0:00:02 > 0:00:05This is a retelling of Shakespeare's Romeo And Juliet
0:00:05 > 0:00:07like no-one has ever seen before.
0:00:10 > 0:00:14Throughout history, women like us have never been cast as Juliet.
0:00:15 > 0:00:18The universal image of beauty does not include difference.
0:00:20 > 0:00:23- And why shouldn't it?- Be strong and prosperous in this resolve.
0:00:23 > 0:00:26Thou couldst not make him live. Therefore, have done.
0:00:26 > 0:00:29- And I hope, then, thou will be satisfied.- No!
0:00:33 > 0:00:37- We are redefining who Juliet is. - Don't stress, don't stress.
0:00:37 > 0:00:39It's because I'm trying to be her.
0:00:39 > 0:00:42If the audience isn't convinced we can be Juliet, then we'll fail.
0:00:44 > 0:00:47We've cast six actors who would never be considered for the role.
0:00:47 > 0:00:49We're trying to put a new take on it,
0:00:49 > 0:00:53and say, "Here, look at all these people, they can do this, too.
0:00:53 > 0:00:55"You just forgot about them."
0:01:01 > 0:01:07This programme contains some strong language
0:01:07 > 0:01:10It is, it's freezing outside. Tim, can you just bring the chair over?
0:01:10 > 0:01:12Thank you.
0:01:12 > 0:01:16Yeah, Frankie, I'm Rae, director. Pleased to meet you.
0:01:16 > 0:01:19- Hello.- Storme.- How are you?- Nice to meet you. Good, thank you.
0:01:19 > 0:01:23The people who get cast as Juliet tend to be from within quite
0:01:23 > 0:01:27a narrow band of, uh,
0:01:27 > 0:01:30kind of perceived femininity.
0:01:30 > 0:01:34- You're ready for me to go? Is it all right if I direct it to you?- Please do.- OK. Perfect.
0:01:34 > 0:01:38Thou knowest the mask of night is on my face.
0:01:38 > 0:01:42Else would a maiden blush bepaint my cheek. For what thou hast spoke tonight.
0:01:42 > 0:01:45'There are lots of people out there who would love the chance to'
0:01:45 > 0:01:48play Juliet, but with the industry as it currently is,
0:01:48 > 0:01:50they are almost certainly not going to get cast,
0:01:50 > 0:01:53certainly not within the mainstream theatre anyway.
0:01:53 > 0:01:58- What speech do you have for us, first of all?- I have Cressida from Troilus And Cressida.
0:01:58 > 0:01:59- Marvellous.- Oh, nice!
0:01:59 > 0:02:02My thoughts were like unbridled children, grown
0:02:02 > 0:02:04Too headstrong for their mother.
0:02:04 > 0:02:07- Should I just go? - Yeah, just go for it.
0:02:07 > 0:02:10Romeo, Romeo! Wherefore art thou Romeo?
0:02:10 > 0:02:12Against self slaughter There is a prohibition so divine
0:02:12 > 0:02:16That cravens my weak hand.
0:02:16 > 0:02:17You do wrong your hand too much,
0:02:17 > 0:02:20Which mannerly devotion shows in this...
0:02:20 > 0:02:22Wouldst thou have that
0:02:22 > 0:02:26Which thou esteem'st the ornament of life...
0:02:26 > 0:02:30Do you not give me thanks? Are you not proud?
0:02:30 > 0:02:32Do you not count yourself blessed?
0:02:32 > 0:02:34Thus much for law or kindred!
0:02:34 > 0:02:36I shall do it.
0:02:36 > 0:02:40And this night, or tomorrow, he shall love me.
0:02:41 > 0:02:44The reason that I cast multiple Juliets was because I wanted
0:02:44 > 0:02:47to cover a wide range of kind of
0:02:47 > 0:02:50impairments slash differences.
0:02:50 > 0:02:53So I wanted to cover size, I wanted to cover ethnicity, I wanted to
0:02:53 > 0:02:56cover weight, I wanted to cover height, I wanted to cover...
0:02:56 > 0:02:59I wanted to cover disability as well, but that wasn't
0:02:59 > 0:03:04the focus point of it, the focus point of it was diversity.
0:03:04 > 0:03:07And live a coward in thine own esteem.
0:03:08 > 0:03:13Letting, "I dare not" wait upon "I would,"
0:03:13 > 0:03:17Like the poor cat i' th'adage?
0:03:21 > 0:03:24Nice. Cool.
0:03:24 > 0:03:28The ability to just lay yourself bare
0:03:28 > 0:03:33and be completely honest, which is what great actors do.
0:03:33 > 0:03:37They are showing themselves to you in a way that is very vulnerable.
0:03:37 > 0:03:39Maybe the thing with them is,
0:03:39 > 0:03:42regardless of sort of size or shape or disability,
0:03:42 > 0:03:45they have the right energy for Juliet,
0:03:45 > 0:03:48that kind of part innocent, but part kind of
0:03:48 > 0:03:51sparky feel to it.
0:03:51 > 0:03:53So that's what I think about her.
0:03:53 > 0:03:57And then Eleanor is just...
0:03:57 > 0:04:01- I mean, I just think she's a fascinating person.- Yeah.
0:04:01 > 0:04:02Again, I don't see why,
0:04:02 > 0:04:06there's nothing about her that couldn't be Juliet.
0:04:06 > 0:04:08I can work with a deaf person, I can work with a small person,
0:04:08 > 0:04:13I can work with a fat person, I can work... You know, that's not the important thing.
0:04:13 > 0:04:15The important thing is, can they do the job?
0:04:21 > 0:04:24Cool, morning. Do you want to come sit at the table?
0:04:26 > 0:04:29All the scenes that we do from Romeo And Juliet are the ones that Juliet's in.
0:04:29 > 0:04:33So we tell the arc of her story. So anyone coming who, for example, doesn't know
0:04:33 > 0:04:37Romeo And Juliet should still understand her full trajectory.
0:04:37 > 0:04:41And then, interspersed with the scenes, the actors talk about their
0:04:41 > 0:04:45experiences that maybe mirror some of what Juliet is going through.
0:04:46 > 0:04:50Verbatim theatre is a style of theatre that uses stories from your
0:04:50 > 0:04:53own life to influence the structure of the play.
0:04:53 > 0:04:56And if you want to do a show that makes people listen,
0:04:56 > 0:04:59you need to look at these people's lives and you need to
0:04:59 > 0:05:04see where, like, what they want to say to the world in this show.
0:05:04 > 0:05:10There are ten sort of clips from the play that we're doing.
0:05:10 > 0:05:12And then...
