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William Shakespeare, | 0:00:02 | 0:00:03 | |
hardly a name that you would expect to thrill Britain's teenagers | 0:00:03 | 0:00:08 | |
but over the last year thousands have taken part in a nationwide competition | 0:00:08 | 0:00:12 | |
to perform a Shakespearean speech off by heart. | 0:00:12 | 0:00:17 | |
Friends, Romans, countrymen! Lend me your ears. | 0:00:17 | 0:00:20 | |
But, wherefore, villain, didst thou kill...? | 0:00:20 | 0:00:24 | |
See how she leans her cheek upon her hand. | 0:00:24 | 0:00:27 | |
At stake, a place in the grand final, hosted by Jeremy Paxman, | 0:00:27 | 0:00:32 | |
performing for a 1,000-strong audience and three respected judges, | 0:00:32 | 0:00:36 | |
on stage at one of the most prestigious venues in the UK, | 0:00:36 | 0:00:39 | |
the Royal Shakespeare Theatre, Stratford-upon-Avon. | 0:00:39 | 0:00:44 | |
After two rounds of competition, and workshops across the country, | 0:00:44 | 0:00:49 | |
the shortlist has now been whittled down to nine children, | 0:00:49 | 0:00:54 | |
all with very different backgrounds but all sharing one passion, | 0:00:54 | 0:00:58 | |
for Shakespeare's language. | 0:00:58 | 0:01:00 | |
With five days to go before the final, | 0:01:01 | 0:01:05 | |
they are thrown into the dramatic world, working with the Royal Shakespeare Company | 0:01:05 | 0:01:08 | |
to polish and perfect their performances. | 0:01:08 | 0:01:13 | |
They'll deliver one speech each and then three will go forward | 0:01:13 | 0:01:17 | |
to perform the most famous speech of them all. | 0:01:17 | 0:01:20 | |
-To be... -Or not to be. | 0:01:20 | 0:01:23 | |
That is the question. | 0:01:23 | 0:01:24 | |
Whether it is nobler in the mind... | 0:01:24 | 0:01:26 | |
To suffer the slings and arrows of outrageous fortune. | 0:01:26 | 0:01:29 | |
Or to take arms against a sea of troubles and by opposing end them. | 0:01:29 | 0:01:34 | |
It's a life-changing experience for all of them | 0:01:35 | 0:01:38 | |
but only one can take home the prize | 0:01:38 | 0:01:41 | |
for delivering Shakespeare Off By Heart. | 0:01:41 | 0:01:44 | |
All the world's a stage and all the men and women, merely players. | 0:01:55 | 0:01:59 | |
Oh, my God! | 0:01:59 | 0:02:02 | |
LAUGHTER | 0:02:02 | 0:02:03 | |
Shakespeare's verse is a challenge for every one of the finalists. | 0:02:05 | 0:02:09 | |
Full of strange oaths... | 0:02:09 | 0:02:10 | |
Oh, my God! | 0:02:10 | 0:02:11 | |
Jack, by far the youngest competitor, | 0:02:13 | 0:02:15 | |
is performing in his second language. | 0:02:15 | 0:02:18 | |
You either get Shakespeare, or you don't | 0:02:18 | 0:02:20 | |
and I've always felt that I got Shakespeare | 0:02:20 | 0:02:23 | |
sometimes even more than I got things that are drama now. | 0:02:23 | 0:02:27 | |
Neil is determined to overcome dyslexia and do his country proud. | 0:02:28 | 0:02:34 | |
Being asked questions by everyone, what's haggis like? | 0:02:34 | 0:02:36 | |
Do you wear a kilt? | 0:02:36 | 0:02:37 | |
The traditional questions but, yeah, kind of like representing Scotland, really, | 0:02:37 | 0:02:42 | |
because I'm the only Scottish person here. | 0:02:42 | 0:02:45 | |
Jacinta, from Wales, will be playing the part of an English king. | 0:02:45 | 0:02:49 | |
I try and think of a character that I know that's a bit manly | 0:02:49 | 0:02:53 | |
and gruff and everything. | 0:02:53 | 0:02:55 | |
I think about Shrek, he's quite manly. | 0:02:57 | 0:03:01 | |
James struggles with Shakespeare's language. | 0:03:01 | 0:03:05 | |
I remember when I've been in the car with my dad | 0:03:05 | 0:03:07 | |
and I go, "I can't do it there's too many lines, there's too many lines!" | 0:03:07 | 0:03:11 | |
I just used to repeat it over and over and over again | 0:03:11 | 0:03:13 | |
until I eventually just got it. | 0:03:13 | 0:03:16 | |
They all suffer from a problem shared by every actor on the planet. | 0:03:17 | 0:03:22 | |
I have to admit I do struggle with nerves. | 0:03:22 | 0:03:24 | |
I go on the stage and I'm like... | 0:03:24 | 0:03:26 | |
Nervous, all the time. I'm always nervous. | 0:03:26 | 0:03:28 | |
Yes, really nervous. | 0:03:28 | 0:03:31 | |
I'm still nervous. I'm thinking, "I'm nervous, I'm nervous." | 0:03:31 | 0:03:33 | |
Do I get nervous? | 0:03:33 | 0:03:35 | |
Do I really get nervous? | 0:03:35 | 0:03:37 | |
If they want to know what it's like to be a professional actor, | 0:03:37 | 0:03:41 | |
they have to rehearse like crazy. | 0:03:41 | 0:03:43 | |
We're doing a quick hop here, because we're in a race against time. | 0:03:43 | 0:03:46 | |
This is what we do in a rehearsal room. | 0:03:46 | 0:03:48 | |
No actor pops out speaking Shakespeare. | 0:03:48 | 0:03:51 | |
Well, not one that I've met, anyway! | 0:03:51 | 0:03:53 | |
You have to do this work. | 0:03:53 | 0:03:55 | |
This is not a school production, it's the real deal. | 0:03:56 | 0:04:00 | |
Like going from go-kart racing to Formula One in a single step. | 0:04:00 | 0:04:04 | |
Back here, you'll also have the stage manager who'll be looking after the actors | 0:04:04 | 0:04:08 | |
and they'll have a screen where they're watching the stage. | 0:04:08 | 0:04:11 | |
They'll be to see everything that's going on on stage | 0:04:11 | 0:04:13 | |
and if anything looks like it's going wrong, or if someone hurts themselves | 0:04:13 | 0:04:17 | |
or, is not very well, they can step in and call a stop to this show. | 0:04:17 | 0:04:22 | |
Has it ever happened where they've had to go onstage? | 0:04:22 | 0:04:24 | |
Theatre's live, you know, sometimes an actor does hurt themselves in a fight scene | 0:04:24 | 0:04:29 | |
or sometimes a piece of scenery doesn't do what it's supposed to do. | 0:04:29 | 0:04:32 | |
Struan Leslie, the RSC's movement director | 0:04:35 | 0:04:38 | |
takes the finalists onto the main stage. | 0:04:38 | 0:04:41 | |
This is no school hall. | 0:04:42 | 0:04:45 | |
What's your sense of the space? | 0:04:45 | 0:04:47 | |
So much bigger but smaller, it's that strange thing. | 0:04:47 | 0:04:51 | |
It's a bit like a kind of TARDIS, in reverse. | 0:04:51 | 0:04:53 | |
But, really intimate, you know. | 0:04:53 | 0:04:55 | |
If somebody's sitting up there, they're only 15 metres away. | 0:04:55 | 0:04:59 | |
None of them has played on anything like it before | 0:05:00 | 0:05:04 | |
and amid the camaraderie, they all know | 0:05:04 | 0:05:06 | |
that they're competing against each other. | 0:05:06 | 0:05:10 | |
I would like to win but I think if it happens, it happens. | 0:05:10 | 0:05:13 | |
I would like to win but I'm sure there are other contestants | 0:05:13 | 0:05:16 | |
that were picked for a reason and so they will be fierce competition. | 0:05:16 | 0:05:21 | |
Because I know that everyone else has gone as far as I have | 0:05:21 | 0:05:23 | |
to do this and so we're all almost of equal skill. | 0:05:23 | 0:05:27 | |
But, of course, I want to win! | 0:05:27 | 0:05:29 | |
They'll be performing in front of three judges who really know their stuff. | 0:05:31 | 0:05:35 | |
The actress, Imogen Stubbs, who has performed Shakespearean roles | 0:05:35 | 0:05:39 | |
from Desdemona in Othello to Gertrude in Hamlet. | 0:05:39 | 0:05:43 | |
The historian and Shakespeare authority, Simon Schama | 0:05:43 | 0:05:47 | |
and the actor Samuel West, a famous Hamlet of the RSC in 2001. | 0:05:47 | 0:05:53 | |
As the scale of the challenge sinks in, | 0:05:55 | 0:05:58 | |
the finalists see how professional actors perform in the RSC's current production, | 0:05:58 | 0:06:03 | |
The Taming Of The Shrew. | 0:06:03 | 0:06:05 | |
I knew you at the first, you were a moveable. | 0:06:07 | 0:06:11 | |
What's a moveable? | 0:06:11 | 0:06:13 | |
A join'd stool. | 0:06:13 | 0:06:15 | |
Thou hast hit it. Come, sit on me. | 0:06:15 | 0:06:19 | |
When I looked at the stage and the actors, it really goes to show | 0:06:19 | 0:06:23 | |
how even just the slightest movement can make everyone's heads turn. | 0:06:23 | 0:06:26 | |
When you feel you have to move across the stage, you really don't, | 0:06:26 | 0:06:28 | |
you just have to take a couple of steps. | 0:06:28 | 0:06:31 | |
With my tongue in your tail. | 0:06:31 | 0:06:35 | |
It's good so far. It's a bit... | 0:06:35 | 0:06:38 | |
..graphic. | 0:06:38 | 0:06:40 | |
It's good, it's good. | 0:06:40 | 0:06:42 | |
Argh! | 0:06:42 | 0:06:44 | |
It's really funny and as Emily said, | 0:06:45 | 0:06:48 | |
kind of graphic. | 0:06:48 | 0:06:50 | |
The warning said nudity, | 0:06:50 | 0:06:51 | |
but I don't think they'd take it that far! | 0:06:51 | 0:06:54 | |
Ladies and gentlemen of the Off By Heart Company, this is your quarter-hour call. | 0:06:59 | 0:07:03 | |
Ladies and gentlemen of the Off By Heart Company, | 0:07:03 | 0:07:06 | |
this is your quarter-hour call, you have 15 minutes. | 0:07:06 | 0:07:08 | |
15 minutes, thank you. | 0:07:08 | 0:07:09 | |
On the day of the final, each of the nine performers is expected | 0:07:11 | 0:07:16 | |
to be in complete control of Shakespeare's language and meaning. | 0:07:16 | 0:07:21 | |
Come on then, team. | 0:07:21 | 0:07:22 | |
To ease their nerves backstage, the actor, Samuel West, | 0:07:26 | 0:07:30 | |
gives them a few quick tips. | 0:07:30 | 0:07:33 | |
I don't know if you'll find it useful, | 0:07:33 | 0:07:35 | |
I learn it when I'm dancing. | 0:07:35 | 0:07:37 | |
LAUGHTER | 0:07:37 | 0:07:39 | |
-Do you? -No, I don't dance. | 0:07:39 | 0:07:42 | |
Yes, he does. Yes, he does! | 0:07:42 | 0:07:44 | |
I don't really dance, either, but if you're learning a speech | 0:07:44 | 0:07:47 | |
that has an iambic pentameter and you go, | 0:07:47 | 0:07:49 | |
"for God's sake let us sit upon the ground and tell sad stories." | 0:07:49 | 0:07:52 | |
And you go, dum dum, it's got two full syllables to the death of King!" | 0:07:52 | 0:07:56 | |
You know, you do it while you're doing the washing up, or whatever. | 0:07:56 | 0:07:59 | |
The verse just goes in so much faster. That's my trick. | 0:07:59 | 0:08:03 | |
LAUGHTER | 0:08:03 | 0:08:04 | |
Well, hello, and welcome to the final of Shakespeare Off By Heart. | 0:08:15 | 0:08:19 | |
It's a sort of X Factor for people with brains. | 0:08:19 | 0:08:22 | |
2,000, 13 to 15-year-olds from right across United Kingdom | 0:08:22 | 0:08:26 | |
have now been whittled down to a mere nine. | 0:08:26 | 0:08:29 | |
Here at the Royal Shakespeare Theatre in Stratford-upon-Avon, | 0:08:29 | 0:08:32 | |
one of them will emerge the winner. | 0:08:32 | 0:08:35 | |
Each of the nine will perform a speech from Henry V or Romeo and Juliet. | 0:08:35 | 0:08:39 | |
The three judges will then choose a final three | 0:08:39 | 0:08:43 | |
who will perform the most famous soliloquy in the world. | 0:08:43 | 0:08:46 | |
First of all, please welcome our three judges, | 0:08:46 | 0:08:50 | |
the actors, Samuel West and Imogen Stubbs | 0:08:50 | 0:08:52 | |
and the historian, Simon Schama. | 0:08:52 | 0:08:55 | |
APPLAUSE | 0:08:55 | 0:08:57 | |
What are you looking for, Simon? | 0:09:02 | 0:09:04 | |
A sense that Shakespeare's language is of our time as well | 0:09:04 | 0:09:07 | |
as the Elizabethan time. | 0:09:07 | 0:09:09 | |
We're looking for passion, eloquence, | 0:09:09 | 0:09:12 | |
people who don't take Shakespeare is sort of stick on beards and dangling swords. | 0:09:12 | 0:09:17 | |
That it's the language that's the most glorious thing ever done in English. | 0:09:17 | 0:09:21 | |
That's easy, isn't it? | 0:09:21 | 0:09:22 | |
Er... | 0:09:22 | 0:09:23 | |
No pressure. | 0:09:23 | 0:09:25 | |
It sort of raises the question, though, of why anyone should feel | 0:09:25 | 0:09:28 | |
the need to learn Shakespeare, doesn't it? | 0:09:28 | 0:09:32 | |
What's the point. You two, obviously, it's your job. | 0:09:32 | 0:09:34 | |
It makes waiting for a bus, a bit less boring. | 0:09:34 | 0:09:37 | |
LAUGHTER | 0:09:37 | 0:09:38 | |
I'm serious, if this stuff's going round through you. | 0:09:38 | 0:09:40 | |
