Video | Location | Description | |
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The Antipodes |
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AN_1_1 | Act 1 | Martha's entrance to Barbara | Watch video |
AN_1_2 | Act 1 | Exploring Martha's mood-swings | Watch video |
AN_1_3 | Act 1 | Barbara's response to Martha's approach | Watch video |
AN_1_4 | Act 1 | "I guess her grief" | Watch video |
AN_1_5 | Act 1 | Exploring if the scene between Martha and Barbara could be both disturbing and funny | Watch video |
AN_1_6 | Act 1 | Is Martha playacting for attention? | Watch video |
AN_1_7 | Act 1 | The direction that Martha "weep" | Watch video |
AN_1_8 | Act 1 | Martha and the "wanton maid" | Watch video |
AN_1_9 | Act 1 | Martha becomes proactive in the scene and the power-centre shifts | Watch video |
AN_1_10 | Act 1 | Creating spatially a divided visual focus in 1.3. | Watch video |
AN_1_11 | Act 1 | "Sure hell's above ground then in jealous husbands" | Watch video |
AN_1_12 | Act 1 | The Doctor's travels | Watch video |
AN_1_13 | Act 1 | Marginalising Joyless | Watch video |
AN_2_1 | Act 2 | Staging the arrival of Joyless and family at Letoy's house | Watch video |
AN_2_2 | Act 2 | Diana's initial uncertainty how to respond to Letoy | Watch video |
AN_2_3 | Act 2 | Joyless seeks companionship with the audience and with Blaze | Watch video |
AN_2_4 | Act 2 | "Un /Merited" | Watch video |
AN_2_5 | Act 2 | Letoy's status | Watch video |
AN_2_6 | Act 2 | Diana grows attracted to Letoy | Watch video |
AN_2_7 | Act 2 | Stage pictures to create the first sequence in the Antipodes | Watch video |
AN_2_8 | Act 2 | A first run-through of the opening scene in the Play-within-the-play | Watch video |
AN_2_9 | Act 2 | The entrance of the pregnant Waiting-Woman | Watch video |
AN_2_10 | Act 2 | In search of a kind of heightened realism | Watch video |
AN_2_11 | Act 2 | Staging the opening of the play-within-the-play with its onstage audience | Watch video |
AN_2_12 | Act 2 | A new positioning for the onstage audience | Watch video |
AN_2_13 | Act 2 | Peregrine is now free to roam at will in the playing space | Watch video |
AN_2_14 | Act 2 | Martha interrupts the play-within-the-play | Watch video |
AN_2_15 | Act 2 | A textual issue resolved by the actors | Watch video |
AN_2_16 | Act 2 | The elderly schoolboys excite Peregrine's humanity | Watch video |
AN_4_1 | Act 4 | The ducking of the Man-Scold: with the women played by women | Watch video |
AN_4_2 | Act 4 | The women in charge of the ducking become factionalised | Watch video |
AN_4_3 | Act 4 | Men as the Women in charge of the ducking: too manly? | Watch video |
AN_4_4 | Act 4 | Women again cast as in charge of the ducking but with a younger victim | Watch video |
AN_4_5 | Act 4 | The men dress as women to play the ducking scene | Watch video |
AN_4_6 | Act 4 | The women dressed in the same clothes that the men wore take charge of the ducking | Watch video |
AN_4_7 | Act 4 | The scene for the three courtiers | Watch video |
AN_5_1 | Act 5 | Joyless's soliloquy | Watch video |
AN_5_2 | Act 5 | Barbara and her news | Watch video |
AN_5_3 | Act 5 | A full run-through of the opening scene of Act 5 | Watch video |
AN_5_4 | Act 5 | Pace and implied meanings in the scene for Barbara and Joyless | Watch video |
AN_5_5 | Act 5 | The attempted seduction with a genial Letoy | Watch video |
AN_5_6 | Act 5 | A physical Letoy and a dignified Diana | Watch video |
AN_5_7 | Act 5 | A man in the role of Diana | Watch video |
AN_5_8 | Act 5 | Diana finds a tone of light-hearted scorn | Watch video |
AN_5_9 | Act 5 | Diana questions Letoy's status as an aristocrat | Watch video |
AN_5_10 | Act 5 | Letoy tries to engage with the audience and win their complicity | Watch video |
AN_5_11 | Act 5 | Diana fearlessly stands her ground | Watch video |
AN_5_12 | Act 5 | Diana breaks Letoy's physical hold on her | Watch video |
AN_5_13 | Act 5 | Diana's quiet but absolute self-control | Watch video |
AN_5_14 | Act 5 | Could two men play the scene of the seduction and achieve a sexual energy and tension? | Watch video |
AN_5_15 | Act 5 | Diana discovers her true father | Watch video |
AN_5_16 | Act 5 | Should Diana move within the scene of discovering her true father and where to? | Watch video |
AN_5_17 | Act 5 | Might the sequence be played as a send-up of reconciliation scenes? | Watch video |
AN_5_18 | Act 5 | A final attempt at a tone poised between the grave and the comic in 5.2. | Watch video |
A Mad Couple Well Matched |
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MC_1_1 | Act 1 | Careless mocks Saveall's pronunciation of 'pe-o-ple'. | Watch video |
MC_1_2 | Act 1 | Ambiguous entrance of Saveall - does he overhear Careless or not? | Watch video |
MC_1_3 | Act 1 | Careless: 'You shall see me die first' - developing chest pain. | Watch video |
MC_1_4 | Act 1 | Careless: 'You shall see me die first' - threatening to kill himself. | Watch video |
MC_1_5 | Act 1 | Saveall's response to Careless's threat - worry. | Watch video |
MC_1_7 | Act 1 | Careless punningly calls for Wat; the scam. | Watch video |
MC_1_8 | Act 1 | Saveall's response to Careless's threat - disbelief. | Watch video |
MC_1_10 | Act 1 | Careless indicating his soul being higher in heaven. | Watch video |
MC_1_11 | Act 1 | 'You will not desperately work a violent end upon yourself' - as a statement rather than a question. | Watch video |
MC_2_1 | Act 2 | Alicia's reaction to Lady's Thrivewell's threat. | Watch video |
MC_4_1 | Act 4 | Intimacy between actors playing Bellamy and Crostill (out of Lord Lovely’s earshot). | Watch video |
MC_4_2 | Act 4 | Lovely urges Bellamy to woo Crostill over her shoulder. | Watch video |
MC_4_3 | Act 4 | Careless wooing Crostill: rehearsal of sweeping her off her feet. | Watch video |
MC_4_4 | Act 4 | Careless wooing Crostill: kissing up her arm. | Watch video |
MC_4_5 | Act 4 | Careless puts Bellamy ‘by’: one push and a nod. | Watch video |
MC_4_6 | Act 4 | Careless puts Bellamy ‘by’: bow (salute) and push. | Watch video |
MC_4_7 | Act 4 | Bellamy woos Crostill and Careless’s entrance (longer version). | Watch video |
MC_4_8 | Act 4 | Crostill’s exit: Careless talks to audience. | Watch video |
MC_4_9 | Act 4 | Crostill’s exit: Careless calls after her. | Watch video |
MC_4_10 | Act 4 | Crostill’s exit: after Careless’s line. | Watch video |
MC_4_11 | Act 4 | ‘with a whew’: insulting gesture. | Watch video |
MC_4_12 | Act 4 | ‘with a whew’: tiredness or disgust. | Watch video |
MC_4_13 | Act 4 | ‘with a whew’: questioning Bellamy’s sexuality. | Watch video |
MC_4_14 | Act 4 | ‘I am undone’: neither Careless nor Lady Thrivewell sees Thrivewell enter. | Watch video |
MC_4_15 | Act 4 | Careless threatens Lady Thrivewell quietly in her ear. | Watch video |
MC_4_16 | Act 4 | Saleware: ‘I neither thought it or dreamt it, I’. | Watch video |
MC_4_17 | Act 4 | Repetition of ‘such a thing’ by Bellamy. | Watch video |
The New Academy |
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NA_2_1 | Act 2 | Beginning the scene with the characters (Camelion and Hannah) onstage | Watch video |
