So today we have Jess Robblee, who is currently delivering a fantastic performance as Olivia in 12th night. >> Thank you. >> Thanks for joining us. >> Thank you. >> So can you tell us a little bit about yourself as an actor? How you came to be here with us this summer? >> I took a very long road to being at the Colorado Shakespeare Festival. I've lived here for almost 20 years and this is my first year here. So I spent 12 years at Buntport Theater making theater together, so collaboratively created and directed comedy. And it's for families, the R part of it I was kind of a satellite- >> Yes. >> To the founding members of that company. So a lot of my life force was invested in those seasons of making original theater. >> Okay. >> And performing it fast. So at first we were using their model for adults. We just took it for families, which was making a new show every two weeks. And we would take a suggestion of a book from the audience, base our episode on the book. >> Yeah. >> Write it in a week, rehearse it in a week, do it for two performances, and then start over the next day. And get a new book suggestion from our audience and continue. >> Awesome. >> So we did that for eight years, and then we changed to monthly and did different modes of show. >> Yeah. >> It was a live comic book originally. So I bring this up because it does have to do sometimes with how I approach something. >> Yeah. >> And I've had a couple of auditions recently. >> Yes. >> [LAUGH] People have said things to me, like, wow, way to bring in a big choice. >> Yeah. >> That's great, I love how you're bringing in a big choice. Next time through, you don't have to work so hard. And I think it's really funny because I just feel that a lot of the things I've done have required just diving in really full force to be ready and to make a big choice. And I thought the choice I made was really funny. >> Yeah. [LAUGH] >> [LAUGH] I believed it. >> Yeah, yeah. >> But I was happy to adjust. >> Yeah. >> And I love a big daring performance. >> Yeah. >> I love that. >> Right. >> But I also dislike things that read as just wackiness for its own sake. And just trying for the laugh in a way that does not feel character driven. >> Yeah. >> So it's kind of balancing that stuff as in terms of speed. So that's a big chunk of my career. Then I branched out to a lot of Denver companies. >> Yeah. >> And recently opted to become equity because it's largely a non equity town. And not my main business was at a non-equity house. So Colorado Shakespeare Festival is kind of the culmination of a lot of years in this space- >> Yeah. >> Where I was working in other capacities in the summer and doing stints of First Folio Shakespeare. >> Yeah. >> Original practice Shakespeare carrying a scroll. I don't think- >> Yeah. >> CSF does it that way. >> No. >> But we would carry a scroll with the last four words of the line before ours. >> Great. >> And then use it as- >> That's what we were that's what we're given. But we have an on stage prompter so if we- >> Right. >> We don't have to scroll in hand but we do have- >> Right, yes. >> Someone to rescue us. >> Yeah, and we have a prompter too because- >> Yeah. >> People get to adult in or if there is some weird thing that happens external to the production. >> Yeah. >> That's when we're performing outside. >> Yeah. >> The prompter we call it out, acknowledge it. >> Yeah. >> Make it funny, then show it continue. >> Yeah. >> Yeah, so it's really like full blast physical large. >> Right, yeah. >> And I think I learned a lot from doing it because it's really bold. But I don't know that I would want to do it all the time that way. It's just a certain way to do it. >> Well, it's interesting that you say that you've already worked on original practices because the work that you were doing with the other company, having to learn something quickly. >> Yeah. >> Make big choices on the spot, that's very much in the spirit of how these plays were originally performed. And so it doesn't surprise me that you found your way because again, I mean, and it also doesn't surprise me that you find your way here because Shakespeare requires big choices. They're big words that need to be filled. >> And when I auditioned for Tim we had that green taped out square to remain in and I was very conscious of the square, I wanted to stay in the square. >> Yeah. >> And then after I first gave a read, he said, keep in mind, we're in the rip on and it's going to be a large space. >> Yeah. >> So that note was to become bigger. >> Yeah. >> And then at my next audition for the Denver Center, it was for 12th night and their season as well this year. >> Yeah, yeah. >> I auditioned with the same monologue because I auditioned here and she felt I was indicating too much, illustrating too much, so I did it again smaller. So it's that I find that really interesting in terms of applying Shakespeare- >> Yeah. >> Because people are going to really ask you for different things. >> Sure, and venues are different. I mean, your production of 12th Night plays in front of a thousand people every night >> Right, yeah. >> It's a big space. >> And even hearing them is a little difficult, like tuning into your audience is different outdoors. >> Yeah. >> I think it's a different way of hearing your audience and knowing if you have them with you. >> Yeah. >> It's a little different, it's a little harder for me, I think to know. >> Well, honestly, you wouldn't know it. >> Well, thank you >> Yeah, you seem very comfortable up there and, and I'm a big fan of big choices. I think that the stakes are huge in these plays the world