Running Hot!

King Lear: Performance Day 3

Hitting your stride can be a beautiful thing. A few shows in and we’re beginning to find that confidence and completeness that we’ve been striving for. Theatre so much reminds me of team sports, not only in the obvious ways but more in the performance after hours of grueling repetition. The zone is something athletes refer to as an oneness or autopilot they find when they are completely focused and involved. It is almost as if they can see into the future. In theatre, you can see the future every night when you run the show and you fill every second with your concentration. It becomes apparent when the past, present and future converge in one moment, an instant ahead of the moment you are in. In this place of complete relaxation and concentration you reach a place described in eastern philosophy as “non-action” or “non-being.” This is the ultimate for any athlete and as much so for any actor.

It is also apparent that with any opening night, there must be a closing night as well. With a show like this, the closing already looms in the back of our minds. When you get the thrill and energy of a show and then have to walk away, it is frightening. Many of us will go back to our day job or back to the city to look for another role, to start the process over. I am lucky. I start rehearsals for my next show the day after we close so the let down won’t be quite as great. Something, however, tells me this one will be hard to walk away from.

As I am sitting at my table in the dressing room at intermission I find a calming thought wash over me. I am in the middle of one of Shakespeare’s greatest shows, with a fantastic cast and back in the profession I love and have missed for so long. We have opened to thunderous applause and wonderful reviews and I couldn’t be happier (check out the review in the Burlington Free Press at httphttp://www.burlingtonfreepress.com/apps/pbcs.dll/article?AID=/20080426/LIVING/804260305/1004). I am exactly where I want to be. I will wait to deal with the let down of closing when we come to it. For now, I have act two to worry about.

Opening Night

King Lear: First Performance

This is it, we are open! After all the hard work and hours of rehearsals we have finally realized the show that is "King Lear." With all the excitement and antipathy of a child's new toy, we played our house this gripping tale of tragedy and woe. Our new toy is out of the package and we can't wait to use it again tonight.

Backstage, there was almost a somber tone as we opened, I think due mostly to the focus level of everyone performing. We were also forced to kill the running lights in the men's dressing room due to spill-over into the house. This was a little disconcerting at first but may have helped with the undertones in trying to capture this tragedy. It was a blast to witness as we transitioned from scene to scene like some finely oiled machine but hours on the job. It is this focus level that allows the talent to slip into character and the language to float on top of the action and mechanics of the show. It is with complete confidence that I transitioned from one entrance to the next, relying on all involved to hit their marks. I was not disappointed.

An explosion of light outlined the intermission call as the dressing room lights were illuminated to full power and brought everyone to that midway station, giving us a breath to reflect on the opening act, if just for a moment. The general consensus was that we were running strong but still playing it safe (to be expected with an opening night). I love the feeling backstage when you know something is working. All the hard work has payed off and now it's play time. As we exchanged approving glances and handshakes we slowly slipped back into the world of Lear to begin the second act.

I think we silently resolved ourselves to take more chances in the second act, which began with a snapping lurch as the audience (and ourselves) was thrown back into action. Sometimes speed can be your best friend when you want to infuse more energy into a show and there was not lack of it out of the gate. Weaving an intricate pattern of plots and perspectives, the second act is intensely active and requires an unparalleled amount of attention. It is when everyone is tuned in that individuals are allowed to take their moments and make them their own. It is so much like a meditation in that respect. That we are all one but still contribute a unique quality that is integral to the overall outcome of the show. And still discoveries are being made. I myself found a moment with Chris (Edgar) on stage when I recognize his character and offer up a piece of information that moves him into action. I do not have a ton of time on stage but it is moving to know that even my few moments are imperative.

As the lights came down on our first show, the house erupted in thunderous applause, giving us all the indication of a job well done. What a relief. Truly, until you hear the applause you can only hope that people will enjoy the show, but never certain. I feel we can be now. The cast convened in the house after the curtain call for cocktails and congratulations from friends and fans. We were ecstatic to meet and greet our public as we could all see the relief wash over each others eyes. We've done it and not a moment too soon. The magic of the theatre is just so. It does all work out in the end. We don't know how. It's a mystery!

Gods and Audiences

King Lear: Day 14 & 15

In Shakespeare we are never speaking to ourselves, we are speaking to the gods or the audience. As performers we would not exist without the audience so in a sense, they are our gods. So let's just make that leap and say that very often we are speaking to god. It is so important to make an experience happen for the audience. As actors, we work on back story and character relationships so we can play our parts. Even though most of it will not be discernable or only inform one or two lines, it is still worth it for those audience members keen enough to pick it up.

