SHAKESPEARE & ENNEAGRAM EXPLORE CHARACTER
INSIDE AND OUT
DIG DEEP HERE
SUSTAINERS MAKE MAGIC MONTHLY CREATE DELIGHT WITH AN EASY, SUSTAINING MONTHLY GIFT GREEN TEA & LITTLE GREEN TEA DISCOVER MORE OUR YOUTH PROGRAMS
MAKE LEADERS OF IMPACT,
EMPATHY, & GOOD WILL
THE
SWEET TEA SHAKESPEARE
HOURS
PODCASTS, STREAMING PRODUCTIONS, LIVE MUSIC, AUDIO DRAMAS, & MORE

The Sweet Tea Shakespeare Hours Sweet Tea Shakespeare Hours | A Midsummer Night’s Dream Pt. 1

Brought  to you by Sweet Tea Shakespeare, this full cast reading of A Midsummer Night’s Dream Part 1 was directed by Molly Malone and produced by Artistic Director, Jeremy Fiebig, and Assistant Artistic Director, Claire Martin.

Cast List:

Nathan Pearce, Bottom

Traycie Kuhn-Zapata, Helena

Mia Sgambellone-Rose, Mustardseed (& Music)

Jane Moran, Starveling/Second fairy

Judson Clark, Demetrius

Cerina Johnson, Hippolyta/Titania

Saki Marie Harp, Lysander

Evan Bridenstine, Theseus/Oberon

Shelton Burkart, Snout/Cobweb

Gabe Terry, Quince/Egeus

Christine Orozco, Fairy

Tayler Cox, Moth

Taj Allen, Philostrate/ Robin/Puck

Jessie Wise, Flute/Peablossom

Laurel Moran, Hermia

David Hoyer, Snug

Thank you to our crew:

Prod. Coordinator: David Hoyer | Stage Manager: Gabe Terry | Costumer: Dena Vassey | Props: Joyce Borum | Mendelssohn Arranger: Owen Eddy | Music Director: Sarah Chapman/Gabe Terry | Resident Music Director: Jake French | Musicians: Sarah Chapman, Jonathan Breitzer, Nelson Soliva, Mia Sgambellone-Rose, Evan Bridenstine, and the entire cast on certain songs

Welcome to the Sweet Tea Shakespeare Hours, where we spend time well by spending it together. Think of the Hours as a way to pass the time around a common table of ideas. We’re a community seeking to delight in story, song, and stagecraft even as we confront a world of change and challenge.

You can find our whole catalogue here.

The Hours are only possible because of regular support from our monthly sustainers and patrons. Please consider making a monthly pledge on Patreon. With options beginning at just $5, and plenty of great perks, you’ll find a great way to join the STS family.

You can always contact the Sweet Tea Shakespeare Hours at hours@sweetteashakespeare.com.

JOIN our Facebook community here.

The show is produced by Claire Martin and Jeremy Fiebig and edited by Ashanti Bennett.

Jen Pommerenke and Julie Schaefer also assisted with this episode.

Consider following us on social media: FacebookTwitter, InstagramYouTubeTwitch

This project is supported by the Arts Council in part by contributions from businesses and individuals, and through grants from the City of Fayetteville, Cumberland County and the North Carolina   Arts  Council, a division of the Department of Natural & Cultural   Resources.

 

 

We are here to tell you about one of our sponsors anchor. If you haven’t heard about Anchor, you should know it’s, The easiest way to make a podcast. We’re using it even now to make this very podcast. Let me explain why Ankur is so great. First of all, there’s a Shakespeare connection. There is a very famous Anchor pub, just a Stone’s throw away from Shakespeare’s globe in London. Next, you should know that Anchor is free. They are our creation tools that allow you to record and edit your podcast. Write from your phone or computer, and we’ve done both today.

0

00:00:32
Anchor we’ll distribute your podcast for you hassle-free so it can be heard automatically on Spotify, Apple podcast in many more platforms where you’re listeners will find you can make money from your podcast through Anchor with no minimum listenership, its everything. You need to make a podcast all in one place it’s super easy and we could not recommend it more highly to get Anchor download the free Anchor app or go to anchor.fm. How to get started.

0

00:01:10
Sweet Tea Shakespeare is proud to present a Midsummer night’s dream by William Shakespeare directed by Molly. Malone we’re really glad you can join us on this whimsical adventure. As you join our jaunt into the Athenian forest, why not recreate the experience? Take a walk on the park, breathe some fresh air and enjoy the Sweet sound of Fairy mischief post to your Midsummer adventure on any social media platform with the hashtag Sweet team at Sommer, for a chance to win an all access pass to everything we do this season digital we’re on the ground for a complete recording of the play in one neat file.

0

00:01:44
Plus many other parks joined our community at patreon.com/sweet Tea Shakespeare. Now one side, no, we were planning this production of Midsummer two happen in person came on the ground in may and June of 2020. When the coronavirus hit, you were already in rehearsal and we were rehearsing on zoom in the hopes that we would be able to get back together. And of course that never worked out, but we wanted to honor the work of our artists who committed their time and energy to do this.

0

00:02:15
And so we got them together on zoom over a few afternoons and recorded this audio production. Now in case no one’s told you the whole story of the coronavirus pandemic is a bunch of people like theater folks scrambling to get online. And so this was before we knew what we were doing with microphones. This is before we had managed all the technology and actually this is true for like every one on the planet. So bear with us. You might hear some funky audio from time to time, but stretch your imagination.

0

00:02:48
And I think you’ll be able to go on this transformational and transportive journey. We are always grateful for your support and I’m particularly grateful for the work of Molly in the entire cast

1

00:03:00
On this production, as well as our editor on this, my friend Jake French thanks so much and enjoy this episode of A Midsummer Night street <inaudible> now Fairy

2

00:03:58
Hippolyta are optional. Our draws on a pace for happy days, bring in another moon, but Oh you think’s how slow there’s old moon wanes anchors my desires like to a step Dame or a long with a ring out a young man’s revenue, four days will quickly steep themselves in the night and four nights will quickly trim away by the time. And then on the moon, like two silver bone, you have to hold the Knight’s across and the mentees go Philostrate stirrup up.

2

00:04:31
The Athenian. You can, betterment are awake. The part of the nimble spirit of mirth turn melancholy for the funeral. The pale companion is not for our pump. Hippolyta I would be with my sword and one day I love doing the injury, but I shall wet the, and another key with pomp, with triumph and with rivaling, Theseus a rundown at Duke. Thanks going to do you ask what’s the news with the full effect session for my, it was a complaint against my child, my daughter Hermia Stanford.

2

00:05:08
Demetrius my Nova Lord. This man have my consent to marry her stand for Lysander and Mike racist Duke. This man has to be which the bosom of my child thou thou Lysander thou has given her Rives in interchange, loved tokens with my child, thou hast by Moonlight at a window. Some of what is fading voice versus the fading love and stole the impression of her phantasy with cutting has to have a filter. My daughter’s art turn her obedience, which is do to me to stop it at harshness and a by grace is to be it.

2

00:05:46
So she will not here before you’re grace consent to marry with Demetrius. I begged the ancient privilege of actives as she is mine. I may dispose of her, which shall be either to this gentleman or to her death. According to our law immediately provided in that case.

3

00:06:04
What say you Hermia be advised fam made to you. You have a father, should we as a God one who composed your duties? Yeah. And one to home you are about as a form in wax, by him and printed and in his power to leave the figure or disfigure it. Demetrius is a worthy gentlemen.