0:05:13 > 0:05:16..there'll obviously be the verbatim bits intertwined, which is
0:05:16 > 0:05:19what we're going to work out today. Yeah.
0:05:19 > 0:05:23Any stories that anyone wants to shove my way,
0:05:23 > 0:05:27and then I will start asking you questions, if there's nothing.
0:05:27 > 0:05:31Is there anything that anyone thinks, "Yeah, this could be good"?
0:05:31 > 0:05:34Yeah, I was out and about for my boyfriend's birthday
0:05:34 > 0:05:39and went to go see an American band, and some woman at the end,
0:05:39 > 0:05:41she's taking a photo of this lead singer,
0:05:41 > 0:05:44she was like, "Take a photo, but look at me, I'm looking like a dwarf."
0:05:44 > 0:05:48She looked at me and went, "Ha-ha, that's funny." And pointed.
0:05:48 > 0:05:50And I went, "Excuse me, that's really rude."
0:05:50 > 0:05:52And I saw her cry afterwards,
0:05:52 > 0:05:55and I thought, you know, you have to learn that that's not OK
0:05:55 > 0:06:00and I'm not going to stand there and accept that you just mocked me
0:06:00 > 0:06:03in a huge crowd of people.
0:06:03 > 0:06:06'Because of the strength that I had to stick up for myself,
0:06:06 > 0:06:10'that now is something that's going to stay with me for a while,'
0:06:10 > 0:06:13and I think that's something I would like to bring, maybe to
0:06:13 > 0:06:16make it as well a bit of a feistier Juliet as well.
0:06:16 > 0:06:19I've only got three pictures of me without my hair online.
0:06:19 > 0:06:22They're the only pictures you'll find.
0:06:22 > 0:06:25And it was only last year that I put one up for the first time.
0:06:25 > 0:06:26How did you feel differently?
0:06:26 > 0:06:30Because obviously you were older when something happened to you
0:06:30 > 0:06:32that society would perceive as being different.
0:06:32 > 0:06:35Whereas everyone else has kind of like pretty much born or grew into.
0:06:35 > 0:06:39From that point of view, you're the only person who's got a sense of what it feels like to
0:06:39 > 0:06:43maybe be considered normal and then
0:06:43 > 0:06:45have a sense of difference.
0:06:45 > 0:06:51I don't know. I think, for me, it was constantly being alert
0:06:51 > 0:06:57and having this secret. Feeling ashamed, feeling ugly.
0:06:57 > 0:06:59It's like that thing where I take my wig off for the first
0:06:59 > 0:07:03time in front of somebody. It's a very big thing for me.
0:07:03 > 0:07:05And I feel like, I hate to say,
0:07:05 > 0:07:09but I do feel like my friends have to earn it because I don't
0:07:09 > 0:07:13want to be friends with people that can't handle it, because it is me.
0:07:13 > 0:07:15'Juliet is a lot more clever'
0:07:15 > 0:07:20and a lot more conniving than I think we give her credit for.
0:07:20 > 0:07:25And if you take away the fact she is supposed to be 14
0:07:25 > 0:07:28and you just look at her as a woman, say,
0:07:28 > 0:07:32then she has taken control,
0:07:32 > 0:07:34she's fearless.
0:07:34 > 0:07:38If you could change the thing about you
0:07:38 > 0:07:42that makes you considered
0:07:42 > 0:07:48- less normal in the world, then would you change it?- No way.- Never.
0:07:48 > 0:07:50- So, OK.- No way.
0:07:50 > 0:07:53There are times when I want to look less CP.
0:07:53 > 0:07:56Like, I think I can hear it in my voice.
0:07:56 > 0:08:00And I think sometimes in the way my hands move and stuff.
0:08:00 > 0:08:05I don't sometimes like that, but I enjoy being in a wheelchair
0:08:05 > 0:08:09and I enjoy being who I am. So, I wouldn't change it.
0:08:10 > 0:08:14The amount of stories that we've had today from people. Comments,
0:08:14 > 0:08:18just walking down the street and you're commented on, it's like,
0:08:18 > 0:08:20how would you like it if every time you
0:08:20 > 0:08:23walked down the street, you knew there was a relatively high
0:08:23 > 0:08:27percentage of chance someone was going to go, "Oh, my God, there's a white man"?
0:08:27 > 0:08:31And you know that it's derogatory. Do you know what I mean?
0:08:31 > 0:08:33Or that they think it's funny.
0:08:33 > 0:08:35Or even just that they think it's worth commenting on.
0:08:35 > 0:08:40But to know that that's what happens to people every day,
0:08:40 > 0:08:42this is just their life.
0:08:42 > 0:08:45The first time I went to get my pill, the morning after pill,
0:08:45 > 0:08:50I was asked, the first thing I was asked was, "Were you raped?"
0:08:50 > 0:08:52That was the first thing I was asked.
0:08:52 > 0:08:58- Before, like...- Are you fucking kidding me?- No, literally the first time, it was....
0:08:58 > 0:09:01Also the first time I'd ever had sex in my life.
0:09:01 > 0:09:04I went to my university pharmacy and I said,
0:09:04 > 0:09:06"Can I have the morning after pill?"
0:09:06 > 0:09:09And the first thing the woman said was, "Did someone rape you?"
0:09:09 > 0:09:13You are made to feel physically uncomfortable.
0:09:13 > 0:09:15If you have an intimate relationship with someone.
0:09:15 > 0:09:19Because you're not supposed to, you are not supposed to do that.
0:09:19 > 0:09:22That's not your privilege, it's someone else's.
0:09:34 > 0:09:39The first thing I noticed was a monster set of wheels,
0:09:39 > 0:09:42and I thought, now I can get around town in style.
0:09:46 > 0:09:50It was like the third time we met, I jumped on the back and started driving around.
0:09:50 > 0:09:55And you kept saying, "No, stop." You were like laughing hysterically at the same time.
0:09:55 > 0:09:58'Juliet being in a wheelchair is completely irrelevant.'
0:10:00 > 0:10:03The most important thing about playing a character,
0:10:03 > 0:10:06if you're an actor, is how she feels.
0:10:10 > 0:10:13Dost thou love me? I know thou wilt say "Ay,"
0:10:13 > 0:10:16And I will take they word. Yet if thou swear'st,
0:10:16 > 0:10:17Thou mayst prove false.
0:10:21 > 0:10:23I should have been more strange, I must confess
0:10:23 > 0:10:25But that thou overheard'st it, I was 'ware,
0:10:25 > 0:10:28My true love's passion. Therefore pardon me,
0:10:28 > 0:10:30And not impute this yielding.
0:10:31 > 0:10:34'People are open-minded if you confront them with it.