NA_2_2 | Act 2 | Beginning the scene with the characters (Camelion and Hannah) arriving in mid-argument | Watch video |
NA_2_3 | Act 2 | Hannah stationary, trapped, while Camelion circles her | Watch video |
NA_2_4 | Act 2 | Camelion stationary while Hannah circles him | Watch video |
NA_2_5 | Act 2 | Camelion invades Hannah's personal space | Watch video |
NA_2_6 | Act 2 | Camelion acknowledging the audience while softening up Hannah | Watch video |
NA_2_8 | Act 2 | Camelion's use of the nickname 'Cock' as affectionate | Watch video |
NA_2_9 | Act 2 | Camelion's use of nickname 'Cock' as a challenge | Watch video |
NA_2_10 | Act 2 | Hannah offended by the nickname 'Cock' | Watch video |
NA_2_11 | Act 2 | Hannah going along with Camelion at this stage, hoping by doing so to bring him to reason | Watch video |
NA_2_12 | Act 2 | Camelion's 'Kiss me' as affectionate | Watch video |
NA_2_13 | Act 2 | Camelion's 'Kiss me' as an attempt at control | Watch video |
NA_2_14 | Act 2 | Hannah submits to Camelion's kiss | Watch video |
NA_2_16 | Act 2 | Hannah reacts with frustration and anger | Watch video |
NA_2_18 | Act 2 | Three different ways of saying 'Pish' | Watch video |
NA_2_19 | Act 2 | Hannah accuses Camelion of irresponsibility | Watch video |
NA_2_21 | Act 2 | Camelion commands an end to the discussion and Hannah moves away, leaving stage space for the Footpost to enter | Watch video |
NA_2_22 | Act 2 | Camelion angry with Hannah, uses 'Cock' without affection, strikes her 'in play' | Watch video |
NA_2_23 | Act 2 | Hannah reacts with exasperation to Camelion's refusal to take her situation seriously | Watch video |
NA_2_24 | Act 2 | Camelion as affectionate and innocent | Watch video |
NA_2_25 | Act 2 | Valentine self-dramatising for Erasmus | Watch video |
NA_2_26 | Act 2 | Valentine acting out his memory of Hannah's response | Watch video |
NA_2_27 | Act 2 | Valentine and Erasmus surround Hannah | Watch video |
NA_2_28 | Act 2 | Valentine moves into Hannah's space insinuatingly | Watch video |
NA_2_29 | Act 2 | Valentine sends Erasmus away | Watch video |
NA_2_30 | Act 2 | Hannah reacts with disgust at Valentine's words | Watch video |
NA_2_31 | Act 2 | Erasmus stands among audience to comment on Valentine's behaviour | Watch video |
NA_2_32 | Act 2 | Valentine shows he is highly conscious of Erasmus's interpretation of what he sees | Watch video |
NA_2_33 | Act 2 | Hannah glances over at Erasmus, afraid of how he is interpreting the scene | Watch video |
NA_2_34 | Act 2 | Erasmus comments to the audience on Valentine's conduct | Watch video |
NA_2_35 | Act 2 | Valentine's mysogynous view of all women | Watch video |
NA_2_36 | Act 2 | Valentine insultingly propositions Hannah | Watch video |
NA_2_37 | Act 2 | Erasmus comments to the audience on Valentine's behaviour, signalling that he will distance himself | Watch video |
NA_2_39 | Act 2 | Discussion on the effect of having Erasmus onstage during the interaction between Valentine and Hannah | Watch video |
NA_2_40 | Act 2 | Hannah reacts with hostility; Valentine whispers to her, conscious of Erasmus watching | Watch video |
NA_2_41 | Act 2 | Valentine showing off to Hannah, but worried when her adverse reaction is being seen by Erasmus | Watch video |
NA_2_42 | Act 2 | Valentine propositioning Hannah | Watch video |
NA_2_43 | Act 2 | Valentine propositions Hannah and walks away to edge of playing area; he entices her back to whisper | Watch video |
NA_2_44 | Act 2 | Hannah giving money and instructing Valentine to treat her reputation carefully | Watch video |
NA_2_45 | Act 2 | Discussion of whether it's possible to play Hannah as the powerful character in the scene; Valentine's irrepresibility | Watch video |
NA_2_46 | Act 2 | Discussion of the sexual fantasy in the names of the suburbs and 'outleaps'; Valentine's ineptitude | Watch video |
NA_2_47 | Act 2 | Valentine's 'strong-docked tit' as deliberately obscene | Watch video |
NA_2_48 | Act 2 | Discussion of where the audience focus is, directed by Erasmus's comment | Watch video |
NA_2_49 | Act 2 | Discussion of the variousness of the audience and thus different responses to Valentine's conduct in the theatre | Watch video |
NA_2_50 | Act 2 | Discussion of Hannah's fear that Erasmus will expose her reputation to adverse comment | Watch video |
NA_2_51 | Act 2 | Discussion of how trapped Hannah is and how both Hannah and Erasmus are trying to keep Valentine discrete | Watch video |
NA_3_1 | Act 3 | Complete rendition of Matchil's soliloquy | Watch video |
NA_3_2 | Act 3 | Part of Robert Lister's performance of Matchil's soliloquy | Watch video |
NA_3_3 | Act 3 | Matchil's speech: the turning point as performed by Robert Lister | Watch video |
NA_3_4 | Act 3 | Matchil's speech: Robert Lister's comments on the turning point | Watch video |
NA_3_5 | Act 3 | Matchil's speech: the use of the chair | Watch video |
NA_3_6 | Act 3 | Matchil's speech: Matchil's address to the servant | Watch video |
NA_3_7 | Act 3 | Matchil's speech: emphasis on verbs | Watch video |
NA_3_8 | Act 3 | Matchil's speech: discussion of the role of the servant | Watch video |
NA_3_9 | Act 3 | Matchil's speech: Robert Lister talking about when to engage with the audience | Watch video |
NA_3_10 | Act 3 | Matchil's speech: Phillip Cumbus moving round the stage | Watch video |
NA_3_11 | Act 3 | Matchil's speech: discussion of Matchil's evasive diction | Watch video |
NA_3_12 | Act 3 | Matchil's speech: Phillip Cumbus allowing anger to erupt again at the end of the speech | Watch video |
NA_3_13 | Act 3 | Matchil's speech: Robert Lister making matchil dwindle into acceptance | Watch video |
NA_3_14 | Act 3 | Matchil's speech: long discussion | Watch video |
NA_4_1 | Act 4 | Joyce and Gabriella's opening: fearful | Watch video |
NA_4_2 | Act 4 | Joyce and Gabriella's opening: more coquettish | Watch video |
NA_4_3 | Act 4 | Joce's line 'But did you note ...' as the scene's turning point | Watch video |
NA_4_4 | Act 4 | Joyce and Gabriella acknowledge the audience throughout | Watch video |
NA_4_5 | Act 4 | Gabriella and Joyce admitting they do not differentiate between the two young men | Watch video |
NA_4_6 | Act 4 | Joyce horrified by Strigood's behaviour | Watch video |
NA_4_7 | Act 4 | Joyce and Gabriella's interchange: the full scene | Watch video |
NA_4_8 | Act 4 | Galliard's advertisement for the New Academy's offerings | Watch video |
NA_4_13 | Act 4 | Discussion of use of masks | Watch video |
NA_4_14 | Act 4 | Discussion of direct address and exposition | Watch video |
NA_4_15 | Act 4 | Discussion of turning point in the exchange | Watch video |
NA_5_1 | Act 5 | Blith making constant eye contact | Watch video |
NA_5_2 | Act 5 | Erasmus's emphases in his first line | Watch video |
NA_5_3 | Act 5 | Blith's deliberate response to Erasmus | Watch video |
NA_5_5 | Act 5 | Blith addresses her remark about being 'fool clogged' to Erasmus | Watch video |
NA_5_6 | Act 5 | Blith addresses remark about being 'fool clogged' to herself | Watch video |
NA_5_7 | Act 5 | Erasmus's emphatic use of 'free' and 'yield' | Watch video |
NA_5_8 | Act 5 | First version of Blith's business with the key | Watch video |
