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Simon Russell Beale talks us through the wedding scene
Simon Russell Beale talks us through the wedding scene from Benedick’s point of view. He explains how Claudio’s denouncement of Hero is a turning point for Benedick, which prompts him to side with the women in the play for the first time. It’s also the point in the play when Benedick confesses his love for Beatrice, and when Beatrice asks Benedick to kill Claudio. |
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Daniel Hawksford on the wedding scene
Daniel explains how Claudio starts the wedding scene in a controlled way, but is moved to anger by Hero’s blushing. He is deeply affected by how someone so beautiful could, seemingly, have done something so debased. |
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Daniel Hawksford on preparing for the wedding scene
Daniel talks about what he does to psych himself up for his emotionally demanding performance in the wedding scene. As Dogberry and Verges perform their comic scene immediately beforehand, Daniel stands by the TV monitor at the side of the stage, stares straight ahead and tries to focus. |
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Performance footage: 'Why, doth not every earthly thing cry shame upon her?'
Leonato is enraged and saddened by Hero’s apparent wayward behaviour. |
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Oliver Ford Davies analyses Leonato's speech
Oliver Ford Davies, who plays Leonato, gives an in-depth analysis of his speech in the wedding scene. |
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Gary Pillai on the Friar
Gary Pillai explains that the Friar is able to see through the false allegations made against Hero, largely because he observes (‘notes’) her carefully and draws the correct conclusions from this. |
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Performance footage: "Kill Claudio "
Benedick (Simon Russell Beale) and Beatrice (Zoë Wanamaker) confess their love for each other. But their love is quickly put to the test when Beatrice asks Benedick to take revenge on Claudio, who has just publicly shamed Beatrice’s close friend Hero. |
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Rehearsal to performance: 'What man was he talked with you yesternight?'
Nick Hytner (the director) suggests a particular way that Daniel Hawksford (playing Claudio) might say one of his lines. How much of this suggestion is carried across to Daniel’s performance in the actual production? |
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Rehearsal to performance: 'Lady, were you her bedfellow last night?'
As Gary Pillai (the Friar) interrupts Oliver Ford Davies (Leonato), Nick Hytner (the director) suggests that Friar gets in between Oliver and Susannah (Hero) in a more assertive way. How much of this suggestion is carried across to Gary’s performance in the actual production? |
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Rehearsal to performance: 'Hear me a little ...'
As Gary Pillai rehearses the role of the Friar, director Nick Hytner suggests that he play more of the section directly towards Hero; how much of this suggestion is carried across to Gary’s final performance in the actual production? |
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Rehearsal to performance: 'Call me a fool, trust not my reading nor my observations ...'
Nick Hytner encourages Gary Pillai (the Friar) to make more of a list of why Leonato should agree with the Friar’s confidence in Hero. How much of this suggestion is carried across to Gary’s final performance in the actual production? |
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