ends and begins again and every one of these plays- >> And what I love- >> Yeah. >> About Olivia- >> Yeah. >> Is that she's not just like a single woman of her household leaving her household. >> Yeah. >> But as a character- >> Yeah. >> She's very autonomous. >> Yeah. >> She's directing madness. >> Yeah. >> Rather than just being part of a madness that someone else is directing. >> Yeah. >> She causing it to happen. >> A tremendous amount of agency. >> Yeah. >> Well, that's an awesome segue. >> Yeah. >> So tell me more about Olivia. And how it's been playing her and what you've learned. >> I'm a big believer in her comedy. >> Yeah. >> I think what I find really great about her is her comedy is very timeless. >> Yeah >> There's nothing about her I think that anyone anywhere can't understand. >> Yeah. >> We've all experienced first love, infatuation. >> Yeah. >> We've all experienced it being focused on the wrong person and humiliating ourselves for it. And I think that is a gift to our audiences now. >> Yeah. >> Because some of the language of 12th Night is circuitous humor that's coming from FST that's harder to track. And the actor has to do a pretty intense job- >> Yeah. >> To get some of that across as much as possible across. And I felt with this production I was very surprised. We sat down to table work and people were making small changes. [LAUGH] And I knew that it had been edited. >> Yeah. >> But coming from the company that I had worked with- >> Yeah. >> Where it was like make it work illustrate, make it so. >> Yes, yes. >> Just make them understand. >> Yes. >> And I thought geez,sSome of these words are really archaic. >> Yeah. >> The phrasing is archaic, it's hard to get across. And in this case, really accessibility was our guide or priority, I would say to make sure that people understand and are with us and can really enjoy the story. >> And so a little word changes just to be like well, now that's really hard to understand that way, let's just change that one word. >> Yeah. >> And I think that's wonderful as an actor, it just helps you not have an unnecessary hurdle- >> Yeah. >> When possible. >> Yeah. >> Not changing the sense of things at all. These are small changes, but for me, I was like- >> Right. >> Been so trained to regard Shakespeare as part or the bible. >> Yeah, yeah. >> So. >> It's like something you cannot change. >> Yeah. >> Yeah. >> And Olivia just is built for accessibility in my opinion because her quandaries are very timeless. Everything is happening fast, she's turning on a dime, which is great for comedy. >> Yeah. >> The reversals are there. >> Yeah. >> She has that, She's addicted to melancholy phase that is fairly brief. >> Yeah. It's just a quick setup. >> But she means for the last seven years. >> Yeah, it's a very but for the playwright that's a quick setup and then we're going to get right out of there. Right. >> It's necessary. That's your common world moments and like the hero's journey model. Yeah, right. This is the common world and then In comes this. >> Yeah. >> And I totally relate some of these choices by Shakespeare in the sense that I have made a live comic book for families. I have not written Shakespeare but I see how he needs to do this to set up this. >> Yeah. A lot >> yeah >> Or expose it this so you understand that. Let me expose it one more time, did y'all hear that? Okay, let's continue. >> Yeah, >> To make the joke or make the story work, which sometimes is really? Sometimes occasionally it's a little inelegant by Shakespeare >> Right. >> Not all the time. >> Yeah. >> Sometimes most of the time. It's beautiful. >> Yeah. But it's kind of fun to notice just that the he's a person who makes theater like us moving fast. >> Yes. And I had no idea that we would be doing this 50 years later. I love having conversations with people about what being a Shakespeare purist means. There are those who are like you have to say every word and I've had conversations with people that don't even like when the script is cut at all, it should be done. When one person said, was a former colleague of mine, we got along really well, but we were getting huge arguments about this and he'd be like, well, would you go and see half of the statue of David. Would you cut the head off of the statue of David? >> I love that it could illustrate. >> But then the other side of it is that Shakespeare was playing fast and loose with the rules. He was adapting, taking classical material and changing it often changing the endings of stories that audience would have recognized he was like breaking rules left and right, rewriting stories. So is it more Shakespearean? To add a little bit of contemporary adaptation or is it more Shakespearean to leave it alone, and treated as and there are strong opinions. >> Yeah. >> On both sides. >> And if you've ever died on stage, you know you want to cut it. >> Yeah, yeah [LAUGH]. >> I did that. >> That's fine. >> [COUGH] If you've ever died on stage, you know you want to cut it. I think because we're just different people, we hear differently, we watch differently, and If you're experimenting with a joke every two weeks that some of them are going to go and some of them aren't. >> Yeah. >> Are you speaking with Randy Eckert who's playing faster? >> Yeah, actually we already spoke with him, and what you were talking about earlier about the challenges of like, he's the clown. So he's supposed to be funny, but the words are not there. It's a sharp wit. It's not like yeah, yeah, kind of funny. >> He said that really a very interesting thing to me. We were talking about Romeo and Juliet, which