0:10:34 > 0:10:38'As soon as you put this Juliet in front of someone,
0:10:38 > 0:10:41'their difference becomes irrelevant.'
0:10:47 > 0:10:51- OK, and here we go, you are going to do it quick, OK? Lads! - Lads!- Ladies!- Lads!
0:10:51 > 0:10:54- Lads!- Lads!- Lads!- Lads!- Lads!
0:10:54 > 0:10:58- Fuck off!- Lads.- Fuck off! - Lads.- Fuck off!.- Lads.- Ladies.
0:10:58 > 0:11:00- Fuck off!- No!
0:11:00 > 0:11:02THEY CHEER
0:11:04 > 0:11:08..much of grief shows, shows still some want of wit.
0:11:08 > 0:11:10Yet let me weep for feeling such a loss.
0:11:10 > 0:11:11Not the friend.
0:11:11 > 0:11:15To wreak the love I bore my cousin Upon his body that I slaughtered him!
0:11:15 > 0:11:17That same villain, Romeo!
0:11:17 > 0:11:19What? Which you weep for.
0:11:22 > 0:11:25A lot of the exercises is just about getting people exhausted or
0:11:25 > 0:11:27getting people to use the language more,
0:11:27 > 0:11:30because it is quite muscular, the language, you've got to get
0:11:30 > 0:11:35your tongue around it in a way that... We don't speak like that nowadays.
0:11:35 > 0:11:36..at Saint Peter's Church
0:11:36 > 0:11:41Shall happily make thee there a joyful bride.
0:11:41 > 0:11:45Now, by Saint Peter's Church and Peter too,
0:11:45 > 0:11:49He shall not make thee there a joyful bride.
0:11:51 > 0:11:54These are news indeed. How?
0:11:54 > 0:11:59- How?!- Get to her, get to her. No, Eleanor, you're... No, Eleanor.
0:11:59 > 0:12:01- Oh, OK. - ELEANOR RETCHES
0:12:01 > 0:12:03Wow.
0:12:13 > 0:12:16SHE RECITES LINES QUICKLY
0:12:22 > 0:12:25Find thou the means and I'll find such a man,
0:12:25 > 0:12:29But now I'll tell thee joyful tidings, girl.
0:12:29 > 0:12:34'Obviously, I'm never going to be cast as Juliet again.
0:12:34 > 0:12:38'That's not a part for me, says the stereotypical world.
0:12:38 > 0:12:42'And so, to have the chance to bring something so different to her,
0:12:42 > 0:12:43'that's so incredible.'
0:12:43 > 0:12:49Indeed, I shall never be satisfied until I behold Romeo dead.
0:12:49 > 0:12:52'Obviously, every audition you go to you want the job,'
0:12:52 > 0:12:56but when it's a project where it sits in your heart,
0:12:56 > 0:12:58it's a bit more like,
0:12:58 > 0:13:01"I want this. I want to be involved in this project."
0:13:13 > 0:13:15I think, for me,
0:13:15 > 0:13:22what I would bring to Juliet is the thought that human is enough.
0:13:24 > 0:13:29We're all built on differences that don't make sense.
0:13:29 > 0:13:33She's impulsive, but she plans everything.
0:13:33 > 0:13:35She's sweet, but she's dangerous.
0:13:35 > 0:13:38She's naive, but she is completely in control.
0:13:38 > 0:13:43She's fearless, but full of fear, and that's what humans are,
0:13:43 > 0:13:46we're not one thing, we're not the other.
0:13:46 > 0:13:48And that's what I want to bring to her,
0:13:48 > 0:13:53that sense that human is enough.
0:13:53 > 0:13:55It is not yet near day.
0:14:00 > 0:14:04Believe me, love, it was the nightingale.
0:14:06 > 0:14:09It was the lark, the herald of the morn,
0:14:09 > 0:14:10No nightingale.
0:14:12 > 0:14:14Night's candles are burnt out and jocund day
0:14:14 > 0:14:19Stands tiptoe on the misty mountain tops.
0:14:21 > 0:14:24I must be gone and live,
0:14:24 > 0:14:26or stay and die.
0:14:35 > 0:14:39I'll say yon grey is not the morning's eye,
0:14:39 > 0:14:41'Tis but the pale reflex of Cynthia's brow,
0:14:41 > 0:14:44Nor that is not the lark, whose notes do beat
0:14:44 > 0:14:46The vaulty heaven so high above our heads.
0:14:46 > 0:14:50I have more care to stay than will to go!
0:14:52 > 0:14:54It is the lark that sings so out of tune,
0:14:54 > 0:14:58Straining harsh discord and unpleasing sharps.
0:14:59 > 0:15:01KNOCK AT THE DOOR
0:15:16 > 0:15:18OK, so what we're going to do is,
0:15:18 > 0:15:21if you push hard enough on this with any part of your body,
0:15:21 > 0:15:24you can push with your back, with your bum, with your head,
0:15:24 > 0:15:30with your arms, if you push hard enough, you will move it, OK?
0:15:30 > 0:15:31So you just have to believe that
0:15:31 > 0:15:34and keep pushing as you go through your whole scene.
0:15:34 > 0:15:36'I've never really studied Shakespeare,'
0:15:36 > 0:15:41never thought it was something that I'd ever be able to be involved in.
0:15:41 > 0:15:44See how she leans her cheek upon her hand.
0:15:44 > 0:15:46Oh, that I were a glove upon that hand,
0:15:46 > 0:15:48That I might touch that cheek!
0:15:48 > 0:15:50- Ay me!- She speaks!
0:15:50 > 0:15:52Oh, speak again, bright angel!
0:15:52 > 0:15:55'Tis but thy name that is my enemy.
0:15:55 > 0:15:57Thou art thyself, though not a Montague.
0:15:57 > 0:15:58What's Montague?
0:15:58 > 0:16:00"Oh, Romeo, Romeo, wherefore art..."
0:16:00 > 0:16:02Oh, shit, I skipped right ahead, didn't I?
0:16:02 > 0:16:05- It's fine, don't worry, go for it. - I'm flashing you my bum, sorry.
0:16:05 > 0:16:07Oh, we love it.
0:16:07 > 0:16:10'I can grow so much from this, as an actress,
0:16:10 > 0:16:14'and really take on new aspects that I've never had the opportunity
0:16:14 > 0:16:16'to do, alongside doing Shakespeare.'
0:16:16 > 0:16:19Yes, cool, very nice.
0:16:19 > 0:16:22So there's lots of energy. Cos, if you think about it, it is...
