-Tonight, from the Royal Shakespeare Theatre, Stratford-upon-Avon, Judi Dench... -Helen Mirren... -Ian McKellan... -Benedict Cumberbatch... -David Suchet... -Tim Minchin... -Al Murray... -Rufus Hound... -Meera Syal... -Rory Kinnear... -Akala... -Anne Marie Duff... and many more join together to celebrate the life and work of William Shakespeare.

[ Up-tempo music plays ] ♪♪ ♪♪ -[ Panting ] [ Whistles ] [ Orchestra plays "Tonight Quintet" ] ♪♪ -♪ The Jets are gonna have their day tonight ♪ -♪ The Sharks are gonna have their way tonight ♪ -♪ The Puerto Ricans grumble, "Fair fight" ♪ ♪ But if they start a rumble ♪ -♪ We'll rumble 'em right ♪ ♪ We're gonna hand 'em a surprise tonight ♪ ♪ We're gonna cut 'em down to size tonight ♪ ♪ We said, "Okay, no rumpus, no tricks ♪ ♪ But just in case they jump us, we're ready to mix ♪ ♪ Tonight ♪ ♪ We're gonna rock it tonight ♪ ♪ We're gonna jazz it up and have us a ball ♪ ♪ They're gonna get it tonight ♪ ♪ The more they turn it on, the harder they'll fall ♪ -♪ Well, they began it ♪ -♪ Well, they began it ♪ -♪ And we're the ones to stop 'em once and for all ♪ ♪ Tonight ♪ ♪♪ -♪ Anita's gonna get her kicks tonight ♪ ♪ We'll have our private little mix tonight ♪ ♪ He'll walk in hot and tired, so what?

♪ ♪ Don't matter if he's tired, as long as he's hot ♪ -♪ Tonight, tonight, won't be just any night ♪ ♪ Tonight there will be no morning star ♪ -♪ Tonight, tonight, I'll see my love tonight ♪ ♪ And for us, stars will stop where they are ♪ -♪ Today the minutes seem like hours ♪ ♪ The hours go so slowly ♪ ♪ And still the sky is light ♪ -♪ Oh moon, grow bright ♪ ♪ And make this endless day endless night ♪ ♪♪ -♪ I'm counting on you to be there tonight ♪ ♪ When Diesel wins it fair and square tonight ♪ ♪ That Puerto Rican punk'll go down ♪ ♪ And when he hollers "Uncle," we'll tear up the town ♪ -♪ Tonight, tonight ♪ -♪ So I can count on you, boy?

♪ -♪ Alright ♪ -♪ Won't be just any night ♪ -We're gonna have us a ball ♪ -♪ Alright ♪ -♪ Tonight there will be no morning star ♪ -♪ Womb to tomb ♪ -♪ Sperm to worm ♪ -♪ I'll see you there about 8 ♪ -♪ Tonight ♪ -♪ Tonight ♪ -♪ We're gonna rock it tonight ♪ -♪ Tonight ♪ -♪ We're gonna rock it tonight ♪ -♪ Won't be just any night ♪ -♪ They're gonna get it tonight ♪ -♪ And for us, stars will stop where they are ♪ -♪ We're gonna mix it tonight ♪ -♪ Today the minutes seem like hours ♪ ♪ The hours go so slowly ♪ ♪ And still the sky is light ♪ ♪ Oh, moon, grow bright ♪ -♪ The Jets are gonna have their way ♪ -♪ And make this endless day endless night ♪ -♪ We're gonna rock it tonight ♪ -♪ Toni-i-i-ght ♪ [ Cheers and applause ] [Statelly music plays] ♪♪ [ Cheers and applause ] ♪♪ ♪♪ [ Cheers and applause ] -Hello, and welcome to "Shakespeare Live!"

-This is exciting isn't it?!

[ Laughter ] Tonight we celebrate the life and work of William Shakespeare.

