It's also the second time I've said that.
1057
00:48:42,200 --> 00:48:44,608
>> Lizzie King-Hall: I've already told you I'm not ready for
1058
00:48:44,664 --> 00:48:45,260
you.
1059
00:48:45,730 --> 00:48:46,350
>> Annie Occhiogrosso: Mhm.
1060
00:48:47,800 --> 00:48:49,180
>> Lizzie King-Hall: I'm saying it again.
1061
00:48:49,720 --> 00:48:52,560
>> Annie Occhiogrosso: Yes. And the way you're saying it to me right now
1062
00:48:52,600 --> 00:48:55,408
is that's what I'm Instead of
1063
00:48:55,544 --> 00:48:58,240
it sounded when you did the last time. It
1064
00:48:58,280 --> 00:49:01,104
sounded agitated rather than.
1065
00:49:01,192 --> 00:49:03,900
Let me say this one more time.
1066
00:49:04,200 --> 00:49:07,056
So it still has a kind of spell
1067
00:49:07,088 --> 00:49:08,976
it out for whatever. You know what I mean?
1068
00:49:09,048 --> 00:49:09,500
>> Lizzie King-Hall: Yes.
1069
00:49:09,500 --> 00:49:11,920
>> Annie Occhiogrosso: Um, okay. And then, uh,
1070
00:49:12,680 --> 00:49:15,488
again, confusion on his part. Is this
1071
00:49:15,544 --> 00:49:18,400
well spoken. Now you swear to it.
1072
00:49:18,440 --> 00:49:21,340
I dare a voucher. I swear it.
1073
00:49:22,120 --> 00:49:24,608
And then you give your uh. And that's all
1074
00:49:24,664 --> 00:49:27,488
fine. Um, and then Goneril, you
1075
00:49:27,544 --> 00:49:30,448
decide. Does it seem to you,
1076
00:49:30,504 --> 00:49:33,180
Jeannie, that there's a little change there from,
1077
00:49:34,370 --> 00:49:37,146
you know. Now you come in with some good advice. Why don't
1078
00:49:37,178 --> 00:49:38,954
you do this and do this?
1079
00:49:39,042 --> 00:49:41,670
>> Jeanne Sakata: Yeah. That felt to me like I was sort of following.
1080
00:49:42,050 --> 00:49:44,602
I mean, uh, Regan and Lear,
1081
00:49:44,786 --> 00:49:47,642
you Are talking to each other and, and, you
1082
00:49:47,666 --> 00:49:50,442
know, about. No, no, I'm not ready for you. You
1083
00:49:50,466 --> 00:49:53,066
know, and I'm sort of following all this, and I'm trying to figure
1084
00:49:53,098 --> 00:49:55,706
out, you know, what move
1085
00:49:55,778 --> 00:49:58,070
she's making and, you know,
1086
00:49:58,530 --> 00:50:01,382
just trying to suss everything out as this
1087
00:50:01,406 --> 00:50:03,846
is being spoken. And then when she
1088
00:50:03,918 --> 00:50:06,406
says, um, what, 50
1089
00:50:06,478 --> 00:50:08,950
followers, is it not? Well, what should you need of
1090
00:50:08,990 --> 00:50:11,798
more? I felt there was a little change
1091
00:50:11,854 --> 00:50:14,650
there because it's a different kind of topic.
1092
00:50:15,360 --> 00:50:18,050
Um, now she's talking about,
1093
00:50:18,340 --> 00:50:21,110
uh, not that I'm not ready to receive you, but,
1094
00:50:21,230 --> 00:50:23,894
hey, dad, you know, do you really actually
1095
00:50:23,982 --> 00:50:26,742
need 50? And so my ear went
1096
00:50:26,766 --> 00:50:29,722
up. My ears sort of went up at that moment because
1097
00:50:29,746 --> 00:50:32,682
I thought, oh, I can pick up on this, and I
1098
00:50:32,706 --> 00:50:35,642
can further this argument. I
1099
00:50:35,666 --> 00:50:38,570
can take it further. I can, you know, because this is
1100
00:50:38,610 --> 00:50:40,570
a very reasonable argument.
1101
00:50:40,650 --> 00:50:41,050
>> Annie Occhiogrosso: Yeah.
1102
00:50:41,130 --> 00:50:44,090
>> Jeanne Sakata: You don't need these 50 men.
1103
00:50:44,210 --> 00:50:46,480
>> Annie Occhiogrosso: And so look what you're doing. Uh,
1104
00:50:46,850 --> 00:50:49,674
both of you are not. It's not like you want to
1105
00:50:49,682 --> 00:50:52,458
throw them out into the storm. It's. You
1106
00:50:52,514 --> 00:50:55,256
want to diminish his power, his
1107
00:50:55,328 --> 00:50:58,040
train. Those men can be
1108
00:50:58,080 --> 00:51:00,680
dangerous. Remember when you were saying last week, Lizzie, about
1109
00:51:00,720 --> 00:51:03,608
knights, what are we going to do about the knights? Well,
1110
00:51:03,664 --> 00:51:06,152
you know, if they were just servants, they wouldn't be as
1111
00:51:06,176 --> 00:51:08,696
threatening. It's important that they're
1112
00:51:08,728 --> 00:51:09,336
knights.
1113
00:51:09,448 --> 00:51:10,220
>> Lizzie King-Hall: Yeah.
1114
00:51:10,350 --> 00:51:12,300
>> Annie Occhiogrosso: Um, they have weapons,
1115
00:51:13,360 --> 00:51:15,976
and they're going to back him. So, so the
1116
00:51:16,048 --> 00:51:18,888
first, you m. Know, the thing we have to take care
1117
00:51:18,944 --> 00:51:21,900
of here is diminishing that train.
1118
00:51:22,280 --> 00:51:25,152
And, and you do it brilliantly. I mean, the
1119
00:51:25,176 --> 00:51:25,728
women are just.
1120
00:51:25,784 --> 00:51:28,704
>> Jeanne Sakata: Yeah, we're sound. I think we sound
1121
00:51:28,752 --> 00:51:29,696
very reasonable.
1122
00:51:29,808 --> 00:51:30,512
>> Lizzie King-Hall: There's no.
1123
00:51:30,616 --> 00:51:33,376
>> Jeanne Sakata: We're 50 or 25. 10 or 5.
1124
00:51:33,448 --> 00:51:36,060
Because we have more than enough to take care of you.
1125
00:51:36,360 --> 00:51:37,420
>> Randall Duk Kim: That's right.
1126
00:51:37,720 --> 00:51:38,580
>> Annie Occhiogrosso: Yep.
1127
00:51:38,970 --> 00:51:41,440
>> Jeanne Sakata: Um, but underneath, I don't want
1128
00:51:41,480 --> 00:51:42,060
them.
1129
00:51:43,000 --> 00:51:44,780
>> Randall Duk Kim: I want my own people.
1130
00:51:47,540 --> 00:51:49,388
>> Jeanne Sakata: I just love how human this is.
1131
00:51:49,444 --> 00:51:51,640
>> Annie Occhiogrosso: You know, I, I, I,
1132
00:51:52,420 --> 00:51:55,400
I think when we get to what need one,
1133
00:51:56,020 --> 00:51:58,892
I would say slow it down just a little
1134
00:51:58,916 --> 00:52:00,908
bit, because
1135
00:52:02,564 --> 00:52:05,404
that's the end. We've, we tried 50,
1136
00:52:05,492 --> 00:52:08,300
we've tried 25. We've tried 10. And
1137
00:52:08,340 --> 00:52:10,588
now you're saying, why do you need any?
1138
00:52:10,724 --> 00:52:12,716
>> Lizzie King-Hall: Don't act like a famous speech is coming.
1139
00:52:12,868 --> 00:52:15,052
>> Annie Occhiogrosso: Yeah, that's right. That's right.
1140
00:52:15,076 --> 00:52:15,500
>> Lizzie King-Hall: That would help.
1141
00:52:15,540 --> 00:52:18,454
>> Annie Occhiogrosso: Right? And then, Randy,
1142
00:52:18,502 --> 00:52:20,966
I still think you have, um, a
1143
00:52:21,118 --> 00:52:23,750
possibility. Not. Don't feel like you have to
1144
00:52:23,870 --> 00:52:26,534
jump right in because what they've
1145
00:52:26,582 --> 00:52:28,950
just proposed. I think this speech is
1146
00:52:28,990 --> 00:52:31,450
essential. This idea
1147
00:52:31,870 --> 00:52:34,730
that you're calculating,
1148
00:52:36,230 --> 00:52:39,030
uh, that a human life can be
1149
00:52:39,070 --> 00:52:42,006
calculated. Well, unfortunately, that's exactly
1150
00:52:42,038 --> 00:52:44,540
what you did in the first act,
1151
00:52:44,920 --> 00:52:47,840
the first scene. How much you
1152
00:52:47,880 --> 00:52:50,860
love, you put a price on love.
1153
00:52:51,640 --> 00:52:54,128
And now they're putting a price on
1154
00:52:54,184 --> 00:52:57,008
power or taking it away or what you
1155
00:52:57,064 --> 00:52:58,220
need on need.
1156
00:53:00,360 --> 00:53:02,960
And this play, I think, deals a lot with
1157
00:53:03,000 --> 00:53:05,968
that. Um, you know, Randy
1158
00:53:05,984 --> 00:53:08,576
and I, Randy in particular, is doing a lot of
1159
00:53:08,648 --> 00:53:11,460
research on the notion of the soul.
1160
00:53:12,680 --> 00:53:14,992
And I think this play is such a perfect
1161
00:53:15,056 --> 00:53:17,550
example of, um,
1162
00:53:19,520 --> 00:53:22,096
uh, people acting from the soul.
1163
00:53:22,208 --> 00:53:24,780
And not the measure of love,
1164
00:53:25,800 --> 00:53:28,640
not the measure of a king. I gave you
1165
00:53:28,680 --> 00:53:31,536
a kingdom, you give me love. Doesn't
1166
00:53:31,568 --> 00:53:34,464
work that way. And I think that that's part of the lesson
1167
00:53:34,512 --> 00:53:37,408
that we have to find through the course
1168
00:53:37,464 --> 00:53:40,116
of the play. So this speech right here
1169
00:53:40,188 --> 00:53:42,480
about reason, not the need,
1170
00:53:43,420 --> 00:53:46,160
I think is just really important.
1171
00:53:46,740 --> 00:53:49,572
Um, and Randy, this time through when we do it,
1172
00:53:49,756 --> 00:53:52,388
I want you to read it only because you left
1173
00:53:52,444 --> 00:53:54,760
out Grant me the patience.
1174
00:53:55,420 --> 00:53:56,932
>> Randall Duk Kim: Yes, yes, gotcha.
1175
00:53:57,076 --> 00:53:59,828
>> Annie Occhiogrosso: So that was, ah, uh, very
1176
00:53:59,884 --> 00:54:00,292
important.
1177
00:54:00,396 --> 00:54:02,660
>> Randall Duk Kim: Oh, I'd love to have it memorized.
1178
00:54:02,740 --> 00:54:05,602
>> Randall Duk Kim: But my brain doesn't work work as well as it
1179
00:54:05,626 --> 00:54:06,434
used to.
1180
00:54:06,602 --> 00:54:09,390
>> Annie Occhiogrosso: Let's see, we've had eight hours, you know.
1181
00:54:10,570 --> 00:54:13,170
Okay, uh, any other. Any
1182
00:54:13,210 --> 00:54:15,830
other, uh, questions?
1183
00:54:16,730 --> 00:54:17,470
>> Randall Duk Kim: No.
1184
00:54:20,170 --> 00:54:21,794
>> Annie Occhiogrosso: Get me to stop talking?
1185
00:54:21,922 --> 00:54:23,910
>> Lizzie King-Hall: No, I'm just eager.
1186
00:54:25,930 --> 00:54:28,738
>> Annie Occhiogrosso: Uh, okay. Can we do it one more time?
1187
00:54:28,874 --> 00:54:29,474
>> Randall Duk Kim: Yeah, yeah.
1188
00:54:29,522 --> 00:54:30,626
>> Nathan Agin: I do want to make a note.
1189
00:54:30,658 --> 00:54:33,562
>> Tom Farber: That there is a storm going outside right now, so it's perfect
1190
00:54:33,626 --> 00:54:36,586
setting. Oh, what's about to happen?
1191
00:54:36,738 --> 00:54:37,466
>> Annie Occhiogrosso: Yikes.
1192
00:54:37,578 --> 00:54:40,030
>> Jeanne Sakata: Hey, thank you for letting us know, Tom.
1193
00:54:44,530 --> 00:54:45,270
>> Annie Occhiogrosso: Good.
1194
00:54:47,410 --> 00:54:49,350
>> Randall Duk Kim: A good morrow to you both.
1195
00:54:50,040 --> 00:54:51,674
>> Tom Farber: Uh, hail to your grace.
1196
00:54:51,802 --> 00:54:54,138
>> Lizzie King-Hall: I am glad to see your
1197
00:54:54,194 --> 00:54:54,874
highness.
1198
00:54:55,002 --> 00:54:57,350
>> Randall Duk Kim: Oh, Regan, I think you are.
1199
00:54:58,370 --> 00:55:01,222
I know what reason I have to think so. If
1200
00:55:01,246 --> 00:55:03,958
thou shouldst not be glad, uh, I would
1201
00:55:04,014 --> 00:55:06,310
divorce me from thy mother's tomb
1202
00:55:06,390 --> 00:55:08,570
sepulchering an adulteress.
1203
00:55:09,310 --> 00:55:12,150
Are you free? Uh, some other
1204
00:55:12,190 --> 00:55:14,566
time for that. Beloved
1205
00:55:14,598 --> 00:55:17,462
Regan, thy sister's
1206
00:55:17,526 --> 00:55:18,330
naught.
1207
00:55:18,910 --> 00:55:19,080
>> Jeanne Sakata: Ah.
1208
00:55:19,080 --> 00:55:21,862
>> Randall Duk Kim: Uh, Regan, she hath tied
1209
00:55:22,006 --> 00:55:24,870
sharp toothed unkindness like
1210
00:55:24,910 --> 00:55:27,020
a vulture here.
1211
00:55:28,280 --> 00:55:31,008
I can scarce speak to thee that would not
1212
00:55:31,064 --> 00:55:33,872
believe with how depraved the
1213
00:55:33,896 --> 00:55:35,936
quality of. Uh, Regan.
1214
00:55:36,048 --> 00:55:38,420
>> Lizzie King-Hall: I pray you, sir, take patience.
1215
00:55:39,000 --> 00:55:42,000
I have hope you less know how to value her dessert than
1216
00:55:42,040 --> 00:55:43,540
she descant her duty.
1217
00:55:44,520 --> 00:55:46,700
>> Randall Duk Kim: What say? How is that?
1218
00:55:47,240 --> 00:55:49,824
>> Lizzie King-Hall: I cannot think my sister in the least would
1219
00:55:49,912 --> 00:55:51,540
fail her obligation.
1220
00:55:52,770 --> 00:55:55,594
If, sir, perchance, she have restrained the riots
1221
00:55:55,642 --> 00:55:58,458
of your followers. Tis on such ground
1222
00:55:58,514 --> 00:56:01,290
and to such wholesome end as clears her from all
1223
00:56:01,330 --> 00:56:02,030
blame.
1224
00:56:02,610 --> 00:56:04,310
>> Randall Duk Kim: My curse is on her.
