A real change of pace and direction this week as we move onto Shakespeare's Part II.Μύ It is generally thought that he wrote Henry VI Parts II and III first then later wrote Part I as a prequel, so it is unsurprising that there is quite a different feel to the earlier plays.Μύ As we have adapted the three plays into two and our first half finishes in Act three of Shakespeare's Part II this means about two thirds through our first performance there is a tonal shift to be managed. After all the fighting and battles of occupied France suddenly we are allowed into the domestic life of some of the protagonists back in England.Μύ We get to meet the Duke of Gloucester's scheming wife Eleanor (a sort of proto-Lady Macbeth), and there is comedy to be found in Henry's uncertain courtship of his new bride Margaret.Μύ | "After all the action and noise then, we are allowed to get to know these people a little better" | |
There is also a tempestuous affair that develops between the Duke of Suffolk and Queen Margaret, threatening the stability of the realm.Μύ After all the action and noise then, we are allowed to get to know these people a little better, in a temporary respite from military conflict, and see them in private as well as public scenes. As a director, this brings its own pleasures.Μύ Directing action scenes can be very technical, almost like choreographing a dance, and very slow-going.Μύ Working with good actors on a smaller scene is more intellectually stimulating for all concerned - there is more room to try things and see where they lead, and to stop and chat about intentions and meanings.Μύ I feel freer to set a context for a scene and sometimes just let it run, allowing the actors to feel their way through it and see what happens, which they mostly seem to enjoy. Mark | 
