The Top 5 Mistakes Actors Make in Shakespeare Auditions

Showing posts with label breaking down the bard. Show all posts
Showing posts with label breaking down the bard. Show all posts

Monday

Poetry vs. Storytelling

I have a theory: we enjoy a Shakespeare production more when there is a balance between poetry and storytelling. I feel that Shakespeare's poetry should support the story, and that Shakespeare isn't really Shakespeare without the poetry. It's becoming very popular to rid Shakespeare's plays of poetry (or to "translate" them to contemporary English altogether), in an attempt to make them more accessible. While accessibility is certainly important, I feel that by utilizing the poetry in Shakespeare's text effectively, we can provide the audience with a more rich experience, while still telling the story. It's all about balance.

Too much emphasis on the poetry makes for more of a recitation than a play. 'cause WHEN you SEE a PLAY where ALL the AC-tors SPEAK like THIS, it ALL gets VE-ry TIRE-some AF-ter ON-ly SEC-onds, SEE? These tools should be to assist in telling the story, not distracting from it. In Much Ado About Nothing, the play is very much in prose until Claudio and Don Pedro begin to speak of love. The shift to verse when matters of the heart are being discussed doesn't need to be overwrought for the audience to feel the new groove. The rhythms support the text; characters in love often speak in verse because these feelings are too big for the everyday prose they may otherwise use. Likewise, if a character starts rhyming, they may be doing so to impress another character or the audience with their wit, or even to annoy another character. 

Image: Tee Public

Neglecting poetry in favor of the plot negates the whole reason the play was written in this beautiful language and rhythms and rhymes in the first place. There are countless ways to make a love-sick teen named Romeo fall for a headstrong girl named Juliet. The fact that their first lines to each other form a sonnet is simply divine! Why? Because NO ONE SPEAKS IN SONNETS SPONTANEOUSLY IN REAL LIFE. That's a big part of what makes it magical. If you take the poetry out of the equation, then what is truly special to show the audience that these two are meant to be? "Hey, girl" doesn't cut it.

The goal is to give the story the spotlight and to use the poetry as the structure to tell this tale. Here are some questions to help you determine your path through the poetry:

Do the characters know they are speaking in verse?

If they are rhyming?

If they are using a lot of metaphors?

Are the words they're speaking spontaneous, or have they been well-rehearsed for this much-anticipated moment?

Is their alliteration proving their intellect, or is it a fun coincidence that they realize after the fact, or are they oblivious? 

These are just some of the ways we can use the poetry of Shakespeare to help support the story. What ways do you use Shakespeare's poetry to help tell the story? Let me know in the comments!

Email ShakespeareCoach@gmail.com to schedule a coaching session,

Tuesday

The Gift of Time

Some years ago, my sister worked a not-quite-soul-sucking day job. One of those jobs where, if there were no customers to assist, the managers would try to cut costs by sending employees home. Not all employees are fans of getting cut, as less hours means less money, but one particular manager framed it in a very memorable way:

"I give you the gift of time."


Although I know it was met with mixed reviews, I have to agree that time is valuable and something that we can never generate more of. Everyone knows this, and yet, it's so easy to forget it!

Today, NYC is hunkered down for a blizzard, which means most of us are dealing with a (mostly unexpected) gift of time today. Might I suggest that, while also using this Snow Day for some relaxation and Netflix, set aside a good chunk of it to do something to further your career or your art in a way that you normally wouldn't have time to do?

Some ideas for how to use your gift of time:


Start writing that webseries you've always wanted to create.

Learn that monologue that you just haven't had time to work on.

YouTube tutorial that makeup look and hairstyle you wanted to try for that audition next week.

Read a play! (None on your bookshelf? Check out an e-Book online, or go to Project Guttenberg for free classics.)

Prep your meals for your busy week ahead.

Clean your apartment (with some great music or a podcast on), so that you have less stress the rest of this week.

Call your family to let them know you're okay!



No matter how you choose to use your gift of time today, I hope it will be productive and fulfilling!

Looking for a Shakespeare Coach to help you prepare for
that upcoming audition or performance?