You're in the company of some of the greatest stuff written. | 0:09:40 | 0:09:43 | |
It's like a beat going through you and it can be your friend | 0:09:43 | 0:09:46 | |
and your inspiration for the rest of your life. | 0:09:46 | 0:09:49 | |
-Is it difficult? -It is very, very difficult. | 0:09:49 | 0:09:51 | |
I think for this age group, | 0:09:51 | 0:09:53 | |
Shakespeare writes the most wonderful stuff about being human | 0:09:53 | 0:09:57 | |
but it's very hard to make yourself sound like a human being | 0:09:57 | 0:09:59 | |
when you first try with Shakespeare, it's like speaking another language. | 0:09:59 | 0:10:02 | |
If you don't have the life experience, it makes it hard. | 0:10:02 | 0:10:05 | |
When you get it, when you solve that riddle, when you're gifted with that eloquence | 0:10:05 | 0:10:08 | |
coming out of your mouth, it's a dream, it's wonderful. | 0:10:08 | 0:10:11 | |
You can only feel it when you speak it. | 0:10:11 | 0:10:13 | |
Right, I don't envy you your job, thank you very much for now. | 0:10:13 | 0:10:16 | |
Let's get on with it, then. | 0:10:16 | 0:10:18 | |
APPLAUSE | 0:10:18 | 0:10:21 | |
# Lift up the voice, just carry on singing # | 0:10:21 | 0:10:24 | |
15-year-old, Femi, grew up in a large Nigerian family in South London. | 0:10:24 | 0:10:29 | |
A born performer, he sings and dances, as well as acts | 0:10:29 | 0:10:34 | |
and is not short of ambition. | 0:10:34 | 0:10:37 | |
Yeah, I want to be famous. | 0:10:37 | 0:10:39 | |
I've said it since I was seven, I want to be famous. | 0:10:39 | 0:10:43 | |
I would like to be in the drama industry, the acting industry first | 0:10:44 | 0:10:47 | |
and then, obviously, if there's different opportunities | 0:10:47 | 0:10:52 | |
like dancing and singing, I'll just take that opportunity as well. | 0:10:52 | 0:10:55 | |
# Like the way you hold me # | 0:10:55 | 0:10:57 | |
I mean, before I get to the stage, before I actually walk on the stage, I'm like... | 0:10:57 | 0:11:02 | |
When I'm on the stage I'm like, "Yeah!" I don't know what happens. | 0:11:03 | 0:11:08 | |
When I'm on stage it's just a whole different story. | 0:11:08 | 0:11:11 | |
I used to be watching TV, I'm thinking, | 0:11:13 | 0:11:16 | |
"imagine me in that TV screen right there. | 0:11:16 | 0:11:18 | |
"Will people at home be thinking of me?" And just thinking, "Yeah." | 0:11:18 | 0:11:22 | |
I'd love to be on the stage acting. I'd love to sing in choirs. | 0:11:22 | 0:11:26 | |
I'd love to be dancing on stage and all of that. | 0:11:26 | 0:11:29 | |
Well, here's my family and friends. | 0:11:29 | 0:11:32 | |
Here's Tina, my cousin, Angie, my other cousin... | 0:11:32 | 0:11:36 | |
Femi's mother and entire family will be cheering him on all the way. | 0:11:36 | 0:11:41 | |
My wonderful mum. | 0:11:41 | 0:11:43 | |
And I feel happy, excited. | 0:11:43 | 0:11:46 | |
I feel privileged as well, you know. | 0:11:46 | 0:11:48 | |
Just to have a boy who's very talented | 0:11:48 | 0:11:52 | |
and very gifted at what he does and he does work hard at what he does. | 0:11:52 | 0:11:57 | |
Acting, anything, he really works hard for it. | 0:11:57 | 0:12:01 | |
My aunty and my dad. | 0:12:01 | 0:12:04 | |
My mum keeps pressuring me like, "Learn your lines, learn your lines." | 0:12:04 | 0:12:07 | |
Every single day, "learn your lines, learn your lines." | 0:12:07 | 0:12:10 | |
"OK, mum, I'm coming, I'm coming, I'm watching EastEnders!" | 0:12:10 | 0:12:13 | |
So, yeah. | 0:12:13 | 0:12:14 | |
How oft when men are at the point of death | 0:12:14 | 0:12:18 | |
have they been merry? | 0:12:18 | 0:12:20 | |
I first began to notice Femi | 0:12:20 | 0:12:22 | |
when he auditioned for the annual school production. | 0:12:22 | 0:12:26 | |
He had a very small role | 0:12:26 | 0:12:27 | |
but he was one of the keenest chorus people I've ever met in my life. | 0:12:27 | 0:12:31 | |
He just demonstrated from the onset, that he was a young man with enormous potential. | 0:12:31 | 0:12:36 | |
So, not only is he extremely talented in terms of his singing, | 0:12:39 | 0:12:44 | |
his dancing, he's proven himself | 0:12:44 | 0:12:46 | |
to be an incredibly talented young Shakespearean, or straight actor. | 0:12:46 | 0:12:51 | |
How can I call this a lightning? | 0:12:51 | 0:12:54 | |
Femi will be performing Romeo's death scene from Romeo and Juliet. | 0:12:54 | 0:12:59 | |
Don't put your hands to your face, cover your mouth | 0:12:59 | 0:13:02 | |
because you can't hear. | 0:13:02 | 0:13:04 | |
You started so lovely out to us, you are talking to us | 0:13:04 | 0:13:08 | |
and you went in, you retreated more and more. Don't. | 0:13:08 | 0:13:12 | |
Yeah, he's really good. | 0:13:12 | 0:13:14 | |
He is teaching me a lot | 0:13:14 | 0:13:15 | |
and making me understand why Shakespeare was invented. | 0:13:15 | 0:13:19 | |
Why Shakespeare is here. | 0:13:19 | 0:13:21 | |
Why they do Shakespeare. | 0:13:21 | 0:13:23 | |
How does it feel to see the woman that you love lying there dead? | 0:13:23 | 0:13:28 | |
OK? Yeah? | 0:13:28 | 0:13:30 | |
Shakespeare wrote this so that he'd be telling the audience | 0:13:30 | 0:13:34 | |
how that feels. | 0:13:34 | 0:13:35 | |
We've seen him several times on stage | 0:13:35 | 0:13:38 | |
but this is something different, this is massive. | 0:13:38 | 0:13:40 | |
It's going to be shown on TV, as well. | 0:13:40 | 0:13:44 | |
So we're really happy for him. | 0:13:44 | 0:13:47 | |
-And proud of him, as well. -Yeah, proud of him | 0:13:47 | 0:13:49 | |
Femi's mother even insisted he wears his best suit for the final. | 0:13:52 | 0:13:56 | |
Here... | 0:13:57 | 0:13:59 | |
Here will I remain with worms that are thy chambermaids. | 0:13:59 | 0:14:04 | |
O, here will I set to my everlasting rest. | 0:14:04 | 0:14:08 | |
And shake the yoke of inauspicious stars from this world wearied flesh. | 0:14:08 | 0:14:12 | |
Eyes, look your last! | 0:14:18 | 0:14:21 | |
Arms, take your last embrace. | 0:14:21 | 0:14:23 | |
And lips... | 0:14:26 | 0:14:28 | |
O you the doors of breath | 0:14:31 | 0:14:33 | |
seal with the righteous kiss. | 0:14:35 | 0:14:38 | |
A dateless bargain to engrossing death! | 0:14:40 | 0:14:43 | |
Come... | 0:14:44 | 0:14:46 | |
Bitter conduct. Come. | 0:14:48 | 0:14:51 | |
Unsavoury guide, thou desperate pilot. | 0:14:51 | 0:14:54 | |
Now at once, run on. | 0:14:54 | 0:14:58 | |
The dashing rocks thy sea-sick weary bark! | 0:14:58 | 0:15:01 | |
Here's to my love. | 0:15:01 | 0:15:05 | |
O true apothecary. | 0:15:05 | 0:15:07 | |
Urgh! | 0:15:12 | 0:15:14 | |
Urgh! | 0:15:14 | 0:15:16 | |
Ah! | 0:15:20 | 0:15:22 | |
Thy drugs are quick. | 0:15:22 | 0:15:24 | |
Thus... | 0:15:28 | 0:15:30 | |
..with a kiss... | 0:15:30 | 0:15:32 | |
I die. | 0:15:35 | 0:15:37 | |
APPLAUSE | 0:15:40 | 0:15:42 | |
He's a wonderfully watchable boy. | 0:15:45 | 0:15:48 | |
-You know, you couldn't not be swept... -Absolutely. | 0:15:48 | 0:15:50 | |
He has you in the palm of his hands and especially in that space | 0:15:50 | 0:15:54 | |
he's got a marvellous energy. | 0:15:54 | 0:15:56 | |
You just know... I can really see him going on to be an actor. | 0:15:56 | 0:15:59 | |
Yeah, indeed. | 0:15:59 | 0:16:01 | |
Because he has fantastic enthusiasm, so that carries a long way. | 0:16:01 | 0:16:04 | |
-If I was being honest, I couldn't hear everything he said. -No, I couldn't either. | 0:16:04 | 0:16:07 | |
I think he needs to work on that. I think he's worked on it very hard and will go on working on it | 0:16:07 | 0:16:11 | |
but he has trouble articulating some of it. | 0:16:11 | 0:16:13 | |
-He needs to trust the verse more. -Mmm. | 0:16:13 | 0:16:16 | |
Run... | 0:16:16 | 0:16:18 | |
It adds a precious seed to the eye. | 0:16:18 | 0:16:21 | |
The finalists' first taste of the RSC was a workshop with Cicely Berry. | 0:16:21 | 0:16:25 | |
When the suspicious head of theft is stopped. | 0:16:25 | 0:16:28 | |
A veteran voice coach who's worked with everyone from Dame Peggy Ashcroft to Samuel L Jackson. | 0:16:28 | 0:16:34 | |
The first thing I want to say is, | 0:16:36 | 0:16:38 | |
that there is no one right way of saying a line. | 0:16:38 | 0:16:43 | |
All right? There's no right way. | 0:16:43 | 0:16:46 | |
Everybody has a different feel about a line, | 0:16:46 | 0:16:50 | |
feel of what it means, we're all different. | 0:16:50 | 0:16:52 | |
The expense of spirit in a waste of shame is lust. | 0:16:52 | 0:16:57 | |
In Shakespeare's day, this is the important thing I want to say, | 0:16:57 | 0:17:01 | |
in Shakespeare's day, only 8% of people could read. | 0:17:01 | 0:17:06 | |
They couldn't read, most of them. | 0:17:08 | 0:17:10 | |
They went... He was the most popular playwright. | 0:17:10 | 0:17:14 | |
They went to see his plays but they understood it by listening, | 0:17:14 | 0:17:20 | |
by hearing the sounds of that language | 0:17:20 | 0:17:23 | |
and where the sound and the rhythm takes us. | 0:17:23 | 0:17:28 | |
All right! Gather again. | 0:17:28 | 0:17:31 | |
I get bored very quickly. | 0:17:31 | 0:17:33 | |
Emily is 15 and hails from the West Country. | 0:17:34 | 0:17:38 | |
She'll be performing a speech in which Juliet | 0:17:38 | 0:17:41 | |
prepares to lose her virginity to Romeo. | 0:17:41 | 0:17:44 | |
When she is saying, "gallop apace," | 0:17:44 | 0:17:47 | |
she's not being poetic in describing it, | 0:17:47 | 0:17:50 | |
she's actually telling us what she feels inside. | 0:17:50 | 0:17:55 | |
Do you know what I mean? She is hot for him and wants him. | 0:17:55 | 0:17:59 | |
To tell the truth, I didn't want to do a lovely dovey piece. | 0:17:59 | 0:18:02 | |
That's one piece, "I don't want to do it, I don't want to be in love!" | 0:18:02 | 0:18:05 | |
because, I find, it really difficult to act. | 0:18:05 | 0:18:09 | |
It's definitely pushed my boundaries. | 0:18:09 | 0:18:12 | |
Acting is a fairly new hobby for Emily, | 0:18:14 | 0:18:17 | |
who discovered her enthusiasm after appearing in a school play. | 0:18:17 | 0:18:21 | |
It was only about a year ago when in school we did a drama piece | 0:18:21 | 0:18:25 | |
and I thought, "I really like this." | 0:18:25 | 0:18:27 | |
I was really getting into it. | 0:18:27 | 0:18:29 | |
And, erm, after we had the sort of scripted bit over with, | 0:18:29 | 0:18:34 | |
I was, "I would like to do that again" kind of thing. | 0:18:34 | 0:18:36 | |
So I auditioned for some other plays and I now go to an after-school, out-of-school, session | 0:18:36 | 0:18:41 | |
and it's really just gone from there, to be honest. | 0:18:41 | 0:18:44 | |
It's funny really because she's... I mean, you know | 0:18:44 | 0:18:46 | |
when they were at primary school it was a case of having to be in some of the productions and stuff. | 0:18:46 | 0:18:50 | |
It's something she's never really done | 0:18:50 | 0:18:53 | |
and then when this Shakespeare thing kicked off, | 0:18:53 | 0:18:56 | |
-she came home and told us vaguely what was going on, didn't she? -Yeah. | 0:18:56 | 0:19:00 | |
She had this... | 0:19:00 | 0:19:01 | |
She burst into tears at the same time | 0:19:01 | 0:19:02 | |
because she said she'd recently lost her best friend with leukaemia | 0:19:02 | 0:19:07 | |
and she was like, "I've got to go for it" kind of thing, you know. | 0:19:07 | 0:19:10 | |
"Life's just too short to sit back" and "I'm really going to get out there and have a go | 0:19:10 | 0:19:15 | |
"and experience all these things." | 0:19:15 | 0:19:17 | |
Next thing is, she's gone through the school heats | 0:19:17 | 0:19:19 | |
and she's in the regional finals and it's like, "Oh, my God!" | 0:19:19 | 0:19:23 | |
-It's really fired something, hasn't it? -Mm. | 0:19:23 | 0:19:26 | |
It's really hit the something somewhere that's clicked. | 0:19:26 | 0:19:28 | |
I think she's gone through every single YouTube video there is, | 0:19:28 | 0:19:32 | |
with every Shakespeare performance there ever was, kind of thing. | 0:19:32 | 0:19:36 | |
-It's funny, isn't it? -Yeah. | 0:19:36 | 0:19:38 | |