4

00:06:25
So is Lysander

3

00:06:27
Well in himself, he is, but in this kind, wanting your father’s choice, the other must be held the worthier.

4

00:06:36
I would, my father looked, but with my eyes,

3

00:06:39
Well rather your eyes must with his judgment. Look,

4

00:06:43
I do intrigue a grace to pardon me. I know not by what power I am made a bold nor how it may concern my modesty and such a presence here to plead my thoughts. I do, but I besiege your grace. I know the worst. Maybe follow me in this case. If I refuse to a wet Demetrius

3

00:07:01
Either to die the death or to have joy forever, there’s a society of men. Therefore Hermia question your desires. No of your youth examined well, your blood. Whether if you yield not to your father’s choice, you can do they every have a non and live a barren sister, all your own life. Chanting faint hymns to the cold fruitless moon and thrice Les of the day that master.

3

00:07:31
So they have to undergo such a maiden pilgrimage, but earth, they are happy is the Rose distilled. Then that witch with a ring on the Virgin, thorn grows and lives and dies and a single blessedness.

4

00:07:46
So I will grow so live so die. My Lord air, I will yield my version pattern of on to his board ship, who is on wish it yoke my soul consents, not to give sovereignty,

3

00:07:57
To pause and buy the next new moon. The ceiling date between us by 11, me from everlasting bond to a fellowship upon that day, either prepared to die the death for disobedience to your father’s will or else to emit when Demetrius as he would a four on Diana’s alter to protest for eye austerity and single life

2

00:08:19
Relent suite. Hermia in my Sandow you and I take like the title of my sermon, right? You have her father’s love to Matrice. Let me have Hermia is, do you marry him scornful? Lysander true. You have to have my love. And what is mine in? My love shall render him. And she is mine and all my right to her. I do estate of two Demetrius. I am my Lord as well.

2

00:08:49
Derived as he as well possessed. My love is more than his.

5

00:08:56
My fortunes every way is fairly ranked. If not with vantage as Demetrius. And which is more than all these boasts can be. I am beloved of beauty as Hermia. Why should not. I then prosecute my right Demetrius of a voucher to is head made love to neighbor’s daughter Helena in one herself and she is sweet lady, dopes, devoutly, dotes, dotes in idolatry upon this spotted and in man,

3

00:09:32
I must confess that I had heard so much in With demetrius.com spoke thereof, but being over full of self affairs, my mind did lose it. Well Demetrius calm. Energy is calm. I have some private schooling for you, both for You fair. Hermia look U on yourself to fit your fancy is to your father’s will or else the ancient law of Athens gets you up to death or to have a valve, a single life.

3

00:10:03
How now they call it that watch here at my love. A Demetrius energy is to go along. I must employ are you in some business against are a nutshell law and confer with you of something nearly that concerns yourselves with duty and desire. We follow you.

5

00:10:21
Oh no, I love why is your cheek? So pail, how a chance the Rose is their do you feel are so fast? He liked for a while

4

00:10:30
Of rain, which I could well, but team from the Tempest of my eyes.

5

00:10:35
Hi me for all that I could ever read, could ever hear by tale or history or the course of true love, never did run smooth, but either it was different in blood

4

00:10:53
Across to beat too high, to be in thrall to low

5

00:10:57
Or else. Miss Gafford in respect of years,

4

00:11:02
To be to old being gauged to a young man

5

00:11:05
Or else it stood upon the choice of friends.

4

00:11:09
Hello, to choose love by another’s eyes.

5

00:11:13
Or if there were a sympathy in choice, ward, death, or a sickness, it lay siege to it, making it momentary is a sound Swift. It is a shadow short as any Dream brief as the lightning in the colleague, Night that in a spleen unfolds both heaven and earth and air. A man has power to st. Peter, the jaws of darkness do devour it up so quick, bright things come to confusion.

4

00:11:49
If then true lovers have ever been crossed. It stands as an edict in destiny. Then let us teach our trial patients because it is a customary cross as do, to love as thoughts and dreams and sys wishes and tears. Poor fancies followers,

5

00:12:07
A good persuasion. Oh, therefore hear me. Hermia I have a widow aunt, a dad with you’re of great revenue. And she has no child from Athens is her house remote seven weeks. And she respects me as her only son, their gentle Hermia ma I Mary, the end to that place, the sharp Athenian law cannot pursue us.

5

00:12:38
If that loves me, then steal forth thy father’s house tomorrow night and in the woods ELEAGUE without the town where I did meet the ones with Helena. Did you go observance to a more end of may there will I stay for the,

4

00:12:54
I could Lysander I swear to lead by Cupid strongest bow by his best era, with the golden head, by the simplicity of being as high as doves, I all the vowels at ever men have wrote a number more than ever a woman’s spoke. And that same place though has a point in me tomorrow. Truly I will meet with the,

5

00:13:15
He promised love. Look here comes Helena.

4

00:13:20
How has it stayed there Helena whether a way call you to be fair. That fair again, and say Demetrius loves your Farrow. Happy their eyes are Lodestars in your tongue. Sweet air more tuneable than Lark to Shepherd’s ear. Wheat is Greene. When Hawken puts up here, sickness is catching on our favor. So the doors would I catch for Hermia air. I go, my ear should catch your voice. My eye, your eye, my tongue should get your tongue.

4

00:13:51
Sweet melody with a world. Mind Demetrius being baited. The rest I’d give to bet you translate it. Teach me how you look and with what are two swayed. The motion of Demetrius is hard. I frown upon him yet. He loves me still. You know, that’s your frowns can teach my smile. It’s a skill. I give him Kirsten as yet. He gives me love. Oh, that my prayers can such affection move. The more I hate, the more he follows me, the more I love, the more he hated me.

4

00:14:21
His folly Helena is no fault of mine. Number to your beauty was at fault where mine take comfort. He no more shall see my face Lysander and myself will fly this place before the time I did Lysander see, seemed Athens as a paradise to me. And then what grace is in my love to dwell that he have turned. I heaven unto a hell,

5

00:14:47
Helen to you, our minds, we will unfold tomorrow night when Phoebe just behold her silver visage in the watery glass decking with liquid Pearl, the bladed grass at a time that lovers is flights, but it still can seal it through Athens Gates. Have we devised to a day

4

00:15:08
And in the woods were often you and I upon faint Primrose bed, where we want to lie, emptying our bosoms, have their sweet Council there. My Lysander and myself shall meet and dance from Athens, turn away our eyes to seek new friends and strange are companies who they are. Well Sweet light play fellow Cray for us and good luck rant VII. Demetrius keep word Lysander. You must start our site from lovers food till Mauro deep midnight.

5

00:15:40
I will. My Hermia Helena a day. As you want to him, Demetrius dote on You how happy some are. Some can be through Athens. I am thought a spare. She is, but what if that Demetrius thinks not? So he will not know what all, but they do know. And as he airs Dodie on Hermia his eyes. So I admiring of his qualities, things based and vial holding. No quantity. Love can transpose to form and dignity love.

5

00:16:10
Look’s not with the eyes with the mind. And therefor, as we need, keep it painted blind nor half loves mind. If any judgment tastes wings, no eyes figure on a CD eight. And therefor is love said to be a child because in choice, he is so often beguiled as wag as boys and King themselves for swear. So the boy love is perjured everywhere for air Demetrius looked on. Hermia his eyes he hailed on, Oh, is the key. We’re only mine. And when this hail some heat from Hermia felt so he dissolved in showers of oats.