I had lunch with Wayne Teterick (Cornwall) today and we spoke a bit about his on stage relationship with Jenny Rohn (Regan) and the back story they have worked out. The fact that Cornwall is a power hungry, ambitious fellow informs us of how Regan may warm to him or what their personal life may be like. Jenny and Wayne have decided that they both feed off each other and enjoy their ambitious attitudes as they play off each other. They have also made the choice that their characters are swingers and have an open relationship. Of course, this only plays in a few circumstances, most specifically in scenes where Edmund is present. Their ambition and pleasure in each other’s dark sides plays most obviously in the scene where they torture Gloucester, blinding him and setting him lose to wander the countryside. Again, only several people will be aware of their back story by watching their reactions, but it is that kind of depth that separates a good show from a great one.

It is interesting to find these little pieces of acting gold in a script and even more fun when an audience member “gets it.” My feeling is that these are the people we tailor art for. This show is no exception. It is packed so deeply with layers that the most learned will continue to get more and more out of it. This should make for some good theater.

One Week Out!

King Lear: Day 13

Crunch time! As we started finishing up the final scene of the show tonight, it was very apparent that the entire cast was completely aware of the fact that we have one week left. There was a general sense of intensity and focus as we moved through the full run-through. Picking up cues and keeping energy high was much easier with everyone feeding off each other and with the percussion included. What a difference a set makes. Being able to see your environment is indispensible. Props, costumes and lighting, coupled with our intensified energy level made for a wonderfully creative environment and a lot of strong choices.

I had a discussion with several of the other cast members about other characters in a show informing us of our own. Shakespeare gives us wonderful clues of who we are in our own text but it is through other characters that we may find the biggest clues. In life, it is those around us that inform us to ourselves and hold the mirror up so we can see the impact we have on the world around us. It is the same on stage and all these avenues should be explored before setting a scene. Through reactions, thoughts and feelings articulated in other characters, we can truly get a sense of who we are.

I have come to some strong realizations of my scenes and I am feeling much more confident about my characterizations, having taken into consideration the characters around me. I have also decided that some of my own baggage has gotten in the way of my acceptance of the scene choices and I must move though it. The actor’s ego is a very delicate thing and mine may be even more so since I have not been working for some time. When your confidence isn’t completely there, your defensive instincts tend to take over and make it tough to be accepting of other people’s feelings and choices. In my attempts to be the best actor I can, I have cut myself off from one of the most valuable resources we have as actors, the people around us. Although I connect with all the members of our production on a personal level, I may not have been connecting with them on a professional level, due to my overwhelming desire to be right. It is something I am striving to overcome.

The patience of Mark as both a director and as a teacher has been a very leveling influence for me thus far and I am most thankful that I have had the opportunity to work with him, especially on my first show back. In fact, it is the entire cast’s passion and enthusiasm that has taught me the most about what it is to be an actor. Most of the cast and crew have other jobs and lives to balance and are here because of their pure love of the craft. It always makes me mad when people bitch about spoiled actors and accuse them of being lazy, self centered and self indulgent. I think acting is one of the most underappreciated jobs in the world. We dedicate countless hours of time and energy for very little monetary compensation, all because of the pure joy and love of it. It is my feeling that if we had a few more "actors", the world would be a better place. I think actors are some of the least self centered people in the world. They may be confused with those people because of their self awareness and comfort with becoming or trying to become, someone else entirely. The empathy that takes is nothing short of miraculous and would boast well for any person of influence. Perhaps it should be a mandatory prerequisite for any world leader.

First Day in Flynn Space.

King Lear: Day 12

Although it was wonderful to have the rehearsal space and all the adjacent rooms, it is great to start identifying with the actual dimensions and parameters of the show. We also had full percussion and painstakingly worked our way through the first act, ironing out all the sound cues. It is extremely difficult to stay focused while Brian and Mark are working out the details. It reminded me of film work, when you are placed and manipulated to fit the framing of the scene. Obviously, this wasn't quite as restricting and the overall outcome will bring a dimension to the show that will both capture and disorient the audience as set forth by the themes of the show.