I can hear her in the morning at three o'clock listening to Hamlet. | 0:19:38 | 0:19:41 | |
It's like, "turn the TV off!" | 0:19:41 | 0:19:43 | |
Quite funny. | 0:19:43 | 0:19:45 | |
Emily's nerves means that she tends to race through her speech. | 0:19:46 | 0:19:49 | |
Director Justin Audibert tries to slow her down. | 0:19:49 | 0:19:53 | |
Gallop apace, you fiery-footed steeds | 0:19:53 | 0:19:56 | |
towards Phoebus' lodging. | 0:19:56 | 0:19:58 | |
Such a Wagoner as Phaethon would whip you to the west... | 0:19:58 | 0:20:00 | |
If you are telling me the information for the first time, | 0:20:00 | 0:20:03 | |
if you were telling somebody, that's what you are doing, you're telling us all | 0:20:03 | 0:20:06 | |
information for the very first time. | 0:20:06 | 0:20:08 | |
-Slower. -Yeah. | 0:20:08 | 0:20:10 | |
-When I get nervous, I get faster. -If I said to you... | 0:20:10 | 0:20:13 | |
SPEAKS VERY QUICKLY | 0:20:13 | 0:20:15 | |
-Yeah. -You'd be like, "What, what you want Justin?" | 0:20:15 | 0:20:17 | |
If I said to you, Emily, I could do with a cup of water, | 0:20:17 | 0:20:21 | |
-could you get me one? -Yeah. | 0:20:21 | 0:20:22 | |
-You might get me a cup of water, might you? -Mm. -Yeah? | 0:20:22 | 0:20:25 | |
-That's the difference. You've got to tell us so we can understand it. -OK. | 0:20:25 | 0:20:29 | |
All right, tell me again, you started beautifully. | 0:20:29 | 0:20:32 | |
Gallop apace, you fiery-footed steed, | 0:20:32 | 0:20:35 | |
towards Phoebus' lodging. | 0:20:35 | 0:20:37 | |
Such a Wagoner as Phaethon would whip you to the west | 0:20:37 | 0:20:39 | |
and bring in cloudy night immediately. | 0:20:39 | 0:20:42 | |
Emily prepares for her final performance. | 0:20:42 | 0:20:45 | |
Cicely Berry gives an extra workshop specifically about nerves. | 0:20:46 | 0:20:50 | |
It's very important to realise that we all get nervous. | 0:20:51 | 0:20:56 | |
I don't know one actor in all the hundreds I've worked with | 0:20:56 | 0:20:59 | |
who doesn't get nervous going on a stage | 0:20:59 | 0:21:03 | |
and being seen by a whole load of people. | 0:21:03 | 0:21:07 | |
I think it's a good thing because it means you care, | 0:21:07 | 0:21:10 | |
do you see what I mean? | 0:21:10 | 0:21:11 | |
You care, you do the best you can. | 0:21:11 | 0:21:15 | |
I can't tell you how not to be nervous but what I can do, | 0:21:15 | 0:21:19 | |
I think, is really valuable, | 0:21:19 | 0:21:22 | |
is to give you a few tips of ways | 0:21:22 | 0:21:26 | |
of not letting that affect your voice. | 0:21:26 | 0:21:29 | |
With me, it's not my voice that shows nerves, it's my hand shakes, | 0:21:29 | 0:21:33 | |
my hand shakes. | 0:21:33 | 0:21:35 | |
No, what we're going to do will help everything, you see. | 0:21:35 | 0:21:40 | |
Just think about your shoulders | 0:21:41 | 0:21:43 | |
because it is the shoulders that get so tense, isn't it? | 0:21:43 | 0:21:46 | |
Open your mouths wide and sigh out. | 0:21:46 | 0:21:50 | |
This time I'm going to ask you to breathe out for ten counts. | 0:21:52 | 0:21:56 | |
And, out, two, three, four... | 0:21:57 | 0:22:00 | |
APPLAUSE | 0:22:00 | 0:22:01 | |
Now, Emily from the West Country takes to the stage | 0:22:01 | 0:22:05 | |
with A speech from Act III of Romeo and Juliet. | 0:22:05 | 0:22:09 | |
Juliet is impatient for news of Romeo. | 0:22:09 | 0:22:13 | |
APPLAUSE | 0:22:13 | 0:22:15 | |
Gallop apace, you fiery footed steed towards Phoebus' lodging. | 0:22:21 | 0:22:24 | |
Such a Wagoner as Phaethon would whip you to the West | 0:22:24 | 0:22:27 | |
and bring in cloudy night immediately. | 0:22:27 | 0:22:31 | |
Spread thy close curtains, love performing night | 0:22:31 | 0:22:35 | |
that runaway's eyes may wink and Romeo | 0:22:35 | 0:22:38 | |
leap to these arms untalk'd of | 0:22:38 | 0:22:40 | |
and unseen. | 0:22:40 | 0:22:43 | |
Adrenaline normally kicks in after you've done. | 0:22:43 | 0:22:45 | |
For me, halfway through I'm... | 0:22:45 | 0:22:48 | |
It's a bit like, "Oh God." | 0:22:48 | 0:22:50 | |
Come civil night, thou sober suited matron, all in black. | 0:22:51 | 0:22:55 | |
Learn me how to lose a winning match | 0:22:55 | 0:22:58 | |
play'd for a pair of stainless maidenhoods. | 0:22:58 | 0:23:01 | |
Oh my God! | 0:23:03 | 0:23:05 | |
I've lost it. Can I star... | 0:23:05 | 0:23:06 | |
Can I start again, please? | 0:23:08 | 0:23:10 | |
Sorry... | 0:23:10 | 0:23:11 | |
Gallop apace you fiery footed steed towards Phoebus' lodging. | 0:23:22 | 0:23:27 | |
Such a Wagoner as Phaethon would whip you to the West and bring... | 0:23:27 | 0:23:30 | |
Emily, I thought she did very well starting again | 0:23:30 | 0:23:32 | |
-and was infinitely better the second time, which is pretty hard to do. -She was. | 0:23:32 | 0:23:36 | |
-She actually looked up. -I wouldn't even, you know... | 0:23:36 | 0:23:41 | |
I thought she was the least in command of meaning, I have to say. | 0:23:41 | 0:23:45 | |
I think that probably wasn't her time | 0:23:45 | 0:23:47 | |
but I did take my hat off to her that she started again. | 0:23:47 | 0:23:49 | |
Incredibly brave without a doubt. | 0:23:49 | 0:23:53 | |
Oh... | 0:23:55 | 0:23:57 | |
I forgot it halfway through. I had to start again. | 0:23:59 | 0:24:02 | |
That wasn't the best but... | 0:24:02 | 0:24:05 | |
I think the nerves have kicked in again. | 0:24:05 | 0:24:08 | |
# Come, monsieur, sit yourself down | 0:24:10 | 0:24:13 | |
# and meet the best innkeeper in town # | 0:24:13 | 0:24:16 | |
Ben, 15 and from Lincolnshire, aspires to an acting career. | 0:24:16 | 0:24:22 | |
I would like to be an actor, yeah, when I'm older. | 0:24:22 | 0:24:25 | |
I know it's really hard business, to be honest. | 0:24:25 | 0:24:27 | |
But, erm, I'd just love to be in the arts industry. | 0:24:27 | 0:24:31 | |
# Master of the house, doling out the charm... # | 0:24:31 | 0:24:34 | |
Ben is very driven, he's very competitive. He loves a challenge. | 0:24:34 | 0:24:40 | |
He's been doing drama since he was eight | 0:24:40 | 0:24:42 | |
and he's not really stopped since. | 0:24:42 | 0:24:45 | |
I don't know where it comes from but the more he does it, | 0:24:45 | 0:24:48 | |
the more driven he becomes. | 0:24:48 | 0:24:51 | |
Ben won a scholarship to a private boys school | 0:24:52 | 0:24:54 | |
and he's down to perform the famous balcony scene from Romeo and Juliet, | 0:24:54 | 0:24:59 | |
although he's not that keen on the character of Romeo. | 0:24:59 | 0:25:02 | |
I think Romeo's quite naive, to be honest. | 0:25:03 | 0:25:06 | |
They both are, really. | 0:25:06 | 0:25:07 | |
But Romeo is so obsessed with Juliet | 0:25:07 | 0:25:10 | |
that he forgets pretty much all the morals that he has been taught. | 0:25:10 | 0:25:15 | |
In a way, what he's doing is he's throwing all of his beliefs out of the window | 0:25:16 | 0:25:20 | |
just to be with this one girl, which, I think, is slightly naive. | 0:25:20 | 0:25:24 | |
Maybe that's what he thought. | 0:25:24 | 0:25:26 | |
Have we got time to do one more thing? | 0:25:26 | 0:25:29 | |
You'd like to, wouldn't you? Yes? | 0:25:29 | 0:25:30 | |
-Yes! -Yes! | 0:25:30 | 0:25:32 | |
CICELY LAUGHS | 0:25:32 | 0:25:34 | |
For me, I think drama is one of the only ways to be able | 0:25:36 | 0:25:39 | |
to express yourself fully because I used to have really, | 0:25:39 | 0:25:43 | |
big problems with confidence and now that I've got the whole drama thing going, | 0:25:43 | 0:25:47 | |
I can talk to anyone and not have a problem with it. | 0:25:47 | 0:25:52 | |
Ben's father died a year ago. | 0:25:55 | 0:25:58 | |
I want to reflect on things that have happened to me over my life | 0:26:00 | 0:26:04 | |
and incorporate them into the play and into my monologue, | 0:26:04 | 0:26:07 | |
sort of get the message across. | 0:26:07 | 0:26:10 | |
Things like, sort of the grief he's feeling at the loss | 0:26:10 | 0:26:13 | |
of someone close to him or, you know, he's not really sure about himself, | 0:26:13 | 0:26:18 | |
what he could do, what he shouldn't do. | 0:26:18 | 0:26:21 | |
Erm, generally sort of his morals in life. | 0:26:21 | 0:26:23 | |
APPLAUSE | 0:26:23 | 0:26:25 | |
But soft. | 0:26:31 | 0:26:33 | |
What light through yonder window breaks. | 0:26:33 | 0:26:35 | |
It is the east and Juliet is the sun. | 0:26:37 | 0:26:39 | |
Arise, fair sun and kill the envious moon | 0:26:40 | 0:26:45 | |
who is already sick and pale with grief that thou her maid | 0:26:45 | 0:26:48 | |
art far more fair than she. | 0:26:48 | 0:26:51 | |
Be not her maid, since she is envious. | 0:26:53 | 0:26:56 | |
Her vestal livery is but sick and green | 0:26:56 | 0:26:59 | |
and non but fools do wear it. Cast it off. | 0:26:59 | 0:27:02 | |
It is my lady. | 0:27:02 | 0:27:04 | |
O, it is my love! O, that she knew she were. | 0:27:04 | 0:27:07 | |
Well, I think, Ben was lovely | 0:27:07 | 0:27:10 | |
because he seemed to be utterly credible as a Romeo. | 0:27:10 | 0:27:12 | |
I put down, "realty in love." | 0:27:12 | 0:27:15 | |
Realty in love and he also was brave enough to pause and think | 0:27:15 | 0:27:18 | |
-when he wanted to pause and think which is always nerve wracking. -Massive hands, though. | 0:27:18 | 0:27:22 | |
-Massive hands. -More hands than anybody else. | 0:27:22 | 0:27:25 | |
-Yes, but you're playing up to a balcony and it's very tempting, isn't it? -That's true. | 0:27:25 | 0:27:29 | |
See how she leans her cheek upon her hand. | 0:27:29 | 0:27:31 | |
O, that I were a glove upon that hand, that I might touch that cheek. | 0:27:32 | 0:27:37 | |
She speaks! | 0:27:38 | 0:27:40 | |
O, speak again bright angel! | 0:27:42 | 0:27:45 | |
For thou art as glorious to this night being o'er my head | 0:27:45 | 0:27:49 | |
as is a winged messenger of heaven. | 0:27:49 | 0:27:51 | |
unto the white, upturned, wandering eyes of mortals | 0:27:51 | 0:27:54 | |
that fall back to gaze on him when he bestrides | 0:27:54 | 0:27:57 | |
the lazy puffing clouds and sails upon the bosom of the air. | 0:27:57 | 0:28:02 | |
APPLAUSE | 0:28:02 | 0:28:05 | |
CHEERING AND APPLAUSE | 0:28:05 | 0:28:07 | |
I thought Ben's interpretation, his understanding was pretty top. | 0:28:07 | 0:28:11 | |
He has a slight habit of pausing in the middle of verse lines, | 0:28:11 | 0:28:15 | |
-which he could get rid of. -Yeah. | 0:28:15 | 0:28:17 | |
I mean, there is a lot in that speech that makes you, | 0:28:17 | 0:28:20 | |
"Oh, that she knew... | 0:28:20 | 0:28:21 | |
"See how she..." | 0:28:21 | 0:28:23 | |
-Mm. -Just let the verse carry you through. | 0:28:23 | 0:28:26 | |
He did very well at the end, there some very long sentences at the end | 0:28:26 | 0:28:29 | |
and he did that extremely well. | 0:28:29 | 0:28:31 | |
-He did that beautifully. -It's a hard speech, isn't it? | 0:28:31 | 0:28:34 | |
Even though we're all saying it's a teen speech because | 0:28:34 | 0:28:36 | |
it's got all these jokes in the middle and you both want to cuddle him | 0:28:36 | 0:28:39 | |
and laugh with him and the fantastic kind of twitchy... | 0:28:39 | 0:28:44 | |
The note was the same but more so. | 0:28:44 | 0:28:46 | |
-He started interpreting it and I said "Yeah, keep going in that direction." -Yeah, yeah. | 0:28:46 | 0:28:50 | |
Because it's really helpful. | 0:28:50 | 0:28:53 | |
One of the challenges the children face | 0:28:55 | 0:28:57 | |
is performing in an exposed space, similar to the one Shakespeare would have used, | 0:28:57 | 0:29:02 | |
thrust forward with the audience on three sides. | 0:29:02 | 0:29:06 | |
And walk around the stage and find yourself somewhere comfortable. Great. | 0:29:06 | 0:29:09 | |
All right, I want to do just a little exercise. OK? | 0:29:11 | 0:29:13 | |
Basically, what we're going to do, is a bit of call and response. OK? | 0:29:13 | 0:29:16 | |
You'll say line to them and they'll say a line back down to you. | 0:29:16 | 0:29:19 | |
It will give you a sense of what it feels like | 0:29:19 | 0:29:21 | |
and how much you need to project and where you need to come from. | 0:29:21 | 0:29:25 | |