NA_5_9 | Act 5 | Second version of Blith's business with the key | Watch video |
NA_5_10 | Act 5 | Camelion as a stage manager of the encounter between Erasmus and Blith | Watch video |
NA_5_11 | Act 5 | Erasmus emphasising his transparency | Watch video |
NA_5_12 | Act 5 | Blith turns away when making her decision | Watch video |
NA_5_13 | Act 5 | The actors having difficulty with the humorous use of the word 'cock' | Watch video |
NA_5_16 | Act 5 | Rachel kneels | Watch video |
NA_5_17 | Act 5 | Hardyman comes forward to position of power | Watch video |
NA_5_19 | Act 5 | Hardyman takes charge at the end of the scene | Watch video |
NA_5_20 | Act 5 | Whole final sequence | Watch video |
The Northern Lass |
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NL_1_1 | Act 1 | Triedwell's asides to audience during dialogue with Fitchow reveal changing emotions of scene. | Watch video |
NL_1_2 | Act 1 | Comic business with entrance of servant Humphrey Howdee. | Watch video |
NL_1_3 | Act 1 | Comic business with Howdee followed by versions of asides by Triedwell and Fitchow as either direct address or comment to self. | Watch video |
NL_2_1 | Act 2 | Standing version of Constance's flashback to first encounter with Sir Philip. | Watch video |
NL_2_2 | Act 2 | Seated version of Constance's flashback to first encounter with Sir Philip. | Watch video |
NL_2_3 | Act 2 | Discussion by Sam Alexander of issues of gender and tone when playing the role of Constance. | Watch video |
NL_2_4 | Act 2 | Discussion of possible hand gestures and movement for Constance's flashback to first encounter with Sir Philip. | Watch video |
NL_2_5 | Act 2 | Exploring involvement of audience with Anvil's ill-informed asides to enhance the comedy of the moment when he mistakenly believes he has arrived at a high-clas brothel. | Watch video |
NL_3_1 | Act 3 | Constance recalls Ophelia in her scene of love-melancholy. | Watch video |
NL_3_2 | Act 3 | Experimentation with hand gestures and close-ups as Constance performs the role of Ophelia in her love-melancholy. | Watch video |
NL_3_3 | Act 3 | Constance's use of song as site of memory in her love-melancholy. | Watch video |
NL_3_4 | Act 3 | Nonsense as silent witness to Constance's distress. | Watch video |
The Novella |
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NV_1_1 | Act 1 | An actor (Hannah Watkins) essays the Prologue | Watch video |
NV_1_2 | Act 1 | A second actor (Alan Morrissey) essays the Prologue | Watch video |
NV_2_1 | Act 2 | Victoria explores the stage space and her relations with Borgio and Jacconetta | Watch video |
NV_2_2 | Act 2 | Victoria expects praise from Borgio but is confronted by his morose nature | Watch video |
NV_2_3 | Act 2 | Sam Alexander as Borgio makes a first attempt at this defining speech, 237. | Watch video |
NV_2_4 | Act 2 | A full attempt at playing 2.2. | Watch video |
NV_2_5 | Act 2 | Olivia Darnley suggests a new way of playing the opening of the scene | Watch video |
NV_2_6 | Act 2 | The full scene played with Olivia Darnley's suggestion as the impulse | Watch video |
NV_2_7 | Act 2 | Brian Woolland sees significant potential an impulsive action made by Sam Alexander in the previous full run of the sequence. | Watch video |
NV_2_8 | Act 2 | The implications of Brian Woolland's idea are carried into a performance of the final moments of the scene | Watch video |
NV_3_1 | Act 3 | The opening of the sequence in which Horatio visits Victoria | Watch video |
NV_3_2 | Act 3 | Victoria suffers Horatio's gaze and returns it | Watch video |
NV_3_3 | Act 3 | A more overtly comic approach to Horatio's encounter with Victoria | Watch video |
NV_4_1 | Act 4 | Francisco disguised as a Pedlar-Woman offers gifts to Flavia | Watch video |
NV_4_2 | Act 4 | Flavia is mesmerised by the Pedlar's gifts. | Watch video |
NV_4_3 | Act 4 | Playing with tonal shifts and vocal registers | Watch video |
NV_4_4 | Act 4 | A wholly comic approach to the scene | Watch video |
NV_4_5 | Act 4 | A tonally balanced rendering of the scene | Watch video |
NV_5_1 | Act 5 | Borgio reveals his true identity | Watch video |
NV_5_2 | Act 5 | Working the stage space for effects of power in staging Borgio's revelation | Watch video |
NV_5_3 | Act 5 | The conclusion of the play | Watch video |
NV_5_4 | Act 5 | Alan Morrissey playing Jacconetta/Jacomo comments on the line "Has thy mistress usedthee well?" | Watch video |
NV_5_5 | Act 5 | Situating that idea in the context of the closing moments of the action | Watch video |
NV_5_6 | Act 5 | Hannah Watkins essays the Epilogue | Watch video |
NV_5_7 | Act 5 | Alan Morrissey essays the Epilogue | Watch video |
The Queen and Concubine |
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QC_1_1 | Act 1 | Discussion between actors and editors about the atmosphere and dynamics of this scene | Watch video |
QC_1_2 | Act 1 | Horatio's speech, half directed to Lodovico and Flavello and half to the audience. | Watch video |
QC_1_3 | Act 1 | The King’s interjections during Eulalia’s speech, with an openly antagonistic King interrupting Eulalia. | Watch video |
QC_1_4 | Act 1 | King’s interjections during Eulalia’s speech with the King standing beside Alinda and inspecting her closely as the Queen speaks. | Watch video |
QC_1_5 | Act 1 | King inspects Alinda as he speaks to Eulalia | Watch video |
QC_1_6 | Act 1 | Last of the King’s interruptions delivered as an aside. | Watch video |
QC_1_7 | Act 1 | Discussion of the King's asides between actors and editors. | Watch video |
QC_1_8 | Act 1 | Sforza and Alinda converse during the King’s exchange with Eulalia; King forces Sforza to move towards him | Watch video |
QC_1_9 | Act 1 | Sforza moves across stage towards Alinda. | Watch video |
QC_1_10 | Act 1 | Characters placed in order for Sforza to gain a strong position from which to react to the King’s advances on his daughter | Watch video |
QC_1_11 | Act 1 | King kisses Alinda; Sforza storms | Watch video |
QC_1_12 | Act 1 | King's asides and following dialogue; King initially seated | Watch video |
QC_1_13 | Act 1 | Eulalia and Alinda exit. | Watch video |
QC_2_1 | Act 2 | Actor Robert Lister on gestures for the dumbshow in 2.1. | Watch video |
QC_2_2 | Act 2 | Gesture in dumbshow: 'He with his finger menaces Eulalia'. | Watch video |
QC_2_3 | Act 2 | Gesture in the dumbshow in 2.1: 'she looks meekly'. | Watch video |
QC_2_4 | Act 2 | Gesture in the dumbshow in 2.1: 'she looks meekly'. | Watch video |
QC_2_5 | Act 2 | King's speech: address to audience and gestures towards Eulalia. | Watch video |
QC_2_6 | Act 2 | Lodovico's asides delivered aloud. | Watch video |
QC_2_7 | Act 2 | Lodovico's asides: penultimate and last registered by King. | Watch video |
QC_2_8 | Act 2 | Lodovico's asides: other characters freeze as he speaks. | Watch video |
QC_2_9 | Act 2 | King gestures towards Eulalia as he speaks. | Watch video |
QC_2_10 | Act 2 | King's speech addressed to audience. | Watch video |
QC_2_11 | Act 2 | Sforza apparently able to move freely. | Watch video |
QC_2_12 | Act 2 | Sforza's movement confined. | Watch video |
QC_2_13 | Act 2 | Keeper pities Sforza. | Watch video |
QC_2_14 | Act 2 | Keeper is officious or petty in his treatment of Sforza. | Watch video |