we do on the other night. And he said, if Shakespeare could come now that he was watching this show. >> Yeah. I think he would just be dying. Not necessarily because how we're interpreting it, but because he's like, gosh, I could have fixed that part. >> Yeah, >> I could have made that part better. And I feel like that sounds so true to me. >> Yeah, >> Of course, you would want to tweak it as a person who made it. >> Yeah. How could you not? And it's still it's 450 years later. >> Yeah. >> And they left it. >> Yeah. >> They didn't improve or fix it? >> Right. >> That's kind of. >> Yeah. >> Interesting or then you could get offended that they changed it. >> Yeah. >> It's funny as a playwright, I've experienced both. >> Yeah. >> But anyway, as far as Olivia is concerned, I love that she gets to be funny. And boldly funny. >> Yes. >> And I want also to make her human and have her genuinely care and feel out of control and not know what to do. >> Yes. >> With feeling all that she's feeling. >> So what do you think makes her break this oath that she you know she is in genuine mourning at the beginning of the play and as you say it's a quick setup but I mean she >> No it's >> And she has a lot of people interested in her, a lot of suitors. That she has turned down. So what is it about Cesario? >> Well, I think that there has to be some sort of like primal attraction to youth. I think that's part of it. But I think the scene with Cesario does not change until later, when words are being used really well, when cleverness is apparent. When someone is meeting her at her level of intelligence, and it's not just Orsino's stooge, who is sent to her with platitudes. It's someone who's challenging her and talking to her and crediting her with the ability to have real conversation. >> Yeah. >> And it also even happens before Cesario arrives in the room when Malvolio is expressing who is this person, right? And there's the line about he will and I won't quote it properly, but he will stand like a sheriff's post. Something like that. >> Yeah. >> A supporter to a bench. >> Yeah. >> Until you talk to him. And it's a poetic line that I can't remember. However, the word choice that's not something that the average footman would say. It's a descriptive thing. I'm going to be here. Yeah. >> And all of a sudden it's like, Who is this person? I want to talk to this person. >> We caught that even before you've met him, that's cool. >> And then you meet him and then it's a real conversation and I think I'm just genuinely interested. >> Yeah. >> I think I've lost hope in the world I feel a little angry at the world I think it's standard grief. >> Sure. >> You're angry. This system stinks. This is lost. There's nothing to do with losses. >> Yeah, sewage losses. >> They're they're close to each other. They're within a year I think and it's been about six months since she lost her brother, I think. But to me what was important about it is that I myself don't know what to do with loss. >> Yeah. >> When I experience it, tt's so enraging. >> Yeah. >> And it's so important that you can feel connection in the middle of it. >> Yeah. >> For some reason this person talking to her in this way and challenging her and not caring if she's grieving. >> Yeah. Brings her back. >> Yeah. >> And then it's just, I think it's just that uncontrollable thing where you see a picture of yourself later in a moment with someone that you're attracted to and you have this atheist face. You're like, I'm just excited. >> Yeah. >> And I think it really is real to be that way. >> Yeah. >> You don't have dignity. >> Right. >> When you're that into someone. >> Right. And I like how you keep saying the word challenging, because I feel like that's a big piece of it. And Shakespeare seems to like there's, as you like it, which is also in our season, which he wrote right around that time. There's a relationship in there where Phoebe falls for someone not who loves her and who says really nice things to her, but who's a little mean. And I feel like that's kind of operating here. That Olivia has all these people who want to marry her probably for her money, >> Yeah. >> Aguecheek and. >> Right. >> Orsino and even Malvolio, all these people in love with Olivia, for why? >> Money, it's what you do. >> Right? >> It's just what you're supposed to do there she is, >> But then here comes this person who really could not care less. Yeah. >> Right and like that's also timeless. Yeah, >> Don't we all fall for that person. >> Right? >> Who kind of doesn't care as much >> Right? >> Whether for good or for bad, >> right? >> We fall for that person a little bit. Who? >> Right and like-. >> Intrigues you. >> On the face of it, it's like why would you be attracted to someone who was mean to you? But I don't know, like as I'm thinking about it, as we're talking about it now, there's something about, I don't know if it's trust or just it being refreshing, that a person is not after you for the wrong reasons. >> It feels honest. >> I think it gives you something to do. I think that's a gift as an actor too, is that you definitely have something to do, you have a chase to engage in. >> Right. >> Right, where if everything's just coming at you, what do you do with all that? Where do you put it. But If someone's over there intriguing you-. >> The thrill of the chase. >> You can lean in and try to figure it out. >> So do you think that's operating for her? because then I want to fast forward to the end of the play. >> Yes, I do think it's operating for her because there is something unique about this person. This is a woman dressed