OK, Nuha, you can give yours to Amy. | 0:29:25 | 0:29:28 | |
I have faint cold fear of thrills through my veins. | 0:29:29 | 0:29:32 | |
-I have a faint cold fear of thrills through my veins. -Fantastic! | 0:29:32 | 0:29:36 | |
And, again. Give us it again. This time I'm going to give you the challenge of getting | 0:29:36 | 0:29:40 | |
it to her in a whisper but I wanted to hear every word of it. | 0:29:40 | 0:29:43 | |
Keep that whisper really energised. | 0:29:43 | 0:29:46 | |
I... I can't whisper any more! | 0:29:46 | 0:29:49 | |
Erm, I have a faint cold fear of thrill through my veins. | 0:29:49 | 0:29:53 | |
I have a faint cold fear of thrill through my veins. | 0:29:53 | 0:29:57 | |
Nuha, whose Muslim family emigrated to West London from Sri Lanka, | 0:29:57 | 0:30:01 | |
entered the competition on her own initiative. | 0:30:01 | 0:30:04 | |
I like reading a lot of classics. | 0:30:06 | 0:30:08 | |
I'm trying to finish as many as I can. | 0:30:08 | 0:30:10 | |
I do have kind of a passion for maths and history | 0:30:10 | 0:30:12 | |
so I do like doing maths. I work well with numbers. | 0:30:12 | 0:30:17 | |
When I'm not at school I like going ice-skating and riding my bike. | 0:30:17 | 0:30:22 | |
That's the only fitness I do, otherwise I'm very unfit | 0:30:22 | 0:30:25 | |
and the least athletic person you can find. | 0:30:25 | 0:30:29 | |
Her relationship with Shakespeare came from her father | 0:30:29 | 0:30:32 | |
who first learned English by reading tales from Shakespeare. | 0:30:32 | 0:30:36 | |
I did the same thing what my father did to me. | 0:30:38 | 0:30:41 | |
I went to Wimbledon when she was a very young child. | 0:30:41 | 0:30:44 | |
I wanted Shakespeare books, like stories of Shakespeare. | 0:30:44 | 0:30:48 | |
Then, which was also with pictures and all that, | 0:30:48 | 0:30:51 | |
from the Wimbledon bookshop there. | 0:30:51 | 0:30:53 | |
I gave it to my daughter as a very small young child. | 0:30:53 | 0:30:56 | |
Then she was also reading it. She has the book. | 0:30:56 | 0:30:58 | |
My dad has this opinion of Shakespeare, and his mother also shared it, | 0:30:58 | 0:31:02 | |
that the morals that Shakespeare had, the good morals in his characters | 0:31:02 | 0:31:06 | |
were almost the same morals that religion teaches you to have as well, | 0:31:06 | 0:31:11 | |
the idea of being trustworthy, loyal and respectful. | 0:31:11 | 0:31:14 | |
It just added to the learning curve of growing up | 0:31:14 | 0:31:16 | |
and becoming who we were. | 0:31:16 | 0:31:18 | |
To be or not to be... | 0:31:18 | 0:31:20 | |
As well as learning her lines, Nuha has to think carefully | 0:31:20 | 0:31:23 | |
about her selection of hair covering for the final. | 0:31:23 | 0:31:26 | |
The headscarf, to me, is more of a day-to-day thing | 0:31:26 | 0:31:28 | |
so if I'm meeting up with friends or going to school, | 0:31:28 | 0:31:30 | |
I wear my headscarf but when it comes to acting, | 0:31:30 | 0:31:32 | |
especially for my drama GCSE exam, I will wear a scarf cap, | 0:31:32 | 0:31:36 | |
only because I feel with the headscarf it blocks my peripheral vision | 0:31:36 | 0:31:41 | |
and I feel a bit more conscious when I'm wearing it. | 0:31:41 | 0:31:44 | |
Whereas when I'm wearing a scarf cap, | 0:31:44 | 0:31:46 | |
I'm a bit more me in that sense so I'll be able to act to my full percentage, | 0:31:46 | 0:31:50 | |
rather than being just a bit more reserved as I normally am. | 0:31:50 | 0:31:54 | |
Though her parents are happy for Nuha to act as a hobby, | 0:31:56 | 0:31:59 | |
they have different plans for her career. | 0:31:59 | 0:32:01 | |
As far as our tradition and culture and all that, | 0:32:03 | 0:32:05 | |
religion is also concerned, | 0:32:05 | 0:32:07 | |
we are not, you know, very keen to do acting as a profession. | 0:32:07 | 0:32:12 | |
'As far as we're concerned, we want her to study | 0:32:12 | 0:32:15 | |
'and, you know, become somebody. | 0:32:15 | 0:32:16 | |
'And then this can be part of, you know, enjoyment. | 0:32:16 | 0:32:20 | |
'I mean, she can enjoy by acting. It's up to her. | 0:32:20 | 0:32:22 | |
'As a profession, I mean, of course...' | 0:32:22 | 0:32:24 | |
you know, we are drawing a line there. | 0:32:24 | 0:32:26 | |
HE LAUGHS | 0:32:26 | 0:32:28 | |
-Drawing the line? -Yeah, between that, you know. | 0:32:28 | 0:32:30 | |
We don't want her to be in that kind of profession, like, you know, | 0:32:30 | 0:32:33 | |
'that is an open profession there, you know. | 0:32:33 | 0:32:36 | |
'You would rather she did a proper job?' | 0:32:36 | 0:32:39 | |
Yes. | 0:32:39 | 0:32:40 | |
HE LAUGHS | 0:32:40 | 0:32:43 | |
How if, when I am laid into the tomb, | 0:32:45 | 0:32:48 | |
I wake before the time Romeo Come to redeem me? | 0:32:48 | 0:32:50 | |
There's a fearful point! | 0:32:50 | 0:32:53 | |
Nuha's speech involves Juliet contemplating faking her own death | 0:32:53 | 0:32:57 | |
as a way of escaping her arranged marriage. | 0:32:57 | 0:33:00 | |
And there die strangled Ere my Romeo comes? | 0:33:00 | 0:33:02 | |
'I'm a spontaneous kind of person, so I guess it depends...' | 0:33:02 | 0:33:05 | |
which way the audience is going. | 0:33:05 | 0:33:07 | |
I could be portraying Juliet as a really innocent person | 0:33:07 | 0:33:10 | |
or I could portray her as someone who's very rebellious. | 0:33:10 | 0:33:13 | |
'And the idea of her loving Romeo is a very innocent emotion, | 0:33:13 | 0:33:18 | |
'and she's so young. | 0:33:18 | 0:33:19 | |
'And the fact that she's willing to die for him...' | 0:33:19 | 0:33:22 | |
is very contradictory. | 0:33:22 | 0:33:24 | |
And I'm really unsure as how to portray her | 0:33:24 | 0:33:27 | |
because she's got lots of conflicting sides to her. | 0:33:27 | 0:33:30 | |
And that's really difficult to portray because, again, | 0:33:30 | 0:33:33 | |
it's completely up to me and I don't know how to go about doing that. | 0:33:33 | 0:33:36 | |
And have you been in love like that yourself? | 0:33:36 | 0:33:38 | |
No. | 0:33:38 | 0:33:39 | |
SHE LAUGHS | 0:33:39 | 0:33:41 | |
'Fraid not! | 0:33:41 | 0:33:42 | |
Justin Audibert is determined to up the energy in Nuha's performance. | 0:33:42 | 0:33:47 | |
..The heat of life. | 0:33:47 | 0:33:48 | |
I'll call them back again To comfort me: | 0:33:48 | 0:33:50 | |
Nurse! | 0:33:52 | 0:33:53 | |
What should SHE do here? | 0:33:57 | 0:33:59 | |
OK, so that's a good example THERE. | 0:33:59 | 0:34:00 | |
I just think that change of thought needs to be 10% more energised. | 0:34:00 | 0:34:04 | |
It's like you go, "I'm going to go and make a sandwich." | 0:34:04 | 0:34:06 | |
"No, I'm not!" Do you know what I mean? | 0:34:06 | 0:34:08 | |
You just need to change it more. | 0:34:08 | 0:34:09 | |
Like, it just needs to be bigger, the difference between the two. | 0:34:09 | 0:34:12 | |
All right? | 0:34:12 | 0:34:13 | |
So, you're going to call the nurse, but then you realise, actually, | 0:34:13 | 0:34:16 | |
that's a terrible idea, and it's better off just being on your own. | 0:34:16 | 0:34:19 | |
So, definitely you're going to be on your own. | 0:34:19 | 0:34:21 | |
Be more definite about things. Just that. | 0:34:21 | 0:34:24 | |
I'll call them back again To comfort me... | 0:34:24 | 0:34:26 | |
'Nuha speaks the verse very intelligently...' | 0:34:26 | 0:34:29 | |
and she's worked out the emotional journey | 0:34:29 | 0:34:32 | |
of her characters very clearly. | 0:34:32 | 0:34:34 | |
Her performance, at times, is too small and too contained. | 0:34:36 | 0:34:39 | |
And Nuha's probably one where she needs to think, | 0:34:39 | 0:34:41 | |
"OK. I've got to hit 600-1,000 people with this." | 0:34:41 | 0:34:45 | |
Romeo, Romeo, here's drink. | 0:34:48 | 0:34:50 | |
I drink to thee. | 0:34:52 | 0:34:54 | |
Fantastic! I think that's the level it needs to be at. | 0:34:54 | 0:34:56 | |
Do you know what I mean? | 0:34:56 | 0:34:58 | |
It's just that bit more energy in everything that you do. | 0:34:58 | 0:35:00 | |
'It's so good. | 0:35:00 | 0:35:02 | |
'It's SO good, like, but it just needs that 10% that you gave then. | 0:35:02 | 0:35:07 | |
'It just makes such a difference to it.' | 0:35:07 | 0:35:09 | |
APPLAUSE | 0:35:09 | 0:35:11 | |
I have a faint cold fear Thrills through my veins, | 0:35:16 | 0:35:21 | |
That almost freezes up The heat of life: | 0:35:21 | 0:35:24 | |
I'll call them back again To comfort me: | 0:35:26 | 0:35:29 | |
Nurse! | 0:35:29 | 0:35:30 | |
What should SHE do here? | 0:35:32 | 0:35:33 | |
My dismal scene needs I Must act alone. | 0:35:33 | 0:35:36 | |
Come, vial. | 0:35:41 | 0:35:42 | |
What if this mixture Do not work at all? | 0:35:47 | 0:35:50 | |
Shall I be married then Tomorrow morning? | 0:35:50 | 0:35:54 | |
No! | 0:35:54 | 0:35:56 | |
No: this... | 0:35:58 | 0:36:00 | |
Shall forbid it... | 0:36:02 | 0:36:04 | |
We all loved what she did. | 0:36:07 | 0:36:09 | |
She's the only person who recognised a line of monosyllables. | 0:36:09 | 0:36:12 | |
-She did, didn't she? She went, "bom, bom, bom, bom, bom, bom." -I noticed that too. | 0:36:12 | 0:36:15 | |
-She has music in her. -Yes. | 0:36:15 | 0:36:18 | |
I have a faint cold fear Thrills through my veins, | 0:36:18 | 0:36:22 | |
That almost freezes up The heat of life... | 0:36:22 | 0:36:24 | |
Also, there's a thing that it can be rhetorical. | 0:36:24 | 0:36:28 | |
If you have a question, when she has so many questions, | 0:36:28 | 0:36:30 | |
"What happens if this happens?" | 0:36:30 | 0:36:32 | |
And she actually asks the question. | 0:36:32 | 0:36:34 | |
She actually asks the audience or to herself, you know. | 0:36:34 | 0:36:36 | |
It doesn't become a rhetorical device. She goes, "Oh my God! What would happen if that happened?" | 0:36:36 | 0:36:40 | |
And the whole speech stopped and then she went, from there, | 0:36:40 | 0:36:45 | |
"Maybe this would happen." And it was not watching a play. | 0:36:45 | 0:36:48 | |
She has an extraordinary maturity as an actress which is odd | 0:36:48 | 0:36:50 | |
cos she's playing a relatively immature character | 0:36:50 | 0:36:53 | |
compared to many. | 0:36:53 | 0:36:55 | |
O, look! | 0:36:56 | 0:36:57 | |
Methinks I see my cousin's ghost Seeking out Romeo, | 0:36:59 | 0:37:01 | |
That did spit his body Upon a rapier's point: | 0:37:01 | 0:37:03 | |
Stay, Tybalt, stay! | 0:37:03 | 0:37:05 | |
Romeo... | 0:37:11 | 0:37:12 | |
Romeo, Romeo, here's a drink. | 0:37:15 | 0:37:20 | |
I drink to thee. | 0:37:20 | 0:37:22 | |
WHISPERS: Really good. So much fun. | 0:37:30 | 0:37:33 | |
It's like you own the space, so it's really good fun. | 0:37:33 | 0:37:36 | |
Amy, a 14-year-old from Northern Ireland, | 0:37:44 | 0:37:46 | |
goes to a Catholic school in Belfast, | 0:37:46 | 0:37:49 | |
a city where Romeo and Juliet is popular | 0:37:49 | 0:37:51 | |
and the tale of feuding families has a special resonance. | 0:37:51 | 0:37:54 | |
Amy enjoys one of the great qualities in Shakespeare, | 0:37:59 | 0:38:02 | |
the complexity of writing that can work | 0:38:02 | 0:38:04 | |
on many different levels at the same time. | 0:38:04 | 0:38:07 | |
'Once you've learnt what you have to say...' | 0:38:07 | 0:38:09 | |
and you've read it, and you start to think about the subtext of it, | 0:38:09 | 0:38:14 | |
it's much easier to convey different emotions in different ways. | 0:38:14 | 0:38:17 | |
So, you can be angry but kind of sad at the same time, | 0:38:17 | 0:38:20 | |
but kind of underlying layers of it. | 0:38:20 | 0:38:22 | |
'So, once you understand it, | 0:38:22 | 0:38:24 | |
'it's definitely a lot easier.' | 0:38:24 | 0:38:26 | |
'Possibly, the challenge is that...' | 0:38:26 | 0:38:28 | |
Juliet is close to her character in age, | 0:38:28 | 0:38:31 | |
and therefore, you don't want it to become cliched and stereotyped. | 0:38:31 | 0:38:34 | |
'There can be a dangerous safety where you think, | 0:38:34 | 0:38:38 | |
'"I know this character. I can identify with this character." | 0:38:38 | 0:38:41 | |
'Therefore, there may not be the same intensity. She's going to have to work through...' | 0:38:41 | 0:38:44 | |