0:16:22 > 0:16:25You are in danger of your life, which is part of it as well,
0:16:25 > 0:16:27which is part of the fun of it,
0:16:27 > 0:16:31but genuinely, they have killed each other.
0:16:31 > 0:16:35The Tybalts... The Capulets and the Montagues have killed each other.
0:16:35 > 0:16:38You're then really worried about him, then you've got the excitement
0:16:38 > 0:16:41of the party, you've got the excitement of your first kiss,
0:16:41 > 0:16:43certainly your first kiss, maybe your first kiss, probably not.
0:16:43 > 0:16:47- Cool, shall we give it another go? - Yeah, I'm going to have a mouthful of water.
0:16:47 > 0:16:48Yes, absolutely.
0:16:51 > 0:16:54This, for me, is a massive, massive learning curve.
0:16:54 > 0:16:57Obviously, Shakespeare is very precise
0:16:57 > 0:17:01and written for what it's written for.
0:17:01 > 0:17:05Juliet isn't written for a little person.
0:17:05 > 0:17:07It's going to be the first thing, really, that you've seen me in.
0:17:07 > 0:17:11- Yeah, since panto.- Yeah. - That was more...
0:17:11 > 0:17:14That was when it was all very green, wasn't it?
0:17:14 > 0:17:17- I'm going to have to flirt with Romeo, though.- Do it.- I'm sorry.
0:17:17 > 0:17:19Fill your boots, girl.
0:17:19 > 0:17:21SHE LAUGHS
0:17:22 > 0:17:26- I'll get a chill before we go. My legs are aching.- Are they?
0:17:26 > 0:17:28- Yeah.- Been on your feet all day?
0:17:28 > 0:17:31No, I think it's just from being where I was sat down.
0:17:31 > 0:17:32- Shock to the system.- Funky.
0:17:36 > 0:17:39'You know, as people would meet somebody in a nightclub
0:17:39 > 0:17:44'and stuff like that, you'd kind of wonder if it ever was genuine,'
0:17:44 > 0:17:46if they've got an alternative motive,
0:17:46 > 0:17:50thinking they'll get with the little person as a dare,
0:17:50 > 0:17:52that horrible side.
0:17:52 > 0:17:57So I did have quite a closed wall with allowing people in.
0:17:57 > 0:17:59I was like, "I don't need a boyfriend, don't need one.
0:17:59 > 0:18:02"I'm fine, don't want one. Nope."
0:18:02 > 0:18:05And then obviously I'd met Paul and it just changed.
0:18:05 > 0:18:09I just went, "Actually, yeah, I do. I do want to be with you."
0:18:13 > 0:18:17God forbid! Where's this girl? What, Juliet!
0:18:17 > 0:18:19How now! Who calls?
0:18:21 > 0:18:23Your mother.
0:18:23 > 0:18:26Madam, I am here. What is your will?
0:18:26 > 0:18:27This is the matter.
0:18:27 > 0:18:28Tell me, daughter Juliet,
0:18:28 > 0:18:31How stands your disposition to be married?
0:18:36 > 0:18:38It is an honour that I dream not of.
0:18:38 > 0:18:42Well, think of marriage now. Younger than you,
0:18:42 > 0:18:45Here in Verona, ladies of esteem
0:18:45 > 0:18:46Are made already mothers.
0:18:47 > 0:18:49Thus then in brief:
0:18:49 > 0:18:52The valiant Paris seeks you for his love.
0:18:52 > 0:18:56Verona's summer hath not such a flower.
0:18:56 > 0:19:00Speak briefly, can you like of Paris' love?
0:19:00 > 0:19:02I'll look to like, if looking liking move.
0:19:02 > 0:19:04But no more deep will I endart mine eye
0:19:04 > 0:19:06Than your consent gives strength to make it fly.
0:19:18 > 0:19:20So one of the things for you is the specificities
0:19:20 > 0:19:22of small people, people being like,
0:19:22 > 0:19:25"Yes, but they need to have a big head or dah-dah-dah..."
0:19:25 > 0:19:29The thing that small people are always feisty, and the story
0:19:29 > 0:19:31- you told about the woman who said you were like a dwarf.- Yeah.
0:19:31 > 0:19:33Oh, no, she said she was like a dwarf
0:19:33 > 0:19:35and then you were like, "Fuck off."
0:19:35 > 0:19:39Someone will have a line somewhere about the fetishism of difference.
0:19:39 > 0:19:43Tash will talk about being fat.
0:19:43 > 0:19:45The thing about midgets.
0:19:45 > 0:19:48- I looked that up.- Did you?- Yeah.
0:19:48 > 0:19:50That there's not just the obvious difference,
0:19:50 > 0:19:52there's also physical and emotional pains that go with
0:19:52 > 0:19:55the differences that people have, something about that.
0:19:55 > 0:19:57I don't know who'll say that yet, but someone.
0:19:57 > 0:20:00Megan, from the side, looked like a hunchback.
0:20:00 > 0:20:03THEY LAUGH
0:20:03 > 0:20:06Lara, don't tend to say anything cos you can never be quite 100% sure
0:20:06 > 0:20:08you've lip-read right,
0:20:08 > 0:20:11and that you'll always find deaf people in the kitchen.
0:20:11 > 0:20:13Romantic expectations for people.
0:20:13 > 0:20:16- Sex, generally, with you.- Always.
0:20:16 > 0:20:19And the main thing is, just don't let them
0:20:19 > 0:20:21sound self-pitying in any way. It's all about...
0:20:21 > 0:20:24The stuff, when it'll touch people,
0:20:24 > 0:20:27is if it's just done in a really matter-of-fact way.
0:20:27 > 0:20:30And obviously some stuff is just funny, and we'll just play that up
0:20:30 > 0:20:32and be like, "Yeah, that's funny."
0:20:32 > 0:20:34This project is a lot to do with individual,
0:20:34 > 0:20:37as well as the bigger picture.
0:20:37 > 0:20:41And it was really weird to be talking about myself so openly
0:20:41 > 0:20:45and actually feel safe about it, knowing that it was a safe space.
0:20:46 > 0:20:50It's exciting, it's really exciting, it's just...
0:20:50 > 0:20:52- It hits a place, doesn't it? - Yeah.- Totally.
0:20:52 > 0:20:55I didn't get upset while we were talking about it the other day
0:20:55 > 0:20:56cos I think it's just...
0:20:56 > 0:20:58- We had everyone there and it was kind of funny.- Yeah.
0:20:58 > 0:21:01I can't believe it can make you feel like that, and then
0:21:01 > 0:21:04when you think you're going to be in front of an audience,
0:21:04 > 0:21:07baring your soul, people just don't think about it
0:21:07 > 0:21:11when they say these things, and now, because of them,
0:21:11 > 0:21:15I've made it this far and it's just...