I am getting frustrated by some of the blocking with France again. I have been presented with a unique challenge by being asked to construct two different characters, which appear very close in proximity in the first act. My instinct is to want to differentiate as much as possible. I have been attempting to use physicality and vocal tone to inform these characters, which does not seem to be the direction Mark wants to go. I am concerned there will not be enough variance in these characters and I fear the implications which that brings. I will have to continue my exploration of France to find something that may inform me more. On the bright side, I feel very confident about Peter and hope this will keep my instincts sharp as we move into the final week of rehearsals.

Maybe it is self-indulgent to worry so much about my part. I know that my part is small in comparison, and that the other actors must be working through their own stuff. Of course, if they are as concerned as I am, we are going to have one hell of a show.

So I guess it can pay to attend the work with as much intraspection as one can muster. Though I know frustration does not serve the scene, my general unrest may give me the opportunity to explore until the scene feels right. Hopefully, that will happen before opening night.

Pure Id.

King Lear: Days 10 and 11

I started this weekend by interviewing a few of the cast members for a behind the scenes video I am constructing. It was cool to speak with my colleagues one on one about their process and interpretation of the show. I appreciated everyone's openness and candor as it helped me solidify some of my own feelings on Lear. The video will follow shortly.

We completed a full run-through of the play and began solidifying some of the interpretations we have been working with. It is so reassuring to see all the work starting to become evident and it gives me a deeper appreciation of the importance of an ensemble and what each actor brings to the table. Paul Schnabel (Kent) and Chris Edwards (Edgar) have really stepped it up and clearly defined their actions. Both playing roles within roles, it would be so easy for them to lose the layers and complexity of their actual character's perspective. They have, however, meticulously carved out their alter identities and offered us all a distinctive view into their attempts for salvation and loyalty. It will be a feat not to be missed.

Mark had a discussion about the "pure Id" of Shakespeare. This simply means that all the subtext of each character is externalized and poses certain problems for contemporary understanding; though it can make for much less investigative work into a character's background. This all sounds very scientific but ultimately comes down to the involvement of the audience and the authors attempts to give them an inside look into the characters emotions and objectives. Anyone watching will feel as if the story is being told directly to them, which is unique in itself.

I guess it can be said that theater is a sort of therapy, at least for me. Having been lost in the great shuffle of New York for the past couple of years, I am finding that acting gives us an inside look into the human condition and forces us to identify with some of the common themes that resonate with all. Also being aware of the similarities and differences between yourself and your character makes you more self aware and empathetic at the same time. Not many other professions I can think of offer that. And for the audience, it offers a perspective into a world that may not have been witnessed before. The heritage and history of our oral tradition had it's roots set in our ancient ancestor's ceremonial rites and rituals. Thousands of years ago, around a fire, there was an old, wise elder laying the groundwork for our little production in Burlington Vermont. May we do his story justice!

May Love Outweigh Fear.

King Lear: Blocking Day 8 & 9

The ladies of Lear could rival any harpies Homer ever dreamt up. Though they say there are few strong female roles, Shakespeare was not one to hold off on his ladies. Jenny Rohn (Regan) and Melissa Lourie (Goneril) are constructing beautifully the twisted sisters, daughters of Lear, and convey their ambitions so truthfully it is frightening. I would not want to be on these girls bad side.

Heather Nielson is building our fearless Cordelia with no less passion, yet much less wrath and darkness. Being so fervent in her passion to her father, she gives us a moral signpost to gauge all characters against. Heather's construction begins with her own kind hearted nature and gives us an honesty that makes us love her Cordelia all the more. She is certainly someone you can believe people would rally around.

As our apprehension as actors grow, the message Mark has conveyed becomes more pertinent and remains a stalwart theme the cast can hold tight too. Each day we are exploring further the complexities of the show and finding behavior that informs our characters. Of course, it has not all been smooth sailing. There have been several disagreements over content and intention that threatens to drive wedges between actors.

Mark started the day by reiterating the theme of love and how we may not always see eye to eye, but that we are all on the same team. If we keep our common goal in our minds, no amount of disagreement can come between us. In that way, a cast can be the purest working relationship in the end. Complimenting each other in a way that makes everyone perform to their full potential and a working environment where employees are not afraid to take chances nor be vulnerable to one another.