as a man. I don't know that but I feel there's something, I know you're not what you are. There's something else to you. You're a gentleman, I think. You're a gentleman. I believe you. You're a puzzle. And I want to figure it out. And I want this person in my life compared to everyone else that I'm dealing with. As a partner, I do value Malvolio. I mean, we were going to talk about Malvolio. >> Yeah, I definitely want to talk about Malvolio. But while we're on the subject, because the revelations at the end of the play talking about big choices, big discoveries. Like you discover that the person you're married to isn't the person that you had that conversation with initially. But he is the person that you >> Asked to marry me >> That you actually married and yeah [CROSSTALK] >> I did ask the man to marry me. It's pretty big deal. >> Yeah, strong, independent. >> Yeah, agency power a woman of power >> Acting for that. And making some bad decisions too [LAUGH]. >> Making some crazy decisions, maybe. These are not okay I'm sending a ring after him. I'm toying with him. I regret it later. That's not the best way, I am engaging in cunning behavior rather than just being forthright. But that's lovely. It's very human to do those things. >> So how do you think the marriage will work out? I mean, we've been talking about the thrill of the chase, the chase is over. >> Yes. >> And you caught the guy that you weren't originally chasing to begin with. What does the sequel look like, do you think? >> Well, I mean, I think that the twins have a lot in common with each other. I feel like there's hope because it does seem like they're really connected. I think they're very similar personalities, they're both excellent with words, they're both very intelligent. And I think that was the core of what I was into. It just happens. I mean, what if I'd met Sebastian first? Would the same thing have happened if the order had just been switched? Probably, I think so. >> But would Sebastian have refused you? >> Right. >> I mean, this is great. I haven't thought about that, but. >> I don't know, if he hadn't refused, but I'm also excited when he accepts me right away. >> Yeah, but Sebastian immediately accepts you. Sebastian is like, hey, you know. >> Right. >> Yes. >> Right. >> But if you met Sebastian first he would have just been another one of the suitors who was totally interested in you because Sebastian probably wouldn't have put up a fight because Sebastian wasn't in love with the person who was in love with you. >> Right, that is a different, well, who knows? >> Yeah, I know. >> Always have to wonder. I think the reversals at the end of the play are athletic reversals for actors to pull, you believe in them, you go for them hard, you find whatever way you can to get there. And often, that's how comedy works. You have to have sharp reversals for the laugh, but for storytelling in the space of time that you're allowed for stage work things are going to happen quickly. And so I think the actor has to really look for, all right, let's do it. I guess I'm still married and I like you. And that's kind of delightful for you to dare to do that. Your other option is what? Your other option is to resist it and be skeptical. And there's not much time or pay off to that in the context of this play. >> Well, what's interesting about this play as one of the later comedies where he's kind of, it's a darker comedy and he's like, I've said this in every other conversation I've had, but like putting pressure on the form of a comedy in that not everybody has a happy ending and some people have quite the opposite. >> Antonia is just gazing on Sebastian. >> And in a lot of the later comedies, the marriages kind of ring hollow, and I don't know that this is an example of that, but I think about some some of the other plays, or some of the other marriages in this play. I can't help but wonder about so Sir Toby Belcher. How's that going to go? >> Yeah, right. I don't know. I mean, they worked really well together. They collaborated really well together and they both experienced regret. I mean, his drinking habit is probably the biggest problem. >> That's the biggest problem, yeah. >> And I talked to Robert too and he's convinced that in the sequel Thirteenth Night. >> Yes. >> That he will have cleaned up and that he will make a new beginning, Robert said he likes happy endings and so he wants to believe that he puts that behind him. >> He really gives me a beautiful, I feel like we just get to have a very brief moment but I feel he looks at me and feels so bad that he's failing me. >> In the play, I just see it, he is like I want to be a better man. And I see how it's leaving you completely alone in your worst moment, and I can't get out of it. You know, it's really heartbreaking. >> Well, and to use that word reversal. To give him a reversal at the end, which is to say I've hit my rock bottom. >> Yeah. >> And I'm going to make things right in this new life with-. >> Maria, yeah. >> Maria, it does, it's a hopeful ending to a play that doesn't always feel hopeful. >> Yeah, and I think maybe it's- >> It ends on a really melancholy note with Feste's song, but I thnk it's cool. I think it's cool that the actors in this production you're really looking for- >> The hope you mean? >> The hope. >> Yeah, I think that the audience, it's interesting to have the audience witness Malvolio's desperate sadness and humiliation and how forlorn he is in the face of people, at least in the face of a person that he once trusted. And he does not have that anymore, and he's broken. And the audience, of course, as