0:21:15 > 0:21:17I don't want it to come out as a "Fuck you,"
0:21:17 > 0:21:19cos I want it to be positive.
0:21:19 > 0:21:22- It's not a fucking pity party, this show.- No, no, no. Not at all.
0:21:22 > 0:21:24- It's the complete reverse.- Yeah.
0:21:26 > 0:21:32# Hold me closer tiny dancer
0:21:32 > 0:21:36# Count the headlights on the highway... #
0:21:36 > 0:21:40When I was 15, 16, I got diagnosed with depression, PTSD,
0:21:40 > 0:21:44that's the time I started losing hair from my eyebrows,
0:21:44 > 0:21:46and then the first two months of sixth form
0:21:46 > 0:21:49was when everything fell out.
0:21:49 > 0:21:52So I was juggling the feeling of having to hide it
0:21:52 > 0:21:54from every single person.
0:21:55 > 0:21:59It was hard feeling like the bald one.
0:22:01 > 0:22:05And that's just not the image that I'd had for myself, growing up.
0:22:05 > 0:22:08Even though we all face very different challenges,
0:22:08 > 0:22:11these women that I work with, they all have similar experiences
0:22:11 > 0:22:14and ideas of what it's like to feel like an outsider.
0:22:16 > 0:22:19This is the reality of our lives. This is what we go through.
0:22:20 > 0:22:24It's a really good idea that someone came up with,
0:22:24 > 0:22:27you get to see people playing Juliet who don't normally get to see,
0:22:27 > 0:22:31but then also, hopefully people will take some things away
0:22:31 > 0:22:34from what the women say about their experiences,
0:22:34 > 0:22:38and hopefully it'll just make people think twice
0:22:38 > 0:22:41before they even think something, let alone say it,
0:22:41 > 0:22:43that it might actually just make them think again about people
0:22:43 > 0:22:45who appear different from the norm.
0:22:45 > 0:22:47Who is this guy?
0:22:47 > 0:22:50Holy shit!
0:22:50 > 0:22:51He's a babe!
0:22:56 > 0:22:57Take your time.
0:22:57 > 0:23:01See the space, see everyone there. Who's there? Who's there?
0:23:01 > 0:23:04And then...bam.
0:23:04 > 0:23:06Take your time.
0:23:06 > 0:23:09MUSIC SPEEDS UP
0:23:09 > 0:23:11Bam!
0:23:11 > 0:23:14It really is like the movie's come on and everyone's rushing
0:23:14 > 0:23:18into the living room. As soon as that game is on, you're primed.
0:23:18 > 0:23:21You are ready to play cat and mouse with this man.
0:23:21 > 0:23:24'The first day that I was in the rehearsal room without my hair on,
0:23:24 > 0:23:26'it just felt really liberating.
0:23:26 > 0:23:29'But I've still got some things to work on for me for that.
0:23:29 > 0:23:32'In the sequence that I do with Romeo,
0:23:32 > 0:23:35'there's this really sexy bit,
0:23:35 > 0:23:38'and I'm still trying to deal sexy without my hair on,
0:23:38 > 0:23:39'I'm still trying to own that,
0:23:39 > 0:23:43'so that's something I'm trying to get through in these rehearsals.'
0:23:43 > 0:23:46'The limitation of roles that people like us get put up for
0:23:46 > 0:23:49'don't reflect modern-day society.'
0:23:49 > 0:23:52I want to experience a sexually desirable role
0:23:52 > 0:23:54because I think people like me need to be seen in that way.
0:24:00 > 0:24:01Back to you!
0:24:13 > 0:24:15- Ooh, ooh, ooh, ooh! - MUSIC CRESCENDOS
0:24:15 > 0:24:17Bam!
0:24:17 > 0:24:19SILENCE
0:24:19 > 0:24:20Yeah!
0:24:22 > 0:24:25- BREATHLESSLY:- Is this the poultice for my aching bones?
0:24:25 > 0:24:28Henceforward do your messages yourself.
0:24:28 > 0:24:31Here's such a coil! Come, what says Romeo?
0:24:33 > 0:24:36- MUFFLED:- Have you got leave to go to shrift today?
0:24:36 > 0:24:38'Guys are cruel, girls are crueller.'
0:24:38 > 0:24:41Girls do it in a way that they don't realise that they're being nasty,
0:24:41 > 0:24:44that they don't realise they're having an effect on you.
0:24:44 > 0:24:48'From a really early age, girls would refer to me as big,
0:24:48 > 0:24:51'rather than tall, and then laugh and say,
0:24:51 > 0:24:55'"Yeah, I didn't mean that. I just mean you're quite big."'
0:24:57 > 0:24:59THEY LAUGH
0:24:59 > 0:25:02This drunk girl came over to me and she was making a point
0:25:02 > 0:25:05of saying how small she was and how tiny she was next to me.
0:25:05 > 0:25:06'And then she took a photo with me.'
0:25:06 > 0:25:09- They're not pigeons. - LAUGHING:- They're not pigeon doves!
0:25:09 > 0:25:11Do nimble-pigeons draw love?
0:25:11 > 0:25:15Just run round five times, for me. You're a bit too fit.
0:25:15 > 0:25:19'What annoyed me more about it was that I did it.'
0:25:19 > 0:25:22And I think it does come from the thing of just apologising
0:25:22 > 0:25:24for not being what I think I should be.
0:25:31 > 0:25:33It comes down to a fundamental point
0:25:33 > 0:25:37that if you are a really tall woman, in my personal experience,
0:25:37 > 0:25:41you have to really tell yourself that you're a girl.
0:25:42 > 0:25:45You have to really...
0:25:45 > 0:25:50If you've got bigger hands and lankier limbs, you kind of have to
0:25:50 > 0:25:53constantly tell yourself every day that you are feminine.
0:25:54 > 0:25:57And that you are a woman, and that you are this,
0:25:57 > 0:26:00and that you may struggle to have people see you that way.
0:26:11 > 0:26:13If I profane with my unworthiest hand,
0:26:13 > 0:26:17This holy shrine, the gentle fine is this:
0:26:17 > 0:26:22My lips, two blushing pilgrims, ready stand
0:26:22 > 0:26:24To smooth that rough touch with a tender kiss.
0:26:26 > 0:26:29Good pilgrim, you do wrong your hand too much,
0:26:29 > 0:26:31Which mannerly devotion shows in this,
0:26:31 > 0:26:34For saints have hands which pilgrims' hands do touch,
0:26:34 > 0:26:38And palm to palm is holy palmers' kiss.