Monday

VIDEO - Why You Need to be in Class

I get it. You went to school for theatre; maybe you got a degree or four in it. You've learned a ton, and have the student loan bills to prove it! But if you are (or want to be) an actor, you need to continue to be in class.

Why?

Hear me out in this quick video:



See what I mean? If you want to stay competitive in this constantly-changing, endlessly-challenging field, it is of the utmost importance that you keep your skills sharp, and get new skills as well!

Ready to go from scared to PREPARED with Shakespeare?
Email ShakespeareCoach@gmail.com to schedule your first coaching session!
Visit ShakespeareCoach.com for details!


VIDEO - How to Pronounce Character Names in Shakespeare's King Lear

You all really seem to dig these character pronunciation videos, so here's the latest one: King Lear! 

With names like Goneril, Curan, and Gloucester, this is a must-watch!


Ready to go from scared to PREPARED with Shakespeare?
Email ShakespeareCoach@gmail.com to schedule your first coaching session!

VIDEO - How to Find Your Type in Shakespeare

"Type" is one of those things that confuses and frustrates a lot of actors. What it comes down to is simple marketing: you, the actor, are the product you are selling. You have to know which roles you are most likely to be cast in; how the rest of the world sees you - this is called your "type".

Do you tend to play the funny best friend?

The soccer mom?

The leading man/lady?

The nerdy scientist who ends up being the serial killer in a surprise twist?

In this quick video, I'll give you the tools to find your "type", especially as it relates to Shakespeare's plays!



Ready to go from scared to PREPARED with Shakespeare?
Email ShakespeareCoach@gmail.com to schedule your first coaching session!

Friday

Are You Making These Audition MISTAKES?

You're a hardworking actor; pounding the pavement, rocking a survival job, and being an all-around BOSS. You're talented, you want it, and you take your craft seriously. Despite all that, you might be making some disastrous choices ITR (that's "in the room", for anyone getting the hang of the Audition Update acronyms).

It's not entirely your fault! Casting Directors are busy people. They're not at the EPA to teach you - they just need to cast a show. So when someone comes in and makes a boo-boo, they just assume they're new or underprepared, say "thank you", and move on. But that actor that makes a classic newbie blunder will just keep doing it over and over again at every audition, and probably keep not getting cast.

That's why you need exclusive access to my training video covering the Top 5 MISTAKES Actors Make in Shakespeare Auditions. And you know what? I'm giving you access to these tips for FREE!

Get Your SHAKES Together HERE!


New and Improved - Midsummer Pronunciations

If you were wondering how to pronounce the names of the characters in Shakespeare's A Midsummer Night's Dream, I've updated my video from a few months ago to include ALL of the characters! 





Thursday

VIDEO - How to Use the Lexicon

"If you don't know what you're saying,
the audience won't know what you're saying!"
-Me, all the freaking time

I've said this over and over and OVER. You know it's true, but maybe you aren't sure where to start to know how to decipher Shakespeare's language. 

One of the industry-standard tools is Alexander Schmidt's Shakespeare Lexicon and Quotation Dictionary, but it can be a little tricky to navigate. Check out my quick video tutorial on how to use this tool!

 

 

Sunday

Take the 7-Day Shakespeare Challenge!



Join me for a week-long SHAKESPEARE CHALLENGE!
I'll be working my way through Timon of Athens, but feel free to pick any play you'd like.

If you want a day-by-day breakdown, here's an idea:

Day 1: Choose your play, tag a friend to be your accountability partner, and read Act 1!

Day 2: Read Act 2 and check in with your friend to see how they're doing!
 

Day 3: Read Act 3 and let me know who your favorite character is so far!
 

Day 4: Read Act 4 and let me know what's happened that has surprised you!
 

Day 5: Finish reading the play and check in with your friend to see how they're doing!
 

Day 6: If you've fallen behind with your reading, catch up today! Then find a film version of the play on YouTube and watch the first half of it.
 

Day 7: Finish watching the play and CONGRATULATE yourself and your partner for getting your Shakes together this week!

Join me on Facebook and Instagram and let me know which play you chose!

Wednesday

VIDEO - Iambic Pentameter

For some reason, people hear "iambic pentameter" and they. just. freeze.