QC_2_15 | Act 2 | Keeper's gestures: following stage directions. | Watch video |
QC_2_16 | Act 2 | Keeper's gestures: more satiric treatment. | Watch video |
QC_2_17 | Act 2 | Keeper: harshness and hidden sympathy. | Watch video |
QC_2_18 | Act 2 | Keeper's gestures: restrained and naturalistic. | Watch video |
QC_2_19 | Act 2 | Keeper's deferential gesture: offer of food and drink; Sforza's line as aside. | Watch video |
QC_2_20 | Act 2 | Keeper's deferential gesture: salute. | Watch video |
QC_3_1 | Act 3 | Reading of Eulalia's soliloquy and dumbshow. | Watch video |
QC_3_2 | Act 3 | Delivery of Eulalia's speech. | Watch video |
QC_3_3 | Act 3 | Dumbshow in 3.1: coordination of action. | Watch video |
QC_3_4 | Act 3 | Dumbshow in 3.1: placing of Genius. | Watch video |
QC_3_5 | Act 3 | Dumbshow in 3.1: gestures of hired villains. | Watch video |
QC_3_6 | Act 3 | Dumbshow in 3.1: movement of Keeper and Sforza. | Watch video |
QC_3_7 | Act 3 | Dumbshow in 3.1: movement of Keeper and Sforza. | Watch video |
QC_3_8 | Act 3 | Dumbshow in 3.1: gestures and kisses. | Watch video |
QC_4_1 | Act 4 | Petruccio's narration and King's agitation. | Watch video |
QC_4_2 | Act 4 | King and Alinda: Alinda's movement and aggression. | Watch video |
QC_4_3 | Act 4 | King and Alinda: Alinda's agitation and aggression. | Watch video |
QC_4_4 | Act 4 | King and Alinda: Alinda less mobile and forces King to come to her. | Watch video |
QC_4_5 | Act 4 | King and Alinda: King seated and less mobile. | Watch video |
QC_4_6 | Act 4 | King and Alinda: Petruccio's comments. | Watch video |
QC_4_7 | Act 4 | King and Alinda: 'Horatio holds up his hands'. | Watch video |
QC_4_8 | Act 4 | King and Alinda: 'Horatio holds up his hands' (movement away from King). | Watch video |
QC_4_9 | Act 4 | King and Alinda: Discussion between actors and editors about stage direction, 'Horatio holds up his hands'. | Watch video |
QC_4_10 | Act 4 | King and Alinda: Hannah Watkins on stage direction 'Horatio holds up his hands. | Watch video |
QC_4_11 | Act 4 | King and Alinda: Horatio at back of stage; | Watch video |
QC_4_12 | Act 4 | King and Alinda: involvement of Petruccio. | Watch video |
QC_4_13 | Act 4 | King and Alinda: Petruccio's involvement. | Watch video |
QC_4_14 | Act 4 | King and Alinda: forms of address. | Watch video |
QC_4_15 | Act 4 | King and Alinda: Alinda's aside. | Watch video |
QC_4_16 | Act 4 | King and Alinda: build-up to Alinda's exit. | Watch video |
QC_4_17 | Act 4 | King and Alinda: Alinda's exit, King's soliloquy and dialogue with Horatio. | Watch video |
QC_5_1 | Act 5 | Judgement on Alinda: read-through of entire sequence. | Watch video |
QC_5_2 | Act 5 | Judgement on Alinda: Exchanges between Horatio and Lodovico; Alinda's asides. | Watch video |
QC_5_3 | Act 5 | Judgement on Alinda: Eulalia's entrance and kneeling. | Watch video |
QC_5_4 | Act 5 | Judgement on Alinda: aggression in Eulalia and Alinda. | Watch video |
QC_5_5 | Act 5 | Judgement on Alinda: extravagant loyalty and passivity in Eulalia. | Watch video |
QC_5_6 | Act 5 | Judgement on Alinda: King acknowledges final mass speech. | Watch video |
QC_5_7 | Act 5 | Judgement on Alinda: Alinda mocks Eulalia (treatment of stage direction). | Watch video |
QC_5_8 | Act 5 | Judgement on Alinda: treatment of stage direction, 'Eulalia whispers [to] her'. | Watch video |
QC_5_9 | Act 5 | Judgement on Alinda: Eulalia presents the letter to the King. | Watch video |
QC_5_10 | Act 5 | Judgement on Alinda: comic relief in the exchange between Lodovico and Horatio. | Watch video |
QC_5_11 | Act 5 | Judgement on Alinda: Eulalia's warning and the King's response. | Watch video |
QC_5_12 | Act 5 | Judgement on Alinda: mass speeches read in unison. | Watch video |
QC_5_13 | Act 5 | Judgement on Alinda: mass speeches delivered in whispers, not in unison; actors address members of audience. | Watch video |
QC_5_14 | Act 5 | Judgement on Alinda: mass speeches delivered loudly, in unison, to audience. | Watch video |
QC_5_15 | Act 5 | Judgement on Alinda: mass speeches in unison, volume rising. | Watch video |
QC_5_16 | Act 5 | Judgement on Alinda: King acknowledges all three mass speeches. | Watch video |
QC_5_17 | Act 5 | Judgement on Alinda: Eulalia placed in the King's 'seat'. | Watch video |
QC_5_18 | Act 5 | Country Parliament: reading of sequence up to entry of Flavello and Guard. | Watch video |
QC_5_19 | Act 5 | Country Parliament: Opening speech creating impression of formality; Lollio's reluctance to join in co-ordinated action when feeling slighted; delivery of lines; physical business. | Watch video |
QC_5_20 | Act 5 | Country Parliament: Poggio's warped use of language. | Watch video |
QC_5_21 | Act 5 | Country Parliament: delivery of Lollio's lines; physical business. | Watch video |
QC_5_22 | Act 5 | Country Parliament: attempt at formality. | Watch video |
QC_5_23 | Act 5 | Country Parliament: actor Adam Kay suggests physical business. | Watch video |
The Queen's Exchange |
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QE_1_1 | Act 1 | His Majesty's brighter figure | Watch video |
QE_1_2 | Act 1 | Courtiers VS Queen & Ambassador | Watch video |
QE_1_3 | Act 1 | Significance of SHRUGS | Watch video |
QE_1_4 | Act 1 | Mirrored Shrugs | Watch video |
QE_1_5 | Act 1 | For your speed wear this | Watch video |
QE_1_6 | Act 1 | Go and come again = dialogue | Watch video |
QE_1_7 | Act 1 | Go and come again as direction | Watch video |
QE_1_8 | Act 1 | Last run-through, with Go and come again, yet again | Watch video |
QE_2_1 | Act 2 | Theodric's rhetoric: imaginary foreplay | Watch video |
QE_2_2 | Act 2 | Theodric's rhetoric: divine sight of kings | Watch video |
QE_2_3 | Act 2 | Osric asks Theodric whom he fancies | Watch video |
QE_2_4 | Act 2 | Alienating himself from Theodric, Osric turns to audience | Watch video |
QE_2_5 | Act 2 | Osric as art critic | Watch video |
QE_2_6 | Act 2 | portraits as persons | Watch video |
QE_5_1 | Act 5 | 5.2 run-through in costume | Watch video |
QE_5_2 | Act 5 | Smith, lay down your picklocks. | Watch video |
QE_5_3 | Act 5 | Devilish Burglars and Hungry Outlaws | Watch video |
QE_5_4 | Act 5 | Look big...and so glide by | Watch video |
QE_5_5 | Act 5 | Seven glide by Offa | Watch video |
The Sparagus Garden |
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SG_2_1 | Act 2 | Early read-through of quarrel scene between Striker and Touchwood, working on asides. | Watch video |
SG_2_2 | Act 2 | Striker's soliloquy on Touchwood's exit. | Watch video |
SG_2_3 | Act 2 | Discussion between actors Philip Cumbus and Alan Morrissey about inconsequential bluster of the scene. | Watch video |
SG_2_4 | Act 2 | Discussion of physicality of quarrel scene, use of props and effect of asides. | Watch video |
SG_2_5 | Act 2 | Staging of quarrel scene between Touchwood and Striker with focus on movement, gesture and the physical dynamics of their relationship. | Watch video |
SG_2_6 | Act 2 | Conctrating on rhythm of reluctant exits by Touchwood in the scene. | Watch video |
SG_2_7 | Act 2 | Touchwood alone on stage just prior to Striker's entry and the commencement of their quarrel. | Watch video |