1225
00:56:04,690 --> 00:56:07,130
>> Lizzie King-Hall: Oh, uh, sir, you
1226
00:56:07,250 --> 00:56:09,930
are old. Nature in
1227
00:56:09,970 --> 00:56:12,858
you stands on the very verge of his
1228
00:56:12,914 --> 00:56:15,898
Confine. You should be ruled and
1229
00:56:15,954 --> 00:56:18,926
led by some discretion that discerns
1230
00:56:18,958 --> 00:56:21,090
your state better than you yourself.
1231
00:56:21,590 --> 00:56:24,430
Therefore, I pray you that to our sister you do make
1232
00:56:24,470 --> 00:56:27,050
return. Say you have wronged her.
1233
00:56:27,830 --> 00:56:29,890
>> Randall Duk Kim: Ask, uh, her forgiveness.
1234
00:56:30,390 --> 00:56:30,750
>> Annie Occhiogrosso: You.
1235
00:56:30,790 --> 00:56:32,734
>> Randall Duk Kim: But, mark how this becomes a house.
1236
00:56:32,822 --> 00:56:35,342
>> Annie Occhiogrosso: Wait, hold on a sec. I want to just go
1237
00:56:35,366 --> 00:56:37,770
back. Um. I pray you,
1238
00:56:39,260 --> 00:56:42,254
um. Go ahead. Do it. Come on. Be a
1239
00:56:42,262 --> 00:56:43,090
good boy.
1240
00:56:43,440 --> 00:56:44,632
>> Lizzie King-Hall: Therefore, I pray you.
1241
00:56:44,736 --> 00:56:45,500
>> Annie Occhiogrosso: Yep.
1242
00:56:50,000 --> 00:56:52,824
>> Lizzie King-Hall: You should be ruled and led by some
1243
00:56:52,912 --> 00:56:55,832
discretion that discerns your state better than
1244
00:56:55,856 --> 00:56:58,840
you yourself. Therefore, I pray you
1245
00:56:58,880 --> 00:57:01,288
that to our sister you do make
1246
00:57:01,344 --> 00:57:04,072
return. Say you have
1247
00:57:04,096 --> 00:57:05,140
wronged her.
1248
00:57:06,160 --> 00:57:09,016
>> Annie Occhiogrosso: What? Uh, it's
1249
00:57:09,048 --> 00:57:11,756
still sounding harsh. I needed to be.
1250
00:57:11,908 --> 00:57:14,908
I. I think I would like you to try
1251
00:57:14,964 --> 00:57:17,916
to be, um, gentler.
1252
00:57:18,028 --> 00:57:18,444
>> Jeanne Sakata: Okay.
1253
00:57:18,492 --> 00:57:18,812
>> Lizzie King-Hall: Got it.
1254
00:57:18,836 --> 00:57:21,612
>> Annie Occhiogrosso: You know what? This is for your own good. Just go. Say. Say that
1255
00:57:21,636 --> 00:57:22,732
you've wronged her.
1256
00:57:22,836 --> 00:57:23,436
>> Lizzie King-Hall: Got it.
1257
00:57:23,508 --> 00:57:26,140
>> Annie Occhiogrosso: Simple. Yeah. And that's why he
1258
00:57:26,180 --> 00:57:28,524
says. Am I hearing this right? What?
1259
00:57:28,612 --> 00:57:30,160
Yes. Yeah.
1260
00:57:33,780 --> 00:57:36,740
>> Lizzie King-Hall: You should be ruled and
1261
00:57:36,780 --> 00:57:39,780
led by some discretion that discerns your state better than you
1262
00:57:39,820 --> 00:57:40,600
yourself.
1263
00:57:40,940 --> 00:57:41,444
>> Annie Occhiogrosso: Good.
1264
00:57:41,532 --> 00:57:44,148
>> Lizzie King-Hall: Therefore, I pray you that to our sister you do make
1265
00:57:44,204 --> 00:57:47,092
return. Say you have wronged her.
1266
00:57:47,196 --> 00:57:47,840
>> Annie Occhiogrosso: Good.
1267
00:57:48,940 --> 00:57:51,908
>> Randall Duk Kim: Ask her forgiveness. Do
1268
00:57:51,964 --> 00:57:54,560
but mark how this becomes the house.
1269
00:57:55,100 --> 00:57:57,988
Dear daughter, I confess
1270
00:57:58,084 --> 00:58:00,292
that I'm. Old age is
1271
00:58:00,316 --> 00:58:03,280
unnecessary. On my knees,
1272
00:58:03,620 --> 00:58:06,428
I beg that you'll vouchsafe me
1273
00:58:06,484 --> 00:58:09,480
raiment, bed and food. Good sir.
1274
00:58:09,480 --> 00:58:12,172
>> Lizzie King-Hall: Uh, no more. These are unsightly tricks.
1275
00:58:12,236 --> 00:58:14,108
Return you to my sister.
1276
00:58:14,284 --> 00:58:17,148
>> Randall Duk Kim: Never. Regan. She hath abated me
1277
00:58:17,204 --> 00:58:20,124
of half my train, looked
1278
00:58:20,172 --> 00:58:22,876
black upon me, struck me with her tongue, most
1279
00:58:22,948 --> 00:58:25,868
serpent like, upon the very heart. All the
1280
00:58:25,924 --> 00:58:28,498
stored vengeances of heaven
1281
00:58:28,644 --> 00:58:30,850
fall on her ingrateful top.
1282
00:58:31,310 --> 00:58:34,182
Strike her young bones. You, taking airs
1283
00:58:34,246 --> 00:58:36,770
with lameness, defies her. Uh,
1284
00:58:37,022 --> 00:58:39,702
fie when the lightnings dart your, uh, blinding
1285
00:58:39,766 --> 00:58:42,410
flames into her scornful eyes,
1286
00:58:42,990 --> 00:58:45,526
infect her beauty. You, fen, sucked
1287
00:58:45,558 --> 00:58:48,550
fogs, drawn by the powerful sun to
1288
00:58:48,590 --> 00:58:51,526
fall and blift her the blessed
1289
00:58:51,558 --> 00:58:52,170
gods.
1290
00:58:52,590 --> 00:58:54,210
>> Lizzie King-Hall: So will you wish on me.
1291
00:58:55,430 --> 00:58:58,174
>> Annie Occhiogrosso: Your choice was better. Your choice was better.
1292
00:58:58,342 --> 00:59:01,054
Better than mine. No, because now it changes.
1293
00:59:01,182 --> 00:59:01,566
>> Jeanne Sakata: Okay?
1294
00:59:01,598 --> 00:59:04,494
>> Annie Occhiogrosso: Because now he's. He's becoming threat, you
1295
00:59:04,502 --> 00:59:07,502
know? So stick with you. Oh, the blessed God, you did it before. And
1296
00:59:07,526 --> 00:59:10,414
if that's. Yeah, Randy, give it to
1297
00:59:10,422 --> 00:59:12,540
her. Damn. Um.
1298
00:59:13,110 --> 00:59:15,742
>> Randall Duk Kim: You nimble lightnings, dart your blinding
1299
00:59:15,806 --> 00:59:18,542
flames into her scornful eyes. In
1300
00:59:18,566 --> 00:59:21,286
fact, her beauty, you, fen, suck
1301
00:59:21,318 --> 00:59:23,558
fogs, drawn by the powerful sun to.
1302
00:59:23,614 --> 00:59:26,278
>> Lizzie King-Hall: Fall and blistack the blest
1303
00:59:26,374 --> 00:59:28,742
gods. So will you wish on me when.
1304
00:59:28,766 --> 00:59:30,530
>> Lizzie King-Hall: The rash mood is on.
1305
00:59:30,990 --> 00:59:33,894
>> Randall Duk Kim: No, Regan. Thou shalt
1306
00:59:33,942 --> 00:59:35,450
never have my curse.
1307
00:59:37,310 --> 00:59:40,182
Thy tender, hefted nature shall not give thee O'er to
1308
00:59:40,206 --> 00:59:43,180
harshness on her eyes are, uh,
1309
00:59:43,438 --> 00:59:46,330
fierce but thine
1310
00:59:46,780 --> 00:59:49,320
to comfort and not burn.
1311
00:59:50,860 --> 00:59:53,732
Tis not in thee to grudge my
1312
00:59:53,756 --> 00:59:56,340
pleasures, to cut off my
1313
00:59:56,380 --> 00:59:59,252
train, to bandy hasty words, to scant
1314
00:59:59,316 --> 01:00:02,116
my sizes, and in conclusion, to oppose the bolt
1315
01:00:02,148 --> 01:00:04,948
against my coming in. Thou
1316
01:00:05,044 --> 01:00:08,040
better knowest the offices of nature,
1317
01:00:08,780 --> 01:00:11,636
bond of childhood, effects
1318
01:00:11,668 --> 01:00:13,000
of courtesy,
1319
01:00:14,920 --> 01:00:16,900
dues of gratitude.
1320
01:00:17,960 --> 01:00:20,848
Thy half of the kingdom hast
1321
01:00:20,864 --> 01:00:23,376
thou not forgot, wherein I
1322
01:00:23,448 --> 01:00:24,816
thee endow'd.
1323
01:00:24,928 --> 01:00:26,660
>> Lizzie King-Hall: Good sir, to the purpose.
1324
01:00:29,480 --> 01:00:31,840
>> Randall Duk Kim: Who put my man I the stocks?
1325
01:00:32,000 --> 01:00:33,760
>> Tom Farber: What trumpet's that?
1326
01:00:33,880 --> 01:00:36,432
>> Lizzie King-Hall: My note, my sisters. This approves her
1327
01:00:36,456 --> 01:00:38,256
letter, that she would soon be here.
1328
01:00:38,328 --> 01:00:39,580
>> Lizzie King-Hall: Is your lady come?
1329
01:00:40,290 --> 01:00:42,270
>> Randall Duk Kim: This is a slave
1330
01:00:43,570 --> 01:00:45,690
whose, whose, um.
1331
01:00:45,898 --> 01:00:48,650
Easy, whose easy
1332
01:00:48,730 --> 01:00:51,706
borrowed pride dwells in the sickly
1333
01:00:51,738 --> 01:00:54,420
grace of her. He follows out, uh,
1334
01:00:54,420 --> 01:00:56,250
varlet, from my sight.
1335
01:00:56,410 --> 01:00:58,510
>> Nathan Agin: What means your grace?
1336
01:00:59,330 --> 01:01:02,042
>> Randall Duk Kim: Who put my man in the stocks?
1337
01:01:02,106 --> 01:01:04,896
Regan, I have good hope thou does not know on it. But
1338
01:01:05,018 --> 01:01:06,240
who comes here?
1339
01:01:07,580 --> 01:01:09,480
O heavens,
1340
01:01:13,180 --> 01:01:16,180
if you do love old men, if your
1341
01:01:16,220 --> 01:01:18,360
sweetsway allow obedience,
1342
01:01:19,820 --> 01:01:22,000
if you yourselves are old,
1343
01:01:23,980 --> 01:01:25,604
make it your part.
1344
01:01:25,772 --> 01:01:28,356
>> Randall Duk Kim: No, uh, your cause.
1345
01:01:28,548 --> 01:01:31,040
>> Randall Duk Kim: Stand down and take my part.
1346
01:01:32,640 --> 01:01:35,448
Art not ashamed to look upon this
1347
01:01:35,504 --> 01:01:36,220
beard?
1348
01:01:38,080 --> 01:01:40,952
Regan, wilt not take her by
1349
01:01:40,976 --> 01:01:41,816
the hand?
1350
01:01:41,968 --> 01:01:43,830
>> Jeanne Sakata: Why not by the hand, sir? Uh,
1351
01:01:44,640 --> 01:01:47,560
how have I offended? All's not
1352
01:01:47,600 --> 01:01:50,440
offence that indiscretion finds, and
1353
01:01:50,480 --> 01:01:52,120
dotage terms so.
1354
01:01:52,240 --> 01:01:55,128
>> Randall Duk Kim: O sires, you're too tough. Will you
1355
01:01:55,184 --> 01:01:58,114
yet hold? Who
1356
01:01:58,202 --> 01:02:00,962
put my man in the stock? I
1357
01:02:00,986 --> 01:02:01,602
said.
1358
01:02:01,786 --> 01:02:04,530
>> Annie Occhiogrosso: Well, let's get it, so Thomas can get his
1359
01:02:04,570 --> 01:02:06,098
luck. How came my man?
1360
01:02:06,154 --> 01:02:06,978
>> Randall Duk Kim: Oh, how came.
1361
01:02:07,034 --> 01:02:07,910
>> Randall Duk Kim: I'm sorry.
1362
01:02:08,570 --> 01:02:11,458
>> Randall Duk Kim: How came my man in the stocks?
1363
01:02:11,554 --> 01:02:14,370
>> Tom Farber: I upset him there, sir, but his
1364
01:02:14,410 --> 01:02:16,610
own disorders deserved much less
1365
01:02:16,650 --> 01:02:17,698
advancement.
1366
01:02:17,874 --> 01:02:20,658
>> Lizzie King-Hall: You did you, I pray you,
1367
01:02:20,714 --> 01:02:23,400
father, being weak, seem so.
1368
01:02:23,780 --> 01:02:26,748
If till the expiration of your month you will return
1369
01:02:26,884 --> 01:02:29,804
and sojourn with my sister, dismissing
1370
01:02:29,932 --> 01:02:32,668
half your train, come then to
1371
01:02:32,724 --> 01:02:35,400
me. I am now from home
1372
01:02:35,860 --> 01:02:38,700
and out of that provision which shall be needful of your
1373
01:02:38,740 --> 01:02:39,760
entertainment.
1374
01:02:41,700 --> 01:02:44,540
>> Randall Duk Kim: Return with her and 50
1375
01:02:44,660 --> 01:02:47,660
men dismissed. Nor rather I
1376
01:02:47,700 --> 01:02:50,578
abjure all ruse, and choose to wage against
1377
01:02:50,634 --> 01:02:53,522
the enmity of the air. Be a comrade with
1378
01:02:53,546 --> 01:02:56,226
the wolf and owl, Necessity's
1379
01:02:56,258 --> 01:02:59,070
sharp pinch. Return with her.
1380
01:02:59,690 --> 01:03:02,562
Why, the hot bloodied France that dowerless took our
1381
01:03:02,586 --> 01:03:05,538
youngest born. I could as well be brought to knee his
1382
01:03:05,594 --> 01:03:08,530
throne and squire like pension, beg to keep
1383
01:03:08,570 --> 01:03:11,550
base life afoot. Return with her.
1384
01:03:12,090 --> 01:03:15,042
Persuade me rather to be slave and sumpter
1385
01:03:15,106 --> 01:03:17,810
to this detested groom at your
1386
01:03:17,850 --> 01:03:18,470
choice.
1387
01:03:21,030 --> 01:03:24,030
I, uh. Prithee, daughter, do
1388
01:03:24,070 --> 01:03:25,490
not make me mad.
1389
01:03:28,790 --> 01:03:31,662
>> Annie Occhiogrosso: I. I will
1390
01:03:31,686 --> 01:03:32,450
not trouble.
1391
01:03:33,110 --> 01:03:35,690
>> Randall Duk Kim: I will not trouble you, my child.
1392
01:03:36,150 --> 01:03:38,878
Farewell. We'll no more
1393
01:03:38,934 --> 01:03:41,690
meet, no more see one another
1394
01:03:43,670 --> 01:03:46,602
but yet thou art
1395
01:03:46,706 --> 01:03:49,390
my flesh, my blood,
1396
01:03:50,290 --> 01:03:51,470
my daughter.