As we moved through the second half of the show we charged headfirst into some of our major roadblocks. The second half of the show poses some of the largest challenges. Along with one of the longest duels I've ever seen, we have a Duke to blind, a sister to poison and Edgar to frame for it. We're swamped! When the smoke clears we have at least nine dead (not including the countless soldiers in battle not seen) and a throne unclaimed. Our hope is to confront these obstacles with clear directions to convey the universal messages Shakespeare set forth about 400 years ago. We will leave it to our audience to decide.

Beautiful Day!

King Lear: Blocking Day 7

It was the fist real day of spring, though the calendar had indicated it several weeks ago. The Sun brought a warm blanket of golden light that bathed the entire Champlain Valley in its welcome glow. As I drove into town to pick up Dan, I was met with the lake’s surface awash in a sea of white light, reflecting the suns efforts from minutes before, millions of miles away. What a day for a revelation.

“You must bring joy to every role you play,” spoke our king, Donald Grody. Todd Lawson and I listened as the seasoned veteran gave us a little tidbit about the craft. “Even in a death scene, there must be joy or you will lose your audience.” I thought about this long and hard and wondered what he could mean. If our job is to reflect our emotions, from a character, to the audience, how could one be truthful by having joy in a death scene? Perhaps my character is masochistic.

As we began our run-through, I had an overwhelming sense of pride about the show. Not only because it is my first show back in the swing, but that it’s such a good show. Also, it is one of the classics, which portends all the history and legacy of our craft. I always get excited to think of all the actors that have performed this show and what they were thinking when they did so. I also like to think about where they may have come from or when they may have lived? How different were their lives than mine? Had they made some of the same realizations I have? Did they think of who may play their part in the future? Maybe they were thinking of me!

As we ran through several of the scenes I found myself having trouble staying focused and I was missing lines. Most likely, I was too busy worrying about everything but my character. It’s amazing how fast it leaves if you are out of context. I found myself a bit frustrated as we came to our dinner break.

After dinner I settled in a bit and began work with Dan on our behavior during Scene III in Act I. We have been crafting pertinent behavior for the show and are still trying to feel out what works and what distracts from the overall action. I again felt myself getting frustrated when we were asked to tone it down so that the other actors could give their lines. I wasn’t so much upset because of the directors choice but because I wasn’t melting into the scene. Too much in my head and not enough in the scene.

Paul Schnabel (Kent) and I were on the schedule for the final time slot of the evening. We got a chance to work our scenes together and iron out a few directorial choices. I found myself still a bit resistant to Mark’s direction as he made adjustments. I kept fighting to get out of my head and tried to break out of some of my preconceptions of the scene. Usually, I try to find a motivation or a cause that informs the behavior but I decided to go for results, so I intensified the volume and rushed the timing, on Mark’s suggestion. What I found was a whole new meaning to the scene and a completely new motivation behind my character’s actions. We finished with a strong run-through of the scene and Paul and I felt good about our handle on it. I realized that what I miss so much about the craft is the investigative work that goes in to a scene, and how you can continually find different ways to play it. I think I know what Donald was talking about when he said, “You have to bring joy to every scene.” I realized I was having a great time and that gave me permission to go anywhere, whether I thought it would work or not. I think this may be what separates those that do what they love and those that don’t; joy of craft. Love what you do and you can’t help but express that joy to everyone around you.

Analyze? Internalize. Realize!

King Lear: Blocking Day 5 & 6

Oh Shakespeare. You poet. You bard. You fool! All these words you offer and problems you make for our modern day ways of understanding.

There seems to be some serious interpretation issues when translating/relating Shakespeare to a more contemporary audience. I have certainly started feeling this way about my interpretations of France. The character only speaks a few lines but I am not sure of his intentions and who he is speaking to. There are countless ways to interpret these lines and I can only imagine what some of the other actors are going through. It makes for another good dilemma in giving too many options. We must analyze our character’s behavior and interactions with others to begin to whittle down the possibilities for character. In this way, we tend to get very much in our heads while we analyze our way through the text.

As we start to make these choices we must internalize these choices and allow them to resonate inside ourselves, to find some personal connection with them and ultimately available for use. David Dilego made a good point some days ago when he was faced with a challenge about his character’s (Oswald) motivations behind his actions. Oswald is one of the slimiest characters in the play and his actions continually piss people off. David’s approach to playing this is that he finds the good things in Oswald to play. He said, “I can not play all the horrible things the audience sees in my character, I can only play the positive as no one every sees the folly in their own actions”. I think this is the case with playing in to any stereotype. You must justify your character’s actions and be able to empathize with their decisions and motivations.