It's like they're convinced that they will NEVER understand this concept, just like they'll likely never know the details of molecular biology or why we still have Daylight Savings Time.

If you're one of those people who thinks that iambic pentameter is this scary phrase that is too complicated for you, let me assure you that you are so wrong about that! Watch the video below, and I guarantee you that you'll know what iambic pentameter is in under two minutes, or your money back!*

*It's free.



Breaking Down the Bard VIDEO - Verse vs Prose

Do you know how to tell the difference between verse and prose?

This is something that trips a lot of people up, but my quick, minute-long video shows you how to tell the difference INSTANTLY. Check it out!




Breaking Down the Bard VIDEO - Character Name Pronunciations in A Midsummer Night's Dream

I wanted to go over something that's a pet peeve of A LOT of casting directors, producers, and directors in the industry: when actors come into an audition or rehearsal setting and don't know how to say the names of the characters, it looks just plain BAD.

Sure, Shakespeare's character names don't always roll off the tongue, but that's no excuse when you go into an audition setting. Do your research and know how to pronounce the names, and you'll avoid this huge audition mistake, getting you one step closer to getting cast!

Let's start with the characters in Shakespeare's A Midsummer Night's Dream, because it is so insanely popular. Check out the video I've made below!





Breaking Down the Bard - Sonnets

If you've ever wondered what a sonnet is, I'm gonna break it down for you right now!

Simply put, a sonnet is a type of poem, following a set structure. There are many kinds of sonnets (which this Wikipedia article details). It doesn't necessarily have to be about love, but a lot of them are, because love is a wonderfully rich and complicated topic! We're going to look at the type of sonnet Shakespeare is famous for, called the English Sonnet, the Elizabethan* Sonnet, or the Shakespearean Sonnet.

*Elizabeth I was Queen of England during much of Shakespeare's life, and he wrote many plays and poems during the Elizabethan era.
 
 

The basic structure for this type of sonnet is three quatrains and a couplet - click the links if you missed those or need a reminder. This type of sonnet is typically in iambic pentameter and has a total of fourteen lines. One way to think of the rhyme scheme is this:

- - - - - - - - A
- - - - - - - - B
- - - - - - - - A
- - - - - - - - B
- - - - - - - - - C
- - - - - - - - - D
- - - - - - - - - C
- - - - - - - - - D
- - - - - - - - - - E
- - - - - - - - - - F
- - - - - - - - - - E
- - - - - - - - - - F
- - - - - - - - - - - G
- - - - - - - - - - - G

Let's look at Sonnet 91:
 
 

And here's the same sonnet, but I've shown where the quatrains and the couplet each start and end:
 
 

In the first quatrain, we see that "skill" in the first line rhymes with "ill" in the third line, and "force" in the second line rhymes with "horse" in the fourth. This is contrasted by the couplet that ends the sonnet, where two lines immediately rhyme with each other, "take" and "make".

Another noteworthy Sonnet by Shakespeare is in Romeo and Juliet. The very first time the young lovers speak to each other, they share lines that form a sonnet! Check it out:
 
 

Here, I've marked the structure so that you can easily see the Sonnet form that's hidden in Act I, Scene 5:
 
 

I think it's really cool that Shakespeare had his two star-crossed lovers so on the same page that they could improvise a Sonnet together at their very first meeting!

Shakespeare is not the only person to try his hand at the Elizabethan Sonnet - in fact, many others did, too - but he wrote at least 154 of them, and now you know what makes them tick!

What's your favorite sonnet? Let me know in the comments!

Wanna step up your Shakespeare game?
Email me at ShakespeareCoach@gmail.com to schedule your first session!

Breaking Down the Bard - Tarry, rash wanton!

The first Shakespeare play I ever did was A Midsummer Night's Dream, when I was in sixth grade. I've done it several times over as an adult, and there is one line that was completely butchered - in meaning AND pronunciation - in two of the productions I've done: Tarry, rash wanton!


These are three words that are pretty much extinct in our modern world, strung together. It's not really surprising that it trips people up all the time, but since Midsummer is among the most popular of Shakespeare's plays in both schools and professional theatre, you should definitely know what it means.