1397
01:03:53,250 --> 01:03:56,202
Or rather a disease that's in my flesh, which I
1398
01:03:56,226 --> 01:03:57,790
must needs call mine.
1399
01:03:58,930 --> 01:04:01,802
Thou art a boil, a plague
1400
01:04:01,866 --> 01:04:04,618
sore, an embossed carbuncle in my
1401
01:04:04,674 --> 01:04:06,110
corrupted blood.
1402
01:04:07,410 --> 01:04:09,470
But I'll not chide ye.
1403
01:04:10,700 --> 01:04:13,700
Let shame come when it will. I do not
1404
01:04:13,740 --> 01:04:16,484
call it. I do not bid the thunder bearer shoot,
1405
01:04:16,532 --> 01:04:19,044
nor tell tales of thee to hide judging
1406
01:04:19,092 --> 01:04:21,640
Jove mend when thou canst
1407
01:04:22,060 --> 01:04:24,932
be better at thy leisure. I
1408
01:04:24,956 --> 01:04:27,700
can be patient. I can stay with
1409
01:04:27,740 --> 01:04:30,404
Regan, ay, and my hundred knights.
1410
01:04:30,532 --> 01:04:33,284
>> Lizzie King-Hall: Not altogether so. I.
1411
01:04:33,372 --> 01:04:36,158
I looked not for you yet nor
1412
01:04:36,214 --> 01:04:38,718
am provided for your fit. Welcome.
1413
01:04:38,894 --> 01:04:41,860
Give ear, sir, to my sister. For, uh,
1414
01:04:41,910 --> 01:04:44,910
those that mingle reason with your passion must be
1415
01:04:44,950 --> 01:04:47,902
content to think you old and so.
1416
01:04:48,086 --> 01:04:50,650
But she knows what she does.
1417
01:04:52,790 --> 01:04:54,610
>> Randall Duk Kim: Is this well spoken?
1418
01:04:54,950 --> 01:04:57,806
>> Lizzie King-Hall: I dare avouch it, sir. What,
1419
01:04:57,878 --> 01:05:00,718
50 followers, is it not well,
1420
01:05:00,774 --> 01:05:03,170
what. What should you need of more?
1421
01:05:03,470 --> 01:05:06,438
Yea or so many sit that both
1422
01:05:06,494 --> 01:05:09,170
charge and danger speak against so great a number?
1423
01:05:09,550 --> 01:05:12,214
How in one house should many people
1424
01:05:12,302 --> 01:05:15,014
under two commands hold amity? Tis hard,
1425
01:05:15,102 --> 01:05:16,330
almost impossible.
1426
01:05:17,230 --> 01:05:20,134
>> Annie Occhiogrosso: Hold on. Hold for a sec. Because I want. I want to
1427
01:05:20,142 --> 01:05:22,358
go back, but I. This is the
1428
01:05:22,414 --> 01:05:25,350
speech. One of the things you are both contending
1429
01:05:25,430 --> 01:05:27,722
with is a dangerous learning.
1430
01:05:27,816 --> 01:05:30,470
He's. He will. He's.
1431
01:05:30,550 --> 01:05:33,206
He's going to take things back.
1432
01:05:33,358 --> 01:05:36,230
He start, you know. That's why I think you've got to
1433
01:05:36,350 --> 01:05:39,350
get him to understand that this is for his
1434
01:05:39,390 --> 01:05:42,070
best. You do, you know. Um, but I think
1435
01:05:42,190 --> 01:05:44,630
here, this is Regan. This is the
1436
01:05:44,670 --> 01:05:47,606
speech. Sith both sit that both charge
1437
01:05:47,638 --> 01:05:50,470
and danger speak. Speak against so great
1438
01:05:50,510 --> 01:05:52,210
in them danger to who?
1439
01:05:52,510 --> 01:05:54,336
>> Lizzie King-Hall: Yeah, you know.
1440
01:05:54,408 --> 01:05:55,504
>> Annie Occhiogrosso: You see what I'm saying?
1441
01:05:55,592 --> 01:05:56,512
>> Lizzie King-Hall: Yes, yes.
1442
01:05:56,656 --> 01:05:59,184
>> Annie Occhiogrosso: We can't gloss. Gloss over
1443
01:05:59,352 --> 01:06:00,288
too quickly.
1444
01:06:00,384 --> 01:06:01,120
>> Lizzie King-Hall: Okay.
1445
01:06:01,280 --> 01:06:03,968
>> Annie Occhiogrosso: Even though it may be subconscious on her part.
1446
01:06:04,104 --> 01:06:05,280
>> Lizzie King-Hall: Yeah, yeah, yeah.
1447
01:06:05,440 --> 01:06:05,856
>> Annie Occhiogrosso: Right.
1448
01:06:05,928 --> 01:06:06,660
>> Lizzie King-Hall: Okay.
1449
01:06:06,880 --> 01:06:09,100
>> Annie Occhiogrosso: Um. Good.
1450
01:06:09,100 --> 01:06:09,480
>> Jeanne Sakata: Um.
1451
01:06:09,880 --> 01:06:12,832
>> Annie Occhiogrosso: So. So, uh, Randy, if you can just take it
1452
01:06:13,016 --> 01:06:15,840
to, um. But I'll not chide thee.
1453
01:06:16,000 --> 01:06:16,820
>> Randall Duk Kim: Okay.
1454
01:06:18,440 --> 01:06:21,392
>> Randall Duk Kim: But I'll not chide thee. Let shame
1455
01:06:21,456 --> 01:06:24,240
come when it will. I do not call it. I do not
1456
01:06:24,280 --> 01:06:27,168
bid the thunder bearer shoot, nor tell
1457
01:06:27,224 --> 01:06:30,080
tales of thee to hide judging Jove
1458
01:06:30,240 --> 01:06:33,008
mend when thou canst be
1459
01:06:33,064 --> 01:06:35,872
better at thy leisure. I can
1460
01:06:35,896 --> 01:06:38,128
be patient. I can stay with
1461
01:06:38,184 --> 01:06:40,640
Regan, I and my hundred
1462
01:06:40,760 --> 01:06:41,620
knights.
1463
01:06:42,040 --> 01:06:44,976
>> Lizzie King-Hall: Not altogether so. I'd
1464
01:06:45,008 --> 01:06:47,932
look not for you yet, nor am provided for
1465
01:06:47,956 --> 01:06:50,588
your fit. Welcome. Give ear,
1466
01:06:50,644 --> 01:06:53,260
sir, to my sister. For those that mingle
1467
01:06:53,340 --> 01:06:56,076
reason with your passion must be content to think you
1468
01:06:56,148 --> 01:06:59,036
old and so. But she knows
1469
01:06:59,068 --> 01:07:00,120
what she does.
1470
01:07:02,740 --> 01:07:04,800
>> Randall Duk Kim: Is this well spoken?
1471
01:07:05,300 --> 01:07:08,124
>> Lizzie King-Hall: I dare avouch it, sir, what
1472
01:07:08,212 --> 01:07:11,132
50 followers is it not. Well, what should
1473
01:07:11,156 --> 01:07:11,980
you have need of.
1474
01:07:12,020 --> 01:07:14,602
>> Lizzie King-Hall: More yea or so many?
1475
01:07:14,786 --> 01:07:17,066
>> Lizzie King-Hall: Sith hippo charge and danger speak gainst.
1476
01:07:17,098 --> 01:07:18,058
>> Lizzie King-Hall: So great a number.
1477
01:07:18,194 --> 01:07:21,066
>> Lizzie King-Hall: How in one house should many
1478
01:07:21,138 --> 01:07:24,122
people under two commands hold amity? Tis
1479
01:07:24,186 --> 01:07:26,730
hard, almost impossible.
1480
01:07:26,890 --> 01:07:29,514
>> Jeanne Sakata: Why might not you, my lord,
1481
01:07:29,642 --> 01:07:32,074
receive attendance from those that she calls
1482
01:07:32,122 --> 01:07:34,270
servants? Or from mine?
1483
01:07:34,930 --> 01:07:37,610
>> Lizzie King-Hall: Why not, my lord? If then they
1484
01:07:37,650 --> 01:07:40,612
chanced a slackie, we could control them. If
1485
01:07:40,636 --> 01:07:43,492
you will come to me. For now I spy a danger. I entreat
1486
01:07:43,556 --> 01:07:46,532
you to bring but 5 and 20 to no more
1487
01:07:46,556 --> 01:07:48,520
will I give place or notice.
1488
01:07:49,420 --> 01:07:52,292
>> Annie Occhiogrosso: Okay, hold this. Hold one sec. That's a
1489
01:07:52,316 --> 01:07:55,236
new figure. You've
1490
01:07:55,268 --> 01:07:58,068
just. You've just subtracted 25
1491
01:07:58,124 --> 01:07:58,532
men.
1492
01:07:58,636 --> 01:08:00,560
>> Lizzie King-Hall: I know. I tried to slip it in.
1493
01:08:04,460 --> 01:08:07,280
>> Annie Occhiogrosso: Don't slip. Don't slip.
1494
01:08:07,360 --> 01:08:10,304
Don't slip so much because we need to hear.
1495
01:08:10,392 --> 01:08:12,880
We. We need to hear that you. You cut
1496
01:08:12,920 --> 01:08:13,490
it.
1497
01:08:13,490 --> 01:08:13,530
>> Jeanne Sakata: Ah,
1498
01:08:16,360 --> 01:08:18,256
good tactic, Lizzy.
1499
01:08:18,448 --> 01:08:21,280
>> Annie Occhiogrosso: Yes, very good tactic, very good. But.
1500
01:08:21,400 --> 01:08:23,328
But I. I need to hear it.
1501
01:08:23,384 --> 01:08:24,100
>> Randall Duk Kim: Okay.
1502
01:08:26,680 --> 01:08:29,632
>> Annie Occhiogrosso: And that will lead to see again. Every one of
1503
01:08:29,656 --> 01:08:31,580
these is a blow to him.
1504
01:08:32,600 --> 01:08:35,264
He thinks he's going to you with a hundred
1505
01:08:35,352 --> 01:08:38,008
knives. Yeah, and
1506
01:08:38,064 --> 01:08:40,904
you burst that balloon pretty fast. And.
1507
01:08:40,992 --> 01:08:43,448
And then we're back to the
1508
01:08:43,504 --> 01:08:46,456
50. And now we've just reduced
1509
01:08:46,488 --> 01:08:49,240
it to 25. Okay, just
1510
01:08:49,280 --> 01:08:52,180
so we can keep hearing how it's being pared down.
1511
01:08:52,720 --> 01:08:55,260
All right. Why might not you, my lord?
1512
01:08:57,760 --> 01:08:59,540
>> Jeanne Sakata: Oh, I'm sorry. That's me. Right.
1513
01:09:00,000 --> 01:09:00,968
>> Annie Occhiogrosso: I'm sorry.
1514
01:09:01,144 --> 01:09:03,755
>> Jeanne Sakata: Why might not you, um, my lord,
1515
01:09:03,927 --> 01:09:06,323
receive attendance from those that she calls
1516
01:09:06,371 --> 01:09:08,227
servants? Or from mine?
1517
01:09:08,323 --> 01:09:11,315
>> Lizzie King-Hall: Why, uh, not, my lord. If then they chance to slack
1518
01:09:11,347 --> 01:09:14,243
you, we could control them. If you will come to
1519
01:09:14,251 --> 01:09:17,219
me. For now I spy a danger. I entreat you to bring
1520
01:09:17,259 --> 01:09:20,179
but 5 and 20 to no more will I give
1521
01:09:20,219 --> 01:09:21,399
place or notice.
1522
01:09:21,819 --> 01:09:24,771
>> Randall Duk Kim: I gave you all, and in
1523
01:09:24,795 --> 01:09:24,979
good.
1524
01:09:25,019 --> 01:09:26,211
>> Lizzie King-Hall: Time you gave it.
1525
01:09:26,395 --> 01:09:28,851
>> Randall Duk Kim: Made you my guardians, my
1526
01:09:28,875 --> 01:09:31,480
depositaries, but kept a
1527
01:09:31,520 --> 01:09:34,408
reservation to be followed with such a number.
1528
01:09:34,544 --> 01:09:37,220
What must I come to you with
1529
01:09:37,600 --> 01:09:40,520
five and 20, Regan, said
1530
01:09:40,560 --> 01:09:41,144
you so?
1531
01:09:41,232 --> 01:09:42,888
>> Lizzie King-Hall: And speak'd again, my lord.
1532
01:09:43,064 --> 01:09:44,340
>> Lizzie King-Hall: No more with me.
1533
01:09:46,320 --> 01:09:49,128
>> Randall Duk Kim: Those wicked creatures yet look well favoured,
1534
01:09:49,144 --> 01:09:51,928
when others are more wicked, not
1535
01:09:51,984 --> 01:09:54,620
being the worst, and some rank of praise.
1536
01:09:55,450 --> 01:09:58,386
I'll go with thee. Thy fifty, yet not double
1537
01:09:58,498 --> 01:10:01,282
five and twenty, and thou art twice her love.
1538
01:10:01,386 --> 01:10:03,830
>> Jeanne Sakata: Hear me, my lord.
1539
01:10:04,490 --> 01:10:06,610
What need you 5 and
1540
01:10:06,650 --> 01:10:09,266
20, 10 or
1541
01:10:09,338 --> 01:10:12,290
5, to follow in a house where twice so
1542
01:10:12,330 --> 01:10:14,514
many have a command to tend you?
1543
01:10:14,682 --> 01:10:15,950
>> Lizzie King-Hall: What need one?
1544
01:10:19,210 --> 01:10:21,714
>> Randall Duk Kim: A, uh, reason not the
1545
01:10:21,802 --> 01:10:24,300
need. Our
1546
01:10:24,340 --> 01:10:26,716
poorest beggars are the poorest things.
1547
01:10:26,788 --> 01:10:29,564
Superfluous. Allow
1548
01:10:29,652 --> 01:10:31,916
not nature more than nature
1549
01:10:32,028 --> 01:10:34,796
needs man's
1550
01:10:34,828 --> 01:10:37,120
life Is cheap as beasts.
1551
01:10:37,780 --> 01:10:40,668
Thou art a lady. If only to go warm were
1552
01:10:40,724 --> 01:10:43,692
gorgeous. Why, nature needs not what thou gorgeous
1553
01:10:43,756 --> 01:10:46,700
wearest. Which scarcely keeps thee warm.
1554
01:10:46,860 --> 01:10:48,840
But for true need.
1555
01:10:49,680 --> 01:10:51,896
No, you
1556
01:10:51,968 --> 01:10:54,520
God, you see me
1557
01:10:54,560 --> 01:10:55,144
here.
1558
01:10:55,312 --> 01:10:56,824
>> Annie Occhiogrosso: Give me that patience.
1559
01:10:56,952 --> 01:10:59,896
>> Randall Duk Kim: Oh, um, you see, you, you gods. Give me that.
1560
01:11:00,048 --> 01:11:02,940
>> Annie Occhiogrosso: Randy, go back, you heavens. Give me that patience.
1561
01:11:04,400 --> 01:11:05,624
>> Randall Duk Kim: I'm sorry.
1562
01:11:05,752 --> 01:11:07,880
>> Annie Occhiogrosso: That's right. Uh,
1563
01:11:08,480 --> 01:11:09,980
thou art a lady.