SG_2_8 | Act 2 | Striker's entry. Physical dynamics of scene with two characters onstage but conversing separately with audience or themselves. | Watch video |
SG_2_9 | Act 2 | Further work on spatial dynamics of scene and relationship between Touchwood and Striker. | Watch video |
SG_3_1 | Act 3 | Exposition scene involving the Gardener and Martha, here played as relationship of equals. | Watch video |
SG_3_2 | Act 3 | Exposition scene involving Martha and Gardener but here played in 'knowing' way. Includes subsequent discussion with actors Olivia Darnley and Philip Cumbus. | Watch video |
SG_3_3 | Act 3 | Inset narrative where Gilbert and Walter describe the as yet unseen character of Cautious. | Watch video |
SG_3_4 | Act 3 | Duologue between John and Rebecca Brittleware. A portrait of a marriage beset by impotency. | Watch video |
SG_5_1 | Act 5 | Dealing with complicated denouement involving revealed disguises. | Watch video |
The City Wit |
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CW_1_1 | Act 1 | Robert Lister performs the prologue | Watch video |
CW_1_2 | Act 1 | Sam Alexander performs the prologue | Watch video |
CW_1_3 | Act 1 | Hannah Watkins performs the first part of the prologue | Watch video |
CW_1_4 | Act 1 | Hannah Watkins performs the second part of the prologue | Watch video |
CW_1_5 | Act 1 | Sam Alexander performs the first part of the prologue | Watch video |
CW_1_6 | Act 1 | The opening of the play is performed by Sam Alexander (Prologue), Robert Lister (Crasy), and Hannah Watkins (Jeremy). | Watch video |
CW_1_7 | Act 1 | The opening of the play performed again but this time with Crasy played more morosely. | Watch video |
CW_1_8 | Act 1 | Robert Lister performs a more thoughtful Crasy. | Watch video |
CW_1_9 | Act 1 | The transition from prologue to opening scene is explored. | Watch video |
CW_1_10 | Act 1 | Robert Lister explores Sarpego's first entrance | Watch video |
CW_1_11 | Act 1 | Joanna Hole explores Pyannet's first entrance | Watch video |
CW_1_12 | Act 1 | Clare Calbraith explores Josina's first speeches | Watch video |
CW_1_13 | Act 1 | Joanna Hole further explores Pyannet’s first entrance | Watch video |
CW_1_14 | Act 1 | Sam Alexander explores the stage direction that indicates Jeremy exits 'weeping' | Watch video |
CW_1_15 | Act 1 | Sam Alexander explores again the stage direction that indicates Jeremy exits 'weeping' | Watch video |
CW_1_18 | Act 1 | Joanna Hole again explores Pyannet's first entrance | Watch video |
CW_1_100 | Act 1 | City Wit prologue: Sarpego as pompous and self-satisfied. | Watch video |
CW_1_101 | Act 1 | City Wit Prologue: Sarpego as slightly incompetant and bumbling. | Watch video |
CW_3_1 | Act 3 | Olivia Darnley as Tryman and Sam Alexander as Crasy explore the final section of 3.1. | Watch video |
CW_3_2 | Act 3 | Olivia Darnley as Tryman and Sam Alexander as Crasy make a second essay at the final section of 3.1. | Watch video |
CW_3_3 | Act 3 | Olivia Darnley as Tryman and Sam Alexander as Crasy further explore the final section of 3.1. | Watch video |
CW_3_4 | Act 3 | Alan Morrissey as Tryman and Sam Alexander as Crasy explore the final section of 3.1. | Watch video |
CW_3_5 | Act 3 | Alan Morrissey as Tryman and Sam Alexander as Crasy further explore the final section of 3.1. | Watch video |
CW_3_6 | Act 3 | Olivia Darnley as Tryman and Sam Alexander as Crasy explore the opening section of 3.3. | Watch video |
CW_3_7 | Act 3 | Alan Morrissey as Tryman and Sam Alexander as Crasy explore the opening section of 3.3. | Watch video |
CW_3_8 | Act 3 | Alan Morrissey as Tryman and Sam Alexander as Crasy further explore the opening section of 3.3. | Watch video |
CW_5_1 | Act 5 | Sam Alexander’s first exploration of Crasy’s soliloquy in 5.1. | Watch video |
CW_5_2 | Act 5 | Sam Alexander’s second exploration of Crasy’s soliloquy in 5.1. | Watch video |
The Court Beggar |
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CB_2_1 | Act 2 | Philomel: admonition as flirtation | Watch video |
CB_2_2 | Act 2 | Court-wit & Swain-wit: visual reminder of admonition | Watch video |
CB_2_3 | Act 2 | Who kisses Philomel? | Watch video |
CB_2_4 | Act 2 | Cit-Wit gets the kiss | Watch video |
CB_2_5 | Act 2 | Cit-wit gets the kiss and another line | Watch video |
CB_2_6 | Act 2 | discussion of why Swain-wit begs pardon for swearing | Watch video |
CB_2_7 | Act 2 | fffforgi' me for swearing | Watch video |
CB_2_8 | Act 2 | whistles tother way | Watch video |
CB_2_9 | Act 2 | Raphael in rhetorical flow | Watch video |
CB_2_10 | Act 2 | Strangelove's couch technique | Watch video |
CB_3_1 | Act 3 | Three ways of arranging Court-wit's entrance | Watch video |
CB_3_2 | Act 3 | swords and scabbards | Watch video |
CB_3_3 | Act 3 | Busy bodies clear offstage | Watch video |
CB_3_4 | Act 3 | Cit-wit's solo responses to offstage cries | Watch video |
CB_3_5 | Act 3 | aftermath of the assault on Strangelove | Watch video |
CB_3_6 | Act 3 | Cit-wit's parting shot: I have sworn. | Watch video |
CB_4_1 | Act 4 | Sowgelder sequence | Watch video |
CB_5_1 | Act 5 | Editors and actors devise dance steps prior to run-through. | Watch video |
CB_5_2 | Act 5 | Tay dee dee | Watch video |
CB_5_3 | Act 5 | Raphael as microphone | Watch video |
CB_5_4 | Act 5 | Never was Raphael in such a wilderness | Watch video |
Covent Garden Weeded |
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CG_1_1 | Act 1 | Cockbrain responds tensely to Rooksbill's silence | Watch video |
CG_1_2 | Act 1 | Rooksbill, unmoving, forces Cockbrain to keep returning to him | Watch video |
CG_1_3 | Act 1 | Cockbrain's anxiety on arrival, worried by Rooksbill's lack of enthusiasm | Watch video |
CG_1_4 | Act 1 | Rooksbill dominates the scene by remaining stationary and silent while Cockbrain seeks to cajole him into enthusiasm. | Watch video |
CG_1_5 | Act 1 | Rooksbill pays no attention to Cockbrian | Watch video |
CG_1_6 | Act 1 | Rooksbill looks around the stage to create sense of Covent Garden development. | Watch video |
CG_1_7 | Act 1 | Discussion of balconies and sexuality | Watch video |
CG_1_8 | Act 1 | Dorcas's soliloquy, performed by Adam Kay | Watch video |
CG_1_9 | Act 1 | Dorcas's soliloquy, performed by Robert Lister | Watch video |
CG_1_10 | Act 1 | Dorcas's soliloquy, performed by Alan Morrissey | Watch video |
CG_1_11 | Act 1 | Alan Morrissey on the verse of Dorcas's speech | Watch video |
CG_1_12 | Act 1 | General discussion of Dorcas's soliloquy | Watch video |
CG_1_14 | Act 1 | Nick moves towards Dorcas; she moves away. | Watch video |
CG_1_15 | Act 1 | Dorcas's asides to the audience | Watch video |
CG_1_16 | Act 1 | Madge playful and complicit with the young men | Watch video |
CG_1_17 | Act 1 | Madge asks Dorcas for instructions | Watch video |
CG_1_18 | Act 1 | Madge asks the young men for instructions | Watch video |
CG_1_19 | Act 1 | Dorcas addresses her exclamation to the audience | Watch video |
CG_1_20 | Act 1 | Madge playfully rebukes the young men, being complicit with them | Watch video |
CG_1_22 | Act 1 | Madge dominates the scene by standing at the table | Watch video |