Tarry means "stay". Rash means "hasty" or "impulsive". Wanton is not to be confused with the delicious Chinese food dumpling (wonton); and it is pronounced WAHN-tuhn. Wanton has a few different meanings, ranging from a wild and carefree person, to a tomboy, to a sexually promiscuous woman. If you want to learn how to use Alexander Schmidt's Lexicon, which can help you understand just about any word as used by Shakespeare in the contexts of his plays, I have a step-by-step guide here.

Each production can choose which interpretation of wanton they prefer, but a loose "translation" could be:

"Hang on, you reckless skank!"

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Breaking Down the Bard - Quatrains

Last week on Breaking Down the Bard, I explained couplets, or two lines of verse in a row which have an ending rhyme. This week, we'll be looking at another popular rhyme structure in Shakespeare's works: quatrains.



Luciana (The Comedy of Errors)
If you did wed my sister for her wealth,
Then for her wealth's sake, use her with more kindness:
Or if you like elsewhere, do it by stealth,
Muffle your false love with some show of blindness

See how "wealth" rhymes with "stealth" in the first and third lines, and "kindness" with "blindness" in the second and fourth lines? These four lines of alternating ending rhymes make a quatrain.

Here's another way to visualize it:
___________ A
______________B
____________A
______________B   

Lysander (A Midsummer Night's Dream)
Fair love, you faint with wand'ring in the wood:
And to speak troth I have forgot our way.
We'll rest us, Hermia, if you think it good,
And tarry for the comfort of the day.

Getting the hang of this? "Wood" rhymes with "good," and "way" rhymes with "day."

Quatrains can even be shared among characters:

Romeo (Romeo and Juliet)
Have not saints lips, and holy palmers too?

Juliet
Ay, pilgrim, lips that they must use in prayer.

Romeo
O then, dear saint, let lips do what hands do,
They pray - grant thou, lest faith turn to despair. 

Romeo and Juliet are so in tune with each other that they can rhyme while they flirt! 

Now you can identify what a quatrain is, and you're going to impress everyone when you're doing tablework for your next show!

Wanna step up your Shakespeare game?
Email shakespearecoach@gmail.com to schedule your first session!

Breaking Down the Bard - Soft


Romeo
He jests at scars that never felt a wound.
But soft, what light through yonder window breaks?
It is the east, and Juliet is the sun.

Olivia
Thy tongue, thy face, thy limbs, actions and spirit
Do give thee fivefold blazon. Not too fast! Soft, soft!
Unless the master were the man. How now?
Even so quickly may one catch the plague?

Gloucester
And thus I clothe my naked villainy,
With odd old ends stol'n forth of holy writ,
And seem a saint, when most I play the devil.
But soft, here come my executioners.
How now, my hardy, stout, resolved mates,
Are you now going to dispatch this thing?

The word "soft" is already in your vocabulary as the antonym of "hard", and the opposite of "loud". But when you run across this word in Shakespeare's text used as you see in the examples above, it doesn't really seem to mean "cushy" or "quiet". Sometimes, words that used to have several definitions have only maintained a few of them as time passed and language has evolved, so we need to dig a little deeper to understand the true meaning of a seemingly familiar word in its 400-year-old context.

This is an instance where Alexander Schmidt's Lexicon doesn't offer a lot of help:



However, a father and son pair of Shakespeare scholars, David Crystal and Ben Crystal, explore the possible meanings a bit further in their glossary, Shakespeare's Words. (Their website is a phenomenal resource, and can be found here.) Check out the fourth "soft" down:



In the above instances (and many more), the word "soft" is spoken as a sort of interjection. It interrupts the action, and shows a shift in the direction that the scene is about to go. 

In Act II, Scene 2 of Romeo & Juliet, Romeo is hiding from his friends, Benvolio and Mercutio, who were loudly searching for him and mocking him. The appearance of Juliet surprises him. Whether he anticipated her arrival or he just lucked out, this is an exciting change of events, so Romeo's "But soft" is basically another way to say "hold up", or "hang on"!