1564
01:11:11,280 --> 01:11:14,040
>> Randall Duk Kim: Thou art a lady. If only to go
1565
01:11:14,080 --> 01:11:16,824
warm or gorgeous. Why, nature needs not without
1566
01:11:16,912 --> 01:11:19,416
gorgeous wearest, which scarcely keeps thee
1567
01:11:19,448 --> 01:11:22,370
warm. But for true need.
1568
01:11:24,990 --> 01:11:26,422
Oh, you gods.
1569
01:11:26,566 --> 01:11:28,090
>> Annie Occhiogrosso: No, you heavens.
1570
01:11:28,320 --> 01:11:30,518
>> Randall Duk Kim: Uh, you, heavens, you
1571
01:11:30,574 --> 01:11:33,238
heavens. Give me m. Patience,
1572
01:11:33,414 --> 01:11:35,250
patience I need.
1573
01:11:36,110 --> 01:11:38,934
You see me here, you gods. Poor
1574
01:11:38,982 --> 01:11:41,810
old man. As full of grief as age,
1575
01:11:42,190 --> 01:11:43,730
wretched in both.
1576
01:11:46,360 --> 01:11:48,784
It be you that stirs these daughters.
1577
01:11:48,832 --> 01:11:50,580
>> Randall Duk Kim: Hearts against their father.
1578
01:11:51,320 --> 01:11:54,020
>> Randall Duk Kim: Fool me not so much to bear it tamely.
1579
01:11:54,360 --> 01:11:57,300
Touch me with noble anger.
1580
01:11:57,960 --> 01:12:00,896
And let not women's weapons, water drops
1581
01:12:00,928 --> 01:12:02,820
stain my man's cheeks.
1582
01:12:05,240 --> 01:12:07,910
No, you unnatural, uh,
1583
01:12:08,656 --> 01:12:11,376
hags. I will
1584
01:12:11,448 --> 01:12:14,372
have such rim vengeance on you
1585
01:12:14,476 --> 01:12:17,044
both that all the world
1586
01:12:17,132 --> 01:12:20,068
shall. I will
1587
01:12:20,124 --> 01:12:22,820
do such things. What they are yet I know
1588
01:12:22,860 --> 01:12:25,732
not, but they, uh, shall be the terrors of
1589
01:12:25,756 --> 01:12:26,600
the earth.
1590
01:12:29,020 --> 01:12:31,988
You think I'll weep? No, I'll not
1591
01:12:32,044 --> 01:12:34,820
weep. I have full cause of
1592
01:12:34,860 --> 01:12:37,332
weeping. But this heart shall
1593
01:12:37,396 --> 01:12:40,228
break into a hundred thousand
1594
01:12:40,364 --> 01:12:42,724
flaws. Or ere I'll
1595
01:12:42,772 --> 01:12:43,480
weep.
1596
01:12:46,930 --> 01:12:49,770
Ooh, I shall go
1597
01:12:49,810 --> 01:12:50,490
mad.
1598
01:12:50,650 --> 01:12:53,050
>> Annie Occhiogrosso: And if you have the script in front of you. Can we
1599
01:12:53,090 --> 01:12:53,670
continue?
1600
01:12:55,170 --> 01:12:57,482
>> Tom Farber: Let us withdraw. It will be a
1601
01:12:57,506 --> 01:12:58,298
storm.
1602
01:12:58,474 --> 01:13:01,290
>> Lizzie King-Hall: This house is little. The old man and
1603
01:13:01,330 --> 01:13:02,922
people cannot be well bestowed.
1604
01:13:02,986 --> 01:13:05,770
>> Jeanne Sakata: It's his own blame hath put himself from
1605
01:13:05,810 --> 01:13:08,042
rest. And must needs taste his swelling.
1606
01:13:08,106 --> 01:13:10,506
>> Annie Occhiogrosso: For his particular, I'll receive him gladly.
1607
01:13:10,538 --> 01:13:12,006
>> Lizzie King-Hall: But not one follower.
1608
01:13:12,060 --> 01:13:14,926
>> Jeanne Sakata: Uh, I purposed. Where's my lord of Gloucester?
1609
01:13:15,038 --> 01:13:16,810
>> Randall Duk Kim: Okay, follow the old man.
1610
01:13:17,750 --> 01:13:20,622
>> Annie Occhiogrosso: I want you to do it again. And I want you to do it
1611
01:13:20,646 --> 01:13:22,670
as the sweetest women on earth.
1612
01:13:22,830 --> 01:13:25,118
>> Lizzie King-Hall: Oh, even though we're
1613
01:13:25,134 --> 01:13:25,886
alone?
1614
01:13:26,078 --> 01:13:26,850
>> Annie Occhiogrosso: Yes,
1615
01:13:29,750 --> 01:13:32,382
and I'll show you why. But trust me.
1616
01:13:32,486 --> 01:13:33,370
>> Lizzie King-Hall: Got it?
1617
01:13:34,950 --> 01:13:37,086
>> Tom Farber: Want me to take it back to let us withdraw?
1618
01:13:37,198 --> 01:13:38,332
>> Annie Occhiogrosso: Yes, please.
1619
01:13:38,526 --> 01:13:41,072
>> Tom Farber: Okay, Let us
1620
01:13:41,096 --> 01:13:41,856
withdraw.
1621
01:13:41,968 --> 01:13:43,680
>> Randall Duk Kim: It will be a storm.
1622
01:13:43,840 --> 01:13:46,800
>> Lizzie King-Hall: This house is little. The old man that's people cannot be well
1623
01:13:46,840 --> 01:13:47,616
bestowed.
1624
01:13:47,728 --> 01:13:50,720
>> Jeanne Sakata: His own blame hath put himself from
1625
01:13:50,760 --> 01:13:53,456
rest. And must needs taste his folly.
1626
01:13:53,568 --> 01:13:56,480
>> Lizzie King-Hall: For his particular, I'll receive him gladly, but not one
1627
01:13:56,520 --> 01:13:57,120
follower.
1628
01:13:57,200 --> 01:13:59,952
>> Jeanne Sakata: So am I purposed. Where's my lord of
1629
01:13:59,976 --> 01:14:00,736
Gloucester?
1630
01:14:00,848 --> 01:14:03,680
>> Annie Occhiogrosso: And now follow the. You go ahead. Keep going.
1631
01:14:03,800 --> 01:14:06,690
>> Tom Farber: Follow the old man. For he is returned.
1632
01:14:06,850 --> 01:14:08,738
>> Randall Duk Kim: King is in high rage.
1633
01:14:08,914 --> 01:14:10,258
>> Tom Farber: Whither is he going?
1634
01:14:10,394 --> 01:14:12,850
>> Randall Duk Kim: He calls to horse, but will I know not
1635
01:14:12,890 --> 01:14:13,590
whither.
1636
01:14:14,330 --> 01:14:16,338
>> Tom Farber: Tis best to give him Way he.
1637
01:14:16,394 --> 01:14:19,330
>> Jeanne Sakata: Leads himself, my lord, entreat him
1638
01:14:19,370 --> 01:14:20,990
by no means to stay.
1639
01:14:21,530 --> 01:14:24,354
>> Randall Duk Kim: Alack, the night comes on, and the
1640
01:14:24,362 --> 01:14:27,298
high winds do sorely ruffle for many miles about
1641
01:14:27,354 --> 01:14:28,786
their scarce a bush.
1642
01:14:28,898 --> 01:14:31,886
>> Lizzie King-Hall: O, sir, uh, to wilful men, the injuries
1643
01:14:31,918 --> 01:14:34,078
that they themselves procure Must be their
1644
01:14:34,134 --> 01:14:36,862
schoolmasters. Shut up your doors.
1645
01:14:37,006 --> 01:14:39,982
These attended with a desperate train. And what they may
1646
01:14:40,006 --> 01:14:42,686
incense him to being apt to have his ears
1647
01:14:42,718 --> 01:14:45,410
abused, Wisdom bids fear.
1648
01:14:45,910 --> 01:14:48,750
>> Tom Farber: Shut up your doors, my lord. Tis a wild
1649
01:14:48,830 --> 01:14:51,694
night my Regan counts as well.
1650
01:14:51,782 --> 01:14:53,454
Come out of the storm.
1651
01:14:53,582 --> 01:14:56,490
>> Annie Occhiogrosso: Okay, hold on. Because it just turned into a horror film.
1652
01:14:57,830 --> 01:14:58,506
>> Tom Farber: Yeah.
1653
01:14:58,638 --> 01:15:01,030
>> Annie Occhiogrosso: It's not quite right. Okay.
1654
01:15:02,330 --> 01:15:05,170
It's gonna get worse. So, uh, so let's. Let's get
1655
01:15:05,210 --> 01:15:07,310
there. All of a sudden, it was like.
1656
01:15:09,770 --> 01:15:12,242
So here you have. You have
1657
01:15:12,266 --> 01:15:14,722
Gloucester coming in, who's terribly
1658
01:15:14,786 --> 01:15:17,778
concerned. The king's angry. He says he's in a
1659
01:15:17,834 --> 01:15:20,498
rage. Right. Um, he's asking for his
1660
01:15:20,554 --> 01:15:23,202
horse. He doesn't know, uh, where he's going to
1661
01:15:23,226 --> 01:15:25,420
go. Uh, okay. Um,
1662
01:15:25,820 --> 01:15:28,788
you, Gonerill comes up with the idea. Don't go any
1663
01:15:28,844 --> 01:15:31,540
further with this. Right. And treat him by no means to
1664
01:15:31,580 --> 01:15:34,570
stay. We're not bringing him back in. Um,
1665
01:15:34,700 --> 01:15:37,332
and. And again, Gloucester pushes the
1666
01:15:37,356 --> 01:15:40,324
idea that it's a terrible night. Winds sorely
1667
01:15:40,372 --> 01:15:43,160
ruffle many a mile. There's no place to hide.
1668
01:15:43,460 --> 01:15:45,812
Um, make Gloucester
1669
01:15:45,876 --> 01:15:48,292
believe this is the best thing for
1670
01:15:48,316 --> 01:15:50,924
him. Let us decide
1671
01:15:51,092 --> 01:15:53,980
in the audience just
1672
01:15:54,020 --> 01:15:56,860
what kind of a daughter you are. This is
1673
01:15:56,900 --> 01:15:59,756
what ha. This is to me. Okay.
1674
01:15:59,948 --> 01:16:02,812
This is humanity. This is the
1675
01:16:02,836 --> 01:16:05,692
person who says it's a lesson. I tell you
1676
01:16:05,716 --> 01:16:08,188
about that child who was put in that. In that
1677
01:16:08,244 --> 01:16:11,120
garage. And he died.
1678
01:16:11,540 --> 01:16:14,300
And the stepmother said, he's got to learn.
1679
01:16:14,380 --> 01:16:17,372
If he's going to behave like that, he's got to learn. Put him in
1680
01:16:17,396 --> 01:16:20,054
that garage. And it's. What was it,
1681
01:16:20,222 --> 01:16:22,006
30 below or something?
1682
01:16:22,158 --> 01:16:22,774
>> Lizzie King-Hall: Horribly.
1683
01:16:22,822 --> 01:16:25,286
>> Annie Occhiogrosso: Horribly frozen night. And he
1684
01:16:25,358 --> 01:16:28,182
died. He died
1685
01:16:28,326 --> 01:16:31,302
because he had to learn. And that's what
1686
01:16:31,326 --> 01:16:34,198
this is about. He's got to learn.
1687
01:16:34,294 --> 01:16:37,190
Again, you may not feel that. You may not believe that,
1688
01:16:37,310 --> 01:16:39,350
but the point is, you're dealing with
1689
01:16:39,390 --> 01:16:42,390
Gloucester. And you've got to let
1690
01:16:42,430 --> 01:16:45,098
Gloucester, who's very concerned about the king,
1691
01:16:45,254 --> 01:16:47,550
understand that this is the best course
1692
01:16:48,250 --> 01:16:51,218
he is. As opposed to. Here's how I feel. Go ahead. I'm
1693
01:16:51,234 --> 01:16:51,986
sorry.
1694
01:16:52,178 --> 01:16:55,030
>> Lizzie King-Hall: I'm just making sure that I can fulfill
1695
01:16:55,450 --> 01:16:57,026
these last three lines.
1696
01:16:57,138 --> 01:16:59,570
>> Lizzie King-Hall: He's attended with a desperate train.
1697
01:16:59,730 --> 01:17:02,490
>> Lizzie King-Hall: Desperate meaning, um,
1698
01:17:03,210 --> 01:17:05,550
we'll do anything for him.
1699
01:17:07,770 --> 01:17:10,270
>> Lizzie King-Hall: And what they may incense him to.
1700
01:17:11,060 --> 01:17:11,900
>> Annie Occhiogrosso: Yeah.
1701
01:17:12,060 --> 01:17:14,716
>> Lizzie King-Hall: Being apt to have his ears abused.
1702
01:17:14,828 --> 01:17:16,892
Wisdom bids fear.
1703
01:17:17,036 --> 01:17:17,760
>> Annie Occhiogrosso: Yes.
1704
01:17:19,060 --> 01:17:21,692
>> Randall Duk Kim: That they could turn him against you.
1705
01:17:21,876 --> 01:17:22,600
>> Annie Occhiogrosso: Right.
1706
01:17:23,300 --> 01:17:26,236
>> Lizzie King-Hall: Oh, I'm saying that to Gloucester. It's hard. It's
1707
01:17:26,268 --> 01:17:27,000
a secret.
1708
01:17:27,780 --> 01:17:29,932
>> Annie Occhiogrosso: Oh, no, no. Right.
1709
01:17:29,956 --> 01:17:31,612
>> Lizzie King-Hall: It's like he is attending.
1710
01:17:31,676 --> 01:17:32,700
>> Lizzie King-Hall: Oh, oh, oh.
1711
01:17:32,780 --> 01:17:35,644
>> Lizzie King-Hall: He's attended with a desperate train. And what they may incense
1712
01:17:35,692 --> 01:17:38,624
him to. I got stuck on them, like, helping
1713
01:17:38,672 --> 01:17:40,720
him stay warm or like.
1714
01:17:40,840 --> 01:17:42,576
>> Annie Occhiogrosso: Yeah, no, no. Yeah. No.
1715
01:17:42,648 --> 01:17:45,552
>> Lizzie King-Hall: He's attended with a desperate. And what they may incense him
1716
01:17:45,576 --> 01:17:45,952
to.
1717
01:17:46,056 --> 01:17:47,780
>> Lizzie King-Hall: What is being apt.
1718
01:17:48,120 --> 01:17:50,650
>> Annie Occhiogrosso: He's already likely to. To be.
1719
01:17:50,650 --> 01:17:53,216
>> Lizzie King-Hall: Uh, so there's kind of a slightly
1720
01:17:53,248 --> 01:17:56,224
misplaced comma. It's just one parenthetical
1721
01:17:56,352 --> 01:17:57,184
being apt to.
1722
01:17:57,192 --> 01:17:58,480
>> Lizzie King-Hall: Have his ear abused.
1723
01:17:58,640 --> 01:17:59,980
>> Annie Occhiogrosso: Yes, that's right.
1724
01:18:01,480 --> 01:18:03,624
>> Lizzie King-Hall: Wisdom bids fear.
1725
01:18:03,752 --> 01:18:06,260
>> Annie Occhiogrosso: And what that, uh, he's already. He's already
1726
01:18:06,640 --> 01:18:09,528
likely to have is you're abused with
1727
01:18:09,584 --> 01:18:12,312
something against us. Against Gloucester.