5

00:16:43
Did melt have a go tell him at their home he is flight into the woods. Well, he, tomorrow Night pursue her. And this intelligence, if I have things, it is a Deere expense, but here in Nina and I to enrich my pain, to have his site through there and back again,

2

00:17:12
Is it all our company here? You our best to call them in generally man, by a man. According to the script, here is the scroll of every man’s name, which was not fit through all Athens to play in our interlude before the Duke and that, that just on his wedding day at night. But first good. Peter Quince save with the play treats on, then read the names of the actors. And so grow to a point. Mary on our plate is the most lamentable comedy and to most cruel death of Pyramus.

2

00:17:44
And Thisbe a very good piece of work I assure. And Mary now, Peter Quince call a fourth year. actors’ by the scroll masters spreads ourselves and say, as I call You Nick Bottom through Weaver, ready name what? Part I am four and proceed. You and Nick, Bottom our set down for Pyramus. What is Pyramus? I loved her or a tyrant, a lover that kills himself.

2

00:18:17
Most of gallons for the love that will ask some tears and the true performing of it. If I do it, let the audience looks their eyes. I will move storms. I will condole in some measure to the rest yet my chief humor is for a tyrant. I could play air Please rarely or part to tear a cat in to make all splits. But are you doing rocks and shivering shocks show break the locks of a prison Gates and feel this is gone.

2

00:18:54
So Shai in from far in the fall as fate. Now name the rest of the players’. It just floats at the bellows mender here, Peter Quince Flute you must take this beyond you. What is this? Be a wandering Night it is the lady that Pyramus must love. Let me not play a woman.

2

00:19:24
I have a beard coming. That’s all one. You shall play it in a mask and you may speak as small as you will. And I may hide my face. Let me play this. Be true. I’ll speak. And a monstrous little voice. There is a Thursday. Oh, miss my love idea.

2

00:19:54
No, you must play Paramis. And Flute you fist be well proceed. Robyn. Starveling the Taylor here. Peter Quince Robyn. Starveling you must play Thisbe his mother. Tell us about the taker. He and Peter Quince You Pyramus is father my self fizz by his father. Snug the joint. Are you the lions? Part and I hope here is a play fitted.

2

00:20:27
He’s a lion’s part written pre you, if it be, give it me for, I am slow of study. You may do it. Extemporary for this thing, but roaring, Oh, let me play the lie in to, I will go or that I will do any man’s heart. Good to hear me. I will roar that. I will make the Duke say, let him roar again. Let him roar again. And you should do it too terribly. You would Frank the Duchess end of the ladies that they would shriek and that they were enough to hang us all.

2

00:21:03
<inaudible> then I will aggravate my voice so that I will for you as gently as any sucking dove, I will go, are you and to work any Nightingale, you can say no part, but Pyramus four Peerless is a Sweet face to man, a proper man, as one shall see on a summer’s day, a most lovely gentleman like man, therefore you must need play.

2

00:21:33
Pyramus well, I will undertake it. What beard were the best to play it in. Y you will now masters here on your part and I am too intrigued. You request you and desire for you to cut them by tomorrow night and meet me in the palace with a mile without the town, by Moonlight there we’ll we rehearsed for it. We’d meet in the city. We shall be talked with company and our devices. No, I pray.

2

00:22:04
You fail me. Not. We will meet and their, we may rehearse the most obscene lady and courageously take pains to be perfect. I do at the Duke’s Oak, we meet enough to hold or a cut of both strings.

2

00:22:36
Hello? Now, a spirit with a wand. Are you okay?

7

00:22:39
Over Hill, over Dale, there a blush, a thorough Brier over park. We’re pay after a flood. They are on fire. I do wander everywhere. Swift are fair, and I serve the fairy queen to do her orbs upon the green with cowslips tall, her pensioners be and their gold coats spots. You see those bee rubies. Fairy favours in those breadcrumbs live in their sabers. I must go seek some dewdrops here and hang a Pearl in every cowslips ear that are well. Now a lot of spirits I’ll be gone, are clean and all our elders come here and on the team.

2

00:23:14
Keep us rebels here tonight. Take here. The queen comes with an, a site for Oberon is passing bill and wrath because that’s she, as her attended had a lovely boy that’s stolen from an Indian because I had so speed to change a thing and jealous Oberon. It would have the child now to this train to trace the fourth mile, but she purports with holds. They love it boy, and a balance, and it makes him all her joy. And now they never meet in Rome or the green by County Vieira, Spangled star like sheen, but they

8

00:23:46
Do a square that all the elves for fear creep into the acorn cups and I then their

7

00:23:52
Either I’m a steak, your shape and making quite, or a few are that shrewd in a neighbor strike called Robin Goodfellow, not here. That strikes the maidens of the village, skim milk, and sometimes Labour in the corn in bootlace makes the breakfast husks white churn, and sometimes make the drink to bear no barn mislead. Night launders laughing at their heart. How is that? All you and sweet Puck. You can do their work and they shall have a good luck. Are you not here?

8

00:24:20
Don’t speak as to the right. I am that Merry wander or of the nights. I just Oberon and make him smile. When I have that <inaudible> meeting and likeness, I’m a fairly close and sometimes a guy and the gossip bone and the likeness of a most of the crime. And when she drinks against her lips, I Bob, and on the weather do that, or the El the what?

7

00:24:42
This is aunt

8

00:24:45
Sometime for three bullets, stole mistake at me, then slip buy from her mom down top and tail up in the whole choir, a hole there and waxing and mirth in peace and swear a merrier aloe. It was never a wasted. There was a very good over on,

7

00:25:06
And here are my mistress. Would that he was gone

8

00:25:09
No met by Moonlight. Proud Titania

7

00:25:14
Well, that’s a jealous Oberon berries, skipped hints. I have forced more in his bed and his company

8

00:25:22
Terry rash. Want to know, am I not by you Lord?

7

00:25:24
Well, then I must be done, but I know it now has stolen away from the very end and in the shape of Corey and said all day, playing on pipes of corn in the first thing, love to see a LIDAR. Why is art thou here coming from the farthest speak of India, but that’s for SU the bouncing Amazon. You’re a bus skinned mistress. As you know, a warrior Theseus must be wedded as you come to make their bed joy and prosperity.

8

00:26:01
Ken style bus for shame Titania glance at my credit with a politician, knowing I know that I love to, Theseus still not lead him through the delivering dog to parent who not whom he ravish should and make him with fear equally, just break is faith with area and me and, and tie up.

7

00:26:26
Well, these are the forgeries of jealousy and never since middle summer, spring med, we are at Hill and Dale for us, the more meat, but with the eyeballs calc test disturbed Hours sport. Therefore the piping to us in vain as in ribbons, kind of sucked up from the sea contagious bonds, which falling in the land, every penalty river mates, so proud that they have overboard, their continents, the ox therefore stretched his yoke in, or the plow in Manhattan lost his sweats in the green corn Hackerati at Eric’s youth attained a beard.

7

00:27:09
The folds stands empty in the dry field and CHROs are bad at, with a mirror and a black, no night is now with him or Carol blessed. Therefore the moon, the governess of floods, pail in her anger washes all that rheumatic diseases, dual bound. And through this, this temperature, we see the Sisense alter where we hit it. First of all, in this fresh slab with the Crimson Rose in on old Hines bit.