It is exactly 400 years to the day since he died, on April 23, 1616.

-We are here at the Royal Shakespeare Theatre in Stratford-upon-Avon, barely a stone's throw from where he was born and where he is buried.

-It's not just the great stories he writes, the wonderful characters he creates, and the memorable language, Shakespeare tells us about ourselves.

He sees us from every angle.

-Perhaps that is why, for more than four centuries, he has inspired artists across the world... -From Berlioz to Bernstein, to hip-hop and jazz... -From Ballet to Broadway to blues and back.

-And that's what we're celebrating tonight.

-There really is something for everybody.

-So sit back and enjoy... "Shakespeare Live!"

[ Cheers and applause ] [ Stately music plays ] ♪♪ -All the world's a stage, And all the men and women merely players; They have their exits and their entrances; And one man in his time plays many parts, His acts being seven ages.

At first the infant.

-Oh!

-Oh!

[ Chuckles ] Mewling and puking in the nurse's arms.

[ Laughter ] And then the whining school-boy, with his satchel... [ Laughter ] ...And his shining morning face, creeping like snail, unwillingly to school.

And then the lover, Sighing like furnace, with a woeful ballad Made to his mistress' eyebrow.

[ Laughter ] Then a soldier, full of strange oaths and bearded like the pard, jealous in honour, Sudden and quick in quarrel, seeking the bubble reputation Even in the cannon's mouth.

And then the justice, In fair round belly with good capon lined, With eyes severe and beard of formal cut, Full of wise saws and modern instances; And so he plays his part.

The sixth age shifts Into the lean and slipper'd pantaloon, With spectacles on nose and pouch on side, His youthful hose, well saved, a world too wide, For his shrunk shank; and his big manly voice, Turning again toward childish treble, pipes, And whistles in his sound.

Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion, Sans eyes, sans teeth, sans taste, sans everything.

[ Applause ] ♪♪ -The Seven Ageds of Man represented by a tiny wee baby, with a midwife from Warwick hospital, a schoolboy from Shakespeare's own school, a student from Wolverhampton, a soldier serving in the Royal Electrical and Mechanical Engineers, a member of Her Majesty's Counsel, and a retired Royal Shakespeare Company production manager.

[ Cheers and applause ] ♪♪ And now for the first of four short films about the life of William Shakespeare, introduced by a man who knows all about the Bard, having played him onscreen in "Shakespeare in Love."

It is, of course, the lovely Joseph Fiennes to introduce "The Seasons of Shakespeare's Life," starting with spring.

-William Shakespeare was born in the Warwickshire market town of Stratford-upon-Avon on this very day, April 23, 1564.

It's where he enjoyed the springtime of his life, for it's here in Warwickshire that he was raised, here in Stratford that he was educated, and here in this hamlet that he enjoyed the first shoots of love.

♪♪ In this cottage, in the village of Shottery, lived a yeoman farmer's daughter called Anne Hathaway.

Perhaps, in this farmhouse, they exchanged love tokens.

Perhaps, under these eaves, they whispered their sweetest nothings... and who knows, perhaps for Anne, he began writing poetry.

♪♪ Perhaps it's from this youthful springtime that he drew the inspiration for the song "Under the Greenwood Tree" from his play "As You Like It."

In its verses, we can hear the echoes of love at its most innocent and sublime.

[ Guitar plays softly ] ♪♪ -♪ Under the greenwood tree ♪ ♪ Who loves to lie with me ♪ ♪ Unto the sweet bird's throat ♪ ♪ We can hope for a sweeter note ♪ ♪ Come by me, come by me ♪ ♪ He will find no enemy ♪ ♪ But winter ♪ ♪ And rough weather ♪ ♪♪ -♪ It couldn't recompense me better ♪ ♪ Than to dine on my monster stutter ♪ -♪ Those who ambition shun ♪ ♪ Will live beneath the sun ♪ ♪ Come by me, come by me ♪ ♪ He will find no enemy ♪ ♪ Come by me, come by me ♪ ♪ He will find no enemy ♪ ♪ But winter ♪ ♪♪ ♪ And rough weather ♪ ♪♪ ♪ But winter ♪ ♪ And rough weather ♪ ♪♪ [ Applause ] [ Birds chirping ] -O [Inhales deeply] Romeo, Romeo Wherefore art thou Romeo?

Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet.

-Shall I hear more, or shall I speak at this?

-'Tis but thy name that is my enemy; Thou art thyself, though not a Montague.

What's Montague?

It is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man.

O, be some other name!

What's in a name?

That which we call a rose By any other word would smell as sweet; So Romeo would, were he not Romeo call'd, Retain that dear perfection which he owes Without that title.

Romeo, doff thy name, And for thy name which is no part of thee Take all myself.

-I take thee at thy word!

-[ Gasps ] -Call me but love, and I'll be new baptised; Henceforth I never will be Romeo.

-What man art thou that thus bescreen'd in night So stumblest on my counsel?

-By a name I know not how to tell thee who I am: My name, dear saint, is hateful to myself, Because it is an enemy to thee; Had I it written, I would tear the word.

-My ears have not yet drunk a hundred words Of thy tongue's utterance, yet I know the sound: Art thou not Romeo and a Montague?

-Neither, fair saint, if either thee dislike.

-How camest thou hither, tell me, and wherefore?

The orchard walls are high and hard to climb, And the place death, considering who thou art.

If they do see thee, they will murder thee.

-I have night's cloak to hide me from their sight; And but thou love me, let them find me here.

[ Breathing heavily ] -Thou know'st the mask of night is on my face, Else would a maiden blush bepaint my cheek For that which thou hast heard me speak tonight -Lady, by yonder blessed moon I swear That tips with silver all these fruit-tree tops -- -O, swear not by the moon, the inconstant moon, That monthly changes in her circled orb, Lest that thy love prove likewise variable.

-What shall I swear by?

-Do not swear at all; Or, if thou wilt, swear by thy gracious self, Which is the god of my idolatry, And I'll believe thee.

-If my heart's dear love -Well, do not swear... [ Laughter ] ...although I joy in thee, I have no joy of this contract to-night: It is too rash, too unadvised, too sudden; Too like the lightning, which doth cease to be Ere one can say "It lightens."

Sweet, good night!

This bud of love, by summer's ripening breath, May prove a beauteous flower when next we meet.

[ Birds chirping ] Good night, good night!

Parting is such sweet sorrow, That I shall say good night till it be morrow.

-Sleep, dwell upon thine eyes, peace in thy breast!

Would I were sleep and peace, so sweet to rest!

[ Dramatic music plays ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ Cheers and applause ] -Well, uh, looking at what their bodies are capable of doing, I find it difficult to believe we're the same species.

[ Laughter ] Uh, the "Balcony Scene" from "Romeo and Juliet," of course, performed by Mariah Gale and Natey Jones.

-And the Royal Ballet's Yasmine Naghdi and Matthew Ball performing the same scene in Prokofiev's "Romeo and Juliet," with Kenneth MacMillan's famous choreography.

-The Royal Ballet commissioned the piece in 1964 for the tercentenary of Shakespeare's birth, where it was danced by Rudolf Nureyev and Margot Fonteyn.

[ Soft music plays ] [ Men laughing ] ♪♪ -So -- So -- So, it got a bit fruity backstage.

The bounder came at me with a lute!

So I put him down with the perfect witty response!

-Ah, what was that, Spenser?

-I decked him!

[ Laughter ] -Banter!

[ Laughter ] I haven't had this much fun since I was in prison!

[ Laughter ] Which time?

-You're right, I have been, loads!

[ Laughter ] -Excuse me, is this where the theatre stars hang out?

-Ohh.

Fanboy alert!