CG_1_23 | Act 1 | Nick dominates by ordering others to sit | Watch video |
CG_1_24 | Act 1 | Dorcas asks Nick's 'nick-name' with heavy irony | Watch video |
CG_1_25 | Act 1 | Nick approaches Dorcas, touches and moves her | Watch video |
CG_1_26 | Act 1 | Nick becomes distracted and vehement about his father, ignoring Dorcas | Watch video |
CG_1_27 | Act 1 | Discussion among actors and editors concerning Nick's isolation fixation on his father | Watch video |
CG_1_40 | Act 1 | Discussion concerning drunkenness and disorder, and Madge's stance vis a vis the young men | Watch video |
CG_1_41 | Act 1 | Discussion of Madge's complicity with the young men | Watch video |
CG_3_1 | Act 3 | Belt moves in to listen to Katherine and Lucy | Watch video |
CG_3_2 | Act 3 | Discussion of exposition and making sense of action for the audience | Watch video |
CG_3_3 | Act 3 | Katherine and Lucy stress the parternal relationships that constrict their choices and roles | Watch video |
CG_3_4 | Act 3 | Stand-up comedy quality to the interchange between the young women | Watch video |
CG_3_5 | Act 3 | Katherine exaggeratedly insinuates a sexual intent | Watch video |
CG_3_6 | Act 3 | Lucy redirects conversation, taking a measure of control | Watch video |
CG_3_7 | Act 3 | Discussion of direct address to the audience | Watch video |
CG_3_8 | Act 3 | Discussion and varied eye-contact between Katherine and Lucy | Watch video |
CG_3_9 | Act 3 | Katherine begins addressing the audience directly | Watch video |
CG_3_10 | Act 3 | Katherine and Lucy in undisguised address to the audience | Watch video |
CG_3_11 | Act 3 | Lucy as slower on the uptake than the audience | Watch video |
CG_3_12 | Act 3 | Lucy responds with disguised amusement and excitement to the story of Dorcas's seduction | Watch video |
CG_3_13 | Act 3 | Katherine is suggestive with her words | Watch video |
CG_3_14 | Act 3 | Katherine and Lucy move diagonally forward across the stage | Watch video |
CG_4_1 | Act 4 | Nick leaps on to the table | Watch video |
CG_4_2 | Act 4 | Gender distortion in the women's fight | Watch video |
CG_4_3 | Act 4 | Cockbrain addresses the audience directly | Watch video |
CG_4_4 | Act 4 | Nick's lines explicitly direct the attack on the Citizen's genitalia | Watch video |
CG_4_5 | Act 4 | Cockbrain's disguise comes off, Clotpoll comments to the audience | Watch video |
CG_4_6 | Act 4 | Cockbrain forced into position to be attacked | Watch video |
CG_4_7 | Act 4 | Another version of Cockbrain's disguise coming off, and asides to the audience | Watch video |
CG_4_8 | Act 4 | COckbrain 'threatens his breeches' and the attackers depart | Watch video |
CG_4_9 | Act 4 | The Citizen says he is very sore | Watch video |
CG_4_10 | Act 4 | The attack on the Citizen as slap-stick | Watch video |
CG_4_11 | Act 4 | The attack on the Citizen as more troubling violence | Watch video |
CG_5_1 | Act 5 | Discussion of Crosswill's isolation | Watch video |
CG_5_2 | Act 5 | Version 1 of Crosswill's speech | Watch video |
CG_5_3 | Act 5 | Belt enters during Crosswill's soliloquy | Watch video |
CG_5_4 | Act 5 | Belt enters earlier during Crosswill's soliloquy | Watch video |
CG_5_5 | Act 5 | Discussion of Belt's earlier entrance and sympathy for Crosswill | Watch video |
CG_5_6 | Act 5 | Discussion of why Crosswill changes mood during his speech | Watch video |
CG_5_7 | Act 5 | Crosswill's soliloquy version 2 | Watch video |
CG_5_8 | Act 5 | Crosswill's soliloquy version 3 | Watch video |
CG_5_9 | Act 5 | Crosswill's soliloquy version 4 | Watch video |
CG_5_10 | Act 5 | Crosswill's soliloquy version 5 | Watch video |
CG_5_11 | Act 5 | Discussion of Crosswill's use of 'beat' and the entrance of Belt | Watch video |
CG_5_12 | Act 5 | Discussion of Crosswill and imagination | Watch video |
CG_5_13 | Act 5 | Crosswill's whole speech | Watch video |
CG_5_14 | Act 5 | Obscene joke in Crosswill's speech | Watch video |
CG_5_15 | Act 5 | Crosswill's excessive appreciation of his future daughter-in-law Lucy | Watch video |
CG_5_17 | Act 5 | Whole sequence pairing off Lucy and Mihil | Watch video |
The Demoiselle |
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DM_1_1 | Act 1 | Extended read-through of 1.2 | Watch video |
DM_1_2 | Act 1 | Tone of Bumpsey's speech: jovial and self-satisfied. | Watch video |
DM_1_3 | Act 1 | Tone of Bumpsey's speech: greater degree of anger/reproach. | Watch video |
DM_1_4 | Act 1 | Purse as prop. | Watch video |
DM_1_5 | Act 1 | Delivery of 'that's left'. | Watch video |
DM_1_6 | Act 1 | Delivery of 'Sh’t, sh’t, sh’t.' | Watch video |
DM_1_7 | Act 1 | Magdalen playing a role. | Watch video |
DM_1_8 | Act 1 | Bumpsey's control of the exchange with Valentine. | Watch video |
DM_1_9 | Act 1 | Physical business with the purse. | Watch video |
DM_1_10 | Act 1 | Alternative physical as Valentine offers to return Bumpsey's money. | Watch video |
DM_1_11 | Act 1 | Speech 149 attributed to Dryground. | Watch video |
DM_1_12 | Act 1 | Speech 149 delivered by Bumpsey. | Watch video |
DM_1_13 | Act 1 | Bumpsey begins to formulate his plan. | Watch video |
DM_1_14 | Act 1 | Magdalen's aside to Dryground; blocking. | Watch video |
DM_1_15 | Act 1 | Magdalen's aside; blocking; delivery of 'God gi’ ye joy.' | Watch video |
DM_2_1 | Act 2 | Run-through of long sequence from Act 2, Scene 1. | Watch video |
DM_2_2 | Act 2 | Trebasco speaks in Cornish. | Watch video |
DM_2_3 | Act 2 | Gallants' mockery of Sir Amphilus; blocking. | Watch video |
DM_2_4 | Act 2 | Trebasco and Sir Amphilus: asides; physical business; blocking. | Watch video |
DM_2_5 | Act 2 | Sir Amphilus and the gallants: 'These were her shoon'. | Watch video |
DM_2_6 | Act 2 | Trebasco and Sir Amphilus: 'Why did you talk with ’em?' | Watch video |
DM_2_7 | Act 2 | Trebasco and Sir Amphilus: 'Why did you talk with ’em?' | Watch video |
DM_2_8 | Act 2 | Vermin and Sir Amphilus. | Watch video |
DM_2_9 | Act 2 | Brookall's entrance; confrontation with Vermin: proximity. | Watch video |
DM_2_10 | Act 2 | Brookall's entrance; confrontation with Vermin: circling. | Watch video |
DM_2_11 | Act 2 | Brookall's entrance; confrontation with Vermin: reduced mobility. | Watch video |
DM_2_12 | Act 2 | Discussion of Vermin-Brookall confrontation. | Watch video |
DM_2_13 | Act 2 | Entrance of Phyllis: shift of tone. | Watch video |
DM_2_14 | Act 2 | Lawyers pass across the front of the stage. | Watch video |
DM_2_15 | Act 2 | Lawyers pass over stage: use of diagonal. | Watch video |
DM_2_16 | Act 2 | Lawyers accosted by Phyllis; use of diagonal. | Watch video |
DM_2_17 | Act 2 | Entry of lawyers; use of diagonal; costumes. | Watch video |
DM_2_18 | Act 2 | Handling of exits. | Watch video |
DM_2_19 | Act 2 | Vermin directs line to servant. | Watch video |
DM_2_20 | Act 2 | Focus on Brookall. | Watch video |
DM_2_21 | Act 2 | Attorney's lines as aside; treatment of stage direction 'He lies on his face.' | Watch video |
DM_2_22 | Act 2 | Discussion of stage direction 'He lies on his face'. | Watch video |
DM_2_23 | Act 2 | 'He lies on his face.' (crouching position); Brookall's 'Phew!'; reciting of cliches. | Watch video |