1728
01:18:12,376 --> 01:18:13,352
Yeah, got it.
1729
01:18:13,376 --> 01:18:15,960
>> Randall Duk Kim: And the wise person wisdom will.
1730
01:18:16,080 --> 01:18:18,760
Will, uh. Will notify you that
1731
01:18:18,800 --> 01:18:19,880
it's dangerous.
1732
01:18:19,960 --> 01:18:22,750
>> Annie Occhiogrosso: Yeah. Ah, yeah, yeah. And. And, uh,
1733
01:18:23,040 --> 01:18:25,800
Cornwall, I want you to be a
1734
01:18:25,840 --> 01:18:28,716
good leader to Gloucester. Put your arm around.
1735
01:18:28,848 --> 01:18:31,764
Shut up. Your doors. My wig and knows what you're talking
1736
01:18:31,812 --> 01:18:34,564
about. Because that's the thing that drives
1737
01:18:34,612 --> 01:18:36,756
us crazy. We know it in our own
1738
01:18:36,828 --> 01:18:39,140
politics, the smooth
1739
01:18:39,220 --> 01:18:41,600
talk. I'm doing this for you,
1740
01:18:42,380 --> 01:18:44,852
not for me. I'm doing it for
1741
01:18:44,876 --> 01:18:47,760
you. We all know it,
1742
01:18:48,140 --> 01:18:51,028
and that's here. It's only when we see it in a play
1743
01:18:51,084 --> 01:18:54,020
that we feel we have to somehow make the
1744
01:18:54,060 --> 01:18:57,040
audience see something else. I think
1745
01:18:57,080 --> 01:18:59,776
that, to me, is what is so awful about
1746
01:18:59,848 --> 01:19:02,848
human behavior sometimes is we do it
1747
01:19:02,904 --> 01:19:05,248
under the guise of kindness and of
1748
01:19:05,304 --> 01:19:07,900
generosity. And I'm doing it for you.
1749
01:19:08,200 --> 01:19:11,200
And then you. Then you find out three days later how much
1750
01:19:11,240 --> 01:19:13,820
money went into the bank on their part.
1751
01:19:14,360 --> 01:19:17,328
Because it was doing it for you. That's what.
1752
01:19:17,384 --> 01:19:20,320
That's what. And the audience knows it. You know,
1753
01:19:20,360 --> 01:19:23,170
I remember I asked students why
1754
01:19:23,210 --> 01:19:26,050
they act, and they wanted to show
1755
01:19:26,170 --> 01:19:28,510
the audience about being human.
1756
01:19:29,370 --> 01:19:31,826
And my response to them was,
1757
01:19:31,978 --> 01:19:34,030
they are human.
1758
01:19:35,770 --> 01:19:38,390
You better be good at showing.
1759
01:19:38,970 --> 01:19:41,794
Coming up to being a
1760
01:19:41,802 --> 01:19:44,562
mirror to them. Learn from
1761
01:19:44,666 --> 01:19:47,500
them. If you want to learn how to act, learn
1762
01:19:47,580 --> 01:19:50,412
from the human beings you're playing to. Don't think
1763
01:19:50,436 --> 01:19:52,200
you can teach them.
1764
01:19:52,980 --> 01:19:54,960
Theater is not about teaching
1765
01:19:55,780 --> 01:19:58,764
for me. I'm saying this for me because I know some minute I
1766
01:19:58,772 --> 01:20:01,436
open my mouth sometimes people think, oh, how dare
1767
01:20:01,468 --> 01:20:03,900
she? But for me, it's to make people
1768
01:20:04,020 --> 01:20:04,680
feel,
1769
01:20:07,260 --> 01:20:08,520
um. You know,
1770
01:20:10,100 --> 01:20:13,020
Jacob Adler once said, don't ever let an audience
1771
01:20:13,100 --> 01:20:15,780
come to the theater without being better after they
1772
01:20:15,820 --> 01:20:18,820
leave. But to
1773
01:20:18,860 --> 01:20:21,492
do that, to do that,
1774
01:20:21,676 --> 01:20:24,520
we have to love humanity.
1775
01:20:25,100 --> 01:20:27,680
We disappointed by it, but Again,
1776
01:20:28,140 --> 01:20:30,852
we have to go on that stage and say,
1777
01:20:31,036 --> 01:20:33,960
I hope I'm doing justice
1778
01:20:34,300 --> 01:20:36,320
to every human being out there.
1779
01:20:36,860 --> 01:20:39,476
Okay, Got it. Good.
1780
01:20:39,628 --> 01:20:42,442
Thank you. Okay. I think
1781
01:20:42,466 --> 01:20:45,018
you're splendid. Uh, I could go on with this
1782
01:20:45,074 --> 01:20:48,042
play. And, you know, we talked about it. Somebody said to
1783
01:20:48,066 --> 01:20:50,586
approach Lear is like being a flea on a behemoth's
1784
01:20:50,618 --> 01:20:53,210
back. Um, and it is. It's
1785
01:20:53,290 --> 01:20:55,550
layer after layer after layer.
1786
01:20:56,130 --> 01:20:58,794
But I hope. I do hope that you realize
1787
01:20:58,842 --> 01:21:01,610
what we accomplished in four sessions,
1788
01:21:01,690 --> 01:21:04,520
two hours each. You know,
1789
01:21:04,520 --> 01:21:07,514
Um, I wish now we could get up on our. You can't do it
1790
01:21:07,522 --> 01:21:10,022
on Zoom, but I'd love to see it now on Beat. You
1791
01:21:10,046 --> 01:21:12,550
know, at any rate, if
1792
01:21:12,590 --> 01:21:15,590
Nathan's around, we can open it up. Or if you guys want
1793
01:21:15,630 --> 01:21:17,702
to. Oh, there he is. Right on cue.
1794
01:21:17,766 --> 01:21:18,120
>> Randall Duk Kim: It's fun.
1795
01:21:18,120 --> 01:21:20,130
>> Randall Duk Kim: Um, thank you.
1796
01:21:21,680 --> 01:21:24,294
>> Tom Farber: Um, yes, thank
1797
01:21:24,342 --> 01:21:24,930
you.
1798
01:21:26,510 --> 01:21:27,462
>> Nathan Agin: Yeah, no, this is.
1799
01:21:27,486 --> 01:21:29,930
>> Jeanne Sakata: Hi to Elizabeth Swain. Hi, Elizabeth.
1800
01:21:30,670 --> 01:21:31,410
>> Annie Occhiogrosso: There.
1801
01:21:33,360 --> 01:21:36,300
>> Nathan Agin: Um, yes. No, this is. This has been wonderful, and,
1802
01:21:36,300 --> 01:21:39,260
uh, I've been listening right along to everything. And, um,
1803
01:21:39,260 --> 01:21:41,560
so if, uh. If people who are, um,
1804
01:21:42,300 --> 01:21:45,172
live in the. In the session right now, if you have any questions, you
1805
01:21:45,196 --> 01:21:47,796
can, uh, drop those in the chat. Or
1806
01:21:47,868 --> 01:21:50,804
if, uh, if you want to raise your, uh, If. If you know how
1807
01:21:50,812 --> 01:21:53,668
to raise your. Your hand via Zoom, um, the little.
1808
01:21:53,724 --> 01:21:55,108
Little icon, you can do that.
1809
01:21:55,164 --> 01:21:55,332
>> Randall Duk Kim: And.
1810
01:21:55,356 --> 01:21:58,240
>> Nathan Agin: And you can come on the mic if you'd like to ask your question that way.
1811
01:21:58,260 --> 01:22:01,156
Uh, no pressure either way. I'm happy to just relay
1812
01:22:01,188 --> 01:22:03,892
questions. Um, but, uh, this is an opportunity for you to
1813
01:22:03,916 --> 01:22:06,720
actually interact with, uh, any of the artists, um,
1814
01:22:06,880 --> 01:22:09,752
here. Um, but I can, uh. I can kind of kick it
1815
01:22:09,776 --> 01:22:12,600
off, uh, with a few, uh, questions. Um,
1816
01:22:13,200 --> 01:22:15,960
first, I'd love to know, um, from the
1817
01:22:16,000 --> 01:22:18,552
actors from. From Tom and Jeannie and
1818
01:22:18,576 --> 01:22:21,080
Lizzie. Um, you
1819
01:22:21,120 --> 01:22:24,072
know, Lizzie, I know you worked on this
1820
01:22:24,096 --> 01:22:27,000
a little bit in a previous session with us, but, um,
1821
01:22:27,000 --> 01:22:29,592
for all of you, what
1822
01:22:29,696 --> 01:22:32,552
either challenged or surprised you
1823
01:22:32,576 --> 01:22:34,690
about the characters you played, um,
1824
01:22:35,680 --> 01:22:38,472
you know, uh, even if you hadn't done the
1825
01:22:38,496 --> 01:22:41,288
role before, uh, you know, even just hearing
1826
01:22:41,384 --> 01:22:44,200
sometimes about these characters, it can. It can set
1827
01:22:44,240 --> 01:22:47,160
your imagination to work of, like, oh, I think they're like this,
1828
01:22:47,200 --> 01:22:49,592
or I assume they're like that, or I have to play them like
1829
01:22:49,616 --> 01:22:52,560
this. And, uh, so I'd love to hear from any of you what,
1830
01:22:52,560 --> 01:22:55,432
um. What your experience was, you know, diving into it
1831
01:22:55,456 --> 01:22:57,780
over the. Over these weeks and how that,
1832
01:22:57,780 --> 01:23:00,312
um, either supported your initial
1833
01:23:00,376 --> 01:23:02,500
thoughts or, uh, subverted them.
1834
01:23:05,410 --> 01:23:08,234
>> Lizzie King-Hall: I think that the daughters are really often
1835
01:23:08,322 --> 01:23:10,938
cast as, um, a
1836
01:23:10,994 --> 01:23:13,834
type. Um, and
1837
01:23:13,922 --> 01:23:16,458
actresses always, uh, get
1838
01:23:16,514 --> 01:23:19,482
Told that they could play the daughters.
1839
01:23:19,546 --> 01:23:22,442
And I'm, I've learned that it
1840
01:23:22,466 --> 01:23:24,470
really doesn't have to be these.
1841
01:23:26,220 --> 01:23:26,250
>> Jeanne Sakata: Um.
1842
01:23:28,540 --> 01:23:31,200
>> Lizzie King-Hall: These concepts. I think that, that
1843
01:23:32,140 --> 01:23:34,452
we've talked about this a bunch, that the
1844
01:23:34,476 --> 01:23:35,680
daughters, um.
1845
01:23:37,180 --> 01:23:39,588
>> Lizzie King-Hall: Do evil things, but they don't have to.
1846
01:23:39,644 --> 01:23:42,580
>> Lizzie King-Hall: I mean that's bad acting to signal from
1847
01:23:42,620 --> 01:23:45,556
the beginning that they are mean
1848
01:23:45,628 --> 01:23:47,360
spirited. Because
1849
01:23:48,220 --> 01:23:50,052
yes, like philosophically.
1850
01:23:50,116 --> 01:23:52,948
>> Lizzie King-Hall: And a director could definitely say like, all these people are very
1851
01:23:53,004 --> 01:23:54,040
empty inside.
1852
01:23:54,480 --> 01:23:57,048
>> Lizzie King-Hall: And there can be a lot of signals on
1853
01:23:57,104 --> 01:23:59,960
stage of that. But I was
1854
01:24:00,000 --> 01:24:02,060
amazed, um,
1855
01:24:04,240 --> 01:24:06,840
that how active all of this
1856
01:24:06,880 --> 01:24:09,768
language is. And that's why you saw me getting at the end so
1857
01:24:09,824 --> 01:24:11,928
confused of what am I trying to do?
1858
01:24:11,984 --> 01:24:12,744
>> Lizzie King-Hall: What's a secret?
1859
01:24:12,832 --> 01:24:15,768
>> Lizzie King-Hall: Who's on stage. That's why the next step is
1860
01:24:15,824 --> 01:24:18,180
getting it on its feet. Right. It's like, who
1861
01:24:18,880 --> 01:24:21,084
is this front stage or backstage
1862
01:24:21,132 --> 01:24:23,740
behavior? Um,
1863
01:24:23,940 --> 01:24:26,380
and so it's very active. It's not a
1864
01:24:26,420 --> 01:24:29,360
tone, it's not a mood. Um,
1865
01:24:30,740 --> 01:24:32,880
that's the director's responsibility.
1866
01:24:34,900 --> 01:24:37,852
>> Nathan Agin: Well, I love what you're saying there, Lizzie. And I think, you
1867
01:24:37,876 --> 01:24:40,812
know, for me it also opened up
1868
01:24:40,836 --> 01:24:43,292
that dynamic of even with the sisters at the
1869
01:24:43,316 --> 01:24:46,060
end, even if they might be on the same page of
1870
01:24:46,100 --> 01:24:48,910
like, what do we do with dad? There may still
1871
01:24:48,950 --> 01:24:51,534
be things that they don't want to reveal to each other
1872
01:24:51,702 --> 01:24:54,462
and which is so human. It's just like, you
1873
01:24:54,486 --> 01:24:57,326
know, as. As much as you might be like, well, this is my sister
1874
01:24:57,358 --> 01:25:00,350
and she knows me very well. It's like, but I don't want to show her this
1875
01:25:00,390 --> 01:25:03,246
card and I don't want to say this because then she's
1876
01:25:03,278 --> 01:25:05,950
going to jump on that and, and which makes
1877
01:25:05,990 --> 01:25:08,702
it so much more, ah, alive, like you said, and
1878
01:25:08,726 --> 01:25:11,694
active and so much more like a family. And then when
1879
01:25:11,702 --> 01:25:14,582
you bring up mean spirited, you know, we've all been in these
1880
01:25:14,606 --> 01:25:17,382
situations where you can have uh, a
1881
01:25:17,406 --> 01:25:20,310
reaction to something that somebody's done and it can feel
1882
01:25:20,350 --> 01:25:23,334
very mean. But if you either have a conversation
1883
01:25:23,382 --> 01:25:26,262
or take the time to think of it, it's like, well, from their perspective with
1884
01:25:26,286 --> 01:25:29,270
the information they had, it wasn't mean at all.
1885
01:25:29,310 --> 01:25:32,070
They totally thought they were in the right to do that
1886
01:25:32,110 --> 01:25:35,094
or based on their beliefs. And I think
1887
01:25:35,182 --> 01:25:37,942
to Lizzie, to your point, it's like if you can
1888
01:25:37,966 --> 01:25:40,810
approach the daughters, the sisters like that,
1889
01:25:40,850 --> 01:25:43,270
that they're. They always believe they're in the right.
1890
01:25:43,660 --> 01:25:46,490
Um, then, then it doesn't m. Make them evil. It makes
1891
01:25:46,530 --> 01:25:49,514
them much m More interesting. Uh, fascinating.
1892
01:25:49,642 --> 01:25:52,360
A uh, story as it evolves. Um,
1893
01:25:53,330 --> 01:25:55,194
I think. Yeah, Randy, go ahead.
1894
01:25:55,362 --> 01:25:58,250
>> Randall Duk Kim: Once a character, if we say, okay, in this
1895
01:25:58,290 --> 01:26:00,830
moment, the character is being mean spirited,
1896
01:26:01,250 --> 01:26:03,898
you know, it's just in that moment.
1897
01:26:03,994 --> 01:26:04,410
>> Annie Occhiogrosso: Yeah.