7

00:27:39
And I see crown and odor is Chaplet of Sweet summer. Bloods is as an mockery set the spring, the summer, the child, the autumn, the angry winter changed their wants and deliveries, and the amazing world by their increased now knows nuts, which is which, and this same progeny of evils comes from our debate. From our descension. We are in the parents and original.

8

00:28:05
Are you amended, then it lives with you. Why should Titanic cross her? Oberon I do put back a little change in the child to be my henchman

7

00:28:17
Set your heart at rest, or the fairyland land buys not the child’s with me. His mother was buttress of my order and in the spice at Indian air by night, we often had she gossiped by my side and sat with me on Neptunes is yellow sands, Mark, and B embark at trader’s Honda as the lead, when we have lacked and to see the sales can see and grow big belly with the wanton wind, which she was pretty and swimming gate, following a womb, then Ridge with my young Squire, with imitate and sail upon the lands of French be trifles in return again as from a volume of a bridge with merchandise, but she being mortal of that boy to die.

7

00:29:07
And for her sake, do I have, you’re a pro boy. And for her sake, I will not part of him.

8

00:29:14
How long within this word intend to stay. That’s it

7

00:29:17
Per chance. Two after Theseus is a wedding day. It, you won’t pay a strictly dancing our round and see our Moonlight rebels go with us. If not shun me and I will spare you and your haunts.

8

00:29:31
Give me the boy and I will go with you.

7

00:29:33
Well, not for that very kingdom. There is a way when we should tried to buy a longer stay. Well, go by way

8

00:29:46
Of a shop, not from this Grove till I told Mindy for this injury gentle Puck come here there. I remember just since when I sat upon a momentary and herd a mermaid on the dolphins back, and certain stores shot madly from this fears to here, the seed mates Music

7

00:30:09
I don’t remember.

8

00:30:10
That is very time I saw, but that could not flying between the cold moon in the earth. Cupid, all armed certain aim. He took at a fair Vestal, throne it in the West and loose his love shaft smartly from its bow. As it appears to a hundred thousand Harts, it fell upon a little Western flower before milk white now purple with Love’s wound and maidens call it love in idleness.

8

00:30:49
That just me, that flower or the herb I showed the once, the juice of it on sleeping eyelids late will make all man or woman madly don’t upon the next life of creature that it seize fetch me at Harp and be thou here again, or the Leviathan can see it on me.

7

00:31:07
I’ll put the girdle a round about the earth in 40 minutes.

8

00:31:13
And what’s this juice I’ll watch Titania when she is asleep and drop the liquor, have it in her eyes. Okay. The next thing then she waking looks upon, be it on the lion bear Wolf or a bull she saw pursuing with the soul of love and air that take that child from office site. As I can do it with another earth, I’ll make her a render up her page to be, it comes together.

8

00:31:46
I am invisible. We will hear their conference.

7

00:31:50
I love the not their fault. Pursue me not. Where is Lysander and fair. Hermia the one on one. Stay on the other. Stay with me. They’ll told to me they were stolen on to this wood. And here am I and wood within this world because I cannot meet my Hermia. Hence get them gone. Follow me no more. You draw me. You hard-hearted adamant, but yet you draw not. I in from my heart is this true? Is a steal. Maybe here, a power to draw, and I shall have no power to follow you, but do I entice you?

7

00:32:20
You, I speak you Fehr or rather doing it. Not in play to the truth to tell you, I do not know where I cannot love you. And even for that, I do love you. The more I am your spaniel. And Demetrius the more you beat me, I will fall on you use me, but as your spaniel spurned me, strike me, neglect me, lose me. Only gave me leave on working as I am to follow. You tend to not too much of the hatred of my spirit for I am sick. When I do look, I’m the, and time sick. When I look not on you, you, you do impeach your modesty two much to leave the city and commit yourself into the hands of one that loves you not to trust the opportunity of Night with the rich words, their virginity.

7

00:33:01
You’re a virtue is my privilege, but that it is not Night when I do see your face. Therefore, I think I am not in the Night. No, not This would lack worlds of a company for you in my respect are all in the world. And how can it be said I am alone when all the world does, he had to look on me. I’ll run from the inside of me in the breaks, and we’d be to the mercy of Wilder beast, or the wildest half of not such a heart as you were on. When you will. The story shall be changed. Apollo flies and Daphne holds the chase.

7

00:33:32
The dove pursues, the Griffin, the mild time makes speed to catch the tiger bootlace speed. When cowardice, pursues and Valor flies, I will not stay with the questions. Let me go. Or if they’ll follow me and do not believe, but I shall do the mischief in the wood. Aye. In the temple, the town in the field, you to me mischief. So I Demetrius, you’re wrong is to set a scandal on my sex. We cannot fight for love as men may do. We should be moved and we’re not made to Whoa, Well follow the and make a heaven of hell to die upon the hand.

7

00:34:09
I love so well,

8

00:34:12
They were the wellness, or he knew me in this Grove, thou shall fly him and he shall see, you can die. Love asked the flower there to wander. There it is. I pray. Thee gave it to me. I know a bank where the wild time blows, where Oxford’s in the nodding. Violet grows quite over canopy with luscious Woodbine, with sweet Musk roses.

8

00:34:46
And with excellent time there sleeps. Titania sometime have a night lulled in these flours with dancers and a light and their, the snake throws her enameled skin. We’d wide enough to wrap a farrier and with the juice of this aisle, streak her eyes and make her full of hateful fantasies. Take out some of it and see through this Grove.

8

00:35:18
A sweet Athenian lady is in love with a disdainful youth, annoyed his eyes, but do it when the next thing he is, spies may be the lady and I’ll show, you know, him buy the Athenian Carmen. So we have on effected with

1

00:35:38
Some care that he may prove more fond on her than she upon her. And look there and make me are the first Cox CHRO.

1

00:35:53
<inaudible>.

The Sweet Tea Shakespeare Hours Intensive | As You Like It

Brought to you by Sweet Tea Shakespeare, this full cast reading of As You Like It Part 1 was directed by Assistant Artistic Director Claire Martin.

Orlando, ​​​​​Edmond Clark

Adam / Sir Oliver Martext,​​ ​Tyrone Kiaku

Le Beau / Jacques​,​​ William R. Bartley

Oliver,​ ​​​​​Jordan Beck

Charles the Wrestler / Lord / Silvius, ​Ronald Román-Meléndez

Celia​​​​​​, Jillian Robinson

Rosalind, ​​​​​Alexandra Stroud

Touchstone, ​​​​​Alex Osbourne

Second Lady / Audrey, ​​​Claire F. Martin

Duke Frederick / William, ​​​Michael Morét

Duchess Senior, ​​​​Raechel Fisher

Amiens, ​​​​​Siena Brown

First Lady / Phoebe, ​​​​Kelsey Petersen

Hisperia / Corinne, ​​​​Rebecca Lashmar

Welcome to the Sweet Tea Shakespeare Hours, where we spend time well by spending it together. Think of the Hours as a way to pass the time around a common table of ideas. We’re a community seeking to delight in story, song, and stagecraft even as we confront a world of change and challenge.

You can find our whole catalogue here.

The Hours are only possible because of regular support from our monthly sustainers and patrons. Please consider making a monthly pledge on Patreon. With options beginning at just $5, and plenty of great perks, you’ll find a great way to join the STS family.