is typical of Twelfth Night, is they're a little unsettled, they don't know what to do with Malvolio's tragedy in the middle of all this fun. But that's also very truthful, that there's someone who's having a terrible time in the middle of that beautiful party. Their tragedy is happening. But yeah, I also think it's kind of an interesting puzzle. What's the most preposterous way that you could end up with the traditional comedic ending of getting married? It's pretty a preposterous route, too. To the ads, that is traditional in some ways, and it reminds me of Dave Chappelle's recent standup special. He shares how he has these lines that he thinks are funny that will be punch lines. And then he makes a joke about it, and then he continues, and then probably 20 minutes later, he uses one of the punch lines. So he revealed these as a happenstance thing a little joke, then he has crafted an entire thing, demonstrating what he does. >> Yeah. >> Which is he just told you a whole thing of 30 minutes longer. So that is a joke crafted for that purpose. Which makes me wonder about Shakespeare. Like I'm testing how comedy works. >> Yeah, yeah. >> I'm going to set myself up the task of how preposterous can I make this path to this very typical ending? It's not completely typical, but it's kind of [CROSSTALK] >> No, but I totally think that's what he's doing. And if we're right about the order of the place, in which he wrote them and it's all guesswork, but what's interesting to me is not too many plays after this he stops writing comedies. It's like he's gotten tired of comedies and then that's when he starts writing the tragedies. >> Wow. >> The big ones, one after another. It's like he's gotten tired of the form or something and he comes back at the end of his career to a version of comedies where the endings have some hope and redemption. But I don't know what kind of phase he was in in his life, was it a midlife crisis or something, yeah? >> [LAUGH] Exactly, that what it makes me wonder. I can't really muster up a comedy right now, I don't have it. >> Yeah, because endings aren't always happy, you know? >> Yeah, and I think, I mean it's a stunning moment when I find out that I'm married to a different person than I think I am. And, everyone's saying the words that are happening there are talking about twin spirits. These people are two parts of one. Twins, in a biological sense, that's early on. But I think what's fun about that as the actor is it's like a ride. You're just on a roller coaster that just took a hard left and you are like wow, yes. And it's really fun and the audience might be, they're enjoying the same ride. And they might be enjoying Shakespeare's puzzle just as much as he is. Like this is the most ridiculous path to this outcome that you could have created, and that's why I like it. I mean, they're twins separated. Their sword fights along the way [CROSSTALK]. >> It's not a typical day. Yeah, and the high lofty lady falls for the servant, playing with things and making a fool of herself. At one time she was so important, that I love. And as far as Malvolio, I just think he's a dear person in my life who with all his quirks, he's a rock in my life. I can rely on that guy. I can't rely on Sir Toby Belch, I can't rely on Malvolio. >> Yes. >> So his sadness and his civility that suits my humor and it almost justifies where I want to be and live my life. >> It seems like Olivia sees the good in people. I mean, you would put Malvolio and either Sir Toby Belch or Feste on the opposite sides of a spectrum you're kind of in the middle of seeing the good in all of them. >> Yes, and I think brokering a peace amongst them because I want my household to stay somewhat taken care of. They're poking at each other, you need to take care of this. >> Yeah. >> People aren't always liking your jokes, and you need to go do this. And it wasn't that bad of a joke. You can see the connection. I feel it's a little bit, in that moment it feels a little parental to me, where it's like, all right, come on you all saw, it was kind of fun. >> Yeah >> You had a good time. >> And talk about a left turn on a roller coaster when you find out that Malvolio is in love with you. >> Yes. >> Does that come out of the blue for you? >> Yes, it absolutely comes out of the blue and I think, luckily someone's told me he's mad. So it doesn't feel creepy. because, to me, he's kind of avuncular. >> Mm-hm. >> So it could be a little bit gross. >> But you were talking about sort of falling for a person in the sort of lower-class level, he was too. >> She like messing with the caste system in a way that is quite embarrassing. But he's sick. And I don't want him to miscarry for half of my dowry. >> Right. >> You know, I really care for him. And I think that is helpful. As much as Olivia loses her senses over Cesario and falling in love. She still has a moment at the end of the play where she genuinely cared for someone that she genuinely cared for at the beginning of the play. She cared for him then, she cared for him in the middle, she cares for him at the end. And can't make him understand and then sort of the story is just truncated. Right there he leaves and then Orsino takes the helm and says we're going to get together. End of show. >> Yeah. >> People are paired up, but someone is sent after Malvolio. So there's somewhat of a reach to see where he ends up. But I get to at least be very human and grounded again. At the end after all the high jinks, I come back to the person that I was, but happier. I think. >> No longer in mourning. >> Right, no longer in mourning, and I think