[ Laughter ] Shall I give him an autograph or kill him?

-[ Laughs ] I'll handle this.

Lad, you are addressing the finest theatrical stars of the age.

Ben Jonson, actor and writer; Kit Marlowe, playwright and -- Oh.

[ Laughter ] Where's he gone?

[ Laughter ] -Surprise!

[ Laughter ] Master of disguise!

-Brilliant.

And this is Gabriel Spenser.

He's just an actor, but we let him hang around with us because he likes drinking and fighting.

He also does a good line in literary criticism.

-This wine is literally disgusting.

[ Laughter ] -Disgusting!

-Well, I think I'll come back when you're less busy and, um, drunk.

-Well, that'll be never.

What do you want, spod?

-Actually, I was after some advice.

You see, basically, at the moment, I'm, like, mainly an actor, but... [ Laughter ] ...I'm, like, looking to get more into writing, cos at the moment I specialise in playing old man parts at the moment.

-[ Laughs ] Old man parts!

He said "old man parts"!

-Very good.

Anyway, my name is William Shakespeare.

-Set Square?

-No, Shakespeare.

-Sharkbeer?

-Shakespeare.

-Shake n Vac?

-Shakespeare.

-Soup Spoon?

-Shakespeare.

-Snack Pot?

-Shake-- Stop getting my name wrong on purpose.

-Ooohh.

-Ooohh.

[ Laughter ] -Well, anyway...

I write plays.

-Listen up, Skateboard... [ Laughter ] ...writing plays is a rookie mistake.

Real writers drink, fight, and go to prison!

-Ah!

-He may also be a spy.

Mentioning no names.

♪ Ding-ding ding-ding ding-ding ding-ding ding ding ♪ -I'm a spy.

-No, I know, I got it.

♪♪ Yes, well, I have a wife and kids.

I need to earn a living, unlike some people.

Anyway, I'm pretty good at writing plays.

A lot of buzz around me at the moment, so... -[ High-pitched voice ] "Oooh, look at me, I'm Billy Springle-Sprangle, and I write plays, and I plan for the future."

[ Laughter ] -I genuinely don't know who that was supposed to be.

[ Laughter ] -[ Normal voice ] Well, it was him!

Look, I'm not good at impressions!

But I am good at fighting!

Consider yourself taunted.

Outside.

-Listen, buddy, I'm a writer, not a fighter.

And I'm going all the way to the top, with or without you guys!

Everybody will know my name -- William -- -Shopping Trolley.

-Should have seen that coming.

[ Laughter ] -Good for you, Shakira.

[ Laughter ] Top bloke.

-Nerd.

-[ Grunts ] [ Laughter ] ♪♪ [ Cheers and applause ] ♪♪ -The "Horrible Histories" gang there, with a playful take on the past.

-And now Shakespeare's own take on a bit of history -- the history of King Henry V. Here, the young king, having conquered France at the Battle of Agincourt, finds himself powerless and tongue-tied in his attempts to woo the French princess, Katherine, with whom he hopes to unite the English and French thrones.

-Will you vouchsafe to teach a soldier terms Such as will enter at a lady's ear And plead his love-suit to her gentle heart?

-[ French accent ] Your majesty shall mock at me: I cannot speak your England.

-O... [ Laughter ] ...fair Katherine, if you will love me soundly with your French heart, I will be glad to hear you confess it brokenly with your English tongue.

[ Laughter ] [ Sighs ] Do you like me, Kate?

-Pardonnez-moi... [Sighs] ...I cannot tell what is... like me.

-An angel is like you, Kate, and you are like an angel.

-Que dit-il?

Que je suis semblable les anges?

-Oui, vraiment, sauf votre grâce, ainsi dit-il.

-I said so, fair Katherine, and I must not blush to affirm it.

-O bon Dieu!

Les langues des hommes sont pleines de tromperies.

-What says she, fair one?

That the tongues of men are full of deceits?