Olivia is having an exciting moment for her "Soft, soft!" in Twelfth Night's Act I, Scene 5. Although she has sworn off courtship to mourn her father and brother, when she meets the Viola (in disguise as "Cesario"), she is smitten. Alone onstage, she recalls portions of their previous conversation and then lists several of Cesario's best attributes before saying "Not too fast! Soft, soft!" She may be sprung, but she's practically saying "slow your roll!" She hardly knows the guy, but she can't deny her feelings, which propels a lot of action in this play .

Finally, in Richard III, Act I, Scene 3, Richard, Duke of Gloucester, is bragging about how well he is fooling everyone into thinking that he's a good guy in one of his several soliloquies. Then, the two murderers he has hired to kill his brother arrive, and he shifts back into the scene with "But soft, here come my executioners." He might as well say, "wait a moment" as he turns the focus to these new characters.

When you see "soft" used in this way, especially in a soliloquy or aside, be on the lookout for a change in the energy and direction of the scene. Think of it as "hold up", "wait", "just a sec", or even "slow your roll, girlfriend", and you'll help the audience follow your character's journey!

Wanna step up your Shakespeare game?
Email shakespearecoach@gmail.com to schedule your first session!
To learn more, visit ShakespeareCoach.com.

Breaking Down the Bard - Fair


Helena (A Midsummer Night's Dream)
How happy some o'er othersome can be!
Through Athens, I am thought as fair as she.
But what of that? Demetrius thinks not so...

Audrey (As You Like It)
Well, I am not fair, and therefore I pray the gods make me honest.

Chorus (Romeo & Juliet)
Two households, both alike in dignity,
In fair Verona, where we lay our scene...

You may have guessed that the word "fair" is ALL OVER THE PLACE in Shakespeare's plays. It's a word that we, in the 21st century, primarily use to mean "just, in accordance with the rules or standards; legitimate." And sure, it often means that in Shakespeare's text, too, but it also has a few other definitions, most notably "beautiful", "of a white complexion", and "clear, unspotted, pure." Sometimes, it even means "kind", "good", or even "honorable." 

One thing that we have to be aware of when we approach Shakespeare's plays 400+ years after they were written is the ideals of the people presenting the plays and the intended audience. Shakespeare's audience seemed to enjoy, appreciate, and idealize their definition of beauty. This type of "fair" includes people of a pale complexion (particularly ladies), and people with blonde hair.

This is especially apparent in a play like A Midsummer Night's Dream, where the two young ladies, Hermia and Helena, are rivals. Helena mentions in her soliloquy at the beginning of the play that "through Athens, I am thought as fair as she". As the play progresses, we see numerous references to Hermia being darker in color (in hair or skin, it isn't specified): "Not Hermia, but Helena I love./ Who will not change a raven for a dove?" is Lysander's love declaration to Helena. As the "dove" in this metaphor, she would be more "fair" (light in color) than a "raven", and therefore more beautiful to Elizabethans than the darker Hermia.

In As You Like It, Audrey says that she is "not fair", which probably means "not beautiful", but also likely means "not pale." Many characters we meet in the Forest of Arden are shepherds and goatherds, and they would spend a great deal of time in the sun. To many Elizabethans, being pale was part of being ideally beautiful, so the idea of Audrey using "fair" in the "pale/beautiful" context holds up. In the same play, Phebe is insulted when her features are described as dark: "He said mine eyes were black and my hair black..." The amazing thing about Shakespeare's writing is that even though his characters' ideals of beauty may be different from what ours currently are, he makes it abundantly clear that this is what matters in this particular society of the play!

In these instances and many others, "fair" is a synonym for "beautiful." This can apply to objects as well as people:

Proteus (The Two Gentlemen of Verona)
But pearls are fair...

Sometimes, "fair" means "good":

Olivia (Twelfth Night)
Let thy fair wisdom, not thy passion, sway
In this uncivil and unjust extent
Against our peace.

Finally, let's look at the opening lines from Romeo & Juliet. "Fair Verona" could mean a great many things: a beautiful city, a just and lawful place, a place without blemish (i.e. nothing bad happens here), it's elegant, and even fortunate. Any and all of these choices are accurate descriptions of the Verona we see in the text - until things go horribly wrong! 

"Fair" is a very common word in Shakespeare's plays, and now you'll have a jumping off point for what it means in different contexts!