"How do I convey this emotion as Juliet, not as me?" | 0:38:44 | 0:38:49 | |
'I like being someone completely different and surprising people.' | 0:38:50 | 0:38:54 | |
You know, whenever you come off stage, | 0:38:54 | 0:38:56 | |
people go, "I wasn't expecting that!" | 0:38:56 | 0:38:58 | |
'She's always been a very quiet, unassuming girl. | 0:39:00 | 0:39:04 | |
'But beneath that is a very steely individual.' | 0:39:04 | 0:39:08 | |
And she certainly has absolutely no precedent in the family for acting. | 0:39:10 | 0:39:15 | |
But she has a great love of literature, great love of reading. | 0:39:15 | 0:39:18 | |
'And I suppose it's not particularly | 0:39:18 | 0:39:20 | |
'funny that she would eventually turn to the theatre.' | 0:39:20 | 0:39:25 | |
There is no end, | 0:39:25 | 0:39:27 | |
No limit, measure or bound | 0:39:27 | 0:39:30 | |
In that word's death... | 0:39:30 | 0:39:32 | |
Amy's emotional speech comes as Juliet, just married, | 0:39:32 | 0:39:36 | |
discovers that Romeo has killed her cousin, Tybalt. | 0:39:36 | 0:39:39 | |
Lovely! OK? Lovely! | 0:39:39 | 0:39:41 | |
And this time, your senses... | 0:39:41 | 0:39:44 | |
You know, you're struggling against these tears. | 0:39:44 | 0:39:46 | |
It's a really lovely thing to play, that you're struggling against these tears. | 0:39:46 | 0:39:50 | |
That's why you've got to work it out cos if you don't talk, you're going to go mad. | 0:39:50 | 0:39:53 | |
That's why she's talking. Otherwise, he could have just written a sign which said, "She cries." | 0:39:53 | 0:39:57 | |
OK? Yeah? He'd have written, "Have a good cry." | 0:39:57 | 0:40:00 | |
He hasn't written that. | 0:40:00 | 0:40:01 | |
He's written a story that's her working out | 0:40:01 | 0:40:04 | |
whether she should mourn for Tybalt or whether she should mourn for Romeo | 0:40:04 | 0:40:07 | |
or whether she should mourn for herself | 0:40:07 | 0:40:09 | |
or whether she should mourn for. | 0:40:09 | 0:40:10 | |
So, that's what you've got to do. | 0:40:10 | 0:40:13 | |
You've got to work it all out. | 0:40:13 | 0:40:14 | |
Shall I speak ill of him That is my husband? | 0:40:16 | 0:40:19 | |
Ah! | 0:40:23 | 0:40:25 | |
Poor my lord, | 0:40:25 | 0:40:27 | |
What tongue shall smooth thy name, | 0:40:27 | 0:40:29 | |
When I, thy three-hours wife, Have mangled it? | 0:40:29 | 0:40:32 | |
But, wherefore, villain Didst thou kill my cousin? | 0:40:34 | 0:40:38 | |
That villain cousin Would have kill'd my husband... | 0:40:40 | 0:40:44 | |
Her understanding of the text is really first-class. | 0:40:44 | 0:40:47 | |
It was incredibly nimble, and she really played the part. | 0:40:47 | 0:40:50 | |
Again, she has that habit of emphasising things | 0:40:50 | 0:40:53 | |
with her hands, which is her default position. | 0:40:53 | 0:40:57 | |
If you shut your eyes, it's a better performance. | 0:40:57 | 0:41:00 | |
I thought she did wonderfully, carrying through. | 0:41:00 | 0:41:02 | |
It got better and better, the speech. | 0:41:02 | 0:41:04 | |
There's something terribly sweet about glasses then wiping your eyes. | 0:41:04 | 0:41:07 | |
Good choice. Good choice of action, you know, | 0:41:07 | 0:41:10 | |
'to get yourself into the part.' | 0:41:10 | 0:41:12 | |
Back, foolish tears, | 0:41:13 | 0:41:15 | |
Back to your native springs; | 0:41:15 | 0:41:17 | |
Your tributary drops belong to woe, | 0:41:17 | 0:41:19 | |
Which you, mistaking, Offer up to joy. | 0:41:19 | 0:41:22 | |
My husband lives, That Tybalt would have slain | 0:41:22 | 0:41:25 | |
And Tybalt's dead, That would have killed my husband: | 0:41:25 | 0:41:28 | |
All this is comfort | 0:41:28 | 0:41:30 | |
Wherefore weep I then? | 0:41:30 | 0:41:31 | |
WHISPERS: It's so good. It went really well. | 0:41:38 | 0:41:40 | |
I thought my voice kind of cracked. | 0:41:40 | 0:41:43 | |
I was like, "That's not right." | 0:41:43 | 0:41:45 | |
But it went well. I got a good reaction, so that's good. | 0:41:45 | 0:41:49 | |
The four remaining finalists | 0:41:56 | 0:41:57 | |
have been assigned soliloquies | 0:41:57 | 0:41:59 | |
from Shakespeare's most patriotic play, Henry V. | 0:41:59 | 0:42:02 | |
The play begins with a prologue that asks for the audience's imagination | 0:42:02 | 0:42:06 | |
in conjuring up the battlefields of France | 0:42:06 | 0:42:09 | |
on the bare boards of a theatre. | 0:42:09 | 0:42:11 | |
Jack, from Portsmouth on the South coast, | 0:42:14 | 0:42:16 | |
has been given the tricky speech. | 0:42:16 | 0:42:18 | |
APPLAUSE | 0:42:18 | 0:42:19 | |
O for a Muse of fire, | 0:42:28 | 0:42:30 | |
That would ascend The brightest heaven of invention, | 0:42:30 | 0:42:34 | |
A kingdom for a stage, | 0:42:34 | 0:42:36 | |
Princes to act and monarchs To behold the swelling scene... | 0:42:36 | 0:42:41 | |
At 13, he's the youngest finalist. | 0:42:42 | 0:42:45 | |
'Really, it doesn't really concern me...' | 0:42:45 | 0:42:47 | |
that I'm the youngest | 0:42:47 | 0:42:48 | |
because I get on with all the others really well and everything. | 0:42:48 | 0:42:53 | |
'It's quite nice to be the youngest because then I know that, now...' | 0:42:53 | 0:42:57 | |
the older ones are so advanced that I can see where my limits are. | 0:42:57 | 0:43:00 | |
And that's what I really came here to find out, | 0:43:00 | 0:43:02 | |
'so it's really helped me, having the older people here.' | 0:43:02 | 0:43:05 | |
Jack's engagement with Shakespeare is all the more remarkable | 0:43:07 | 0:43:12 | |
because he spent his first five years living abroad, | 0:43:12 | 0:43:16 | |
speaking a different language. | 0:43:16 | 0:43:18 | |
'He was really struggling with the English language...' | 0:43:18 | 0:43:21 | |
based on the fact that we brought him up | 0:43:21 | 0:43:24 | |
over in Bulgaria for five-and-a-half years. | 0:43:24 | 0:43:26 | |
So, coming back to the UK, | 0:43:26 | 0:43:29 | |
-having been in a -completely -different environment | 0:43:29 | 0:43:31 | |
for so many years, and then, | 0:43:31 | 0:43:35 | |
having a love of the English language, | 0:43:35 | 0:43:37 | |
and obviously studying Shakespeare as he is now | 0:43:37 | 0:43:40 | |
and really getting and understanding it, | 0:43:40 | 0:43:42 | |
I think that's been quite outstanding, really. | 0:43:42 | 0:43:44 | |
As well as acting, Jack enjoys some more physical pursuits. | 0:43:46 | 0:43:50 | |
'I think karate, | 0:43:50 | 0:43:52 | |
'it really helps me to...' | 0:43:52 | 0:43:53 | |
concentrate in difficult situations. | 0:43:53 | 0:43:56 | |
It really teaches me discipline. | 0:43:56 | 0:43:58 | |
And I am quite, sometimes... | 0:43:58 | 0:44:00 | |
quite not a child, so I am going to have to | 0:44:00 | 0:44:02 | |
sort of deal with some stick from people at school. | 0:44:02 | 0:44:05 | |
'So, if people do start, it gives you the discipline | 0:44:05 | 0:44:09 | |
'to know when to sort of keep calm.' | 0:44:09 | 0:44:11 | |
Step forward. Punch! | 0:44:11 | 0:44:12 | |
But pardon, | 0:44:13 | 0:44:15 | |
Gentles all, | 0:44:15 | 0:44:17 | |
The flat unraised spirits | 0:44:17 | 0:44:20 | |
Who have dared on this Unworthy scaffold | 0:44:20 | 0:44:23 | |
To bring forth so great an object: | 0:44:23 | 0:44:25 | |
Can this cockpit Hold the vasty fields of France? | 0:44:27 | 0:44:31 | |
Or may we cram within this wooden O | 0:44:31 | 0:44:34 | |
The very casques that did Affright the air at Agincourt... | 0:44:34 | 0:44:37 | |
'Can we talk about Jack, actually?' | 0:44:37 | 0:44:40 | |
What I thought was fantastic about him was that... | 0:44:40 | 0:44:44 | |
The Choruses, in any case, are kind of grandiose, | 0:44:44 | 0:44:47 | |
slightly panto mimic kind of persona. | 0:44:47 | 0:44:50 | |
-And he sort of really went for it. -He really enjoyed it. | 0:44:50 | 0:44:52 | |
He went down on one knee. | 0:44:52 | 0:44:53 | |
-"The vasty fields of France," when he moved from scene to scene. -Yeah. | 0:44:53 | 0:44:58 | |
And I just thought there was a much bigger, older actor, really, | 0:44:58 | 0:45:01 | |
kind of impending. | 0:45:01 | 0:45:03 | |
He was very strong on the conjuration. | 0:45:03 | 0:45:06 | |
Think when you talk of forces that you see. | 0:45:06 | 0:45:07 | |
"OK, we WILL see them! That's great! Jack, you're our guide." | 0:45:07 | 0:45:10 | |
Think when we talk of horses, That you see them, | 0:45:12 | 0:45:15 | |
Printing their proud hoofs I' the receiving earth | 0:45:15 | 0:45:20 | |
For 'tis your thoughts That must now deck our kings, | 0:45:20 | 0:45:23 | |
Carry them here and there Jumping o'er times, | 0:45:23 | 0:45:27 | |
Turning the accomplishment Of many years into an hour-glass: | 0:45:27 | 0:45:31 | |
For the which supply, Admit me Chorus to this history | 0:45:33 | 0:45:37 | |
Who prologue-like Your humble patience pray | 0:45:37 | 0:45:41 | |
Gently to hear, kindly to judge, | 0:45:41 | 0:45:44 | |
Our play. | 0:45:44 | 0:45:45 | |
Now, Jacinta from North Wales with one of the most famous speeches | 0:46:00 | 0:46:04 | |
in the whole of Shakespeare's Henry V. | 0:46:04 | 0:46:07 | |
It's his rallying cry to his troops. | 0:46:07 | 0:46:09 | |
APPLAUSE | 0:46:09 | 0:46:13 | |
Once more unto the breach, dear friends, once more, | 0:46:18 | 0:46:22 | |
Or close the wall up with our English dead. | 0:46:22 | 0:46:25 | |
In peace there's nothing so becomes a man | 0:46:25 | 0:46:28 | |
As modest stillness and humility. | 0:46:28 | 0:46:31 | |
Jacinta grew up in a small town in North Wales. | 0:46:36 | 0:46:39 | |
As someone who has always struggled with confidence, | 0:46:39 | 0:46:43 | |
playing a powerful male king might be a bit of a stretch. | 0:46:43 | 0:46:47 | |
All I have to portray is his feelings and emotions, | 0:46:47 | 0:46:50 | |
and so it doesn't really matter if I'm a man or a woman, | 0:46:50 | 0:46:54 | |
it is just showing their feelings at that point. | 0:46:54 | 0:46:57 | |
I think when she went for the first leg in Manchester, | 0:46:59 | 0:47:04 | |
she felt a little bit intimidated by the people there, she said | 0:47:04 | 0:47:09 | |
she had people looking at her as if she wasn't going to win it, | 0:47:09 | 0:47:13 | |
but when the winner was announced and it was her, she said a few of | 0:47:13 | 0:47:16 | |
the other competitors looked around as if, "she didn't win it, did she?" | 0:47:16 | 0:47:20 | |
And that's how she is, she likes to do it quietly, | 0:47:20 | 0:47:23 | |
and she just does it when she needs to do it. | 0:47:23 | 0:47:25 | |
Be copy now to men of grosser blood, | 0:47:25 | 0:47:29 | |
And teach them how to war. | 0:47:29 | 0:47:31 | |
I don't know, cos I'm quite used to just being in the background, | 0:47:31 | 0:47:35 | |
I'd like to put myself out there, I don't get competitive, | 0:47:35 | 0:47:38 | |
I just get annoyed with myself if my performance hasn't been as good | 0:47:38 | 0:47:41 | |
as usual, cos as long as I try my best that's all that matters to me. | 0:47:41 | 0:47:44 | |
It sounds so cheesy. Gosh. It really does! | 0:47:46 | 0:47:51 | |
Hoop, hoop! Good girl. | 0:47:52 | 0:47:56 | |
Henry V is one of Shakespeare's most demanding roles. | 0:47:56 | 0:48:00 | |
It's a fantastic speech, it'll be a fabulous challenge for her | 0:48:00 | 0:48:04 | |
to do it, I know she's looking forward to it hugely. | 0:48:04 | 0:48:07 | |
She's a big personality, again, | 0:48:07 | 0:48:11 | |
that is sometimes hidden because you see this nice, quiet, | 0:48:11 | 0:48:15 | |
well-spoken young lady, but actually she has a big personality | 0:48:15 | 0:48:18 | |
on stage, so I know she's got that to carry this speech forward. | 0:48:18 | 0:48:23 | |
During the workshops in Stratford, assistant director Rae McKen | 0:48:23 | 0:48:28 | |
has had to work hard to help Jacinta develop a persona | 0:48:28 | 0:48:30 | |
with the confidence and authority of a Shakespearean monarch. | 0:48:30 | 0:48:33 | |
Cry "God for Harry, England and Saint George!" | 0:48:33 | 0:48:38 | |
Wow! | 0:48:38 | 0:48:41 | |