-Oui, dat de tongues of de mans is be full of de shit... [ Laughter ] ...dat is de proncess.

-I'faith, Kate, my wooing is fit for thy understanding.

I am glad thou canst speak no better English.

I know no ways to mince it in love, but directly to say I love you.

Then if you urge me farther than to say, Do you in faith?, I wear out my suit.

Give me your answer, i'faith, do, and so clap hands in a bargain.

How say you, lady?

-Sauf votre honneur, me understand well.

-Marry... [Sighs] ...if you would put me to verses or to dance for your sake, Kate, why you undid me.

If I could win a lady at leap-frog, or by vaulting into my saddle with my armour on my back, I should quickly leap into a wife.

[ Laughter ] But, before God, Kate, I cannot look greenly nor gasp out my eloquence, nor I have no cunning in protestation.

If thou canst love a fellow of this temper, Kate, whose face is not worth sunburning, that never looks in his glass for love of anything he sees there, let thine eye be thy cook.

I speak to thee plain soldier: if thou canst love me for this, take me: if not, to say to thee that I shall die, is true; but for thy love, by the lord, no.

Yet I love thee too.

And while thou livest, Kate, take a fellow of plain and uncoined constancy for he perforce must do thee right, because he hath not the gift to woo in other places.

A speaker is but a prater, a rhyme is but a ballad.

A good leg will fall, a straight back will stoop, a black beard will turn white, a curled pate will grow bald, a full face will wither, a fair eye will wax hollow, but a good heart, Kate, is the sun and the moon.

Or rather the sun and not the moon, because i-i-i-it shines bright and never changes, but keeps its course truly.

[ Sighs ] [ Laughter ] If thou would have such a one, take me: and take me, take a soldier: take a soldier... take a king.

[ Applause ] -So, Catherine?

-Yes.

-...if Shakespeare were alive today, what would he be?

-Uh, he would be 452.

-Uh, no, obviously, that's not quite what I meant.

He was at the forefront of popular culture, so today he would be, what?

He'd be writing films, he'd be writing TV shows.

Who are -- Who are today's linguistic geniuses?

-Well, I will tell you.

-Tell me.

-Uh, and who -- Well, in my opinion... -Yeah?

-...who better to answer than hip-hop Shakespeare with Akala and Nitin Sawhney?

-Very good.

-Yeah.

[ Soft, dramatic music plays ] ♪♪ ♪♪ ♪♪ [ Music intensifies ] ♪♪ -If all the world's a stage, then light my way.

Because out, out, your brief candle is not.

Four centuries past, yet I still cannot grasp that undiscovered country that makes words immortal.

If the good that men do is interred with their bones, then this precious stone is a beauty too rich.

Methinks it's a jewel in the ear of us all as the wisest words spoken are spoken by fools.

[ Mid-tempo hip-hop music plays ] [ Rapping ] ♪ Tomorrow, tomorrow, tomorrow ♪ ♪ I want to endure desiring this man's art that was yours ♪ ♪ Time does waste me, days do chase me ♪ ♪ The flesh goes pasty and still I ain't found greatness ♪ ♪ What meat did they feed this Caesar?