DM_2_24 | Act 2 | Brookall and Friendly: longer extract. | Watch video |
DM_3_1 | Act 3 | Wat and Dryground: lighter tone. | Watch video |
DM_3_2 | Act 3 | Wat and Dryground: darker tone 1. | Watch video |
DM_3_3 | Act 3 | Wat and Dryground: darker tone 2. | Watch video |
DM_3_4 | Act 3 | Wat and Dryground: pause and shift of tone. | Watch video |
DM_3_5 | Act 3 | Wat's 'Phew!' | Watch video |
DM_3_6 | Act 3 | Dryground's 'Here’s a ripe rascal!' as aside. | Watch video |
DM_3_7 | Act 3 | Frances' entrance; shift of tone. | Watch video |
DM_3_8 | Act 3 | Oliver's innuendo; Frances's accent is relatively light. | Watch video |
DM_3_9 | Act 3 | Frances with exaggerated French accent; Oliver with competent French. | Watch video |
DM_3_10 | Act 3 | Oliver speaks French with a strong English accent. | Watch video |
DM_3_11 | Act 3 | Oliver's aggression towards Frances. | Watch video |
DM_3_12 | Act 3 | Close proximity between Oliver and Frances. | Watch video |
DM_3_13 | Act 3 | Frances continues to speak with a French accent. | Watch video |
DM_3_14 | Act 3 | Frances adopts an exaggerated English accent. | Watch video |
DM_3_15 | Act 3 | Cutting between conversations. | Watch video |
DM_3_16 | Act 3 | Frances's long speech: French accent. | Watch video |
DM_3_17 | Act 3 | Frances's long speech: English accent. | Watch video |
DM_5_1 | Act 5 | Tuition sequence: Hannah Watkins as Frances. | Watch video |
DM_5_2 | Act 5 | Tuition sequence: Joseph Thompson as Frances (part 1). | Watch video |
DM_5_3 | Act 5 | Tuition sequence: Joseph Thompson as Frances (part 2). | Watch video |
DM_5_4 | Act 5 | Tuition sequence: Joseph Thompson as Frances (part 3). | Watch video |
DM_5_5 | Act 5 | Tuition sequence: Joseph Thompson as Frances (part 4). | Watch video |
DM_5_6 | Act 5 | Tuition sequence: Alan Morrissey as Frances. | Watch video |
DM_5_7 | Act 5 | Business with the wine bottle. | Watch video |
DM_5_8 | Act 5 | Alternative business with the wine bottle. | Watch video |
DM_5_9 | Act 5 | Frances corrects Magdalen. | Watch video |
DM_5_10 | Act 5 | Magdalen's innuendo ('Have you not learned to carry a man?'). | Watch video |
DM_5_11 | Act 5 | Magdalen assumes that Frances's English is poor ('I ask you how much carriage she has learned?'); Frances's innuendo. | Watch video |
DM_5_12 | Act 5 | Magdalen's curtsey. | Watch video |
DM_5_13 | Act 5 | Magdalen's second curtsey. | Watch video |
DM_5_14 | Act 5 | Magdalen's second curtsey. | Watch video |
DM_5_15 | Act 5 | Frances's innuendo ('all your other parts and members'). | Watch video |
DM_5_16 | Act 5 | Frances's innuendo ('To love and lie with you courtly'); intimacy with Magdalen. | Watch video |
DM_5_17 | Act 5 | Frances's control of the dialogue; movement around stage. | Watch video |
DM_5_18 | Act 5 | Magdalen's 'Free from French flea-bites' addressed to Frances. | Watch video |
DM_5_19 | Act 5 | Magdalen's 'Free from French flea-bites' addressed to Alice and Jane. | Watch video |
DM_5_20 | Act 5 | Joseph Thompson as Frances: wavering French accent. | Watch video |
DM_5_21 | Act 5 | Joseph Thompson discusses Frances's long speech. | Watch video |
DM_5_22 | Act 5 | Frances's long speech: Alan Morrissey as Frances; use of audience. | Watch video |
DM_5_23 | Act 5 | Read-through of play's conclusion. | Watch video |
DM_5_24 | Act 5 | Oliver's exchange with Frances. | Watch video |
DM_5_25 | Act 5 | Mass entrance from different points. | Watch video |
DM_5_26 | Act 5 | Treatment of stage direction 'Discover Frances'. | Watch video |
DM_5_27 | Act 5 | Delivery of Frances's line 'Your ‘ha’s and ‘ho’s cannot draw her from me'. | Watch video |
DM_5_28 | Act 5 | Interpretation of stage direction 'Discovers himself': Dryground removes his wig. | Watch video |
DM_5_29 | Act 5 | Additional stage direction, '[To Sir AMPHILUS]'. | Watch video |
DM_5_30 | Act 5 | Sir Amphilus's 'I know what I know' as veiled threat; direction of Vermin's 'Hence.' | Watch video |
DM_5_31 | Act 5 | Magdalen's exchange with Bumpsey: comic tone. | Watch video |
The English Moor |
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EM_2_1 | Act 2 | Rafe tries to seduce Dionisia. | Watch video |
EM_3_1 | Act 3 | The face-painting scene played seriously | Watch video |
EM_3_2 | Act 3 | The face-painting scene: played for comedy | Watch video |
EM_3_3 | Act 3 | Face-painting scene (with moustache). | Watch video |
EM_4_1 | Act 4 | Nathaniel, Edmund, and Vincent plotting: O version. | Watch video |
EM_4_2 | Act 4 | Nathaniel, Edmund, and Vincent plotting: manuscript version. | Watch video |
A Jovial Crew |
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JC_1_1 | Act 1 | Helen Ostovich talks of the influence of the nightingale on Springlove. | Watch video |
JC_1_2 | Act 1 | Brian Woolland discusses an analogy with the actor playing Oldrents | Watch video |
JC_1_3 | Act 1 | Springlove's encounter with Oldrents (in full) | Watch video |
JC_1_4 | Act 1 | Introducing physicality into the encounter between Oldrents and Springlove | Watch video |
JC_1_5 | Act 1 | Physicalising the relationship between Springlove and Oldrents | Watch video |
JC_2_1 | Act 2 | Game-playing between Meriel and Rachel | Watch video |
JC_2_2 | Act 2 | Changing the space improves the actors' engagement with language | Watch video |
JC_2_3 | Act 2 | The women plan in secret their future escapade with their men | Watch video |
JC_2_4 | Act 2 | Meriel's positioning of herself in relation to the men | Watch video |
JC_2_5 | Act 2 | The women encourage each other to be "naughty" | Watch video |
JC_2_6 | Act 2 | The differing reactions of Hilliard and Vincent to the women's plan to be a-begging | Watch video |
JC_2_7 | Act 2 | Discriminating between the men's responses to their women and the idea of going begging | Watch video |
JC_3_1 | Act 3 | Springlove and Hilliard as beggars advance on the two gentlemen | Watch video |
JC_3_2 | Act 3 | A broad comedy approach to the first begging scene | Watch video |
JC_3_3 | Act 3 | Springlove being whipped | Watch video |
JC_3_4 | Act 3 | Re-positioning the actors in the first begging sequence | Watch video |
JC_3_5 | Act 3 | Springlove chooses to sit down passively in front of the gentlemen | Watch video |
JC_3_6 | Act 3 | A first run-through of the begging scene | Watch video |
JC_3_7 | Act 3 | The actor playing Vincent develops a relationship with the audience | Watch video |
JC_3_8 | Act 3 | Vincent deprecates his lack of skill as a beggar | Watch video |
JC_3_9 | Act 3 | Speech 478: "the court goes a-begging" | Watch video |
JC_3_10 | Act 3 | Oliver's soliloquy | Watch video |
JC_3_11 | Act 3 | "Thy language makes me wonder at thy person" | Watch video |
JC_3_12 | Act 3 | Oliver and the beggar: exploring a staging idea | Watch video |
JC_3_13 | Act 3 | A run-through of this sequence | Watch video |
JC_3_14 | Act 3 | The women as beggars and an urge to become competitive | Watch video |
JC_3_15 | Act 3 | A sexually voracious Oliver | Watch video |
JC_3_16 | Act 3 | Elements of threat enter the playing | Watch video |
JC_5_1 | Act 5 | Randall's stage-fright | Watch video |
JC_5_2 | Act 5 | Increasing Randall's nervousness | Watch video |
JC_5_3 | Act 5 | Springlove and the Lawyer | Watch video |
