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Of course all the young actors will probably opt to play Jubet, or Hamlet, but I must find ways to entice them to work on some of the lesserknown, but beautifully-written poetry of Shakespeare. How grand to have Austen Cloud, Adam Penza or Lee Klaus ponder growing up and falling in love with Berowne’s words from “Love’s Labour’s Lost,” or to see my stale worth young women Anna Clark, Tessa Crews or Skyler Owens try Portia, “Merchant of Venice.” Well, they can’t start exploring those characters until I have a script, so back to work.
Play by play, beginning with “Henry VI, Part I,” traveling through the chronology in which they are written, I finally emerge at “King Henry the Eighth,” presumed to be Shakespeare’s last play. I have approximately 57 scenes, my favorites, that must be winnowed down to under two hours of performance. And I must take into account, not only the words, but the action and interaction demanded of the play. I just won’t have “stand around Shakespeare” and from the beginning the young actors will have to work to bring life and movement into the play. Perhaps the First Fairy, Julia, will be smelling a rose and be frightened by Puck. Perhaps the Nurse will be carrying huge packages when she returns to tell Juliet about her love. And what if Henry V, self-conscious
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