♪ ♪ I want to taste your milk even if it is gall ♪ ♪ Your mortal coil sprang back unbounded ♪ ♪ And founded the language that is used by us all ♪ ♪ The ink of your quill is a statue in stone ♪ ♪ When I think and I feel I have captured your tone ♪ ♪ I remember that the poet ♪ ♪ And the lunatic are one and the same ♪ ♪ And only sometimes men are masters of their fates ♪ ♪ The best of the days the song that plays ♪ ♪ Has lighted our way to a dusty death ♪ ♪ A fool's paradise, a shadow of a dream ♪ ♪ Off with his head, I don't want to be next ♪ ♪ Hell and night ♪ ♪ Guide me to the world's light ♪ ♪ When I write, it could turn this prison cell bright ♪ ♪ Hell and night ♪ ♪ Guide me to the world's light ♪ ♪ When I write, it could turn this prison cell bright ♪ ♪ Hell and night ♪ ♪ Guide me to the world's light ♪ ♪ When I write, it could turn this prison cell bright ♪ ♪ As men can breathe and eyes could see ♪ ♪ This gives life to thee ♪ ♪ When I think there's not a note of mine worth noting ♪ ♪ And trouble deaf heaven with my bootless cries ♪ ♪ When I get tongue-tied, my soul runs dry ♪ ♪ I remember you spoke of a marriage of the minds ♪ ♪ And I presume to take your place ♪ ♪ In a nutshell, I am king of infinite space ♪ ♪ A waste of shame, so full of blame ♪ ♪ Expense in my spirit and disgraced in my name ♪ ♪ Yes, I am unking'd again, wish me a pauper ♪ ♪ I have not learnt from the things that that you taught us ♪ ♪ Modest doubt is the beacon of the wise ♪ He lives in sorrow that in virtue dies ♪ ♪ So is the music of men's lives ♪ ♪ A battalion of sorrows never coming as single spies ♪ ♪ All this I know well, yet not well enough ♪ ♪ To shun the heaven that leads me to this hell ♪ ♪ Hell and night ♪ ♪ Guide me to the world's light ♪ ♪ When I write, it could turn this prison cell bright ♪ ♪ Hell and night ♪ ♪ Guide me to the world's light ♪ ♪ When I write, it could turn this prison cell bright ♪ ♪ Hell and night ♪ ♪ Guide me to the world's light ♪ ♪ When I write, it could turn this prison cell bright ♪ ♪ As men can breathe and eyes can see ♪ ♪ This gives life to thee ♪ ♪ What's past is prologue, so it makes sense ♪ ♪ We are gathered four centuries after your death ♪ ♪ Speaking your words as if it's our sweat ♪ ♪ They call you king with the pen ♪ ♪ I have some questions on what you have said ♪ ♪ If Brutus is honourable, what then is horrible?

♪ ♪ When you wrote, did you know that all this was possible?

♪ ♪ Were you born great, did you feel it in your bones?

♪ ♪ Or did you have this greatness thrust upon you?

♪ ♪ I feel that you knew ♪ ♪ Should I really give the devil his due?

♪ ♪ Listen to many and speak to few ♪ ♪ Or so you said, your false tongue speaks daggers ♪ ♪ Cos you have touched uncountable millions ♪ ♪ With no utterance ♪ ♪ Your words are never scarce nor spent in vain ♪ ♪ They call you Shakespeare but what's in a name?

♪ ♪♪ ♪ Hell and night ♪ ♪ Guide me to the world's light ♪ ♪ When I write, it could turn this prison cell bright ♪ ♪ Hell and night ♪ ♪ Guide me to the world's light ♪ ♪ When I write, it could turn this prison cell bright ♪ ♪ Hell and night ♪ ♪ Guide me to the world's light ♪ ♪ When I write, it could turn this prison cell bright ♪ ♪ As men can breathe and eyes can see ♪ ♪ This gives life to thee ♪ ♪ Hell and night ♪ ♪ Guide me to the world's light ♪ ♪ When I write, it could turn this prison cell bright ♪ ♪ Hell and night ♪ ♪ Guide me to the world's light ♪ ♪ When I write, it could turn this prison cell bright ♪ ♪ Hell and night ♪ ♪ Guide me to the world's light ♪ ♪ When I write, it could turn this prison cell bright ♪ ♪ As men can breathe and eyes can see ♪ ♪ This gives life to thee ♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪ If all the world's a stage, then light my way ♪ ♪ Because out, out the brief candle is not ♪ ♪ Four centuries past, yet I still cannot grasp ♪ ♪ The undiscovered country that makes words immortal ♪ ♪ If the good that men do is interred with their bones ♪ ♪ Then this precious stone is a beauty too rich ♪ ♪ Methinks it's a jewel in the ear of us all ♪ ♪ As the wisest words spoken are spoken by fools ♪ [ Cheers and applause ] -As spring turns to summer, love can turn to madness.