that depends on the production. I watched a couple of things in preparation for this. I watched Trevor Nunn's film, part of it, I didn't like it as much. So I didn't watch it as much because I didn't want it to get in my head. I watched the all male production with a National Theater with Mark Rylance as Olivia. And I really loved it. And what I loved about Mark Rylance in the raw, and I kept watching it, I kept watching and I took jokes that he used that were just too good to not, use was that he wasn't precious about the language. He was taking embedded stage directions from Cesario's later lines. He was stopping and starting as he spoke, and I feel like a lot of my training has been, you need to say the words don't take extra time right? Let the language do the work. And then I saw Mark Rylance, this big man in the theater scene- >> Breaking the rules. >> Really breaking the rules and playing really hard and I thought, that's delightful. That's such a relief. That's what I want to do. And I think that, at least in the first folio, I don't know how you all are approaching it, but you'll very much take the stage direction that you're thrown. >> Yes. >> Right, if I say kneel before me, you know now to kneel. >> Yeah. >> And that's when it happens. What happens with that speech where I get to, like, trip over myself talking to Cesario because I'm suddenly overcome by attraction to him. I don't know that I have that permission to speak in fits and starts until the next moment after I'm gone and Cesario talks about it. So that's a benefit that you receive from knowing the whole script in one because I wouldn't know that as the actor. But I was delighted to watch Mark Rylance. And I loved how he moved as a woman. Using kind of Kabuki style work that he's seen, he just was like gliding out like glass of water in his shoulders practically. >> Yeah, >> It was beautiful. But I also thought it's so interesting and different that as a woman already, I don't have to do that. I don't have to put on femininity as much I can put on lady when I want to which is different or class, but he was doing a different layer to it. And I kind of that's a an interesting line to kind of play with them navigate like, how much do you want to Maintain that ladyness while falling over yourself for this young person, and how much does it totally go away? >> Everything you're saying I think is also just really germane to this play, which is about identity and who are we really? And when are we performing? >> Yeah. When are we playing? Another person other than who we are. >> I feel like performing in the pre Show. I'm performing for orsino and of the community that I not interested in this. >> Right. >> That I am sad. >> You're actually the first person who's brought up the pre-show. Can you can you talk about it a little bit? There's a pre show in this production. >> Yes, there's a pre show in this production. >> When the audience comes into this. >> Yes, and I was going to surprise to be present for the pre show because I was picturing myself cloistered in sadness. >> Uh-huh. >> Which I think is technically correct. However, Tim Ores idea was to have us all at a beach party with our varying moods present. >> Yeah. >> And apparent. >> Right. >> So my story is basically that I've been convinced by Mariah most likely or she, RSVPd, >> Yes. >> So I would come to this [LAUGH] And I did not know. >> Yes >> And I am now here. But we're I'm sitting on a beach blanket on a stool hating my life at this party while games are being played around me. And the audience is getting settled and I think even more so in the outdoors. It feels to me not having done it this way myself. It feels to me like Tim feels a need to help people into the world that is separate from the world they're in because the world they're in is so very apparent. Still, it's not like you can control the environment as much. It's not turning lights to black Right. >> It's very clear that you're here in this amphitheatre and it's daylight. >> Yeah, >> Until it's not. >> Right. >> And on the earlier shows it's daylight for a very long time. >> Right. >> So, tonight's show will be a darker show, which I really like. >> Yeah, >> But last night Romeo and Juliet >> It's right. >> They're right there. They're right there. >> The whole time. >> Mm-hm. >> Yeah. >> So the pre show is just that party and then a beautiful song from Randy and with the accordion. >> Yeah. >> And then it's as if he's kind of conjured this storm. >> Right. >> A storm breaks over us. And that seems like apt foreshadowing. >> Right. >> For the situation, >> Right? Because then we're we're in the play the shipwreck. >> Yeah. And Emma as Mariah brings up children from the crowd and ask them to Tommy jokes to cheer me up. And those have been some funny times. >> Yeah. Sometimes those poor little lambs get dragged up there not knowing that she's going to ask them for a joke. I feel bad for that >> My gosh >> And am like like I would need to be warned that I needed to tell a joke. >> Yeah >> For this interview. >> Yeah, >> Because I wouldn't just have like a catalogue of jokes >> Right >> But these kids are like >> [LAUGH] But then sometimes they'll say once and I'm grieving and I have my handkerchief like hating everything and I'm sad. She brings up this cute little boy and he says, why didn't the dinosaur clap his hands and I say why? The he said, because he's dead. [LAUGH] >> Yeah. >> And then I just cried. Yeah, >> I cried as Olivia >> You did? >> Because I just thought, well, it's fair. He just told me about someone being dead and all I'm thinking