1898
01:26:04,490 --> 01:26:07,372
>> Randall Duk Kim: It doesn't necessarily follow the rest of.
1899
01:26:07,396 --> 01:26:10,300
>> Randall Duk Kim: The moments that follow that character. Of course,
1900
01:26:10,420 --> 01:26:13,260
because we, as human beings, we do
1901
01:26:13,300 --> 01:26:13,500
that.
1902
01:26:13,540 --> 01:26:16,412
>> Randall Duk Kim: We're one thing one moment, and in the next thing we
1903
01:26:16,436 --> 01:26:17,724
could be just the opposite.
1904
01:26:17,772 --> 01:26:19,080
>> Randall Duk Kim: Or, you know.
1905
01:26:20,020 --> 01:26:21,468
>> Nathan Agin: Absolutely, absolutely.
1906
01:26:21,564 --> 01:26:24,300
>> Randall Duk Kim: Kind of unpredictable creature. We
1907
01:26:24,340 --> 01:26:24,924
are.
1908
01:26:25,092 --> 01:26:27,212
>> Nathan Agin: Yeah, yeah, yeah.
1909
01:26:27,276 --> 01:26:30,188
>> Randall Duk Kim: But, uh, just watch these characters take.
1910
01:26:30,244 --> 01:26:33,040
>> Randall Duk Kim: Those moments, make decisions, take actions.
1911
01:26:33,450 --> 01:26:35,938
And where it all leads them
1912
01:26:36,074 --> 01:26:38,390
is what's tragic,
1913
01:26:38,890 --> 01:26:41,762
because they all create a huge whirlpool in
1914
01:26:41,786 --> 01:26:44,546
which they all get sucked under. You know,
1915
01:26:44,618 --> 01:26:47,202
every. Almost every decision and choice
1916
01:26:47,266 --> 01:26:50,002
that's made. And they don't mean it. They don't
1917
01:26:50,066 --> 01:26:52,530
mean for that to happen. You
1918
01:26:52,570 --> 01:26:54,190
know, where, uh, they.
1919
01:26:55,690 --> 01:26:58,178
I don't think. I don't think they mean it.
1920
01:26:58,314 --> 01:27:00,962
>> Nathan Agin: Right, right, right, right.
1921
01:27:01,146 --> 01:27:04,082
>> Annie Occhiogrosso: I think Shakespeare leaves just enough out. I
1922
01:27:04,106 --> 01:27:06,914
think this is why his plays last forever. Because
1923
01:27:07,002 --> 01:27:09,202
I think, Randy, that question
1924
01:27:09,386 --> 01:27:12,210
becomes something that after the show is over, we
1925
01:27:12,250 --> 01:27:14,866
all go and have, you know, a drink, and you
1926
01:27:14,938 --> 01:27:17,794
say, uh, they didn't mean. And somebody else says, I
1927
01:27:17,802 --> 01:27:20,498
don't know. I think she did me. And we. And the
1928
01:27:20,554 --> 01:27:23,442
play lives. You see, I
1929
01:27:23,466 --> 01:27:26,060
think that when it. When you try to, um,
1930
01:27:26,710 --> 01:27:29,694
put a cap on it somehow and say it's this and
1931
01:27:29,782 --> 01:27:32,622
only this, that's when it's.
1932
01:27:32,686 --> 01:27:35,294
It's not the. The rich Shakespearean
1933
01:27:35,342 --> 01:27:38,078
experience that I. That I think is in those
1934
01:27:38,134 --> 01:27:41,118
plays. Look, I've been working on these plays for over
1935
01:27:41,174 --> 01:27:43,982
50 years. Every time we have this class, I
1936
01:27:44,006 --> 01:27:46,622
go back to researching. I don't. I
1937
01:27:46,646 --> 01:27:49,614
don't pull out. Out of my pocket. Here's what I've learned.
1938
01:27:49,662 --> 01:27:52,532
And here is Lear. Or I listen to you guys
1939
01:27:52,646 --> 01:27:55,624
and I come to the understanding that, oh, wait, what is that?
1940
01:27:55,712 --> 01:27:58,536
What's happening there? Or what? So you're always.
1941
01:27:58,688 --> 01:28:01,592
You're always working on it. I think it's when
1942
01:28:01,616 --> 01:28:04,456
you try to say it's this and
1943
01:28:04,528 --> 01:28:07,208
nothing else. The other thing that. That
1944
01:28:07,344 --> 01:28:09,780
comes to my mind is, you know,
1945
01:28:10,080 --> 01:28:12,600
when, um, a
1946
01:28:12,640 --> 01:28:15,260
child, um, abductor
1947
01:28:15,920 --> 01:28:18,760
wants to grab a child, have the child come
1948
01:28:18,800 --> 01:28:21,230
into his or her car. Car.
1949
01:28:21,770 --> 01:28:24,626
They offer candy. They don't say, hey,
1950
01:28:24,658 --> 01:28:26,790
I'm evil. Come here, little boy.
1951
01:28:28,570 --> 01:28:31,234
So, of course, if you want something, you offer
1952
01:28:31,322 --> 01:28:34,178
candy. And then you. Because it's all about,
1953
01:28:34,234 --> 01:28:37,010
what do you want and what must I do to
1954
01:28:37,050 --> 01:28:39,420
get it? Um,
1955
01:28:40,250 --> 01:28:43,250
and sometimes evil takes a
1956
01:28:43,290 --> 01:28:46,082
very smooth turn, you know, so
1957
01:28:46,106 --> 01:28:48,974
that. That's where I think, um. I
1958
01:28:48,982 --> 01:28:51,902
think we tend to think the audience isn't going to get
1959
01:28:51,926 --> 01:28:54,670
it. If I'm not evil from the start, the
1960
01:28:54,710 --> 01:28:57,582
audience isn't going to get that I'm evil. But it's not
1961
01:28:57,606 --> 01:29:00,446
that anyone is evil. What someone may
1962
01:29:00,518 --> 01:29:03,090
do becomes evil
1963
01:29:03,750 --> 01:29:06,622
when we take a look at how far they go
1964
01:29:06,806 --> 01:29:08,490
in what it is they want.
1965
01:29:08,540 --> 01:29:09,102
>> Randall Duk Kim: Uh, right.
1966
01:29:09,126 --> 01:29:11,630
>> Nathan Agin: I mean, I think even looking ahead, um,
1967
01:29:12,230 --> 01:29:15,118
and I forget which sister poisons which or
1968
01:29:15,174 --> 01:29:18,012
how that all plays out. But you know, I think if
1969
01:29:18,036 --> 01:29:21,004
that becomes an inevitability rather
1970
01:29:21,052 --> 01:29:23,964
than a pre planned decision, it's a much more. I mean,
1971
01:29:23,972 --> 01:29:26,812
it's a much more tragic circumstance that here are these
1972
01:29:26,836 --> 01:29:29,788
sisters, you know, trying to figure it out and
1973
01:29:29,844 --> 01:29:32,812
make it work. And they're on the same page. And then they have
1974
01:29:32,836 --> 01:29:35,836
to. One of them has to kill the other one. You know, that's. That's where it's gotten
1975
01:29:35,868 --> 01:29:38,860
to. Um, which if you're. If you're playing
1976
01:29:38,900 --> 01:29:41,724
that in the first scene, it's just not going to be as interesting of a
1977
01:29:41,732 --> 01:29:44,684
journey for the. For the audience and certainly not for the actor either. I
1978
01:29:44,692 --> 01:29:47,680
don't. I wouldn't think. Um. But, uh.
1979
01:29:47,680 --> 01:29:50,330
Jeannie, I wanted to hear what your thoughts on playing
1980
01:29:50,370 --> 01:29:50,954
Goneril.
1981
01:29:51,002 --> 01:29:53,898
>> Jeanne Sakata: Oh, well, that. Yeah, that's interesting, following
1982
01:29:53,954 --> 01:29:56,794
what you just said, because they think the thing that surprised me
1983
01:29:56,802 --> 01:29:59,434
about Goneril, and it's so funny because
1984
01:29:59,602 --> 01:30:02,266
I've read the play, um, I've seen it
1985
01:30:02,338 --> 01:30:05,322
several times perform, but I
1986
01:30:05,346 --> 01:30:07,642
was surprised by how. What's the word?
1987
01:30:07,706 --> 01:30:10,442
Reasonable. Found her
1988
01:30:10,466 --> 01:30:13,322
up until a certain point, you know,
1989
01:30:13,506 --> 01:30:15,750
and then what you said, Nathan, about
1990
01:30:16,130 --> 01:30:19,050
then circumstances change and, you know, the worst
1991
01:30:19,130 --> 01:30:21,930
comes out. But I think up to this point, is
1992
01:30:21,970 --> 01:30:24,650
there really anything that I
1993
01:30:24,690 --> 01:30:27,690
can't relate to in her? You know, if
1994
01:30:27,730 --> 01:30:30,650
I'm put in a position where I have
1995
01:30:30,690 --> 01:30:32,730
to participate, uh, in a
1996
01:30:32,770 --> 01:30:35,610
contest, you know, at the very beginning of the
1997
01:30:35,650 --> 01:30:38,490
play. How much do I love you? You know,
1998
01:30:38,870 --> 01:30:40,930
and. And receiving
1999
01:30:41,910 --> 01:30:44,862
this third of the kingdom. And then feeling like
2000
01:30:44,886 --> 01:30:47,790
I. I better do what I can to hang on
2001
01:30:47,830 --> 01:30:50,830
to it. And then the. The hundred nights come and
2002
01:30:50,870 --> 01:30:53,822
make a mess of my place. And here I am, you
2003
01:30:53,846 --> 01:30:56,670
know, like, uh, you know, the first lady of the White House
2004
01:30:56,710 --> 01:30:59,166
or something. Everything's just been very
2005
01:30:59,238 --> 01:31:02,142
elegant and, you know, beautiful. I mean, you
2006
01:31:02,166 --> 01:31:05,030
know, like. Right. They're just ruining
2007
01:31:05,110 --> 01:31:07,950
everything. And, um.
2008
01:31:08,350 --> 01:31:11,302
And then the whole thing about he
2009
01:31:11,326 --> 01:31:14,294
might take it away. He has 100 nights that could wage war
2010
01:31:14,382 --> 01:31:17,270
on. So then I have to worry about
2011
01:31:17,390 --> 01:31:20,230
holding on to what I have. And
2012
01:31:20,270 --> 01:31:23,046
then I. So I didn't find any.
2013
01:31:23,118 --> 01:31:25,330
And I was surprised by how,
2014
01:31:26,400 --> 01:31:28,090
um. Relatable.
2015
01:31:29,310 --> 01:31:30,690
>> Nathan Agin: Yeah, yeah.
2016
01:31:30,720 --> 01:31:33,582
>> Jeanne Sakata: Um, I was very surprised by that because I thought, you
2017
01:31:33,606 --> 01:31:36,446
know, I'm not making any arguments that, that don't
2018
01:31:36,478 --> 01:31:39,342
make sense to me. You know, I mean, I do have
2019
01:31:39,366 --> 01:31:42,250
that underlying motive of protecting my power. But
2020
01:31:42,870 --> 01:31:45,502
I mean of course we, you know,
2021
01:31:45,526 --> 01:31:48,478
the Lear is thinking about. He says
2022
01:31:48,534 --> 01:31:51,310
reason, not the need. These are my badges, my
2023
01:31:51,350 --> 01:31:51,806
knife.
2024
01:31:51,918 --> 01:31:52,382
>> Nathan Agin: Right.
2025
01:31:52,486 --> 01:31:54,690
>> Jeanne Sakata: Badges for my lifetime of being king.
2026
01:31:55,030 --> 01:31:57,920
But it is a reasonable argument to say you
2027
01:31:57,960 --> 01:32:00,016
don't need them. You really.
2028
01:32:00,088 --> 01:32:01,232
>> Nathan Agin: Right. Yeah, yeah.
2029
01:32:01,296 --> 01:32:04,080
>> Jeanne Sakata: I mean, so that's what surprised me. And I think
2030
01:32:04,120 --> 01:32:06,864
that ties in adding to what you said about
2031
01:32:06,952 --> 01:32:09,280
it and Nathan, about if the
2032
01:32:09,320 --> 01:32:11,860
sisters start out as evil.
2033
01:32:12,280 --> 01:32:15,216
You know, I guess I always saw them like, you know,
2034
01:32:15,288 --> 01:32:18,256
the wicked stepsisters and Cinderella. We just know they're
2035
01:32:18,288 --> 01:32:18,576
bad.
2036
01:32:18,648 --> 01:32:19,776
>> Randall Duk Kim: Right, right, right.
2037
01:32:19,848 --> 01:32:21,988
>> Jeanne Sakata: But if you don't play that, if you just play
2038
01:32:22,044 --> 01:32:24,836
daughters dealing with this very
2039
01:32:24,908 --> 01:32:27,604
difficult father and having
2040
01:32:27,692 --> 01:32:30,308
to, you know, quote unquote prove their
2041
01:32:30,364 --> 01:32:33,044
love and then, you know, all the sibling
2042
01:32:33,092 --> 01:32:35,820
rivalry and um,
2043
01:32:35,820 --> 01:32:38,400
hanging on to power, I mean it's just such a,
2044
01:32:39,260 --> 01:32:42,180
a, ah. Potent mix but all taking place with
2045
01:32:42,220 --> 01:32:44,164
a real flesh and blood family.
2046
01:32:44,332 --> 01:32:44,868
>> Nathan Agin: Yeah.
2047
01:32:44,964 --> 01:32:47,892
>> Jeanne Sakata: Because I just so many times. Another thing I was
2048
01:32:47,916 --> 01:32:50,832
surprised by just seeing my own family dynamics in
2049
01:32:50,856 --> 01:32:53,540
this so many times. You know, we're uh,
2050
01:32:53,540 --> 01:32:56,432
obviously not from a royal family, but just this is the genius
2051
01:32:56,496 --> 01:32:58,740
of this play to me is just how he captures
2052
01:33:00,040 --> 01:33:03,024
these relationship within a family. And they're
2053
01:33:03,072 --> 01:33:04,640
so much like our families.
2054
01:33:04,800 --> 01:33:06,800
>> Randall Duk Kim: Yeah, right, right.
2055
01:33:06,840 --> 01:33:09,792
>> Lizzie King-Hall: It's so wrong. It true. If
2056
01:33:09,816 --> 01:33:12,416
anyone says this is unrealistic. I don't believe
2057
01:33:12,488 --> 01:33:15,470
anyone who like, ah.
2058
01:33:15,470 --> 01:33:18,144
If that you're saying that the most hurtful things you've
2059
01:33:18,192 --> 01:33:21,146
ever said, the worst things you've ever
2060
01:33:21,218 --> 01:33:23,590
said have not been to your family.
2061
01:33:23,970 --> 01:33:26,346
Like that's, that's
2062
01:33:26,378 --> 01:33:27,130
false.