-And love certainly does mad things to people.

In these three scenes from "As You Like It," "Twelfth Night," and "A Midsummer Night's Dream"... -Rosalind, dressed as a boy, woos her beloved Orlando, who somehow fails to recognise her... -The steward Malvolio, who lusts after his mistress, Olivia, has been tricked into dressing up to impress her... -And Titania, the Queen of the Fairies, finds herself enchanted by a poor old weaver called Bottom, who's been transformed into a donkey.

[ Soft music plays ] ♪♪ -Good day and happiness, dear Rosalind.

-Why, how now, Orlando, where have you been all this while?

You a lover, and you serve me such another trick.

Never come in my sight more.

-My fair Rosalind, I-I come within an hour of my promise.

-Break an hour's promise in love.

He that will divide a minute into a thousand parts and break but a part of the thousandth part of a minute in the affairs of love.

It may be said of him that Cupid hath clapped him o'er the shoulder, but I'll warrant him heart whole.

-Pardon me, dear Rosalind.

-Nay, and you be so tardy, come no more in my sight.

I had as lief be wooed of a snail.

-Of a snail?

-Aye, of a snail.

But come, now I will be your Rosalind in a more coming on disposition.

Rrrrr.

[ Laughter ] And ask me what you will, I will grant it.

-Then... love me, Rosalind.

-Yes, faith, will I. Fridays and Saturdays and all.

-And wilt thou have me?

-Aye, and twenty such.

-What sayest thou?

-Are you not good?

-I hope so.

-Why then, can one desire too much of a good thing?

[ Both chuckle ] Now tell me how long you would have her after you have possessed her?

-Forever and a day.

-Say a "day," without the "ever."

No, no, Orlando.

Ohh!

[ Laughter ] Men are April when they woo.

December when they wed. Maids are May when they are maids.

But the sky changes when they are wives.

I will be more jealous of thee than a Barbary cock pigeon over his hen, more clamorous than a parrot against rain, more new-fangled than an ape, more giddy in my desires than a monkey.

I will weep for nothing, like Diana in the fountain, and I will do that when you are disposed to be merry.

I will laugh like a hyena, and that when thou art inclined to sleep.

-But will my Rosalind do so?

-By my life, she will do as I do.

-Oh, but she is wise.

-Or else she would not have the wit to do this.

[ Laughter ] The wiser, the waywarder.

Make the doors upon a woman's wit and it will out at the casement.

Shut that, 'twill out at the keyhole.

Stop that 'twill fly with the smoke out at the chimney.

-For these two hours, Rosalind, I will leave thee.

-Alas, dear love, I cannot lack thee two hours.

-By two o'clock I will be with thee again.

-Aye.

Go your ways, go your ways.

I knew what you would prove, my friends told me as much, and I thought no less.

That flattering tongue of yours won me, 'tis but one cast away.

[ Laughter ] And so, come, death!

Two o'clock is your hour?

-Aye, sweet Rosalind.

-By my troth, and in good earnest, and so God mend me, and by all pretty oaths that are not dangerous, if you break one jot of your promise or come one minute behind your hour, I will think you the most pathetical break-promise and the most hollow lover, and the most unworthy of her you call Rosalind that may be chosen out of the gross band of the unfaithful.

Therefore beware my censure and keep your promise.

-With no less religion than if thou were't indeed my Rosalind.

So, adieu.

[ Chuckles ] [ Laughter ] -Well, time should be the old justice that examines all such offenders, and let time try.

Adieu.

[ Sighing ] Oh.

That thou didst know how many fathom deep I am in love, but it cannot be sounded.