You can always contact the Sweet Tea Shakespeare Hours at hours@sweetteashakespeare.com.

JOIN our Facebook community here.

The show is produced by Claire Martin and Jeremy Fiebig and edited by Ashanti Bennett.

Jen Pommerenke and Julie Schaefer also assisted with this episode.

Consider following us on social media: FacebookTwitter, InstagramYouTubeTwitch

This project is supported by the Arts Council in part by contributions from businesses and individuals, and through grants from the City of Fayetteville, Cumberland County and the North Carolina  Arts  Council, a division of the Department of Natural & Cultural  Resources.

We’re here to tell you about one of our sponsors. Anchor if you haven’t heard about Anchor, you should know it’s, The easiest way to make a podcast. We’re using it even now to make this very podcast. Let me explain why Anchor is so great. First of all, there’s a Shakespeare connection. There is a very famous Anchor pub, just a Stone’s throw away from Shakespeare’s globe in London. Next to you should know that Anchor is free. They’re our creation tools that allow you to record and edit your podcast, right from your phone or computer.

0

00:00:30
And we’ve done both today. Anchor we’ll distribute your podcast for you hassle-free so it can be heard automatically on Spotify, Apple podcasts, and many more platforms where your listeners will find it. You can make money from your podcast through Anchor with no minimum listenership, it’s everything you need to make a podcast all in one place it’s super easy, and we could not recommend it more highly to get Anchor download the free Anchor app or go to anchor.fm to get started.

2

00:01:05
Hello, welcome to the Sweet Tea Shakespeare Hours where we spend time. Well, by spending it together I’m Claire Martin and thank you so much for joining us. My name is Claire Martin and I need Assistant Artistic Director of Sweet Tea Shakespeare and I’m joined here today by a Jeremy Fiebig the artistic director Director and a new friend of ours will Bartley the artistic director of KOP. A fem LOC is a theater company based in Toronto Canada.

2

00:01:35
Well, thank you so much for joining us today. It’s great to have you on the show. Thank you for having me

0

00:01:40
And to be a part of the conversation.

2

00:01:43
So today we are taking a deep dive into Shakespeare’s pastoral comedy As You Like It will. And I have been kinda in each of these orbits for a few months. Now we met doing a drug Shakespeare game, which is how all the best friendships start. And then from there, we just sort of continue to stay in touch. I have appeared as a guest on a couple of hemlocks podcast in the past, and recently we each submitted seven actors to a full cast, zoom SU zoom reading of As You Like It.

2

00:02:16
We used an adaptation that I had done, and that will be dropping as a podcast some time soon, we’ll read for a Jacqui’s B to B melancholic sardonic, a forest dweller with the Duke. I was supposed to read stage directions and ended up reading for Audrey, which was hilarious. And today we’re just going to say, we’re just going to dive into the play because it is an absolute gold mine and deservedly, one of Shakespeare’s most beloved comedies.

2

00:02:46
So the first thing I’d love to ask for, for both of you guys is like a, one of your experience a past and present with As You Like It and what draws you to the play?

1

00:02:59
Well, I suppose

3

00:03:00
I can jump on that one first in truth. Like I’ve read this place so many times. It’s one of my favorites. When I look back on the entire Canon for Shakespeare, my unfortunate side of it is that I’ve never actually been able to be a part of a production. And the most experience I have with it is taking a lot of soliloquies of monologues from It and refining it as an actor as well. So I was very excited to get through one full reading of it, and then to also play my favorite character, Jake, see just from the entire Canon, he is just so early and cynical and facetious all the time. And so being able to bring that to lighten to the reading was a lot of fun for me.

3

00:03:33
So I’m hoping that moving forward in the future, at some point, I’ll have a chance to maybe direct the play or act in, in, in some capacity

4

00:03:40
And you’ve written a play based on it.

3

00:03:42
That is very true. Yeah. I’m currently developing a play a that is based on the seven ages of man, a speech, all the world’s a stage a where basically using the seven ages that Jake We breaks down in terms of what our roles are in life. I represent seven different archetypes of Shakespeare’s characters on the stage. I just shake, we kind of move through them and a, and a very, which how they show up, I guess, in a very shake we way of killing off these archetypes as a way to rediscover his own identity, which I believe is a big struggle of the character for the, the play of As You Like It as well.

3

00:04:16
So, yeah.

4

00:04:18
Awesome. Jeremy you have an, you have a storied history with display.

3

00:04:23
Oh my gosh. Yeah. So I think my history with this play began with production. I was an assistant director and, and a stage manager for the American Shakespeare center in 2006. And I heard that play many dozens of times as a part of that process. And then since then, since coming to Fayetteville, I directed it at the Gilbert theater and played the Dukes in that production Sweet Tea Shakespeare has done it sort of won.

3

00:04:59
And a half times sorta we did, and then a Renaissance style production with some friends of ours at a, the black forest conference a few years ago. And then right after that, we did a full production that I, that I could record. And, and then I directed it last summer at who’s your shakes in Indiana? So well, and I was in at once. I, I like I did play, I did play Jacqui’s The like the summer after my first year of teaching, I went to pigeon Creek Shaks in Michigan and played jQuery.

3

00:05:39
Is there,

4

00:05:41
Was it fun?

3

00:05:44
It was fun. I love that character. I think he’s the, he’s a brilliant a*****e. And a, I just love it. If I could ask you, I mean, Jake, we have some of the best speeches in all of the Canon and yet so many of them in this play, which was your favorite while you were playing a character. The my favorite to play his is, is one of the ones where he’s describing touchstone on the kind of having the conversation with touchstone at the same time.

3

00:06:16
And there’s just a, umm, just a great Like its almost like a patter song, a verse right there. And I just love it. It was fun to do

2

00:06:27
That is one of the best Shakespeare entrances when he comes in and just immediately starts with a fool, a fool. I met a fool in the forest. I’m like, it doesn’t, it doesn’t get much more delightful or I don’t know, Like buoyant than that, those like that like the triple exclamation marks and just the, you know, the repetition of that word. Yeah. It’s a fun, that’s a, that’s a really sort of jazzy entrance. It’s one of my, one of my favorite walk-ins yeah.

3

00:06:55
Well I find it to like, well I’m sure we’ll get into it during the conversation here, but I find it so interesting too. One of the only characters aqueous seems to take join in and the excitement and is a touch stone. Yeah. Like he is so excited to talk about touchstone in his entire involvement in the In at the plot itself. And then we have other characters who play music, but he’s very demanding and cynical towards them. So yeah, it was nice to see that other side of Jake We coming through with the presence of touchstone in the place. So yeah.

2

00:07:20
Awesome. Well the first thing we want to do just like with Love’s Labour’s lost, I’m going to do just a brief rundown of the plot so that we know what’s going on in this funky flight. If I, if there are any holes or issues as they come up, please, please correct me. Basically. This place is a, it is a sparkling romantic comedy that starts in completely the opposite vein. So we opened at the court of Duke Frederick, who is actually a usurper. So he is the younger brother, a of the sort of authentic legitimate Duke who is, who is foisted out and sort of taken over control of his kingdom.

2

00:07:58
And so Duke Fredrik has a daughter named to Celia and Duke senior is elder brother and who is banished. A also has a daughter named Rosalyn and Rosalind is living in the court with Duke Fredrick and Celia because the, the cousins Celia and Rose are like the best of friends and eternally loyal to each other. And so Frederick has allowed his niece, ah, to reside with him, even though she’s the daughter of the brother that he, that he chased off the throne.