2063
01:33:27,290 --> 01:33:30,154
>> Nathan Agin: Yeah. The people you say you love the most. Yes. Yeah,
2064
01:33:30,202 --> 01:33:32,970
exactly. Yeah, I know. It's, it's, it's that,
2065
01:33:33,090 --> 01:33:35,850
that's that fascinating dichotomy of,
2066
01:33:35,970 --> 01:33:38,490
yeah. Of how we, how we treat our, our
2067
01:33:38,530 --> 01:33:41,450
closest relatives and things like that. Um,
2068
01:33:41,842 --> 01:33:44,590
and, and Jeanne, I love the point you made about um,
2069
01:33:45,740 --> 01:33:48,596
you know, just these being such relatable
2070
01:33:48,628 --> 01:33:51,604
characters. I mean it made me think of Claudius and
2071
01:33:51,612 --> 01:33:54,484
Hamlet that, that he's, he's immediately, you
2072
01:33:54,492 --> 01:33:57,236
know, when we first. He's trying to, you know, he, he thinks
2073
01:33:57,268 --> 01:34:00,196
he's, he should be the ruler. And his whole first speech is,
2074
01:34:00,268 --> 01:34:03,252
I'm going to tell you why I think I should be. I should be in
2075
01:34:03,276 --> 01:34:06,196
power instead of Hamlet. And, and, and he believes he's totally
2076
01:34:06,228 --> 01:34:06,452
in the.
2077
01:34:06,476 --> 01:34:06,708
>> Randall Duk Kim: Right.
2078
01:34:06,764 --> 01:34:09,700
>> Nathan Agin: And. And. And we could. You know, there's a number of other characters we could
2079
01:34:09,740 --> 01:34:12,676
cite. Uh, I mean, even though Iago and Richard III
2080
01:34:12,708 --> 01:34:15,572
tell the audience, here's what I'm gonna do, they. I think they
2081
01:34:15,596 --> 01:34:18,388
have a totally morally m. Justifiable place
2082
01:34:18,444 --> 01:34:21,332
in their own head of, um, why this is
2083
01:34:21,356 --> 01:34:24,276
a good thing to do, of why we need to do this. And so,
2084
01:34:24,348 --> 01:34:27,240
you know, I think looking at these characters from that lens,
2085
01:34:27,390 --> 01:34:30,370
um, is such a. Such a richer place. Um,
2086
01:34:30,370 --> 01:34:33,364
and, you know, you mentioned something about that contest in the
2087
01:34:33,372 --> 01:34:36,132
first scene, and it's almost easy to
2088
01:34:36,156 --> 01:34:39,140
gloss over it, that, you know, whatever age you play Goner
2089
01:34:39,220 --> 01:34:41,870
or whatever age you cast it, this is still an adult
2090
01:34:41,950 --> 01:34:44,814
woman being asked to perform in this contest.
2091
01:34:44,862 --> 01:34:47,726
And it's just like, what do we. I mean, this is. These aren't
2092
01:34:47,758 --> 01:34:50,670
like, you know, three kids, like 10, 7 and 5,
2093
01:34:50,710 --> 01:34:53,422
like, tell dad how much you love him. It's like, she's an
2094
01:34:53,446 --> 01:34:56,014
adult woman. This is just such a weird
2095
01:34:56,142 --> 01:34:58,846
thing that he's suddenly. And it's
2096
01:34:58,878 --> 01:35:01,800
public, too. It's not just like, write me a letter. Um,
2097
01:35:01,800 --> 01:35:04,446
and this is what will decide how you get the king. So
2098
01:35:04,598 --> 01:35:07,304
it just. I mean, like, it's almost one of those
2099
01:35:07,392 --> 01:35:10,200
Stanislavski things where you don't really have to, like,
2100
01:35:10,320 --> 01:35:13,240
think too much of what. How would this. It's like, no, this is
2101
01:35:13,280 --> 01:35:16,152
really awkward. Just put yourself in
2102
01:35:16,176 --> 01:35:19,176
that position. It's like, this is weird. And, uh, that's
2103
01:35:19,208 --> 01:35:21,450
exactly what France says later. Um.
2104
01:35:21,450 --> 01:35:24,312
>> Jeanne Sakata: Oh, my God. Yeah. I mean, just, you know, I know this
2105
01:35:24,336 --> 01:35:26,648
is a fable, not history,
2106
01:35:26,784 --> 01:35:29,720
but I just thought to myself, if my
2107
01:35:29,760 --> 01:35:32,464
father had. I had two sisters
2108
01:35:32,632 --> 01:35:35,488
with their three. Three sisters in my family.
2109
01:35:35,544 --> 01:35:38,220
And I thought if my father had ever
2110
01:35:38,680 --> 01:35:41,200
said, you know, all right, Jeannie, Cindy,
2111
01:35:41,280 --> 01:35:44,016
Janice, um, I'm calling you before
2112
01:35:44,088 --> 01:35:47,072
me, and I want you to tell me how much you
2113
01:35:47,096 --> 01:35:49,840
love me. And, Jeanne, you go first. And you
2114
01:35:49,880 --> 01:35:52,432
can. You know, and we had an
2115
01:35:52,456 --> 01:35:55,232
inheritance at stake or whatever. I mean, I can
2116
01:35:55,256 --> 01:35:57,140
just imagine the electric.
2117
01:35:58,030 --> 01:36:00,582
Electricity, you know, of each of us kind of
2118
01:36:00,606 --> 01:36:02,822
scoping each other out, you.
2119
01:36:02,846 --> 01:36:05,814
>> Nathan Agin: Know, in a moment of like. Yeah. A moment of like, is this.
2120
01:36:05,902 --> 01:36:08,620
Is this actually happening? Like, is this. Yeah. Ah.
2121
01:36:08,774 --> 01:36:10,886
Is there a candid camera that I don't know about?
2122
01:36:10,958 --> 01:36:13,942
>> Jeanne Sakata: Like. Yeah. Such a rich scene, you know, that
2123
01:36:13,966 --> 01:36:16,854
it kicks off the play like that it's absolutely.
2124
01:36:16,902 --> 01:36:19,750
>> Nathan Agin: No, I know. I know. And then I think, too often, it's kind of
2125
01:36:19,790 --> 01:36:21,894
played as all very. Almost
2126
01:36:22,062 --> 01:36:24,838
rehearsed to some degree where. Where.
2127
01:36:24,974 --> 01:36:27,784
Where it's just like, no. This is a bombshell
2128
01:36:27,832 --> 01:36:30,760
that the king has dropped that no one is really
2129
01:36:30,800 --> 01:36:33,500
prepared for and certainly not the daughters.
2130
01:36:33,730 --> 01:36:36,392
Um, uh, Thomas, I did want to ask you
2131
01:36:36,416 --> 01:36:39,368
because I know Cornwall doesn't have as much to say, but you guys
2132
01:36:39,384 --> 01:36:42,260
did talk a little bit about Cornwall and his role
2133
01:36:42,720 --> 01:36:45,450
in the scenes and certainly reading the other scenes, uh,
2134
01:36:45,760 --> 01:36:48,456
and how he factors in with Regan and what she's
2135
01:36:48,488 --> 01:36:51,192
deciding or doing. So I'd love to hear, Tom,
2136
01:36:51,256 --> 01:36:53,996
just your thoughts on looking at what Cornwall
2137
01:36:54,028 --> 01:36:56,630
does, you know, up to this point in the play and uh,
2138
01:36:56,676 --> 01:36:58,960
your, your, your take on the character.
2139
01:36:59,780 --> 01:37:02,684
>> Tom Farber: So I, so some of
2140
01:37:02,692 --> 01:37:05,660
the things that like I had on this play
2141
01:37:05,700 --> 01:37:07,730
before, uh, this, um,
2142
01:37:08,660 --> 01:37:11,420
before they were like, hey, we want you to be part of it. Before
2143
01:37:11,460 --> 01:37:14,332
Randy and Annie had approached me and be like, hey, we want you to be a part of this
2144
01:37:14,356 --> 01:37:17,340
and read Cornwall. And you know, we
2145
01:37:17,380 --> 01:37:20,182
had talked a little bit about like each of the characters. I
2146
01:37:20,206 --> 01:37:22,902
had focused mainly on the fool
2147
01:37:23,046 --> 01:37:25,718
in our readings because that's the character that I
2148
01:37:25,774 --> 01:37:28,742
really find myself drawn towards and you know,
2149
01:37:28,766 --> 01:37:31,570
his honesty and all that. And
2150
01:37:32,110 --> 01:37:34,982
something that has really even occurred to me even
2151
01:37:35,086 --> 01:37:37,574
today was like, Cornwall
2152
01:37:37,702 --> 01:37:40,054
really is someone
2153
01:37:40,142 --> 01:37:43,062
who I feel they need to prove
2154
01:37:43,126 --> 01:37:45,960
themselves constantly as a rule, as
2155
01:37:46,000 --> 01:37:48,952
a ruler of this kingdom. And you
2156
01:37:48,976 --> 01:37:51,592
know, balancing that with, you
2157
01:37:51,616 --> 01:37:53,900
know, his attitudes
2158
01:37:54,320 --> 01:37:57,240
with Regan and towards Reagan, as well as his own hot
2159
01:37:57,280 --> 01:38:00,088
headed personality and trying to find,
2160
01:38:00,144 --> 01:38:02,680
you know, some sort of, you
2161
01:38:02,720 --> 01:38:05,380
know, common ground between
2162
01:38:05,920 --> 01:38:08,180
those three and possibly even more
2163
01:38:08,720 --> 01:38:11,544
personality, more aspects of his personality
2164
01:38:11,592 --> 01:38:14,172
that I'm not even touching upon right now.
2165
01:38:14,356 --> 01:38:17,276
That that's just kind of what I'm feeling at this
2166
01:38:17,348 --> 01:38:17,960
point.
2167
01:38:19,300 --> 01:38:22,188
>> Nathan Agin: That's great. And, and, and uh, you know, I know you guys
2168
01:38:22,204 --> 01:38:25,116
have talked a little bit about, you know, in that, in that vein of
2169
01:38:25,188 --> 01:38:28,140
Cornwall trying to prove of how that might
2170
01:38:28,180 --> 01:38:31,052
play out with, with just, uh, you certainly blocking or
2171
01:38:31,076 --> 01:38:33,692
stage business of, you know, talking to Lear
2172
01:38:33,796 --> 01:38:36,732
and how Lear acknowledges or doesn't acknowledge you.
2173
01:38:36,756 --> 01:38:39,722
And, and obviously that. That may not become the
2174
01:38:39,746 --> 01:38:42,458
focal point of the scene, but there's. It makes it very
2175
01:38:42,514 --> 01:38:45,066
active for you as uh, a character of
2176
01:38:45,138 --> 01:38:47,962
attempting to reach out to him or attempting to say something and
2177
01:38:48,066 --> 01:38:51,034
he might not even acknowledge your existence in that moment. He just
2178
01:38:51,042 --> 01:38:53,978
goes right back to Goneril or Regan. And um, yeah,
2179
01:38:53,994 --> 01:38:56,970
I mean, as we've talked about it, I think that just makes it
2180
01:38:57,010 --> 01:38:59,946
much more active and alive for you
2181
01:39:00,018 --> 01:39:02,810
rather than, here's your line, the king nods or
2182
01:39:02,850 --> 01:39:04,890
whatever. And then you just go back to
2183
01:39:05,010 --> 01:39:07,758
observer, um, that you have this,
2184
01:39:07,814 --> 01:39:10,702
this inner life going on of feeling like I Want
2185
01:39:10,726 --> 01:39:13,502
to show you that I can be a good ruler and I can do
2186
01:39:13,526 --> 01:39:16,382
this. So, um. No, that's really. That's really cool to hear. And
2187
01:39:16,406 --> 01:39:18,942
so it's fascinating, um, to
2188
01:39:18,966 --> 01:39:21,806
hear the journey, even with a character
2189
01:39:21,838 --> 01:39:24,718
that may not have many lines, that there's still a lot going on
2190
01:39:24,774 --> 01:39:27,430
for them in the context of the scene. Um,
2191
01:39:28,870 --> 01:39:31,710
I would love to hear, uh. Uh, Annie and. Or
2192
01:39:31,750 --> 01:39:34,238
Randall, both of you. I know you guys have been.
2193
01:39:34,374 --> 01:39:37,182
Well, um. You know, you did this play, uh, at your
2194
01:39:37,206 --> 01:39:40,046
theater, uh, uh, a number of years ago, and you continue
2195
01:39:40,118 --> 01:39:43,038
to revisit it. Um, why
2196
01:39:43,094 --> 01:39:45,998
do you keep coming back to it, this
2197
01:39:46,054 --> 01:39:47,890
play in particular, versus
2198
01:39:48,710 --> 01:39:50,942
any other play? So much?
2199
01:39:51,126 --> 01:39:52,170
>> Randall Duk Kim: I'm old.
2200
01:39:59,980 --> 01:40:02,884
>> Nathan Agin: But you're not playing Fears in the Cherry Orchard, right? You know, you
2201
01:40:02,892 --> 01:40:03,684
don't come right back.
2202
01:40:03,692 --> 01:40:06,580
>> Randall Duk Kim: To that new fear. Sure. But
2203
01:40:06,700 --> 01:40:08,980
I. After all the
2204
01:40:09,020 --> 01:40:11,892
Shakespearean work, this. This character is the one
2205
01:40:11,916 --> 01:40:14,500
that I've gotta. I've gotta pay attention
2206
01:40:14,580 --> 01:40:16,960
to at this stage of my life.
2207
01:40:17,420 --> 01:40:19,080
This is the one I've gotta
2208
01:40:19,580 --> 01:40:20,840
contemplate.
2209
01:40:21,080 --> 01:40:21,190
>> Nathan Agin: Uh.
2210
01:40:23,020 --> 01:40:25,910
>> Randall Duk Kim: Over great tracks of time, you know,
2211
01:40:26,850 --> 01:40:29,706
and to ponder what
2212
01:40:29,778 --> 01:40:32,630
becomes of this man, who is. He
2213
01:40:33,250 --> 01:40:36,090
was his, uh. How is
2214
01:40:36,130 --> 01:40:38,922
his soul revealed in what he
2215
01:40:39,106 --> 01:40:40,430
experiences?
2216
01:40:41,170 --> 01:40:44,150
>> Nathan Agin: And Randy, do you. Are you saying
2217
01:40:45,250 --> 01:40:48,200
in some ways that it,
2218
01:40:48,200 --> 01:40:51,194
um. Like, have you needed
2219
01:40:51,242 --> 01:40:53,978
a lifetime of your own experience to try to start
2220
01:40:54,034 --> 01:40:56,846
a. Approaching those kinds of ideas? Yeah.
2221
01:40:56,958 --> 01:40:59,246
>> Randall Duk Kim: Yes, yes, yes, yes.
2222
01:40:59,438 --> 01:41:00,574
>> Randall Duk Kim: All of it.
2223
01:41:00,742 --> 01:41:03,086
>> Nathan Agin: Yeah. And
2224
01:41:03,238 --> 01:41:06,078
Annie, what excites you
2225
01:41:06,134 --> 01:41:09,010
about the play? This play particularly?
2226
01:41:09,970 --> 01:41:11,290
>> Annie Occhiogrosso: Uh, for me,
2227
01:41:15,270 --> 01:41:17,530
I love the challenge of
2228
01:41:18,390 --> 01:41:21,202
understanding the, um. The
2229
01:41:21,226 --> 01:41:23,650
depth of a play. And I've seen a lot of
2230
01:41:23,690 --> 01:41:26,500
productions of it, you know, um,
2231
01:41:26,970 --> 01:41:29,634
and I've always felt something's not right,
2232
01:41:29,722 --> 01:41:32,610
something's not speaking to me, you know, and
2233
01:41:32,650 --> 01:41:35,506
so then I go back to it and see if I can
2234
01:41:35,578 --> 01:41:38,230
find out things about it.
2235
01:41:38,230 --> 01:41:38,360
>> Randall Duk Kim: Um.