JC_5_4 | Act 5 | The Patrico performs in the play-within-the-play | Watch video |
JC_5_5 | Act 5 | The Patrico with Oldrents | Watch video |
JC_5_6 | Act 5 | The relationship between the play-within-the-play and the onstage audience | Watch video |
The Late Lancashire Witches |
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LW_1_1 | Act 1 | Gregory complains of his father's bad habits. | Watch video |
LW_1_2 | Act 1 | Doughty defends Master Seely against Gregory's accusations. | Watch video |
LW_1_3 | Act 1 | Doughty defends Old Seely and chastises Gregory: another view. | Watch video |
LW_2_1 | Act 2 | This moment demonstrates Mall's bewitching power over Robin and promises to bewitch the audience with magical surprises. | Watch video |
LW_2_2 | Act 2 | Mall makes Robin swear to be ruled by her authority. | Watch video |
LW_2_3 | Act 2 | Robin observes the pail trick. | Watch video |
LW_2_4 | Act 2 | Mall demonstrates the pail trick: second view. | Watch video |
LW_2_5 | Act 2 | Mall transforms the small horse into a large stallion. | Watch video |
LW_2_6 | Act 2 | Robin and Mall mount the horse: sexual equivocation. | Watch video |
LW_2_7 | Act 2 | The witches' song. | Watch video |
LW_2_8 | Act 2 | The witches' song, second reading, as though directly to familiars in the audience. | Watch video |
LW_2_9 | Act 2 | The Boy beats the dogs for refusing to hunt, and they turn into a witch and another boy. | Watch video |
LW_2_10 | Act 2 | Another view of Boy beating dogs, who transform and the Boy recognizes Goody Dickieson. | Watch video |
LW_2_11 | Act 2 | Goody Dickieson stops the Boy's escape. | Watch video |
LW_2_12 | Act 2 | Another version of the Boy's attempted escape from Goody Dickieson. | Watch video |
LW_2_13 | Act 2 | Goody Dickieson transforms the other boy into a horse. | Watch video |
LW_2_14 | Act 2 | How an actor can turn into a horse: theatrical collaboration of actors, directors, and editors. | Watch video |
LW_4_1 | Act 4 | Robin, transformed into a horse, carries Mistress Generous to the witches' feast. | Watch video |
LW_4_2 | Act 4 | The witches arrive for the feast: they jeer Robin, who then spies on the party through a cranny. | Watch video |
LW_4_3 | Act 4 | The witches call for more food and drink, pulling on invisible ropes in the barn; Robin watches. | Watch video |
LW_4_4 | Act 4 | The Boy tries to escape while the witches feast. | Watch video |
LW_4_5 | Act 4 | While the witches dance, the Boy escapes. | Watch video |
LW_4_6 | Act 4 | The 'echo' of Macbeth as the witches briefly plan another meeting. | Watch video |
LW_5_1 | Act 5 | Soldier awaits the battle with cat-spirits at the mill, his sword ready. | Watch video |
LW_5_2 | Act 5 | The witches get ready to attack the soldier in the mill. | Watch video |
LW_5_3 | Act 5 | Actors experiment with physical business for invisible spirits; the soldier wavers between terror and bravado. | Watch video |
LW_5_4 | Act 5 | Swordplay: the witches taunt the soldier, making him impotent with his own sword. | Watch video |
LW_5_5 | Act 5 | The 'voice-over' version of Soldier reacting to the pinch in private and ending with cutting off a cat's paw. | Watch video |
The Love-Sick Court |
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LS_1_1 | Act 1 | Eudina's direct address of her speech to the audience. | Watch video |
LS_1_2 | Act 1 | Eudina's speech is addressed to the audience, whilst the brothers take part in a family conference with their mother and sister. | Watch video |
LS_1_3 | Act 1 | This version exploits the potential comedy by overplaying the brothers' devotion to each other, and featuring an exasperated Eudina who fakes her swoon to gain their attention. | Watch video |
LS_1_4 | Act 1 | The Rustics approach the King, bowing individually. The King's throne is placed centre stage with his counsellors on either side and the Rustics kneel along the front. | Watch video |
LS_1_5 | Act 1 | The Rustics turn round (on Eupathus' cue) to face the audience after presenting the petition to the King. | Watch video |
LS_1_6 | Act 1 | An alternative staging of the Rustics at the side of the stage, while the King's throne is set in the upstage right corner. | Watch video |
LS_3_1 | Act 3 | The staging of Eudina's sleep and her dream vision. | Watch video |
LS_3_2 | Act 3 | Placilla's aside, spoken to herself and heard by the audience. | Watch video |
LS_3_3 | Act 3 | Placilla's aside delivered as to Thymele. | Watch video |
LS_3_4 | Act 3 | Doris delivers 'His ill looks' as an aside to herself and the audience. | Watch video |
LS_3_5 | Act 3 | Doris delivers 'His ill looks' out loud, so that Geron can hear her. | Watch video |
LS_3_6 | Act 3 | Geron's accent mimics his mother's, even though his learning surpasses her. Garula coaches her son in his 'postures'. | Watch video |
LS_3_7 | Act 3 | Geron's use of 'coition' alarms Doris. | Watch video |
LS_5_1 | Act 5 | Philocles and Philargus draw lots, but look at them and swap them several times to give the other advantage. | Watch video |
LS_5_2 | Act 5 | Philargus pretends he has drawn 'friendship' so that Philocles will get Eudina, but he is being deceptive and Philocles calls his bluff. | Watch video |
LS_5_3 | Act 5 | Philargus falls down in reaction to the poisoned wine; Disanius describes it as 'womanish'. | Watch video |
LS_5_4 | Act 5 | Disanius attempts to juggle a dead body, Philocles (who keeps threatening suicide) and a criminal. | Watch video |
Essays |
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BW_1 | Essay | The relaxed, open interaction between actors in workshop | Watch video |
BW_2 | Essay | Cockbrain plays Justice Overdo | Watch video |
BW_3 | Essay | Cockbrain in quest of "enormities" | Watch video |
BW_4 | Essay | The elderly schoolboys in The Antipodes | Watch video |
BW_5 | Essay | Letoy's "comedians" and their relation to their onstage audience | Watch video |
BW_6 | Essay | Interactions and the shifting of the spectators' sense of focus | Watch video |
BW_7 | Essay | Physicalising farce in The Queen's Exchange | Watch video |
BW_8 | Essay | A walk-through of the farcical scene with interventions from the director | Watch video |
BW_9 | Essay | Issues of disguise | Watch video |
BW_10 | Essay | Farcical rhythms | Watch video |
BW_11 | Essay | An editor discusses her text with the actors | Watch video |
BW_12 | Essay | An actor interrogates the text | Watch video |
BW_13 | Essay | Fitchow, wit and sexual chemistry | Watch video |
BW_14 | Essay | Cross-gender casting | Watch video |
BW_15 | Essay | Magical power: Mall and Robin | Watch video |
BW_16 | Essay | The magic milk-pail | Watch video |
BW_17 | Essay | Millicent has her face painted | Watch video |
BW_18 | Essay | The painting of Millicent black: eroticism and surprising tenderness | Watch video |
BW_19 | Essay | Observations of the actor playing Quicksands in the "painting" scene | Watch video |
BW_20 | Essay | Quicksands' sexual control | Watch video |
BW_21 | Essay | A genial Quicksands | Watch video |
BW_22 | Essay | The painting scene as black farce | Watch video |
BW_23 | Essay | Audience response to the "painting" scene | Watch video |