-Crikey, Moses! -Wow! | 0:48:41 | 0:48:43 | |
-Can you feel the difference? -I'm feeling it. -Yeah? | 0:48:43 | 0:48:47 | |
That had no need there for prepared gestures at all but they all came. | 0:48:50 | 0:48:55 | |
-They came naturally. -They all came, where you felt they needed to come. | 0:48:55 | 0:48:59 | |
For there is none of you so mean and base, | 0:48:59 | 0:49:04 | |
That hath not noble lustre in your eyes. | 0:49:04 | 0:49:06 | |
I see you stand like greyhounds in the slips, | 0:49:06 | 0:49:10 | |
Straining upon the start. | 0:49:10 | 0:49:12 | |
The game's afoot: | 0:49:12 | 0:49:13 | |
Follow your spirit and upon this charge | 0:49:13 | 0:49:16 | |
Cry "God for Harry, England and Saint George!" | 0:49:16 | 0:49:21 | |
APPLAUSE | 0:49:21 | 0:49:25 | |
(Congratulations! That was good.) | 0:49:31 | 0:49:34 | |
(Well done.) | 0:49:34 | 0:49:36 | |
Throughout their time in Stratford, these young performers | 0:49:36 | 0:49:40 | |
are being asked to rethink the way they breathe, walk, look and think. | 0:49:40 | 0:49:44 | |
Every word of Shakespeare, every move they make, | 0:49:44 | 0:49:49 | |
requires meaning and purpose. | 0:49:49 | 0:49:51 | |
How are you going to know where the space is? | 0:49:51 | 0:49:54 | |
No one will be there, use your eyes, look for it. Where is it? | 0:49:54 | 0:49:57 | |
The panto season is over, but it might be behind you. | 0:49:57 | 0:50:01 | |
Proscenium stage is like looking at a painting. | 0:50:01 | 0:50:04 | |
Two-dimensional, things generally work in lines across the space, | 0:50:04 | 0:50:08 | |
whereas with this, it's much more like sculpture. | 0:50:08 | 0:50:10 | |
The difference is you're not just being the sculpture, | 0:50:10 | 0:50:13 | |
you actually have to think like a sculptor, | 0:50:13 | 0:50:15 | |
you have to think about making three-dimensional space. | 0:50:15 | 0:50:19 | |
Stop, stop, if we were in a playground or on a field, | 0:50:19 | 0:50:23 | |
if you saw space, would you move like this? | 0:50:23 | 0:50:25 | |
-Would you? What would you do? -Run! | 0:50:27 | 0:50:30 | |
You'd pace your weight forward and run. | 0:50:30 | 0:50:31 | |
Something really funny happens here. | 0:50:31 | 0:50:34 | |
Not just in this theatre, all over the world, | 0:50:34 | 0:50:36 | |
if you see a space, get into it. | 0:50:36 | 0:50:38 | |
People go, "I'm just going to walk in a really weird manner." | 0:50:38 | 0:50:40 | |
As opposed to just getting down and pelting, get there. | 0:50:40 | 0:50:43 | |
Come on, let's go. Thank you very much. | 0:50:43 | 0:50:45 | |
No, come back! | 0:50:51 | 0:50:52 | |
With only two performances to go, next up is 14-year-old Neil. | 0:50:57 | 0:51:01 | |
He's the star drama pupil | 0:51:01 | 0:51:03 | |
at his school on the north-east coast of Scotland. | 0:51:03 | 0:51:07 | |
Even since he was tiny, | 0:51:10 | 0:51:11 | |
I remember seeing you age two at nursery dancing in front of | 0:51:11 | 0:51:15 | |
the littler kids in their high chairs just to get them to laugh. | 0:51:15 | 0:51:19 | |
It's always been just what you've done. | 0:51:19 | 0:51:23 | |
Neil's dyslexia means learning Shakespeare off by heart | 0:51:23 | 0:51:27 | |
poses difficulties. | 0:51:27 | 0:51:29 | |
That's the one thing, learning lines, it's really boring, | 0:51:29 | 0:51:33 | |
and it's one of my least favourite parts of drama, | 0:51:33 | 0:51:36 | |
but as soon as they're in there, you can do so much more with them, | 0:51:36 | 0:51:39 | |
you can change them round, make them come to life, really. | 0:51:39 | 0:51:44 | |
Neil's a bit dyslexic, | 0:51:44 | 0:51:46 | |
so that makes it even more difficult to learn them. | 0:51:46 | 0:51:50 | |
It's the one thing you're absolutely determined to do. | 0:51:50 | 0:51:54 | |
When you get a bit of text to learn, | 0:51:54 | 0:51:56 | |
you are determined to learn it. | 0:51:56 | 0:51:58 | |
How he comes o'er us with our wilder days. | 0:51:58 | 0:52:00 | |
Neil's diffidence means his performance sometimes lacks energy. | 0:52:00 | 0:52:04 | |
Rae McKen is determined to change that for his speech, | 0:52:04 | 0:52:09 | |
in which he has to play the king at war with the Dauphin of France. | 0:52:09 | 0:52:13 | |
You cannot stand on stage and speak nicely, | 0:52:13 | 0:52:18 | |
which you are doing very well and which a lot of people do very well. | 0:52:18 | 0:52:23 | |
But the audience won't feel anything. | 0:52:23 | 0:52:26 | |
They have to feel, and in order for them to feel, you have to work hard. | 0:52:26 | 0:52:31 | |
So even though you're not actually going to be running up | 0:52:31 | 0:52:33 | |
and down the stage like a maniac, you need to, inside, | 0:52:33 | 0:52:37 | |
be working that hard to get it out across to the audience. | 0:52:37 | 0:52:40 | |
Allow yourself to be physically loose, don't get stuck in, | 0:52:40 | 0:52:44 | |
"I am a king, I will do my gestures, I will be a king." | 0:52:44 | 0:52:48 | |
You have a nice, loose physicality, use it. | 0:52:48 | 0:52:51 | |
There's no reason why you can't do a modern Henry, | 0:52:51 | 0:52:53 | |
he can't be a bit like, "Yeah, yeah, Dauphin's being an idiot, man. | 0:52:53 | 0:52:58 | |
"Why has he sent me these balls? What's that about? | 0:52:58 | 0:53:01 | |
"You wait till I throw them back at him, then we'll see." | 0:53:01 | 0:53:04 | |
Now, Neil from north-east Scotland will deliver Henry V's | 0:53:04 | 0:53:09 | |
declaration of war on France from Act I, Scene II. | 0:53:09 | 0:53:15 | |
But I will rise there with so full a glory | 0:53:15 | 0:53:18 | |
That I will dazzle all the eyes of France, | 0:53:18 | 0:53:21 | |
Yea, strike the Dauphin blind to look on us. | 0:53:21 | 0:53:24 | |
And tell the pleasant prince this mock of his | 0:53:24 | 0:53:29 | |
Hath turn'd his balls to gun-stones, and his soul | 0:53:29 | 0:53:33 | |
Shall stand sore charged for the wasteful vengeance | 0:53:33 | 0:53:37 | |
That shall fly with them. For many a thousand widows | 0:53:37 | 0:53:41 | |
Shall this his mock mock out of their dear husbands. | 0:53:41 | 0:53:46 | |
Mock mothers from their sons, mock castles down | 0:53:46 | 0:53:51 | |
And some are yet ungotten and unborn | 0:53:51 | 0:53:54 | |
That shall have cause to curse the Dauphin's scorn. | 0:53:54 | 0:53:58 | |
They all had individual qualities. | 0:53:58 | 0:54:00 | |
Neil's power is very extraordinary though. | 0:54:00 | 0:54:02 | |
-Hang on, let's just quickly... -In Dauphin. -In Dauphin, yes. | 0:54:02 | 0:54:07 | |
He's got an extraordinary presence on stage. | 0:54:07 | 0:54:09 | |
He's extremely still, isn't he? | 0:54:09 | 0:54:11 | |
He's very still, he's got a very powerful voice | 0:54:11 | 0:54:13 | |
and it may have been a bit one-notey | 0:54:13 | 0:54:16 | |
but his presence on stage is remarkable for somebody of that age, I think. | 0:54:16 | 0:54:21 | |
I think he used the images and emotions he had. | 0:54:21 | 0:54:24 | |
He's got roots, not feet. He really goes into the floor, he's amazing. | 0:54:24 | 0:54:27 | |
I thought he was very good | 0:54:27 | 0:54:29 | |
but I didn't get swept away by that particular monologue. | 0:54:29 | 0:54:33 | |
I totally agree with you, he was very centred, very still. | 0:54:33 | 0:54:35 | |
He used all the energies and emotions he had available at his age. | 0:54:35 | 0:54:39 | |
But this lies all within the will of God, | 0:54:39 | 0:54:43 | |
To whom I do appeal, and in whose name | 0:54:43 | 0:54:46 | |
Tell you the Dauphin I am coming on, | 0:54:46 | 0:54:49 | |
To venge me as I may and to put forth | 0:54:49 | 0:54:52 | |
My rightful hand in a well-hallow'd cause. | 0:54:52 | 0:54:56 | |
So get you hence in peace, and tell the Dauphin | 0:54:56 | 0:55:00 | |
His jest will savour but of shallow wit, | 0:55:00 | 0:55:02 | |
When thousands weep more than did laugh at it. | 0:55:02 | 0:55:06 | |
Convey them with safe conduct. Fare you well. | 0:55:07 | 0:55:10 | |
APPLAUSE | 0:55:12 | 0:55:17 | |
The last performer in the final is 15 year-old James | 0:55:17 | 0:55:21 | |
who won the Leeds heat. | 0:55:21 | 0:55:23 | |
He lives on an estate in York with his dad, | 0:55:23 | 0:55:26 | |
his sister and his pet boa constrictor. | 0:55:26 | 0:55:30 | |
We're getting the snake out now. | 0:55:31 | 0:55:32 | |
She's called Cleopatra which is what my sister called her | 0:55:35 | 0:55:38 | |
because that was the name of my dad's snake that he had | 0:55:38 | 0:55:41 | |
when he was about our age, I think. | 0:55:41 | 0:55:44 | |
Theatre has really increased my confidence | 0:55:47 | 0:55:51 | |
because you might have noticed in my speech, I have a slight stammer. | 0:55:51 | 0:55:54 | |
When I was younger, I had a really bad stammer | 0:55:54 | 0:55:57 | |
and I always stuttered in my words and whatnot. | 0:55:57 | 0:56:03 | |
When I went on to do things in stage and theatre, | 0:56:03 | 0:56:07 | |
if I had a script I wouldn't stutter. I'd be word-perfect. | 0:56:07 | 0:56:10 | |
Cos I was quite a fluent reader. | 0:56:10 | 0:56:12 | |
That really increased my confidence. | 0:56:12 | 0:56:15 | |
I'd be quiet and shy off stage, | 0:56:15 | 0:56:16 | |
but when I was on stage, I'd be acting my heart out, you know. | 0:56:16 | 0:56:20 | |
Stir up the Athenian youth to merriment. Awake... | 0:56:20 | 0:56:23 | |
James's father John has noticed how much confidence | 0:56:23 | 0:56:26 | |
drama has given his son. | 0:56:26 | 0:56:29 | |
...to funerals, the pale companion.. | 0:56:29 | 0:56:31 | |
It's lovely, actually. It's really nice to see him maturing | 0:56:31 | 0:56:34 | |
and blossoming like that, | 0:56:34 | 0:56:36 | |
because he starts to ask questions around the thing. | 0:56:36 | 0:56:40 | |
It's not just the acting. It's all the things around it. | 0:56:40 | 0:56:43 | |
And it's just nice. | 0:56:43 | 0:56:46 | |
He's not the brightest lad in the world. I love him to bits. | 0:56:46 | 0:56:49 | |
But we're not academic. | 0:56:49 | 0:56:52 | |
But he's got quite an enquiring mind. | 0:56:52 | 0:56:54 | |
And it's nice to spark that | 0:56:54 | 0:56:57 | |
and get him to think around things. | 0:56:57 | 0:56:59 | |
James is like a full-on actor. | 0:57:02 | 0:57:06 | |
You really never know what you're getting with him. | 0:57:06 | 0:57:08 | |
He's very theatrical He's very over-the-top. | 0:57:08 | 0:57:11 | |
It's either his way or no way. | 0:57:11 | 0:57:12 | |
Thanks(!) | 0:57:12 | 0:57:14 | |
But he's lovely. He's very kind. He's sweet. | 0:57:14 | 0:57:17 | |
Any time I need help with Shakespeare, | 0:57:17 | 0:57:18 | |
for auditions or anything, | 0:57:18 | 0:57:20 | |
he's very critical. | 0:57:20 | 0:57:22 | |
He's really judgemental, but he's good. He is good, yeah. | 0:57:22 | 0:57:25 | |
If there's anything that I would completely devote my life to, | 0:57:25 | 0:57:28 | |
it would be acting. | 0:57:28 | 0:57:29 | |
I just enjoy it so much. I think it's absolutely great, | 0:57:29 | 0:57:32 | |
and there's so much to it. | 0:57:32 | 0:57:33 | |
It's what I'm not going to give up on. | 0:57:33 | 0:57:36 | |
I'm not going to get ahead of myself, | 0:57:36 | 0:57:38 | |
but I really, really love theatre. | 0:57:38 | 0:57:41 | |
Even now, I'm learning more about it. | 0:57:41 | 0:57:43 | |
There's even more I'm learning about it. | 0:57:43 | 0:57:47 | |
You never stop learning... | 0:57:47 | 0:57:48 | |
Even if I do become successful, even by the age of 60, | 0:57:48 | 0:57:51 | |
if I'm still doing it, I'll still be learning and learning. | 0:57:51 | 0:57:54 | |
It's really, really great. | 0:57:54 | 0:57:56 | |
This day is called the feast of Crispian. | 0:57:59 | 0:58:04 | |
He that outlives this day, and comes safe home, | 0:58:04 | 0:58:07 | |
will stand a tip-toe when this day is named, | 0:58:07 | 0:58:10 | |
and rouse him at the name of Crispian. | 0:58:10 | 0:58:14 | |
He that shall see this day, and live old age, | 0:58:14 | 0:58:17 | |
will yearly on the vigil feast his neighbours, and say, | 0:58:17 | 0:58:21 | |
"Tomorrow is St Crispian". | 0:58:21 | 0:58:23 | |
