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The Antipodes

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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
Contact: brome@sheffield.ac.uk Richard Brome Online, ISBN 978-0-9557876-1-4.   © Copyright Royal Holloway, University of London, 2010