2

00:08:30
We also have more sort of family drama. We have these two brothers Oliver, the elder and Orlando, the boys, they are the S they are the sons of a nobleman who is now deceased, who was loyal to Duke senior Rosalyn’s Spanish father all over is a, quite a Hottie and to sort of insanely jealous of his younger brother. And so for, for reasons that he mostly keeps to himself, he has sort of cut all a cut Orlando’s inheritance off.

2

00:09:05
So Orlando’s is not getting any of the money that he was promised by his father. And he hasn’t gotten any of the education or privilege that should, we sort of should come along with his rank. And so there’s tension between the brothers, the very, very first scene play features, then getting into a literal fist fight. So there is like there’s there’s family, family tensions, a mug in this court. The first kind of major plot point we have is that Orlando decides that he is going to challenge Charles, the wrestler who’s this like a gargantuan, a behemoth Mann, who is, who is, who wrestles for the pleasure of the court.

2

00:09:39
It’s a sport that they can all watch or decides to wrestle him and all of her things. This is great because the likelihood that his, you know, weakling brother will get absolutely snapped in half is very high. So he’s all for this Rosalyn and Celia. Meanwhile, along with a fool in the court named touchstone, they decide that they’re going to watch the wrestling match. They try to dissuade Orlando from It. They can’t, he’s pretty dead set. Its got a bit of a suicidal thing going Orlando and Rosalind have a meet cute and fall instantly, if not in love, then they’re just instantly smitten with each other.

2

00:10:14
A to the point that Orlando was literally struck down in camp, can’t talk

5

00:10:19
Amazing

2

00:10:20
In Orlando wins the wrestling match. When we did the reading, we had a lot of theories as to how but Orlando wins and, and Rosalyn gives him a necklace around her neck to where in the old sort of iconic tradition of the lovers exchanging favors and no sooner has this kind of fledgling romance begun. Then Duke Frederick decides that it has gotten too dangerous. Having the, a beautiful, witty self-possessed Rosalind at the court as a reminder to everyone I’m of the injustice that he has done to her father.

2

00:10:52
So Duke Frederick banishes Rosalyn says get out of my, get out of my kingdom, get out of my car. And Celia decides to go with her. She says, if you were banished than I am to screw my dad, let’s, let’s run away into the forest together. They decided to run into the forest of Arden, which is where a Duke senior Rosalyn’s father has been hiding out with a bunch of the Lords, including Jake wes’ and for their own safety. The girls decide that Rosalind will disguise herself as a boy and go by the name Ganymede and Celia will pose as a peasant named Aliana his sister.

2

00:11:29
And so in that way, they can be tied together, but they sort of have this additional safety net of the, the appearance of a man traveling with them. They also decide to bring touchstone. Cause if your going on a road trip, you want the one that’s going to crack all the jokes. So they all run into the forest of Arden. Meanwhile, Oliver decides that that is a pretty good idea to is to his own brother. So he tells Orlando, he, we first tried set him on fire. God, this is a weird, like he tries to, he tries to at least decides he’s going to Like maybe set the house on fire, wherever Orlando lives, Orlando escapes that.

2

00:12:00
And a along with their man servant Adam who served their father when he was alive, Adam and Orlando also run into the forest of Martin to flee Oliver’s rats. We have all have our quote unquote good characters running into the forest and we have our leading heroine in a, in cross dress. So then we sort of, then we sort of the whole tenor of the place shifts as the location of the place shifts from this very cold autocratic male dominated court into, into this sort of pastoral fairytale of a forest.

2

00:12:30
The forest of artists were we meet to Duke sr Rosalyn’s father and his Merry men. Basically some of whom our Lord’s that sort of followed him into banishment. Jake we use is the Duke’s companion and is kind of what a touchstone is for the girls. jQuery is provides a amusement and sort of sardonic a commentary on the world around them. He’s much more melancholy in much more cynical than a touchstone.

4

00:12:58
The, the F,

2

00:13:00
The friendship and comradery and humor that he provides with the Duke is similar to what touchstone is offering to the girls. And so then sort of from then on were in were much more into a traditional romantic comedy Orlando connects with Duke senior and sort of finds his way to the It

4

00:13:18
And the enclave. And once he is

2

00:13:21
He’s, once he’s settled, he starts writing love poems to Rosalyn and pinning it up on trees, Rosalind and Celia and touchstone fight in some of these poems and read them and they are horrendous and Celia in touchstone, Like give Rosalyn so much crap for how head-over-heels her, her, her boys, and love. And then Rosalind meets Orlando. In of course she is dressed as a boy and she decides to, to have some fun with him and also to test his love. And so she approaches him as Ganymede well, she does not reveal her true identity.

2

00:13:55
And she tells Orlando that if he is truly in love, she can cure him of his love sickness. All he has to do is visit her every day and call a hymn. Her pronouns are a really hard when talking about this play a woo Ganymede basically by calling Ganymede Rosalind. And so this double role play sort of emerges. That becomes a long extension of, of sort of a wooing seen in reverse in which Rosalyn, as Ganymede, as Rosalind basically puts Orlando through his paces to, to sort of puncture his more idealistic notions of love and, and introduce him to Like

4

00:14:34
The full a miracle and Magnus of loving a woman.

2

00:14:40
Meanwhile, there are like shepherds and shepherds is that our running a muck. And so we have a poor besotted shepherd named Silvia is chasing this really sort of hot sassy when she named Phoebe, who could not be more disdainful to him, could not be less interested and they have some really fun back and forth. Phoebe and Sylvia, we run into Rosalyn dresses. Ganymede in a true kind of 12th night fashion. Phoebe falls in love with, Ganymede not realizing it’s a woman. And so we have a love triangle that emerges. I mean, it’s really more like a love rectangle, but Sylvia, some Phoebe don’t know about Orlando.

2

00:15:15
And I mean, while touchdown has Like, he’s got the house that’s for this hot shepherdess named Audrey. And so all of these are all of these love stories began emerging. Umm, at one point we have all of her come into the forest and Olivers had changed a part and he meets Celia and they fall in love at first sight. So by the time we get to the end of this play, Rosalind is in a position where she has to sort of reveal herself as a her and also reveal that she has been sort of responsible for so many of the relationships that have developed in the woods.

2

00:15:48
And we get this sort of remarkable final scene in which she and Celia go off together. And then they come back on and Rosalind is now dressed as a woman and Duke sr in Orlando are like, Oh my gosh, I’m in. So she re reconciled, she reunites with our father and she promised this to marry Orlando, Phoebe promises to marry Sylvia because she can no longer be with the, with the enemy because the enemy isn’t a real. And then we have this double double day ASX Mokena where Hyman, the literal God of marriage arrives.

2

00:16:20
And Like makes, you know, these Like just sings a song about how marriage is wonderful and he’s going to sort of conjure all of these marriages. And we also have a J a Jack, the boy, the, the middle brother at Orlando and Oliver who has been away in school. He arrives in says, Duke Fredrick has met at a religious man in how to change your heart. He has, he is decided to leave his pretensions to the throne like Duke senior. You can go back to court. Now you can be back in charge. All of the sort of social instability has been rectified.

2

00:16:52
Everything is put back in order. And we end with, with that sort of those four marriages and that promise of the Duke Duke senior re attaining the throne and Jake MES tells him I’m going to join Duke Fredrick in exile and, and do the sort of monastic life. And so, ah, and then everybody dances because its kind of funny. So yeah, it’s four Shakespeare and comedy. It is fairly, it is fairly light and cheery at the beginning.