about is somebody being dead. [LAUGH] >> And dinosaurs being dead >> And I thought that what said, >> That's amazing >> [LAUGH] but it's still what felt amazing. But if that's the fun part of it, and they bring people up to dance, but then it gets a little bit lengthy sometimes depending on how that seating is going, Yeah, for us, we're out there for a while. >> And it feels like you're having to vamp a little bit. >> A little bit. But it's a little introduction to all the characters. >> Yeah. >> That is fun for people, I think. And it's pretty Shakespearean we think that the actors are out there putting their costumes on or the 12th night that you mentioned with Mark Rylands >> Yeah, >> they have a big pre show where we actually see >> putting the makeup on. >> Yeah. >> Yeah I just thought one thing I do think is like if some people have questions I guess if Olivia should be quite so broad or comic. I guess I just subscribe to the entertainment quality of this play. It really can just it can be entertaining it that's a function that it serves and it served. And I think that, When I think of Mark Violet what I really loved is how he was really very free in playing with what was happening in a meta-theatrical way and as a character. >> Yeah. >> And he came up with some cool justifications that I didn't take about. There's a moment where Sebastian has an aside to the audience and I'm just watching him and it's a relatively quick aside, but I just watch him. >> Yes. >> But Rylan says justification for why he doesn't witness that aside is that he just basically faints from Twitter patient in the back. He's like, I just, [SOUND] >> Yeah. >> And then Sebastian has the suicide but I thought- You chose. >> Yeah. Also, I thought, yeah, I'll listen and just see what happens there. I'm a big proponent. As to the table work discussion. I like to try it a few times and see what's happening. And. >> Yeah, can you talk more about that? We were before the camera was rolling, having a conversation that. I'd like you to continue on camera just about how you're really interested in the visceral stuff and getting on your feet and more reticent to like dive in intellectually or cerebrally. Can you just want to talk about that a bit? >> Yeah. I think I want to know what the words mean. >> Yeah. >> And I want to know what we're talking about. And I want to know, maybe there's some different echoes that are possible. >> Yeah. And then I want to leave it alone. And I don't want to over talk it. >> Right. I want to with that knowledge, go on stage and play and have that opportunity to feel like you're kind of riding the scene, and seeing where it take you. And then return may be to a conversation about what moments are still feeling fuzzy. I just think you can learn so much from that experience as the actor, as the playwrite I think you can learn a lot from actor going through that experience. >> Yes. For stuff that I've written >> Yeah >> I'll watch it actor struggle with apartment, my cat. They're just feeling something really wrong there. And there's just real wisdom to be found there because that person's running that track only. >> Yeah. >> And they don't have the whole world of the play in their mind. They have only their line that they're attending. >> Yeah. And then table work I think it's always kind of tenuous, >> Right, well this is fastest part. Do I say anything less part if I have an idea, you have to tread lightly >> Right. And I think it's, you can kind of sense the room and see if it's helpful to offer something up. But most often it feels like it's probably best to just let the person speak to them- >> Your thought is too much conversation about it could take you away from impulse. >> Yeah, and yes, I think that's right. And I also Yeah, it gives you too much for your brain to be trying to process. >> Righ. >> I think. Sometimes you're like, well how am going to convey all of that, and I think maybe your job is not to convey all of that. >> Hm. >> Your job is to convey the moment in the scene and let it happen in a way that is believably happening now. And be free in that. And I think- >> Mm-hm. >> All the other stuff can get really self important. And sometimes I get tired of that. >> So this is a good segue. >> [LAUGH] >> Because the last thing I wanted to ask you about, you mentioned First Folio technique. >> Yes. >> Earlier. >> Yes. >> So you studied that. Can you tell us what that is? Because not everybody knows but- >> Well- >> What First Folio technique is. >> In the way that I studied? >> Yeah. >> First Folio technique, it was with a particular group that had come from a company where they did it in this way. >> Yes. >> And you have these 10 commandments that you learn, and those are tongue in cheek, but they basically really want you to follow these rules- >> Right. >> Which are, you're, in our case, you're told not to read the whole play. You're given your part. >> Mm-hm. >> You get to hold your cue script on scroll. >> Mm-hm. >> You get the last four words of your cue line and on your scroll with your lines. And so you might get and what say style, and you don't know who's saying and what's say a style. You don't know where they're going to be standing. You just have to be listening for that to happen and be very aware that- >> Mm-hm. >> It could come at any time. >> Mm-hm. >> And there's something really exciting about that. >> Sure. >> It also is sloppier? >> Yeah. >> Definitely, it's sloppier. It's great to me as an exercise. >> Yeah. >> It's great as an experience, I think. As an actor, as an audience member, I think it's unique. I like