0:26:38 > 0:26:40Have not saints lips, and holy palmers too?
0:26:40 > 0:26:42Ay, ones that they must use in prayer.
0:26:42 > 0:26:45Oh, then, dear saint, let lips do what hands do.
0:26:45 > 0:26:48They pray. Grant thou, lest faith turn to despair.
0:26:54 > 0:26:57Saints do not move, though grant for prayers' sake.
0:26:58 > 0:27:01Then move not, while my prayer's effect I take.
0:27:05 > 0:27:09Thus from my lips, by yours, my sin is purged.
0:27:09 > 0:27:11Then have my lips the sin that they have took.
0:27:11 > 0:27:13Sin from thy lips? Oh, trespass sweetly urged!
0:27:13 > 0:27:15- Give me my sin again. - You kiss by the book.
0:27:23 > 0:27:26My only love sprung from my only hate.
0:27:26 > 0:27:30Too early seen unknown, and known...too late.
0:27:32 > 0:27:34Prodigious birth of love it is to me,
0:27:34 > 0:27:37That I must love a loathed enemy.
0:27:51 > 0:27:54Romeo shall thank thee, daughter, for us both.
0:28:01 > 0:28:03Ah, dear Juliet.
0:28:05 > 0:28:06If the measure of thy joy
0:28:06 > 0:28:08Be heap'd like mine, and that thy skill be more
0:28:08 > 0:28:11To blazon it, sweeten with thy breath
0:28:11 > 0:28:15This neighbour air, and let rich music's tongue
0:28:15 > 0:28:17Unfold the imagined happiness that both
0:28:17 > 0:28:20Receive in either by this dear encounter.
0:28:23 > 0:28:28- LAUGHING:- Yeah, don't hold her hands, because then she can't talk!
0:28:28 > 0:28:30It looks a little bit like...
0:28:32 > 0:28:35It's actually a bit easier for me
0:28:35 > 0:28:38to sign it because, with voices,
0:28:38 > 0:28:40you've got the tone,
0:28:40 > 0:28:42you've got the pitch, you've got everything,
0:28:42 > 0:28:44and I'm always very nervous that
0:28:44 > 0:28:47I don't get the emotion in my voice.
0:28:47 > 0:28:49Whereas, with sign language,
0:28:49 > 0:28:50I can be in it,
0:28:50 > 0:28:53I can throw my body language into it,
0:28:53 > 0:28:55I can throw my face expression into it.
0:29:05 > 0:29:08Come, come! Come with me and we will make short work,
0:29:08 > 0:29:12For, by your leaves, you shall not stay alone
0:29:12 > 0:29:16Till holy church incorporate two in one.
0:29:16 > 0:29:18'It's lovely to work with actors'
0:29:18 > 0:29:21who try to understand what it is
0:29:21 > 0:29:22I'm saying to them,
0:29:22 > 0:29:23so that they can jump in
0:29:23 > 0:29:26at the right moment, rather than going,
0:29:26 > 0:29:29"Oh, she's finished signing, it's my line now."
0:29:29 > 0:29:30It's nice having that.
0:29:45 > 0:29:48'This is the first time I've ever done theatre.'
0:29:49 > 0:29:53I have the most amazing life, but there's just something
0:29:53 > 0:29:58about going into a different place, just being that character
0:29:58 > 0:30:01and knowing what makes that character tick
0:30:01 > 0:30:02and what makes them happy.
0:30:02 > 0:30:05It's a nice challenge to explore.
0:30:06 > 0:30:09Come on, Michael. Good boy.
0:30:09 > 0:30:11Good boy.
0:30:11 > 0:30:14That's it. He's a more shy one, Oliver is.
0:30:17 > 0:30:21I have had some people who say, "Are you sure you want to go into that?
0:30:21 > 0:30:26"It's hard enough for the mainstream actors,
0:30:26 > 0:30:30"let alone actors that have something different about them."
0:30:30 > 0:30:33But if I don't try, I might regret it.
0:30:35 > 0:30:38Who have I got, hey? Hey, Tom!
0:30:38 > 0:30:40Good boy, Tom. Go in there.
0:30:42 > 0:30:45I love animals because I can understand them.
0:30:47 > 0:30:51It doesn't matter if I'm tired, because that's when I tend not
0:30:51 > 0:30:55to understand people, it's when I'm tired because I can't concentrate.
0:30:55 > 0:30:58But with animals, it doesn't matter what mood I'm in,
0:30:58 > 0:31:00it doesn't matter how tired I am,
0:31:00 > 0:31:03I understand them and they understand me back.
0:31:03 > 0:31:05Bring your head over. Go on.
0:31:09 > 0:31:11SIREN BLARES
0:31:14 > 0:31:17At the moment, it's a lot of deaf roles,
0:31:17 > 0:31:20but I want to break out of that.
0:31:20 > 0:31:22I want them to be able to look and then go,
0:31:22 > 0:31:26"Hey, actually, why can't this character be deaf?
0:31:26 > 0:31:29"Why do you need a character that's not different?"
0:31:31 > 0:31:35Growing up, I didn't really have any deaf role models that
0:31:35 > 0:31:39I could look up to. I only had the adults that I knew personally.
0:31:41 > 0:31:44If I only change the life of one child,
0:31:44 > 0:31:49to show them not to be ashamed of what makes you different,
0:31:49 > 0:31:51then I'm happy.
0:31:53 > 0:31:55There's nothing left in there.
0:31:55 > 0:31:58Maybe there's something still on your lips.
0:31:58 > 0:32:00SHE SMACKS HER LIPS
0:32:00 > 0:32:02- No, no, no. - LAUGHTER
0:32:02 > 0:32:04- You're such a good kisser. - Thanks, babes.
0:32:04 > 0:32:08I can do it virtually, I know. You can feel it. Erm...
0:32:08 > 0:32:11Oh, a dagger.
0:32:11 > 0:32:15What's the line just before you knock yourself off?
0:32:15 > 0:32:17This is thy sheath.
0:32:17 > 0:32:21- But what's the bit before that? - Oh, happy dagger.- Thank you.
0:32:21 > 0:32:22Oh, happy dagger,
0:32:22 > 0:32:26- This is thy sheath. There rust, and let me die.- Let me die.
0:32:26 > 0:32:28Oh, happy dagger,
0:32:28 > 0:32:30This is thy sheath.
0:32:30 > 0:32:33There rust, and let me die.
0:32:45 > 0:32:47..and easier to get in there.
0:32:48 > 0:32:52'We've picked our actors based on their ability.
0:32:52 > 0:32:54'I've always wanted to play Juliet
0:32:54 > 0:32:58'and the only way I could was by putting on a production like this.'