We also got our fist look at the costumes this weekend. What an insight into character when you can actually see them staring back at you in the mirror. The costume designer, Jenny Fulton, has really hit the nail on the head when it comes to realizing the Edwardian influence Mark is going for. Her color palate and European style jackets give a timeless look that is very identifiable and approachable. I am excited to see all the characters come to life. It was a huge help for me to see the King of France and how he dresses and how that may inform me about his character. I am especially excited for the cloak they have me in and I think it will be fun to explore all the possibilities with it. I think to realize a character you really must walk a mile in their shoes.

Drum Head Sounds!

King Lear: Blocking Day 4

"But when I came unto my beds,
With heigh-ho, the wind and the rain,
The toss-pots still had drunken heads".

"For the rain it raineth every day.
With heigh-ho, the wind and the rain,
For the rain it raineth every day".

Fool
King Lear
Act III, Scene I

Our percussionist, Brian Johnson, joined us today. What a difference sound makes. He brought an assortment of small drums and symbols (not even a fraction of the instruments he'll be using in the show) and we ran Act III Scene I. In this scene, King Lear, Ciaus (a disguised Kent) and the Fool are caught out in the countryside in the middle of a storm. This scene is important because it is the height of the King's madness and makes for high tension. Whether he will be able to come back to his senses is left in question as the storm rages all around. The Crescendos Brian is including mirror greatly the slipping in and out of this rage and strangeness. I was struck by how technical this all must be to work in the scene. The areas where these crescendos peak must work around the actors speech and vise-versa. We found ourselves running it over and over to adjust timing and levels. I feel we were all left with a clear understanding of the direction we are going with sound and content.

After a quick dinner break, we were back to work. I watched as Kent Cassella (Gloucester ) and Todd Lawson (Edmund) worked Scene II in Act III. I love watching other actors work and feel that I learn just as much by watching as by doing. I must admit that I was unsure of Todd's approach to Edmund at first but after having watched him work for the past several days I feel he is bringing a fresh, strong look to the character and that he has clear cut intentions in his scenes. I think Edmund is my favorite character in the play and I know Todd will be awesome! It is fun to watch Kent and Todd feed off each other and the scenes between their two characters are ripe with controversy and betrayal.

John Forbes, the lighting designer, came by in the second half of rehearsal to start putting together a lighting scheme for the show. We have all been so involved in the development of our characters that we take for granted all the other jobs that must be done to make the show work. The hours of behind the scene work all the technical staff puts in are not only appreciated but essential to our success and on behalf of the entire crew, I would like to thank them in advance. Having done my work study at college in the shop of the theater I know how hard it can all be and how it can often times be overlooked. It is nice to start putting some faces to names this early in the process so we can work together to showcase all our talents in this production.

And finally poor Edgar. Perhaps the most deceived character in the play. I have been watching Christopher Edwards since day one to see how he was going to overcome some of the physical and emotional obstacles his character faces in the show. His character is forced to take on the role of a lunatic in order to hide his identity after he is chased from the kingdom. There are just so many stereotypical ways to play this lunacy and Chris has avoided them all. His performance was so stirring and emotionally honest that he left everyone watching moved. I can't wait to see how much more he will bring to the role as rehearsals continue. We have staged and run half the play at this point and we all are feeling great about that. This puts us a bit ahead of schedule but let's us know we still have a long way to go. I left rehearsals exhausted but emboldened to the fact that we have a show!

Discoveries.

King Lear: Blocking Day 2

Is it more valid for an actor to make a discovery or take a direction?

It is always exciting when you find new things while exploring a scene. I'm really enjoying the amount of freedom Mark is giving us in this exploration. Whether it is physicality, vocal intonations or movement, he has been approaching the rehearsal process with the attitude, "let's try it and see." This is not to say that he doesn't have clear ideas when it comes to blocking. I overheard him speaking with an actor about a specific action another character had been playing. He was concerned when the character had lost this action and felt it may affect his performance. Mark agreed, but told him, "let's let him find it on his own." I thought, "that's putting a lot of faith in the actor." But sure enough, by the end of rehearsal, the action was back.