Wanna step up your Shakespeare game?
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Breaking Down the Bard - Doubt

I'm sure you're aware that Shakespeare's English and our modern English have a lot of differences; "thee", "thou", "wherefore", etc. There are plenty of words that Shakespeare used that we don't use anymore, but there are others that have lasted 400 years, and have evolved over that time... kind of like how "literally" can also now mean "figuratively". No matter how you feel about it, languages change and evolve over time.

Today, we're going to look at one such word: doubt. To us, this word commonly means "to hesitate to believe". Back in Shakespeare's day, doubt had another meaning: "to fear, or be apprehensive about, suspect", as well as the meaning that has endured to modern day.



Take this line from Hamlet, Act I, Scene 2:

My father's spirit - in arms! All is not well,
I doubt some foul play. Would the night were come!
Till then, sit still my soul. Foul deeds will rise,
Though all the earth o'erwhelm them to men's eyes.

When Hamlet says "I doubt some foul play", we need to think critically about which definition of doubt he means. I think an easy way to do this is to replace the word "doubt" with the word "fear", and see if it makes sense:

My father's spirit - in arms! All is not well,
I fear some foul play. Would the night were come!

Then try the same line with "don't believe" in place of "doubt":

My father's spirit - in arms! All is not well,
I don't believe some foul play. Would the night were come!

The "fear" version makes sense, where as "don't believe" doesn't, so now we know that Hamlet is worried that something bad is going on, and can't wait to see for himself what's going on and if the ghost will come back tonight.

Next time you see "doubt" in your lines, you can quickly determine which definition is intended, and you'll be sure to impress!

Wanna step up your Shakespeare game?
Email shakespearecoach@gmail.com to schedule your first session!

Breaking Down the Bard - Lady Capulet

One of the things I love about Shakespeare is that he gave us such unique and individual characters in his plays. Some of them are so fleshed out that they seem to be real people; with histories, favorite things, enemies, habits, and speech patterns that make them who they are. Shakespeare doesn't always spell everything out for us, the way we might see in a modern play's character list. Instead, we have to mine the text for clues as to who these characters really are, so that when we present them onstage, we are showing them as multi-faceted, relatable, human beings. Today, I want to take a look at a character that I feel is performed a lot (although not yet by me), that many people don't give a lot of attention to, but who I still find wildly fascinating: Lady Capulet from Romeo & Juliet.




I feel like Lady C is overlooked, and I want to shine a little light on her, because this chick is so interesting! First of all, she's in ten scenes in the play (a few she just kind of makes an appearance and isn't the focus), but only speaks 114 lines of verse, which is not a lot. The Nurse speaks about twice as much, and even Benvolio and Mercutio each speak more than Lady Capulet - and Mercutio dies halfway through the play! She's a major presence, but we don't hear all that much from her, so we need to follow the clues to understand her as much as we can as a character, then use our own imaginations as actors to fill in the blanks. Shakespeare gave us more info than you might expect, though, so let's play text detectives and see what we can learn about this Real Housewife of Verona!

Lady Capulet is YOUNG. I would say she's probably about 26
How did I come up with that number? We hear from the Nurse in Act I, scene 3 that Juliet is 13, about two weeks away from turning 14. Then Lady Capulet chimes in:

I was your mother much upon these years
That you are now a maid.

Time for some basic math, right? If Juliet is 13, and Lady Capulet was around that same age when Juliet was born, that would make her right around 26. Her husband is significantly older, although we can't be sure of his age. In Act I, scene 1, when he wants to grab a sword and start fighting, Lady Capulet says:

A crutch! A crutch! Why call you for a sword?

And when Lord Capulet and his cousin, Old Capulet, are enjoying the party in Act I, scene 5, they're bickering over whether it was 25 or 30 years since they were in the "dancing days" of their youth. Bringing up Capulet's age so closely to when we discover Lady Capulet's age only highlights how young she is, and the age gap between them. 


Lady Capulet might be barren because she had Juliet when she was so young. This exchange in Act I, scene 2 makes me wonder if Capulet is speaking of his wife's experience:

Paris
Younger than she are happy mothers made.

Capulet
And too soon marr'd are those so early made.
The earth hath swallowed all my hopes but she...