0:33:00 > 0:33:02'It was the nightingale, and not the lark,
0:33:02 > 0:33:04'That pierced the fearful hollow of thine ear.
0:33:04 > 0:33:08'..friend, I must hear from thee every day in the hour,
0:33:08 > 0:33:10'For in a minute there are many days.'
0:33:10 > 0:33:13Else would a maiden blush bepaint my cheek,
0:33:13 > 0:33:15For that which thou hast heard me speak tonight.
0:33:17 > 0:33:21Fain would I dwell on form, fain, fain deny
0:33:21 > 0:33:23What I have spoke, but farewell compliment.
0:33:24 > 0:33:27'It's quite scary and you do feel very, very vulnerable.
0:33:27 > 0:33:31'I particularly feel very vulnerable because, obviously if I fall over,'
0:33:31 > 0:33:33I can't get up. I just think, "OK, you're in love with him.
0:33:33 > 0:33:37"He's not going to let you fall over or look bad.
0:33:37 > 0:33:40"Or feel awkward or your legs fall off, or something."
0:33:40 > 0:33:44When you get off, Tim, get off this way and come here
0:33:44 > 0:33:48- and talk like that.- Oh, that's cool. - That's good, isn't it?
0:33:48 > 0:33:52Wilt thou be gone? It is not yet near day... It was the whatsit.
0:33:52 > 0:33:54It was the nightingale.
0:33:54 > 0:33:57It was the lark, the herald of the morn,
0:33:57 > 0:33:58No nightingale.
0:34:00 > 0:34:01Yeah, both of you look much...
0:34:01 > 0:34:02..what envious streaks
0:34:02 > 0:34:04Do lace the severing clouds in yonder east.
0:34:04 > 0:34:07Night's candles are burnt out, and jocund day
0:34:07 > 0:34:10Stands tiptoe on the misty mountain tops.
0:34:14 > 0:34:16..by yonder blessed moon, I swear
0:34:16 > 0:34:18That tips with silver all these fruit-tree tops...
0:34:18 > 0:34:20Oh, swear not by the moon, the inconstant moon,
0:34:20 > 0:34:23That monthly changes in her circled orb.
0:34:25 > 0:34:26What shall I swear by?
0:34:26 > 0:34:27Do not swear at all.
0:34:31 > 0:34:34It is too rash, too unadvised, too sudden,
0:34:34 > 0:34:36Too like the lightning, that has ceased to be,
0:34:36 > 0:34:39Ere one can say "It lightens." Sweet, goodnight!
0:34:39 > 0:34:42Oh, wilt thou leave me so unsatisfied?
0:34:42 > 0:34:44What satisfaction canst thou have tonight?
0:34:46 > 0:34:49The exchange of thy love's faithful vow for mine.
0:34:55 > 0:34:58'When somebody who you've only known for a week,
0:34:58 > 0:35:01'but you've been getting to know them really well,
0:35:01 > 0:35:04'suddenly gets up and does something that really takes your breath away,'
0:35:04 > 0:35:08and you go, "Oh, my God, I didn't realise that you had that to give,
0:35:08 > 0:35:11"or that's a part of you, or you were able to do that,"
0:35:11 > 0:35:13in whatever sense of that, it just instantly informs
0:35:13 > 0:35:15what you're going to do next.
0:35:15 > 0:35:19Meg, what have you got there?
0:35:19 > 0:35:21Whatever I'm writing is coming across really fucking preachy.
0:35:21 > 0:35:24- Go on, then. Say it.- I wrote, "I was born in the '90s.
0:35:24 > 0:35:28"That was all about heroin chic, skinny as hell... Noughties were all about big boobs,
0:35:28 > 0:35:32"and now it's about less up top, more behind, as long as you have a size-8 waist, no cellulite.
0:35:32 > 0:35:35"It'll change again. There's no way to know if you'll be right.
0:35:35 > 0:35:37"You can only know that 95% of us will be wrong."
0:35:37 > 0:35:39- I think that's good!- It's a bit preachy, though.- No, it's fine.
0:35:39 > 0:35:41I think we can have a bit of preach in there.
0:35:41 > 0:35:44I think it's good to have the odd bit of preach in it.
0:35:44 > 0:35:46And then, at the end of that, "Love give me strength,
0:35:46 > 0:35:48"and strength shall help afford."
0:35:50 > 0:35:52Meg, you're going to start off with...
0:35:52 > 0:35:54In one of our sessions we were asked,
0:35:54 > 0:35:57"Would you like to change the thing that made you different?"
0:35:57 > 0:35:59Nice. Lara, you're first.
0:35:59 > 0:36:05"No, cos I'll lose deaf culture, want to be involved in conversation,
0:36:05 > 0:36:08"but really everyone just needs to sign."
0:36:08 > 0:36:10Yeah? Have you written that?
0:36:10 > 0:36:13- Yeah.- You've written it? You've written that bit?
0:36:13 > 0:36:16That's pretty much what I was going to say. You said it word for word.
0:36:16 > 0:36:19It's like you're in my brain. Wow.
0:36:19 > 0:36:21LAUGHTER
0:36:23 > 0:36:26- Storme, what have you written? - Erm...
0:36:27 > 0:36:30I'd quite like to run on the sand, but, no,
0:36:30 > 0:36:32I like being in a wheelchair, it gives me an edge.
0:36:34 > 0:36:38I want to say something about I want selective non-alopecia.
0:36:38 > 0:36:42So I don't want my hair back on my legs or my fanny or my armpits
0:36:42 > 0:36:45but I want it back on my head and my face.
0:36:45 > 0:36:48So, like, nose-down I'm OK with having alopecia.
0:36:48 > 0:36:52Do you want to say, "Fuck, yeah, I want my hair back.
0:36:52 > 0:36:53"Well, on my head"?
0:36:55 > 0:36:56And then just look at my foof. OK.
0:36:59 > 0:37:02I don't know how to spell alopecia. How do you spell it?
0:37:02 > 0:37:04A-L-O-P-E-C-I-A.
0:37:10 > 0:37:13..keep Tybalt company
0:37:13 > 0:37:16And then, I hope, thou wilt be satisfied.
0:37:18 > 0:37:20My sweet mother, curse me not away.
0:37:20 > 0:37:24Delay this wedding by a month, a day.
0:37:24 > 0:37:26Erm, fuck.
0:37:26 > 0:37:29Love goes towards love as schoolboys from their books.
0:37:29 > 0:37:32But love from love, toward school with heavy looks.
0:37:32 > 0:37:34Yay! Thank you.
0:37:40 > 0:37:43Right, is there anything else anyone wants to say?