2

00:17:23
The first act is not. And I think Jacqui’s is a departure at the very end is, are one kind of, that’s our one melancholy note that we end on. Right. But it is. I mean it’s how about as Jubril and, and ending as you can get its got, I don’t know if there’s a Shakespeare play with more marriages at the end then as you might get, I think four is, I mean people well watch and correct me if I’m wrong, but I think this is like the most people are getting married at once I think is a record for Shakespeare

0

00:17:53
Its a lot. Yeah. That’s Our place. I think merchants is the next one to three marriages at the end, right? Something like that. Hmm. If we did it, we got through it all re quite a plot,

2

00:18:07
The card, it’s a hard one to distill, like I tried, but there’s to many people and they do too many weird things for me to condense it anymore. So sorry about that. You had to listen to me rant for a while.

0

00:18:22
It’s okay. But I think it unpacks the, actually the complexity of the plot unlocked some of what I think we’re supposed to understand about this play, which is almost that its not about the plot at all. And so well I’m sure we’ll dig into that as well.

2

00:18:41
Well, and we talked about when we did Love’s Labour’s how the plot for that play could not be thinner. Basically. We need the boys’ to make this resolution not to fall in love and that we need for girls. And other than that, everything that happens is just kind of wordplay. Whereas in this play so much happens. Like even though there aren’t, it’s not like there’s a billion of the patients they’re really are all in two, but like the The what is happening in those relationships and like as motivations are changing and his characters are pursuing goals, like they’re is just a lot of stuff going on.

2

00:19:11
Well, I’d love to, I’d love to hear about the historical context in which Shakespeare was writing As You Like It like the point where he was at in his career and kind of what, where this place situated in his own body of work.

0

00:19:23
Yeah. So I’m happy to jump on part of this. I mean, so the, the most reason argument about the historical context of this particular play or the most highest profile most recent is, is from Jim Shapiro’s book 1599 in which he, his argument is that this play is being written around the same time as Hamlet and a few other, a few other things that he’s working on in the that’s is a part of his argument is that, that As You Like It and Hamlet are being written sort of As sorta with the same, same, same issues in mind that, that As You Like It is in many respects the anti Hamlet.

0

00:20:19
So whereas Hamlet is This but they have this same kind of DNA Hamlin is this, you know, verbose moody in a sort of, of the guy who thinks about his inner world and Rosalind is his opposite and extra still, still wordy, but not quite not driven by mood is concerned with the external world in, in, in opposition to hamlets in the world. And, and so you see like a, this idea that Shakespeare might have been flexing his muscles in one way I’m with Hamlet and then stretching them in the opposite direction with As You Like It I do think like, so, so this play is it’s in a novel I’m, so Shakespeare would of been reading the As You Like It story.

0

00:21:13
He makes several change. He keeps the plot, but made several changes to the character and it’s based or comes out of a tradition or speaks to you a tradition that began with Arcadia in the early 1580s. And she’s a Sydney poetic work that sorta in launched a Vogue in, in sort of this idealistic exterior, a foreign life and world and the values that it had standing in opposition to the sort of cramped urban legalistic world of the city.

0

00:21:59
And so it was so influential and so popular that, you know, Shakespeare sort of sticks his hands in at many times over the course of his career, but really tackles it head on in this piece. And I think in terms of just a general context here, one of the things I was looking for when a play like As You Like It comes along, which has on the abundance of meaty female characters is that that year, that time Shakespeare bad at his Beck.

0

00:22:33
A lot about have a young boys from the, the local planning companies who were available and adept at doing what they needed to do. And there’s some really great Rosalind of course, Celia and Phoebe are three of these just sort of precocious characters that sort of signify that they don’t get written a couple of years earlier or a couple of years later, but because a Shakespeare Scott, these boys As ah, and needs to give them something to do a play like As You, Like It happens.

0

00:23:15
So I mean like its like the, like the, the tiniest nutshell possible, I suppose, but it’s this is not the only play that or Shakespeare is playing around with this. He does do it in Love’s Labour’s last to some degree it does. As You Like It also has a kind of a fairytale quality to it, evil Duke and a and M and to this sort of rescue operation that kind of happens and a restoration at the end that reminds us, I think of Al’s well, that ends well is something like that.

0

00:23:51
And, and even to, to merchant in the way that the merchant has this sort of idealistic place, that it ends in the Belmont, everything is restored and in merchant it’s a real problem. Don’t get me wrong. But I think there’s a, there’s a, there’s a kind of common DNA from As You, Like It two to those places that are doing that type of thing. Same thing with a Midsummer where they’re is an ideal world where realization and self-realization and coupling takes place in that other place.

0

00:24:34
And, and I think for me, As, You Like It is that play about, is the place if its about nothing else, its about that coupling and what that coupling means sort of at our sort of cartoon superficial theatrical level I’m with some of these characters and then at a real human level at umm, with some of these other characters like Rosalyn in Orlando, in Roslyn, in Celia.

2

00:25:03
I also love the idea of have this place as an antique Hamlet because, and Rosalyn in Hamlet, specifically being antithetical to each other because Hamlet spends his whole play during about whether to do and what to do. Rosalind just does over and over again. She just, she is the actor Manager of this play, everything. She, she, and she even says too to us, the audience, she says, I’m going to be an actor on the stage.

2

00:25:35
And when she, when she is going to see Silvius and Phoebe, she Like inserts herself until the middle of their drama and tries to tell each of them what to do. So its not just in her relationship with Orlando that she, that she sort of exhibits this assertiveness and a, and sort of fearless action that sort of few women do in these early modern plays. But it’s, it’s not just with her, her lover it’s with all the characters and when she has her, impeccables one of her final speeches to Orlando where she says, I, you know, I can do strange things.

2

00:26:13
It to me, that’s, that’s her way of retroactively bragging about the fact that she has been orchestrating so much of what actually happens in the play it’s her, you know, she’s banished. And so she is forced out of the castle, but every decision she makes after they leave it, it stems from her own, her own desire and her own impulses. It including the decision to dress as a boy. And so it’s, that’s very, and it’s very, for me, has a, as a female identifying performer because if we think of Roslyn Hamlet as being two of Shakespeare’s greatest creations, the fact that the character who, who boldly ventures forth and takes action as the female and that the character who gets stuck in his own head and doesn’t know what to do and, and struggles to take action as a boy like that is that’s very affirming for me.

2

00:27:05
And then also is a really, to me like that’s a really truthful way of approaching character. It seems like Shakespeare was, was not hemmed in by the need to appease certain gender roles. He just wrote What what felt true. And a woman like Rosalyn saying, you know, if you try to stop a woman’s wit it’s gonna find cracks, it’s gonna find a way out. Cause women just aren’t like women’s intelligence is irrepressible for her to say something like that. To me, that like, I don’t know, it’s just, it, it doesn’t get much better.

3

00:27:41
I find it too interesting bringing up the point of handling, being the antithesis of this play and a lot of ways because the there’s a very similar character dynamics in both the plays as well in terms of like the, the people, the characters that associate themselves with each other. I mean the wit and creativity and, and word playing banter that exists between Rosalind and Celia. You can really catch that a lot with the Rosencrantz and Guildenstern, and then you have to shake. We are representing this very internalized, thoughtful character, obviously Hamlet’s within that as well. And there are a lot of comparisons you can take Orlando and Oliver and kind of find comparisons to a ratio as well. But then also the whole theme and dynamic have two brothers that play for dominance and a rulership have a certain area.