Whoa whoa whoa... Hold the phone! This looks like a MAJOR piece of information! It seems like Capulet doesn't want Juliet to suffer the same fate as her mom, which we can pretty clearly interpret here as having a baby very young, and not being able to have any more healthy kids. "The earth hath swallowed all my hopes" might be a metaphor, but he might be talking about miscarriages or children that died in infancy. That's absolutely tragic for the Capulets. Lord Capulet makes it extra clear that Juliet is their only child later, in Act III, scene 5, in a heated moment:

Wife, we scarce thought us blest
That God had lent us but this only child...

So Lord and Lady Capulet wanted more kids, but couldn't have any. Maybe that's why Lady Capulet really loved Tybalt (or she's putting on a big show for some reason). Lady Capulet is outspoken about her affection for her nephew, Tybalt. She immediately seeks revenge after his death in Act III, scene 1:

I beg for justice, which thou, Prince, must give:
Romeo slew Tybalt, Romeo must not live.

It's unclear if Tybalt was the son of Lord Capulet's brother or Lady Capulet's brother, as they both separately call him "my brother's son" after his passing (Lady Capulet in Act III, scene 1 and Lord Capulet in Act III, scene 5). It's common for Shakespeare's characters to leave out any "in law" clarification, so it's unlikely that Lord and Lady Capulet are brother and sister as well as husband and wife - but if someone stages that production, I want a ticket.

And in Act III, scene 2, the Nurse tells Juliet her parents are "Weeping and wailing over Tybalt's corse."

However, only hours later, in the early morning of the next day in Act III, scene 5, Lady Capulet tells Juliet not to cry for Tybalt any more:

Evermore weeping for your cousin's death?
What, wilt thou wash him from his grave with tears?
And if thou couldst, thou couldst not make him live;
Therefore have done. Some grief shows much of love,
But much of grief shows still some want of wit.

Well, she got over that quickly! Maybe she's putting on a brave face, knowing she's about to break the news of Juliet's arranged marriage to Paris, or maybe her wailing over Tybalt was an act, or perhaps she is just out of tears to cry. 

Lady Capulet may seem passive in some scenes, letting her husband lead the charge when Juliet objects to marrying Paris in Act III, scene 5:

Here comes your father, tell him so yourself;
And see how he will take it at your hands.

But she seems to at least think of herself as a woman of action, devising a plan to poison Romeo in Mantua, where he is banished, earlier in the same scene. How serious she is about that is entirely dependent upon the production and the actor cast as Lady Capulet, but maybe she has ties to dangerous people in Mantua... Or maybe she's all talk.

When Lord Capulet starts hurling insults at Juliet and things are getting heated in Act III, scene 5, she tries to diffuse the situation:

Fie, fie, what, are you mad?

But ultimately sides with her husband on the matter in that scene, and shuts Juliet down like this:

Talk not to me, for I'll not speak a word.
Do as thou wilt, for I have done with thee.

So, my big question here is whose side is she on? Does she really think Juliet is being unreasonable, or that her husband is being abusive, or is it something more nuanced? Does she want to be the peacemaker, or does she just want to go back to crying over Tybalt's death?

When Juliet asks for forgiveness, Lady Capulet doesn't say anything, and lets her husband do the talking. Instead, her next five lines (over three scenes) are entirely about wedding planning. Granted, this already rushed event got moved up a few days, so Lady Capulet has a lot to do, but it makes me wonder if she was ever really angry at Juliet, or if she forgives quickly, or is covering up her feelings by keeping busy.

And then, in Act IV, scene 5, when Juliet's sleeping potion has convinced everyone that she is dead, Lady Capulet grieves in the way you might expect from a woman who has lost her only child:

But one, poor one, one poor and loving child,
But one thing to rejoice and solace in,
And cruel Death hath catch'd it from my sight!

You may have noticed that most of what I've dissected hasn't shown a "right" or "wrong" way to play Lady Capulet - I've just uncovered some of the options that are available when tackling such a rich and interesting character! Shakespeare gives us so much juicy material to work with, and it's our job as actors to find what works for our interpretation in each individual production to really bring these characters to life!


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