Then will he strip his sleeve and show his scars, and say, | 0:58:23 | 0:58:27 | |
"These wounds I had on Crispin's day." | 0:58:27 | 0:58:30 | |
Old men forget. Yet all shall be forgot, | 0:58:32 | 0:58:36 | |
but he'll remember with advantages what feats he did that day. | 0:58:36 | 0:58:41 | |
Then will our names, familiar in his mouth as household words, | 0:58:41 | 0:58:47 | |
Harry the king, Bedford and Exeter, Warwick and Talbot, | 0:58:47 | 0:58:53 | |
Salisbury and Gloucester, be in their flowing cups freshly remembered. | 0:58:53 | 0:58:56 | |
This story shall the good man teach his son. | 0:58:56 | 0:59:00 | |
And Crispin Crispian shall ne'er go by, | 0:59:00 | 0:59:05 | |
from this day to the ending of the world, | 0:59:05 | 0:59:09 | |
but we in it shall be remembered. | 0:59:09 | 0:59:11 | |
The thing I thought was fantastic about James's performance | 0:59:11 | 0:59:14 | |
was it started because he's dealing with people who wanted to go. | 0:59:14 | 0:59:17 | |
And he had a sort of "piss-off voice", really. | 0:59:17 | 0:59:20 | |
Then, through the course of the speech, | 0:59:20 | 0:59:22 | |
I think it was fantastic when he managed, this kid, | 0:59:22 | 0:59:25 | |
managed to switch to the people who had been there | 0:59:25 | 0:59:30 | |
talking to old geezers who hadn't, or those who had. | 0:59:30 | 0:59:32 | |
There were all sorts of... | 0:59:32 | 0:59:34 | |
You had a kind of vision | 0:59:34 | 0:59:35 | |
of what it was going to be like, years on. From a kid! | 0:59:35 | 0:59:38 | |
"Stripping their sleeve", and... "I know here tomorrow!" | 0:59:38 | 0:59:43 | |
We few, | 0:59:43 | 0:59:46 | |
we happy few. | 0:59:46 | 0:59:48 | |
We band of brothers! | 0:59:48 | 0:59:50 | |
For he today that sheds his blood with me | 0:59:50 | 0:59:53 | |
Shall be my brother! | 0:59:53 | 0:59:56 | |
Be he ne'er so vile. This day shall gentle his condition. | 0:59:56 | 1:00:02 | |
And gentlemen in England now-a-bed | 1:00:02 | 1:00:05 | |
Shall think themselves accursed they were not here. | 1:00:05 | 1:00:08 | |
And hold their manhoods cheap whiles any speaks | 1:00:08 | 1:00:13 | |
That fought with us upon St Crispin's day! | 1:00:13 | 1:00:16 | |
APPLAUSE | 1:00:16 | 1:00:18 | |
I thought he was phenomenally good. | 1:00:18 | 1:00:20 | |
What was wonderful with James is he started off very gently. | 1:00:20 | 1:00:25 | |
As I was saying to you, | 1:00:25 | 1:00:26 | |
I thought gradually the speech sort of took over. | 1:00:26 | 1:00:29 | |
He then gave himself to the speech, | 1:00:29 | 1:00:31 | |
rather than trying to command where the speech went. | 1:00:31 | 1:00:35 | |
WHISPERS: I think it was OK. | 1:00:35 | 1:00:37 | |
I'm very nervous, though. | 1:00:37 | 1:00:38 | |
I'm glad I did it. | 1:00:38 | 1:00:42 | |
It's weird. | 1:00:42 | 1:00:45 | |
I don't feel how I thought I'd feel. | 1:00:45 | 1:00:47 | |
I'm very nervous and jittery, but I think I'm quite calm. | 1:00:47 | 1:00:49 | |
The first half of the final is complete. | 1:00:54 | 1:00:57 | |
The nine performers will now be whittled down | 1:00:57 | 1:01:00 | |
to a final three, | 1:01:00 | 1:01:02 | |
who will each perform the same soliloquy from Hamlet. | 1:01:02 | 1:01:05 | |
"To be, or not to be?" | 1:01:05 | 1:01:07 | |
Right, do we have a clear sense - maybe we do - | 1:01:10 | 1:01:12 | |
of the three we would like to hear from again? | 1:01:12 | 1:01:15 | |
That we would like to come round every Sunday? | 1:01:15 | 1:01:18 | |
Let's just see if we have any correspondence at all. | 1:01:18 | 1:01:22 | |
So... Sam. | 1:01:22 | 1:01:24 | |
Mine would be Neil, | 1:01:24 | 1:01:26 | |
and James, and Nuha. | 1:01:26 | 1:01:30 | |
With a possible | 1:01:30 | 1:01:32 | |
another look at Amy. | 1:01:32 | 1:01:34 | |
It's really hard to sort of tell | 1:01:34 | 1:01:37 | |
how they think your speech went, | 1:01:37 | 1:01:39 | |
because, when you have a quick glance at them when you're on stage, | 1:01:39 | 1:01:42 | |
they're there. | 1:01:42 | 1:01:44 | |
It's almost that they're not allowed to smile at you. | 1:01:44 | 1:01:46 | |
They're there, and they're, like..."Yup". | 1:01:46 | 1:01:48 | |
I wish you the best. Yeah! | 1:01:49 | 1:01:53 | |
I really liked Nuha. | 1:01:53 | 1:01:56 | |
I liked Nuha very much, too. So we've got one. | 1:01:56 | 1:01:59 | |
I think she's wonderful, so we all agree on that one. | 1:01:59 | 1:02:03 | |
We all agree. That's one. | 1:02:03 | 1:02:05 | |
I liked Ben. | 1:02:05 | 1:02:07 | |
I liked... | 1:02:07 | 1:02:09 | |
I liked... Oh, it's so difficult. | 1:02:09 | 1:02:11 | |
They were all so good. | 1:02:11 | 1:02:13 | |
They were, but life is difficult. | 1:02:13 | 1:02:16 | |
And I liked Jack. I liked Amy. | 1:02:16 | 1:02:19 | |
And I liked Femi. | 1:02:19 | 1:02:21 | |
My God, I won't be able to breathe. | 1:02:21 | 1:02:24 | |
Say my name! Come and say my name! | 1:02:24 | 1:02:28 | |
It's three people. Can I just be one of them, | 1:02:28 | 1:02:32 | |
at least? | 1:02:32 | 1:02:34 | |
Since you're the one who doesn't go for it, | 1:02:34 | 1:02:36 | |
I would want to make a strong case for James. | 1:02:36 | 1:02:40 | |
I know it's a familiar speech. | 1:02:40 | 1:02:43 | |
I thought it was brilliantly modulated. | 1:02:43 | 1:02:45 | |
I thought he owned the language. | 1:02:45 | 1:02:47 | |
I really did. Meaning by meaning. | 1:02:47 | 1:02:50 | |
I thought he was phenomenally good. | 1:02:50 | 1:02:52 | |
Is that OK? I don't want to force this on you. | 1:02:52 | 1:02:55 | |
-Absolutely James? -Nuha and James, OK. | 1:02:55 | 1:02:58 | |
Winning, or getting through, anyway | 1:02:58 | 1:03:01 | |
would just be like a bonus now. | 1:03:01 | 1:03:03 | |
But a good bonus. A really good bonus! | 1:03:03 | 1:03:05 | |
I'm going to vote for Amy, actually. | 1:03:05 | 1:03:08 | |
For many reasons. I know the voice is a little weaker. | 1:03:08 | 1:03:13 | |
She has then... if we see her again, it's a meditative piece. | 1:03:13 | 1:03:18 | |
I mean, Ben is the more forthright, in a way. | 1:03:18 | 1:03:22 | |
I think I'd vote for Ben. | 1:03:24 | 1:03:26 | |
You would? | 1:03:26 | 1:03:28 | |
"Nervous" doesn't really cover it, actually. | 1:03:28 | 1:03:31 | |
I feel like I have some weird alien in my stomach. | 1:03:31 | 1:03:33 | |
APPLAUSE | 1:03:33 | 1:03:35 | |
Welcome back to the final of the BBC Shakespeare Off By Heart. | 1:03:37 | 1:03:41 | |
The judges have considered their decision, so please welcome | 1:03:41 | 1:03:44 | |
the nine finalists back on stage. | 1:03:44 | 1:03:47 | |
APPLAUSE | 1:03:47 | 1:03:49 | |
Jack, from the south coast of England. | 1:03:49 | 1:03:51 | |
Neil, from Northeast Scotland. | 1:03:51 | 1:03:52 | |
Jacinta, from North Wales. | 1:03:52 | 1:03:54 | |
James, from Yorkshire, Ben, from the Midlands, | 1:03:54 | 1:03:57 | |
Emily, from the West Country, | 1:03:57 | 1:03:58 | |
Amy, from Northern Ireland. Nuha, from London, | 1:03:58 | 1:04:01 | |
and Femi, from London. | 1:04:01 | 1:04:03 | |
APPLAUSE | 1:04:03 | 1:04:05 | |
You're very smiling for people I'd imagine | 1:04:07 | 1:04:09 | |
will be rather nervous at this point. | 1:04:09 | 1:04:11 | |
LAUGHTER | 1:04:11 | 1:04:12 | |
I suppose you are, but I just want to say one thing. | 1:04:12 | 1:04:15 | |
Whatever the judges decide, the judges' decision is final, | 1:04:15 | 1:04:18 | |
even if it's wrong. | 1:04:18 | 1:04:19 | |
LAUGHTER | 1:04:19 | 1:04:21 | |
But, it's a fantastic achievement. | 1:04:21 | 1:04:23 | |
2,000, | 1:04:23 | 1:04:24 | |
down to nine. | 1:04:24 | 1:04:26 | |
And you've done it, so congratulations to all of you. | 1:04:26 | 1:04:29 | |
APPLAUSE | 1:04:29 | 1:04:32 | |
Let's find out who the final three are, and welcome on stage | 1:04:38 | 1:04:42 | |
Simon Schama, chairman of the judges. | 1:04:42 | 1:04:44 | |
APPLAUSE | 1:04:44 | 1:04:45 | |
Don't want to be in your shoes! | 1:04:45 | 1:04:48 | |
HE LAUGHS | 1:04:48 | 1:04:49 | |
I know - parents! | 1:04:49 | 1:04:50 | |
LAUGHTER | 1:04:50 | 1:04:52 | |
It's all very well having Paxman here. We love him. | 1:04:52 | 1:04:56 | |
But the person I really want to be presenting | 1:04:56 | 1:05:00 | |
is that great actor, William Shakespeare. | 1:05:00 | 1:05:02 | |
He would have loved you all. | 1:05:02 | 1:05:04 | |
He was an actor, remember, as well as a writer. | 1:05:04 | 1:05:07 | |
He would have loved you. You'd have all been hired | 1:05:07 | 1:05:09 | |
for the Globe, right away. | 1:05:09 | 1:05:12 | |
So, many congratulations. | 1:05:12 | 1:05:13 | |
We were moved. I had so many hairs go up on the back of my neck, | 1:05:13 | 1:05:17 | |
I started to get a Mohawk. | 1:05:17 | 1:05:19 | |
LAUGHTER | 1:05:19 | 1:05:21 | |
It was really utterly wonderful. | 1:05:21 | 1:05:22 | |
So many, many congratulations. | 1:05:22 | 1:05:25 | |
You should be very, very proud of yourselves. | 1:05:25 | 1:05:27 | |
But, we had to do the dirty deed. | 1:05:27 | 1:05:32 | |
And the three Hamlets - | 1:05:32 | 1:05:35 | |
the first is going to be Nuha. | 1:05:35 | 1:05:38 | |
APPLAUSE | 1:05:38 | 1:05:40 | |
The second Hamlet is James. | 1:05:46 | 1:05:49 | |
APPLAUSE | 1:05:49 | 1:05:52 | |
And the third Hamlet is Amy. | 1:05:54 | 1:05:56 | |
Congratulations! | 1:05:56 | 1:05:58 | |
APPLAUSE | 1:05:58 | 1:06:00 | |
Thank you all very much. Thank you. | 1:06:05 | 1:06:06 | |
APPLAUSE | 1:06:06 | 1:06:08 | |
Now, Hamlet is a notoriously difficult part to play. | 1:06:19 | 1:06:21 | |
"To be, or not to be" is the most well-known | 1:06:21 | 1:06:24 | |
of all Shakespeare's speeches | 1:06:24 | 1:06:25 | |
So, while the three finalists are collecting their thoughts, | 1:06:25 | 1:06:28 | |
Sam West - who played Hamlet here in 2001, | 1:06:28 | 1:06:32 | |
and learn from him what the challenges are. Sam. | 1:06:32 | 1:06:35 | |
APPLAUSE | 1:06:35 | 1:06:37 | |
It must be one of the most terrifying things, isn't it? | 1:06:43 | 1:06:45 | |
Well, the audience know the speech at least as well as you do. | 1:06:45 | 1:06:48 | |
At least if you dry, they can help! | 1:06:48 | 1:06:50 | |
But, like all soliloquies, the question is, "Am I talking to myself, | 1:06:50 | 1:06:54 | |
"or am I talking to the audience?" | 1:06:54 | 1:06:55 | |
And, like all Shakespeare plays, | 1:06:55 | 1:06:57 | |
There isn't one answer. | 1:06:57 | 1:06:59 | |
There are as many answers as there are Hamlets. | 1:06:59 | 1:07:01 | |
If I think the speech is about, "Do I kill myself, or not?" | 1:07:01 | 1:07:05 | |
I probably go around talking like this, | 1:07:05 | 1:07:08 | |
but in a voice loud enough for you to be able to hear it. | 1:07:08 | 1:07:10 | |
If I think the speech is about something bigger - | 1:07:10 | 1:07:13 | |
"Is life worth living, or not. Is it worth existing, or not?" | 1:07:13 | 1:07:17 | |
I probably turn the lights on, and ask you all. | 1:07:17 | 1:07:20 | |
Which is how I did it. | 1:07:20 | 1:07:22 | |
The speech doesn't include the word "I". | 1:07:22 | 1:07:25 | |
And it also doesn't really include any plot, | 1:07:25 | 1:07:27 | |
so you could quite easily cut it. | 1:07:27 | 1:07:29 | |
LAUGHTER | 1:07:29 | 1:07:30 | |
-It's up to you. -Interesting decision! | 1:07:30 | 1:07:32 | |
LAUGHTER | 1:07:32 | 1:07:34 | |
You'd make your Hamlet quite cross, | 1:07:34 | 1:07:35 | |
but it might be better for the play, who knows? | 1:07:35 | 1:07:38 | |
But, these guys. These are 13 to 15-year-olds. | 1:07:38 | 1:07:41 | |
It's a tough thing to do at that age, isn't it? | 1:07:41 | 1:07:43 | |
It is. It's remarkable. | 1:07:43 | 1:07:45 | |
We have had an absolutely extraordinary time, | 1:07:45 | 1:07:47 | |
and a really difficult decision. | 1:07:47 | 1:07:48 | |
But I have to say, one of the wonderful things | 1:07:48 | 1:07:51 | |
is seeing Romeo & Juliet spoken by people of the right age. | 1:07:51 | 1:07:54 | |
LAUGHTER | 1:07:54 | 1:07:56 | |
And the depth and power that people have. | 1:07:56 | 1:07:59 | |
If you're playing Romeo, and you think you've just got off | 1:07:59 | 1:08:01 | |