3

00:28:18
Then obviously in Hamlin, that’s been resolved by the state of the play and this one is currently at a debate. So I just find it interesting that the character dynamics also exist just in slightly different variants at these characters as well. So,

2

00:28:30
And one of the things we talked about in our, in our post show discussion, I don’t know if you were here for this part. Well, cause we will have to duck out early. Umm, but we, we talked about how the fact that women have an extraordinary amount of agency and this play like in an unprecedented amount of agency in this play for an early modern play is part of what contributes to its a comedic by which I mean happy ending the fact that the fact that women take charge and the women make decisions as part of why things end well, I mean Warlando is, is it a darling?

2

00:29:03
But he isn’t a train wreck as a human being. And I hit the, the, the, the fullest expression of his love that he can fathom is writing his poetry and pending it on trees. But Like, he can’t when he’s confronted with the woman he loves, he can’t even speak to her. He’s so nervous. And so if Rosalyn didn’t sort of approach him as Ganymede dare him to be sort of Tea to join her in this extended roleplay, if she didn’t probe him in Like precon in to doing it, they may never have had a romantic conclusion.

2

00:29:33
They may never have found their way to marriage because he doesn’t seem Orlando’s. It doesn’t seem to have the personality, a, of a man who could even a girl on a date, let alone ask her to marry him. And so similarly to Juliet at the balcony scene, it was like, so our, we, are we doing this? Why are we getting married? I feel like Rosalyn has a similar, you know, in the final scene, she’s like, don’t worry. Like you’re going to get to marry her, but the Orlando is then spared from having to actually pop the questions. And so in my adaptation, I read gendered some of the characters in order to Like ratify that idea even more that it’s when women are in control and when women have some agency that, that the ending has the potential to be happier and a, and the reconciliation and reunions and forgiveness becomes more possible.

2

00:30:25
And I think that in that way, Jeremy what you were saying about, you know, the restoration at the end of how near some of these other places. I actually feel like this play has a lot in common with a sibling. I think in many ways like the, those two are connected. It’s not just the fairy tale, ethos of the story, but its also the fact that Like like all of the other kind of romances, but I think especially with sibling, it is The, it is the agency have the female heroine that enables and, and genders and ending that is sort of like hopeful and affirmational Like it’s if in a Jen didn’t take action as often and as sort of solely and full-heartedly as she does then, then the kingdom might have been last and she and Paul, this may never found their way back to each other.

0

00:31:20
Yeah, I think, I think you’re right. I thought also think that this play has, is playing with the idea of what kinds of couples do we want in sort of What ending due they bring and what, in, in the sort of idealization of, of the, a heteronormative coupling as As the ideal, I mean, part of what this, this play is doing is, is exploring the sort of detachment between sibling type love or bedfellow type love between say Celia and Rosalyn and really stretching that apart and looking at the detachment there.

0

00:32:06
And then it sort of exchanging that first attachment with, with a new one. And there were some great exceptions, I mean, and that’s the, those, the people we get married at the end. Right. But the, the great thing is that they’re, there are other things going on here. So its not just about that coupling, but it’s also about the, the detachment in reattachment of brothers, the Dukes and all of our and Orlando and Jacques, the boys.

0

00:32:37
And it’s so its looking at that, its looking at the detachment and reattachment in a different way of, or a Rosalind in Celia. So it’s looking, it’s looking at all kinds of couplings and exploring more or less we have are the right fit. And a, there are some people in the plate who do have the right fit to make the right fit. Umm, and then there was some people in the plate who don’t have a ball by the end of people like a senior in people like Jaquis who, who our there and don’t they’re is not a partner for them.

0

00:33:18
A I think that’s

4

00:33:20
Known is potentially that person.

0

00:33:23
Well, well I think I touched on would disagree, but, but Jake’s may not. Do you know what I mean? Yeah.

4

00:33:36
Hello. Are you enjoying the episode so far, then you should consider joining the Sweet Tea Shakespeare Patrion community. We are issuing a challenge to boost our monthly Patrion sustainer giving for a pledge of as little as $5 a month. You can ensure that Sweet Tea Shakespeare can continue making delightful content all year round. You can also buy a season ticket that will grant you access to all of our exclusive Patrion content along with reserved seats to every one of our performances. For more information on season tickets, check out our website@sweetteashakespeare.com to join our Patrion in community.

4

00:34:11
You can find us at patreon.com/sweet Tea Shakespeare

0

00:34:17
I think for Jake’s or Jacqui’s the, the, he, you know, his job is his, his sort of character dr. Is to sort of push people away. He, and, and so it’s hard for him to have a partner. I think there’s an interesting queer reading on that character that can be pretty compelling and that, that accounts for his sort of lack of a partner at the end.

0

00:34:47
But I think that’s as a, as a general rule, I think that coupling and uncoupling as is a part of what the plight is exploring if it’s exploring anything. Yeah. Well, I find it interesting too, the, the, the characters who were left without a paring on the stage because I, unlike other plays, I mean, when I looked at the ending of a merchant and I looked at Antonio who is left a note of pairing when almost everybody else’s paired off in some form or fashion and, and Shylock as well, there’s, there’s a very tragic element that could be played at the end of that.

0

00:35:20
A in this way, it doesn’t feel like it though. You know, like Duke sr ends up in the position that he wanted me, the first place, Jake, we actively makes the decision to go off and, and, and pursue a life that he feels is worthwhile. And I think that the ending of these different characters is quite representative perhaps with maybe one of the things is trying to suggest

3

00:35:38
To the audience is, you know, what does satisfaction in life look like? What does happiness look like? What are the different forms that it takes place in for every individual? Again, we have a lot of characters and other place from the cannon that, and alone and, and sadly, but Jake We, I mean has been sardonic and cynical and jaded as we talked about throughout the course of this conversation so far, but he doesn’t seem to resentful are upset about the idea of going back to live in the forest. Like, what is his draw towards that kind of like nomadic simpler life, a life? I think there’s a lot of commentary around the idea of like living in nobility or living like urban the style life’s or versus the kind of country or, or a more simple life quote, unquote, if that’s a fair thing to say, and I think Jake, we may be, has found some solace or some peace in that that is worth exploring too.

2

00:36:25
Yeah. There’s definitely an idealization of the pastoral life, like for sure, because the, there is a, there is a resounding freedom that Roslyn and Celia in particular fined in the forest, their without the, without the oppressive is sort of strictures of court without the seamstress, listening to them without a blooming father. The, you know, another thing from Hamlet, right? The evil uncles got straight out of Hamlet, but you know, in the forest and, and in sort of male attire that the combination of those, or I should say the intersection of that have that cross dressing and that, that liminal pastoral space where the, the social protocols no longer apply quite so much, Rosalyn has the freedom to Like fully inhabit her agency.

2

00:37:23
And so she can do strange things because she is allowed to, or rather not allowed to, or maybe there’s no, there’s nothing, there’s no system in place to curb her in the, in all of the ways that there would be back in court. And what’s so interesting to me is that Orlando has that freedom as well. I mean, he’s, he’s a, he’s a man. So even at, you know, even denied so much of his inheritance by his brother, Oliver, even at court, he always did have his male privilege, but like he goes into the forest and we, we