performing knowing the whole story. I like performing the way we do this here. >> Yeah. >> In most of the season anyway. >> Yeah. >> Because it can feel a little frantic. >> Mm-hm. >> The First Folio stuff, and that just comes through the story in ways that maybe the story doesn't lead. >> Yeah. >> But the actor is feeling. But it's exciting. For instance, I played Isabella once. >> Mm-hm. >> And I didnt know that I was going to get a marriage proposal at the end of that story, so it was me experiencing that life. >> Right. >> Going, someone is kneeling in front of me. The Dukes kneeling. >> Yeah. >> What am I going to say to him? >> Right. >> That was very disoriented and there's also a delight in that. >> Yeah. >> That freshness. >> It's like built into it. >> Yeah. >> I mean you're hearing something for the first time as she would have been. >> Yes. And in that case that was a workshop that became a performance. >> Mm-hm. >> In public outdoors. So, we did it that one time and that was it. And I got to experience that one time. >> Yeah. >> That fresh and it was really exciting. >> Yeah. >> When you do that First Folio technique multiple times- >> That's amazing actually. >> It's different. >> Especially with that moment. >> Yeah. >> Is a measure for measure that you didn't- >> I had no idea. >> Know that proposal was coming. She certainly doesn't. >> Right. >> And then she says nothing. [LAUGH] It was really remarkable, yeah. >> Yeah. >> As an experience, it was exciting. >> Yeah. >> And it kind of gives you this taste of freshness- >> Yeah. >> That maybe you can aspire to with your breath. >> The other thing about First Folio, as I understand it, is that there's when you talk about the 10 commandments, the. >> I should say some of those. >> Just the notion of the belief that the First Folio is the earliest, so because it's the first time we have these plays in print, it's the closest to what Shakespeare actually intended >> Yeah. >> And built in to I mean, even the way that words are capitalized or spelled if they're misspelled or spelled differently, >> Yes, use that in some way. >> Use that in some way because Shakespeare did that on purpose. >> Right. >> And of course, there are scholars who are like, there's so many different editors. >> Right. >> And these plays were actually published after his death, and so, but there are actors who are pretty dogmatic about it, like this is what he meant. This is what he intended. >> Right. >> And I'll use it. >> Yeah, I mean, there are things about that I've used actually producing theater fast In other contexts, >> Yeah. >> That are just blocking things. >> Yeah. >> That if you don't, if you're doing First Folio, please I feel like you know all this already, but it's, thou shalt not stand in a line. Thou shalt cross to the person who gave you your cue. >> If you don't know who you're talking to cross the person who gave you your cue. If you do know who you're talking to cross to the person you're talking to. >> Mm-hm, but only when you're talking, right? >> Yes. >> Yeah. >> Yes. And there's, and basically a general I think very good takeaway, which is when you have the ball, you have the ball, it is yours. >> Yeah >> You have it, you have responsibility for it. >> Yeah. >> You have the story, use it and take it with you. And I think that might mean move. That might mean just hold the space. This is your moment. But- >> I feel this is a very Shakespearean conversation we're having because we're talking about like rules, potentially feeling confining >> Yeah >> And wanting freedom >> I think 12 lines is kind of about that. >> Right. How, I mean, in this case, the rules are really wonderful. They help you a lot. >> Mm-hm. >> They help you and it's all about punctuation. A semi colon is figuring out what you're saying, a colon is you know what you're going to say. But- >> Mm-hm. >> You have more to say. >> Right. >> So you can hear that if there's a colon, there's more to come and you are building if there's repetition. It's very important that you do that. Any exclamation is enormous- >> Mm-hm. >> Syllable counting out the window. >> Right. >> Just count those syllables. >> Mm-hm. >> Commas are an upward inflection. I mean, it's very clinical. >> Mm-hm. >> I don't always subscribe fully to it. >> Right. >> But they're I think they're really interesting things to be taken that I always want to take the things that are helpful and- >> Yeah. >> Pitch the things that aren't. >> Right. >> And I think they're great things from it. That I think helped make the story clear. >> Yeah. >> Which I think is the task. [LAUGH] And I think if you say okay, well Shakespeare intended it this way, yes, and theater's a collaborative form. >> Right. >> So what do you pretend like I'm going to bring something to it that we- >> Yeah. >> Like, I can't be Mark Rylance as much as I want to. >> Right. >> I'm still going to be bringing myself. >> You can take this little thing. >> Yeah. >> And that little thing. But then you come up with stuff that other people will steal. >> I hope. >> Yeah. >> Please, that you want to make stealable stuff. >> Right. >> What's the point? >> Right. Well, this has been great. >> It's been fun to talk with you. >> Yeah, thanks for coming in. >> I actually had a conversation with you since ten years ago. >> Yeah. >> At that wedding. >> About- >> No I don't think we ever talked then. >> No, right. >> So it's just we met. >> Yes. >> But now we're finally talking. >> Yeah. >> It's nice. [LAUGH] >> The first of many, I'm sure. >> [LAUGH] Yes, I hope. >> Now that I live here for crying out loud. >> Right.