with a nice pretty girl at a party, | 1:08:01 | 1:08:04 | |
and then she says, "No, no, no. My love is boundless as the sea," | 1:08:04 | 1:08:06 | |
you don't know what you're getting into. | 1:08:06 | 1:08:09 | |
"If you marry me." And he goes, "Oh, help!" | 1:08:09 | 1:08:12 | |
But that's Juliet all over. | 1:08:12 | 1:08:14 | |
And the fact it comes out the mouth of a 13-year-old | 1:08:14 | 1:08:16 | |
makes it all the more powerful. | 1:08:16 | 1:08:18 | |
-Sam, thank you very much. -Not at all. | 1:08:18 | 1:08:20 | |
APPLAUSE | 1:08:20 | 1:08:22 | |
So, time to get on with it, | 1:08:26 | 1:08:28 | |
and hear the first of those great soliloquies, | 1:08:28 | 1:08:30 | |
which comes from Nuha. | 1:08:30 | 1:08:33 | |
APPLAUSE | 1:08:33 | 1:08:36 | |
To be, or not to be? | 1:08:41 | 1:08:43 | |
That is the question. | 1:08:43 | 1:08:46 | |
Whether 'tis nobler in the mind to suffer | 1:08:46 | 1:08:48 | |
the slings and arrows of outrageous fortune, | 1:08:48 | 1:08:53 | |
Or to take arms against a sea of troubles, | 1:08:53 | 1:08:56 | |
and, by opposing, end them? | 1:08:56 | 1:09:00 | |
To die. | 1:09:01 | 1:09:05 | |
-To sleep. -No more, | 1:09:05 | 1:09:07 | |
and by a sleep to say we end the heartache, | 1:09:07 | 1:09:11 | |
and the thousand natural shocks that flesh is heir to, | 1:09:11 | 1:09:15 | |
'tis a consummation devoutly to be wished. | 1:09:15 | 1:09:19 | |
To die, to sleep. | 1:09:21 | 1:09:24 | |
To sleep, perchance to dream. | 1:09:24 | 1:09:26 | |
Ay, there's the rub. For in that sleep of death, what dreams may come | 1:09:26 | 1:09:31 | |
when we have shuffled off this mortal coil must give us pause? | 1:09:31 | 1:09:37 | |
There's the respect that makes calamity of so long life. | 1:09:37 | 1:09:42 | |
For who would bear the whips and scorns of time, | 1:09:42 | 1:09:46 | |
the oppressor's wrong, the proud man's contumely, | 1:09:46 | 1:09:50 | |
the pangs of despised love, the law's delay, | 1:09:50 | 1:09:53 | |
the insolence of office, | 1:09:53 | 1:09:55 | |
and the spurns that patient merit of the unworthy takes, | 1:09:55 | 1:09:58 | |
when he himself might his quietus make | 1:09:58 | 1:10:01 | |
with a bare bodkin? | 1:10:01 | 1:10:05 | |
Who would these fardels bear, | 1:10:06 | 1:10:09 | |
to grunt and sweat under a weary life, | 1:10:09 | 1:10:14 | |
but that the dread of something after death... | 1:10:14 | 1:10:20 | |
..that undiscovered country from whose bourn no traveller returns, | 1:10:20 | 1:10:25 | |
puzzles the will, and rather makes us bear those ills we have | 1:10:25 | 1:10:28 | |
than fly to those that we know not of? | 1:10:28 | 1:10:31 | |
Thus, conscience does make cowards of us all. | 1:10:32 | 1:10:39 | |
And thus, the native hue of resolution | 1:10:39 | 1:10:42 | |
is sicklied o'er with the pale cast of thought | 1:10:42 | 1:10:46 | |
and enterprises of great pith and moment. | 1:10:46 | 1:10:49 | |
With this regard, their currents turn awry, | 1:10:49 | 1:10:52 | |
and lose the name of action. | 1:10:52 | 1:10:55 | |
APPLAUSE | 1:10:57 | 1:11:00 | |
It's decision time for the judges. | 1:11:02 | 1:11:06 | |
It's an extraordinarily difficult thing | 1:11:06 | 1:11:08 | |
to choose between two girls and a boy, | 1:11:08 | 1:11:10 | |
playing a part which forms itself around the character | 1:11:10 | 1:11:13 | |
of the person who's doing it, | 1:11:13 | 1:11:15 | |
in a moment where their character is not the most important thing. | 1:11:15 | 1:11:18 | |
We had one completely inner, and one completely public. | 1:11:18 | 1:11:20 | |
I think Amy had the thought, and she knew the speech, | 1:11:20 | 1:11:24 | |
and she was absolutely in control of the meaning, | 1:11:24 | 1:11:27 | |
but the voice didn't quite follow the understanding, always. | 1:11:27 | 1:11:30 | |
She had a wonderful through line on the thing. | 1:11:30 | 1:11:32 | |
She's absolutely marvellous... | 1:11:32 | 1:11:34 | |
Conscience does make cowards of us all. | 1:11:34 | 1:11:39 | |
And thus, the native hue of resolution | 1:11:39 | 1:11:42 | |
is sicklied o'er with the pale cast of thought, | 1:11:42 | 1:11:44 | |
and enterprises of great pith and moment. | 1:11:44 | 1:11:47 | |
With this regard, their currents turn away, | 1:11:47 | 1:11:50 | |
and lose the name of action. | 1:11:50 | 1:11:52 | |
I thought James was pretty damn good. | 1:11:52 | 1:11:54 | |
He dried on one line, which was a shame. | 1:11:54 | 1:11:56 | |
-"Conscience does make cowards of us all". -Yeah. | 1:11:56 | 1:11:58 | |
But I absolutely believed his changes of mind, | 1:11:58 | 1:12:02 | |
and I think he's very gifted indeed. | 1:12:02 | 1:12:05 | |
To sleep. | 1:12:05 | 1:12:07 | |
Ah, to sleep, | 1:12:07 | 1:12:10 | |
perchance to dream. | 1:12:10 | 1:12:12 | |
Ay, there's the rub! | 1:12:12 | 1:12:14 | |
He's got a lovely gentle quality. | 1:12:14 | 1:12:16 | |
I think his arms got in the way, from nerves or whatever. | 1:12:16 | 1:12:21 | |
Sometimes he was hiding behind them, or using them | 1:12:21 | 1:12:24 | |
to express thought or trouble | 1:12:24 | 1:12:26 | |
in a way that distracted. He could have trusted himself, | 1:12:26 | 1:12:29 | |
cos he's good enough to trust himself. | 1:12:29 | 1:12:31 | |
I did want to pull his arms down and say, "Just say it". | 1:12:31 | 1:12:34 | |
I wanted to say to a lot of people today, | 1:12:34 | 1:12:35 | |
"Do it again, with your hands in your pockets". | 1:12:35 | 1:12:37 | |
One reason that I thought Nuha's choice, and the way she opened - | 1:12:37 | 1:12:42 | |
which I've never seen before- | 1:12:42 | 1:12:44 | |
was so brave and clever, | 1:12:44 | 1:12:46 | |
was that there is a sort of jocund, self-mocking, | 1:12:46 | 1:12:49 | |
philosophical black quality to Hamlet. | 1:12:49 | 1:12:52 | |
It's Hamlet the actor, after all, | 1:12:52 | 1:12:55 | |
who thinks he can teach other actors how to act. | 1:12:55 | 1:12:58 | |
This constant kind of jokey | 1:12:58 | 1:13:00 | |
gallows humour about Hamlet. | 1:13:00 | 1:13:02 | |
I felt that was amazing to have that. | 1:13:02 | 1:13:05 | |
I've seen lots and lots of Hamlet, | 1:13:05 | 1:13:07 | |
including David Warner. | 1:13:07 | 1:13:09 | |
Never seen the opening taken like that. | 1:13:09 | 1:13:11 | |
She just threw it at the audience. "OK, this is the problem". | 1:13:11 | 1:13:14 | |
To be, or not to be? That is the question. | 1:13:14 | 1:13:18 | |
Whether 'tis nobler in the mind | 1:13:18 | 1:13:21 | |
to suffer the slings and arrows of outrageous fortune, | 1:13:21 | 1:13:23 | |
or to take arms... | 1:13:23 | 1:13:25 | |
The challenge is to make any Shakespeare speech | 1:13:25 | 1:13:28 | |
that people know well, | 1:13:28 | 1:13:30 | |
one that you've just made up, or the centrepiece of a new play, | 1:13:30 | 1:13:34 | |
whatever you want to call it, that makes it refresh, | 1:13:34 | 1:13:37 | |
but challenging the audience with that first line | 1:13:37 | 1:13:40 | |
is actually not only thrilling, | 1:13:40 | 1:13:43 | |
and tickles your ear, | 1:13:43 | 1:13:44 | |
but it's also deeply unfashionable. | 1:13:44 | 1:13:46 | |
We are a very inner age. | 1:13:46 | 1:13:48 | |
And we think about psychology, and we think about feelings. | 1:13:48 | 1:13:51 | |
She has all of these things, | 1:13:51 | 1:13:52 | |
but she comes on and plays the public Hamlet, | 1:13:52 | 1:13:55 | |
she plays the political Hamlet. | 1:13:55 | 1:13:56 | |
She says, "You! What will you do about this? | 1:13:56 | 1:13:58 | |
"You will die. Why don't you kill yourself? | 1:13:58 | 1:14:00 | |
"Because you're frightened of what will happen afterwards. Thank you! | 1:14:00 | 1:14:04 | |
"What will we do now? I don't know." You know what I mean? | 1:14:04 | 1:14:06 | |
Who would these fardels bear - | 1:14:06 | 1:14:10 | |
to grunt, | 1:14:10 | 1:14:12 | |
and sweat under a weary life, | 1:14:12 | 1:14:16 | |
But that the dread of something after death, | 1:14:16 | 1:14:19 | |
the undiscovered country from whose bourn no traveller returns, | 1:14:19 | 1:14:22 | |
puzzles the will, | 1:14:22 | 1:14:24 | |
and makes us rather bear those ills we have | 1:14:24 | 1:14:26 | |
than fly to others we know not of? | 1:14:26 | 1:14:29 | |
APPLAUSE | 1:14:29 | 1:14:31 | |
Welcome back. The judges have made their decision. | 1:14:39 | 1:14:43 | |
So let's welcome our three finalists back on stage. | 1:14:43 | 1:14:45 | |
James, Amy, and Nuha. | 1:14:45 | 1:14:49 | |
APPLAUSE | 1:14:49 | 1:14:51 | |
Well, I'm holding in my hands a star. | 1:15:02 | 1:15:06 | |
But, you'll agree with me, ladies and gentlemen, | 1:15:06 | 1:15:09 | |
we've seen nine brilliant stars performing their hearts out. | 1:15:09 | 1:15:14 | |
APPLAUSE | 1:15:14 | 1:15:16 | |
So, it is indeed | 1:15:20 | 1:15:22 | |
almost unbearable to have to single one out. | 1:15:22 | 1:15:25 | |
I want to specially congratulate the three Hamlet stars. | 1:15:25 | 1:15:28 | |
But, there is one star | 1:15:28 | 1:15:32 | |
that just kind of exploded, I think, | 1:15:32 | 1:15:35 | |
in heavens, and that is Nuha. | 1:15:35 | 1:15:37 | |
APPLAUSE | 1:15:37 | 1:15:39 | |
Congratulations. | 1:15:43 | 1:15:45 | |
THEY CLAP | 1:16:18 | 1:16:21 | |
This is just crazy. | 1:16:21 | 1:16:23 | |
Get out there. | 1:16:23 | 1:16:25 | |
It's crazy. Someone pinch me! | 1:16:25 | 1:16:27 | |
Is Nuha your daughter? Many, many congratulations. | 1:16:27 | 1:16:31 | |
Yes, congratulations. | 1:16:31 | 1:16:33 | |
I have to say, I really hope she becomes an actor. | 1:16:33 | 1:16:36 | |
I think she's very remarkable. | 1:16:36 | 1:16:38 | |
She IS astonishing. | 1:16:38 | 1:16:40 | |
She's employable now. | 1:16:40 | 1:16:42 | |
She could be playing on that stage. | 1:16:42 | 1:16:44 | |
She could be on that stage right now. | 1:16:44 | 1:16:46 | |
I hope you'll give her the chance, cos she's very amazing. | 1:16:46 | 1:16:48 | |
APPLAUSE | 1:16:54 | 1:16:56 | |
Weirdly, I think the people | 1:16:56 | 1:16:58 | |
that dedicate themselves to the 400-year-old language | 1:16:58 | 1:17:00 | |
are the real rebels. | 1:17:00 | 1:17:02 | |
Because they dare to care. | 1:17:02 | 1:17:04 | |
When you have to speak verse, | 1:17:04 | 1:17:06 | |
it's impossible not to care about it. | 1:17:06 | 1:17:08 | |
The other things is, | 1:17:08 | 1:17:10 | |
it goes through you like a beat. | 1:17:10 | 1:17:12 | |
If you play Hamlet, | 1:17:12 | 1:17:14 | |
which is a 1,500-line part, | 1:17:14 | 1:17:16 | |
and you come off stage at 11 o'clock, and you think, | 1:17:16 | 1:17:18 | |
"Why do I feel like I'm in a club at 3am, without any drugs in me?" | 1:17:18 | 1:17:22 | |
Because of the beat of the verse. | 1:17:22 | 1:17:24 | |
Because it's a heartbeat that keeps you going, | 1:17:24 | 1:17:26 | |
and makes you excited. | 1:17:26 | 1:17:27 | |
You don't need to be an actor to feel that, | 1:17:27 | 1:17:30 | |
you just need to have some verse in your head, some verse memorised. | 1:17:30 | 1:17:33 | |
I think that this caricature | 1:17:38 | 1:17:41 | |
that is perpetrated by various parts of the media, | 1:17:41 | 1:17:44 | |
about how the youth of today don't know anything, | 1:17:44 | 1:17:48 | |
aren't interested in anything. | 1:17:48 | 1:17:51 | |
It's just rubbish, and it's not fair. | 1:17:51 | 1:17:53 | |
We saw nine children today, | 1:17:53 | 1:17:57 | |
representative of 2,000, | 1:17:57 | 1:17:59 | |
representative of untold thousands and thousands more | 1:17:59 | 1:18:03 | |
who actually appreciate words, and drama, | 1:18:03 | 1:18:06 | |
and the human story. | 1:18:06 | 1:18:08 | |
I thought it was really exhilarating, actually. | 1:18:08 | 1:18:12 | |
APPLAUSE | 1:18:12 | 1:18:14 | |
You're right, they were great. | 1:18:17 | 1:18:19 | |
That's it, the result of a year-long talent search, | 1:18:19 | 1:18:22 | |
and the wonderful final. | 1:18:22 | 1:18:23 | |
Please welcome back all of them on stage now. | 1:18:23 | 1:18:27 | |
APPLAUSE | 1:18:27 | 1:18:30 | |
Subtitles by Red Bee Media Ltd | 1:18:54 | 1:18:57 |