We also began our fight choreography, which is being lead by Paul Ugalde (also playing Albany). It's interesting how he can choreography a physical scene, while taking into consideration the character motivation and keep us safe at the same time. As we worked a small stunt in Act I, Scene IV, Paul directed Paul Schnabel (Kent) and David Dilego (Oswald) through the blocking. I got to see first hand how one character's physicality can affect the outcome of a stunt. Oswald is tripped up by Kent, who threatens him with his staff while Oswald scrambles off stage. Because of the physicalizations David has taken on, we had to rework the stunt over and over until it was safe to run at full speed. You never think of the dangers in doing a small stunt like this, but should something go wrong, and David be hurt, the production would grind to a screeching halt. I can only imagine what kind of precision it will take to choreograph the dueling scenes later in the show. Paul's attention to detail and demand for safety has set us all at ease and let's us get back to what is most important, making discoveries.

I started trying to use physicality to inform my character, the King of France. He is a stately noble, with a penchant for disruption and an air of arrogance. The discovery of this has brought me to a place, physically, where my attitude and vocal delivery are affected. I had a brief conversation with Kent Cassella (Gloucester) about this exploration and he encouraged me to try acting all impulses that come up. I am still addicted to approval, especially from actors I respect, and I am hoping he will continue to give me feedback. The entire troupe's honesty, with each other, is so refreshing and I think this is part of what I've been missing about the theater.

So we are, as actors, expected to make choices through discovery, then make our discoveries anew, each night, in front of a live audience. The process of discovery is vital to establishing a scene, as well as a character, and has the capacity to hold the audiences' attention, allowing them to engage in the experience along with the actors. And so discovery is one of the greatest tools performers have in their arsenal. It is one of the most vital elements of human nature and is what pushes us to keep learning and growing as artists and people. Our ultimate goal was perhaps summed up best by Rilke,"...to arrive where we started and know the place for the first time."

On Your Feet!

King Lear: Blocking Day 1

A mad dash to the rehearsal space today proved unnecessary as I found myself an hour and a half early. We were in the company's new space, donated so generously by one of our newest benefactors, Martin Gold of Blue Water Reality. Mark explained that Martin has been a patron of the theater for many years and offered an empty office space in one of his buildings, free of charge. It is gestures like this that make me remember what I love about the stage and it's community. The passion of all involved because they simply believe in the art form is both idealistic and unmistakable and I thank god for it. It is amazing what people can accomplish when they truly love what they are doing. I explained Mark's introduction speech to one of my friends in Hollywood and he agreed that there is just a huge lack of love of craft in this industry, and the world, for that matter.

I couldn't help but notice that directly adjacent to our rehearsal space is a day care and child support center. Ironic that we should be sharing space with these youngsters, as we are like children ourselves. Learning to walk and talk like our characters with the unselfconscious attitude that is found so readily in the youth. It has been said that children make the best actors and if this is true, we've got the perfect inspiration. Each day, our discoveries bring us closer to a sense of our characters and our interactions with each other.

Today we were also formally introduced to Freda Farrell, our Production Stage Manager. Most of the cast seemed to know her already, at least by reputation, and I found myself a bit out of the loop. She immediately handed us a contact sheet along with a mock up of our playbill and asked us to sign off on our head shot and biography. Are you kidding? She's there all of an hour and is already ahead of schedule. I'm thinking she is a good person to know and I will do my best to stay on her good side.

As we began blocking Act I, it became very apparent how different each actor's process was. Some of the players opted for ridged repetition and precise marks while others wanted to free form the blocking through exploration of the space. The prize for this had to go to Andrew Sellon, who is playing the Fool. It was amusing and energizing to watch him bob and weave his way through the space, trying out different interactions with other characters, varying his vocal tones with an enormous sense of play. It felt like every new option he presented to the ensemble was increasingly interesting which made it difficult to lock anything down. I guess this would be a good problem for a director to have. I couldn't help but think that this would be exactly how the Fool would do it, presenting a dilemma in observation that leaves one guessing at the right course of action. I very much admire Andrew's work.

Both Dan Schwartz and I started working on our relationship and tried to embody some of the mannerisms of under entertained and over indulged knights in a king's court, for Scene IV. I think we began to give ourselves options on how to bring a little comedy to a very loaded scene in the middle of Act I. I realized just how much work acting is when you don't have a lot of lines. It can be infinitely harder to develop a character without the help of the author. You are forced to rely on the interactions you have with the other characters to guide your way. In that sense, I feel I must be patient in my conclusions and continue to explore all the possibilities in the scene.