2236
01:41:38,970 --> 01:41:41,630
>> Annie Occhiogrosso: It's hard for me to say, Nathan, because
2237
01:41:42,490 --> 01:41:44,866
I'm so devoted to Shakespeare's
2238
01:41:44,898 --> 01:41:47,660
plays that I'm a perpetual
2239
01:41:47,740 --> 01:41:50,428
student. So if I'm asked
2240
01:41:50,484 --> 01:41:53,420
to do Lear, then I jump in and
2241
01:41:53,540 --> 01:41:56,300
try to find out anything that I. I can find
2242
01:41:56,340 --> 01:41:59,180
out. Now, Randy's old, so it means
2243
01:41:59,220 --> 01:42:02,092
he'll probably. That's the role he would do. So I
2244
01:42:02,116 --> 01:42:04,870
would spend a lot of time helping him find, um,
2245
01:42:05,220 --> 01:42:08,140
out, you know, what he could about it. But I love
2246
01:42:08,180 --> 01:42:10,796
the challenge of Lear. I just think it's so
2247
01:42:10,868 --> 01:42:13,588
massive. And I think we try
2248
01:42:13,644 --> 01:42:16,388
to simplify it. We just try to kind of
2249
01:42:16,444 --> 01:42:19,252
bring it down and say it's this. And
2250
01:42:19,276 --> 01:42:22,100
I find that every time I look at it, I find some
2251
01:42:22,140 --> 01:42:25,092
new facet. That uh, I
2252
01:42:25,116 --> 01:42:27,972
want to see actors do it. I want to see
2253
01:42:28,156 --> 01:42:31,012
actors bring it to life. And the
2254
01:42:31,036 --> 01:42:34,004
way Jeanne and Lizzie and Thomas were talking
2255
01:42:34,052 --> 01:42:37,044
about it, that's the leer I'm
2256
01:42:37,092 --> 01:42:39,814
looking for. The leer that someone
2257
01:42:39,902 --> 01:42:42,790
from the, you know, the, Our century,
2258
01:42:42,870 --> 01:42:45,846
the 22nd century, looks
2259
01:42:45,878 --> 01:42:48,198
at something taking place in ancient
2260
01:42:48,294 --> 01:42:50,970
Britain and sees themselves.
2261
01:42:51,630 --> 01:42:54,534
And I just wonder if we can see
2262
01:42:54,622 --> 01:42:57,526
that, would that make us a little
2263
01:42:57,598 --> 01:43:00,390
more, um, conscious about something we
2264
01:43:00,430 --> 01:43:03,174
do today lasting 400
2265
01:43:03,262 --> 01:43:05,956
years? You know, that, that,
2266
01:43:06,108 --> 01:43:08,804
that somehow we're on a. We're
2267
01:43:08,852 --> 01:43:11,732
connected. We're all connected. I, I
2268
01:43:11,756 --> 01:43:14,612
also am always holding the flag
2269
01:43:14,676 --> 01:43:17,188
up for not
2270
01:43:17,244 --> 01:43:20,212
updating them. I think they're so exciting
2271
01:43:20,276 --> 01:43:23,268
the way they've been written. And I think in order to,
2272
01:43:23,324 --> 01:43:26,132
when you update them, you have to cut so
2273
01:43:26,156 --> 01:43:29,028
much out of the original and change it and
2274
01:43:29,084 --> 01:43:32,084
fit it into our time or whatever
2275
01:43:32,132 --> 01:43:35,112
time you put putting it in. And every single
2276
01:43:35,176 --> 01:43:37,848
time I sit with one of these plays, I
2277
01:43:37,904 --> 01:43:40,888
think, I wish an audience could see this
2278
01:43:41,024 --> 01:43:44,020
or hear this just the way it is.
2279
01:43:44,280 --> 01:43:47,160
M so you know, I'm sitting here next to, I
2280
01:43:47,200 --> 01:43:50,072
would say maybe 50 books that Randy and
2281
01:43:50,096 --> 01:43:52,584
I went through when we put together
2282
01:43:52,672 --> 01:43:55,340
Shakespeare's birthday celebration.
2283
01:43:55,680 --> 01:43:58,552
Fifty books, stuff written on shape that's not even a
2284
01:43:58,576 --> 01:44:01,362
three thumbprint of what's out there. And
2285
01:44:01,386 --> 01:44:04,194
I'm thinking to myself, you really
2286
01:44:04,282 --> 01:44:07,030
think you can improve on Shakespeare?
2287
01:44:07,610 --> 01:44:09,990
Wow, that's hubris.
2288
01:44:10,490 --> 01:44:12,962
Improve on him. Do you know how many books have been
2289
01:44:12,986 --> 01:44:15,554
written? Psychology, books,
2290
01:44:15,602 --> 01:44:18,150
medicine, every, I mean philosophy.
2291
01:44:18,490 --> 01:44:21,266
Everybody has had a hand in reading Shakespeare
2292
01:44:21,298 --> 01:44:24,082
and, and learning from him and growing from
2293
01:44:24,106 --> 01:44:26,360
him. You think you could do better?
2294
01:44:27,000 --> 01:44:27,240
>> Jeanne Sakata: Mhm.
2295
01:44:27,780 --> 01:44:30,732
>> Annie Occhiogrosso: Okay. Good luck. All I know is I hope
2296
01:44:30,756 --> 01:44:33,676
I can come close to bringing what he gave
2297
01:44:33,708 --> 01:44:36,572
us on stage. I know I'm outside of the
2298
01:44:36,596 --> 01:44:39,420
question, but it's all fascinating. You should see me when I
2299
01:44:39,460 --> 01:44:42,396
have Hamlet. Randy and I studied Hamlet 14 years
2300
01:44:42,468 --> 01:44:44,320
before we did our first production.
2301
01:44:46,260 --> 01:44:48,120
>> Randall Duk Kim: I think too a play
2302
01:44:49,380 --> 01:44:51,982
is dead when it's not
2303
01:44:52,166 --> 01:44:55,150
embodied. Yes, on the
2304
01:44:55,190 --> 01:44:57,370
page, it's in a book,
2305
01:44:57,910 --> 01:45:00,862
but it's, it's not alive. And we
2306
01:45:00,886 --> 01:45:03,550
need to see them alive. We need to see these
2307
01:45:03,590 --> 01:45:06,542
stories alive. Done by actors
2308
01:45:06,606 --> 01:45:09,050
who cared. Care about it.
2309
01:45:09,990 --> 01:45:12,750
And not just doing it for employment's sake, but
2310
01:45:12,790 --> 01:45:14,730
who care.
2311
01:45:16,320 --> 01:45:18,710
>> Nathan Agin: Well, I mean, you know, it's uh,
2312
01:45:19,680 --> 01:45:22,344
it makes me think of a couple of things. There's that Magritte
2313
01:45:22,392 --> 01:45:25,112
painting. This is not a pipe kind of thing.
2314
01:45:25,136 --> 01:45:28,088
That there's that. And then if you look at the blueprints
2315
01:45:28,104 --> 01:45:30,500
of a house that's not the house
2316
01:45:32,480 --> 01:45:35,144
we now need to embody this. We need to create this so
2317
01:45:35,152 --> 01:45:37,620
that it's something that we can all experience.
2318
01:45:38,250 --> 01:45:41,240
Um, and, Annie, what I really enjoyed about
2319
01:45:41,280 --> 01:45:44,158
what you were saying is, you know, I
2320
01:45:44,214 --> 01:45:47,102
know we touched a little bit on the First Folio work today, but all
2321
01:45:47,126 --> 01:45:50,046
of the discussions that you guys have been having today, and
2322
01:45:50,198 --> 01:45:52,890
we continued a little bit about the dynamics, the family.
2323
01:45:53,350 --> 01:45:55,822
None of that has to go away in
2324
01:45:56,006 --> 01:45:58,782
the approach that you're talking about. It's not
2325
01:45:58,806 --> 01:46:01,646
conceptual. It's like, no, this is how you make these
2326
01:46:01,718 --> 01:46:03,982
real people. And you have people
2327
01:46:04,166 --> 01:46:06,894
see themselves in characters that were
2328
01:46:06,902 --> 01:46:09,458
written 400 years ago. It's. None of that work
2329
01:46:09,514 --> 01:46:12,500
disappears. It's all part of it. Um,
2330
01:46:14,010 --> 01:46:16,674
and yet it seems to allude so many
2331
01:46:16,762 --> 01:46:19,698
productions, uh, that it doesn't,
2332
01:46:19,710 --> 01:46:22,674
uh, incorporate that stuff. So, um. No, I think
2333
01:46:22,682 --> 01:46:25,420
it is very, uh, exciting, even if, uh,
2334
01:46:25,530 --> 01:46:28,510
only in a small way. We can do some of it here.
2335
01:46:28,670 --> 01:46:31,450
Um, but I think it just so illuminates,
2336
01:46:31,450 --> 01:46:33,790
um, the text and,
2337
01:46:34,270 --> 01:46:37,036
um, just create some really wonderful scenes
2338
01:46:37,068 --> 01:46:39,692
to watch. And so, um, I mean, I'm just so
2339
01:46:39,716 --> 01:46:42,540
appreciative of all the effort and work that all of you put into this,
2340
01:46:42,580 --> 01:46:45,180
because it's just been. It allows me to
2341
01:46:45,220 --> 01:46:48,060
come see the play kind of anew, even as many
2342
01:46:48,100 --> 01:46:50,940
times as I've seen it or read it, that it's just like, oh, wait a second.
2343
01:46:50,980 --> 01:46:53,930
There's all this other stuff going on that I might not have,
2344
01:46:53,930 --> 01:46:56,440
uh, seen before or thought of before.
2345
01:46:57,060 --> 01:46:59,788
>> Randall Duk Kim: You know, Nathan, we, um. Ah, as actors,
2346
01:46:59,884 --> 01:47:02,700
we give, uh, our bodies and our voices and
2347
01:47:02,740 --> 01:47:05,300
all of that to the performance of
2348
01:47:05,340 --> 01:47:07,908
characters. But I think the most
2349
01:47:07,964 --> 01:47:10,100
important thing is giving our
2350
01:47:10,140 --> 01:47:12,600
hearts and perhaps
2351
01:47:13,100 --> 01:47:15,812
something even deeper of ourselves to the
2352
01:47:15,836 --> 01:47:18,660
characters. We certainly give mind because you need
2353
01:47:18,700 --> 01:47:21,680
to, you know, have your intellect with you. But
2354
01:47:22,620 --> 01:47:24,980
there's, uh, something about maybe heart and
2355
01:47:25,100 --> 01:47:27,240
soul that's needed
2356
01:47:28,620 --> 01:47:31,280
for these particular characters to,
2357
01:47:32,190 --> 01:47:34,610
I don't know, breathe again.
2358
01:47:34,910 --> 01:47:35,654
>> Nathan Agin: Yeah.
2359
01:47:35,782 --> 01:47:38,582
>> Randall Duk Kim: You know, to be alive. And they need
2360
01:47:38,686 --> 01:47:41,254
these characters. Need the actor's
2361
01:47:41,302 --> 01:47:43,850
heart, need the actor's soul,
2362
01:47:44,270 --> 01:47:46,870
really. Or else it's just. It's just
2363
01:47:46,910 --> 01:47:49,330
mouthing. Mouthing off. And
2364
01:47:49,630 --> 01:47:52,470
it's a bore when
2365
01:47:52,510 --> 01:47:54,006
we do it that way.
2366
01:47:54,158 --> 01:47:55,810
>> Nathan Agin: Yeah, that's great.
2367
01:47:55,900 --> 01:47:58,380
>> Randall Duk Kim: Um, well, like, it's not like
2368
01:47:58,840 --> 01:48:01,140
it should be like tightrope walking.
2369
01:48:02,440 --> 01:48:04,860
It should have that danger almost.
2370
01:48:05,160 --> 01:48:05,952
>> Jeanne Sakata: Yeah.
2371
01:48:06,096 --> 01:48:08,608
>> Randall Duk Kim: That caught that dangerous quality. Like,
2372
01:48:08,664 --> 01:48:11,312
oh, at any moment, they. They could
2373
01:48:11,416 --> 01:48:13,900
fall into the abyss, you know.
2374
01:48:14,920 --> 01:48:15,840
>> Randall Duk Kim: Absolutely.
2375
01:48:16,000 --> 01:48:16,704
>> Randall Duk Kim: That.
2376
01:48:16,872 --> 01:48:17,440
>> Randall Duk Kim: That's.
2377
01:48:17,520 --> 01:48:20,192
>> Randall Duk Kim: I don't know. That's what makes the theater exciting, I
2378
01:48:20,216 --> 01:48:22,020
think. Yeah.
2379
01:48:22,840 --> 01:48:25,540
>> Nathan Agin: Um, Well, I want to be just
2380
01:48:25,580 --> 01:48:28,580
conscious of the time until. Of the time. If there are any last,
2381
01:48:28,680 --> 01:48:31,460
uh, burning questions, people can drop those in now
2382
01:48:31,500 --> 01:48:34,148
and I'll just wait a few seconds for that.
2383
01:48:34,204 --> 01:48:36,932
But, uh, otherwise, I want to thank, uh, those who
2384
01:48:36,956 --> 01:48:39,680
attended live, uh, for observing. And,
2385
01:48:39,680 --> 01:48:42,468
uh, again, I want to thank all of the, uh, artists here
2386
01:48:42,524 --> 01:48:45,280
for all the work they've done over the month.
2387
01:48:45,520 --> 01:48:48,084
Um, and I will just say
2388
01:48:48,172 --> 01:48:50,968
again, uh, that in July we're going to be working
2389
01:48:51,024 --> 01:48:53,976
on Virginia Woolf's uh, To the Lighthouse, an adaptation
2390
01:48:54,088 --> 01:48:56,888
of that. I mean, it's a different kind of project
2391
01:48:56,944 --> 01:48:58,824
here, so I'm excited to see how it goes.
2392
01:48:58,872 --> 01:49:00,860
>> Lizzie King-Hall: It sounds absolutely wild.
2393
01:49:02,000 --> 01:49:04,420
I'm so interested in that.
2394
01:49:06,240 --> 01:49:09,144
>> Nathan Agin: I'll be sure to let all the artists know, uh, if they
2395
01:49:09,152 --> 01:49:12,152
want to find out more about that, how they can, uh, kind of check in
2396
01:49:12,176 --> 01:49:15,048
on that. Um, uh, Magdalene wrote. Thank
2397
01:49:15,064 --> 01:49:17,914
you all so much. So. Thank you, Magdalene, for being here. Appreciate. Appreciate
2398
01:49:17,962 --> 01:49:20,874
that. Um, and, uh, yeah,
2399
01:49:20,922 --> 01:49:23,850
I think. I think if there's nothing else, ah, we
2400
01:49:23,890 --> 01:49:26,634
can, uh, kind of wrap up the. The official public part of
2401
01:49:26,642 --> 01:49:29,514
this. And uh, again, thanks to all the participants
2402
01:49:29,562 --> 01:49:32,490
for showing up. Um, and the. The cast can stay
2403
01:49:32,530 --> 01:49:34,780
here and I will, um, um,
2404
01:49:35,970 --> 01:49:38,842
usher the audience out to the, uh, the lobby as I continue my
2405
01:49:38,866 --> 01:49:41,674
metaphors of actual theater. And uh. And
2406
01:49:41,762 --> 01:49:43,226
thank you all for. For coming.
2407
01:49:43,378 --> 01:49:43,770
>> Randall Duk Kim: Okay.