0:37:43 > 0:37:44Cos this is the moment to say it.
0:37:44 > 0:37:47This is the last point where there's anything...
0:37:48 > 0:37:51So, here goes. Farewell.
0:37:51 > 0:37:54All the Juliets die.
0:37:54 > 0:37:56Romeo on the tomb.
0:37:58 > 0:37:59Fucking finished it, mate.
0:38:01 > 0:38:03Well done, team, thank you.
0:38:06 > 0:38:07Woohoo!
0:38:19 > 0:38:22Yes, there is a deeper message about society and meaning,
0:38:22 > 0:38:25but essentially, also, we're just trying to act and perform
0:38:25 > 0:38:27and put on a play and we don't want to be seen
0:38:27 > 0:38:29any other way and that's the point.
0:38:29 > 0:38:31They're here cos they're all talented
0:38:31 > 0:38:34and they can all do it so it's just more about giving them
0:38:34 > 0:38:36the freedom to do what they can do anyway.
0:38:39 > 0:38:43If audiences thought, "Nah, can't see any of them as Juliet,
0:38:43 > 0:38:45"doesn't work," that is a failure.
0:38:45 > 0:38:47My ears have not yet drunk a hundred words
0:38:47 > 0:38:49Of that tongue's utterance, yet I know the sound.
0:38:53 > 0:38:55And the next thing you say is after...
0:38:55 > 0:38:59Storme's. And that's Storme, isn't it?
0:39:04 > 0:39:07INDISTINCT CHATTER
0:39:08 > 0:39:11# Mama
0:39:11 > 0:39:14# Just killed a man
0:39:14 > 0:39:17# Put a gun against his head
0:39:17 > 0:39:21# Pulled my trigger now he's dead
0:39:21 > 0:39:23# Mama
0:39:23 > 0:39:27# Life had just begun
0:39:27 > 0:39:33# But now I've gone and thrown it all away
0:39:35 > 0:39:37# Mama
0:39:37 > 0:39:41# Oooooooh
0:39:41 > 0:39:44# Didn't mean to make you cry
0:39:44 > 0:39:49# If I'm not back again this time tomorrow
0:39:49 > 0:39:53# Carry on, carry on
0:39:53 > 0:39:56# As if nothing really matters... #
0:39:56 > 0:39:58APPLAUSE
0:40:04 > 0:40:09Good evening, everyone, welcome to the showcase Redefining Juliet.
0:40:09 > 0:40:13This show is a personal dream and ambition of mine to put on.
0:40:13 > 0:40:15It's the most powerful, important thing you'll see
0:40:15 > 0:40:18and it's Romeo And Juliet as you've never seen it before.
0:40:18 > 0:40:20Thank you very much. Enjoy the show.
0:40:24 > 0:40:26Can I go forward when my heart is here?
0:40:27 > 0:40:30Turn back, dull earth, and find thy centre out.
0:40:30 > 0:40:33Oh, Romeo, Romeo.
0:40:33 > 0:40:35Wherefore art thou Romeo?
0:40:35 > 0:40:37Deny thy father, refuse thy name.
0:40:37 > 0:40:40Or, if thou wilt not, be but sworn, my love,
0:40:40 > 0:40:42And I'll no longer be a Capulet.
0:40:42 > 0:40:45My sweet mother, cast me not away!
0:40:45 > 0:40:48Delay this marriage by a month, a week.
0:40:48 > 0:40:51Or, if you do not, make the bridal bed
0:40:51 > 0:40:54In that dim monument where Tybalt lies.
0:40:54 > 0:40:57And with this knife I'll help it presently.
0:40:57 > 0:40:59Be not so long to speak - I long to die.
0:40:59 > 0:41:02No, hold, daughter, I do spy a kind of hope.
0:41:02 > 0:41:04My first-ever boyfriend broke up with me
0:41:04 > 0:41:06cos he said I got too comfortable.
0:41:06 > 0:41:08I'd take off my eyebrows and eyelashes
0:41:08 > 0:41:11and the rest of my make-up in front of him
0:41:11 > 0:41:15and he said I just wasn't sexy unless I was done up properly.
0:41:15 > 0:41:18Can you not stay a while? Can you not see that I am out of breath?
0:41:18 > 0:41:20SHE WHEEZES
0:41:23 > 0:41:27Once I was in this bar and I accidentally fell over
0:41:27 > 0:41:28and knocked into this guy.
0:41:28 > 0:41:31I knocked his drink everywhere and he didn't mind,
0:41:31 > 0:41:32but his girlfriend did.
0:41:32 > 0:41:36- She looked at me, looked straight up and shouted at me.- Oh, my God!
0:41:36 > 0:41:38I mean, I know you haven't been a woman for very long
0:41:38 > 0:41:40but could you watch out for the little one?
0:42:01 > 0:42:04The valiant Paris seeks you for his love!
0:42:04 > 0:42:07Give consent to marry Paris. Wednesday is tomorrow.
0:42:13 > 0:42:14Oh, happy dagger,
0:42:14 > 0:42:15This is thy sheath.
0:42:17 > 0:42:18There rust and let me die.
0:42:24 > 0:42:26In one of our first sessions together we asked the question,
0:42:26 > 0:42:29would you change the thing that makes you different?
0:42:29 > 0:42:32Hell, yeah, I want my hair back... from the nose up.
0:42:35 > 0:42:38I would love to, you know, run along a beach, but actually,
0:42:38 > 0:42:40I quite like being in a wheelchair.
0:42:40 > 0:42:42Gives me an edge.
0:42:47 > 0:42:50CHEERING
0:42:53 > 0:42:55All you need is for the audience to get what it's about
0:42:55 > 0:42:58and as soon as they got what it's about, they were really enjoying it.
0:42:58 > 0:43:01It felt like it was really current and really vibrant
0:43:01 > 0:43:02and really important.
0:43:02 > 0:43:07It's not really about us, it's about a much bigger thing.
0:43:07 > 0:43:11It's a long journey and we've done so much to get it to this point.
0:43:11 > 0:43:14It's telling the story and it's telling the people's story
0:43:14 > 0:43:17and it's the people who can't get up on stage,
0:43:17 > 0:43:19we're telling their stories as well.
0:43:19 > 0:43:23Yeah, it's really personal and I feel really, like, naked right now.
0:43:23 > 0:43:26But... We're doing it for a reason, aren't we?
0:43:29 > 0:43:32Women like us are not seen as desirable on screen or on the stage.
0:43:34 > 0:43:38Just because we don't fit that mould doesn't mean we can't do it.
0:43:38 > 0:43:39Why shouldn't we?