My affection hath an unknown bottom, like the Bay of Portugal.

[ Laughter ] I'll tell thee, I cannot be out of the sight of Orlando.

[ Chuckles ] I'll go find a shadow and sigh till he come.

-Where is he?

Where is my steward, Malvolio?

He is sad and civil, and suits well for a servant with my fortunes.

Where is Malvolio?

-He's coming, madam, but in very strange manner.

He is sure possessed, madam.

-Why, what's the matter?

Does he rave?

-No, madam, he does nothing but smile.

Your ladyship were best to have some guard about you, if he come.

For sure the man is tainted in his wits.

-Go call him hither.

I am as mad as he if sad and merry madness equal be.

[ Laughter ] How now, Malvolio!

-Sweet lady.

Ho, ho.

[ Laughter ] -Smilest thou?

I sent for thee upon a sad occasion.

-Oh, sad, lady?

I could be sad, er, this does make some obstruction in the blood, this cross gartering, but what of that?

If it please the eye of one, it is with me as the very true sonnet is please one, and please all.

[ Smooching ] [ Laughter ] -Why, how dost thou, man?

What is the matter with thee?

-Not black in my mind, though yellow in my legs.

It did come to his hand, and commands shall be executed.

I think we do know the sweet Roman hand.

-Wilt thou go to bed, Malvolio?

-Oh!

[ Laughter ] To bed?

Aye sweetheart, and I'll come to thee.

-God comfort thee!

Why dost thou smile so, and kiss thy hand so oft?

-How do you, Malvolio?

-At your request!

Ikey yes, nightingales follow dawn.

-Why appear you with this ridiculous boldness before my lady?

-Be not afraid of greatness, 'twas well writ.

-What meanest thou by that, Malvolio?

-Some are born great.

-Ha?

-Some achieve greatness.

-What sayest thou?

And some have greatness thrust upon them.

-Oh, heavens restore thee.

-Remember who commended thy yellow stockings?

-Thy yellow stockings?

-And wished to see thee cross gartered.

-Cross-gartered?

-Go to thou art made, if thou desirest to be so.

-Am I made?

-If not, let me see thee a servant still.

-Why, this is very midsummer madness.

[ Screams ] -Oh!

[ Cheers and applause ] -Why do thy run away?

-Oh Bottom, thou art changed.

[ Laughter ] What do I see on thee?

-What do you see?

You see an asshead of your own, do you?

-Bless thee, Bottom!

Bless thee, thou art translated.

[ Laughter ] [ Laughter ] -I see their knavery.

This is to make an ass of me... [ Laughter ] ...to fright me if they could.

But I will not stir from this place, do what they can.

I will walk up and down here and I will sing, that they shall hear that I am not afraid.

[ Clears throat ] ♪ The ousel cock so black of hue ♪ ♪ With orange-tawny bill ♪ ♪ The throstle with his note so true ♪ ♪ The wren with little quill ♪ -[ Sighs ] [ Laughter ] [ Cheers and applause ] -Thank you, thank you.

-What angel wakes me from my flowery bed?

-♪ The finch, the sparrow and the lark ♪ ♪ The plain-song cuckoo grey ♪ ♪ Whose note full many a man doth mark ♪ ♪ And dares not answer brrrr-Nay ♪ ♪ I pray thee gentle mortal, sing again ♪ [ Laughter ] Mine ear is much enamoured of thy note.

-Ohhh.

-So is mine eye enthralled to thy shape.

And thy fair virtue's force perforce doth move me on the first view to say, to swear, I love thee.

[ Laughter ] -Methinks, mistress, you should have little reason for that.

And yet, to say the truth, reason and love do keep little company together nowadays.

Though more the pity that some honest neighbours will not make them friends.

Nnnnay, I can gleek upon occasion.

-Ha, thou art as wise as thou art beautiful.

[ Laughter ] [ Applause ] -Not so, neither.

But if I had wit enough to get out of this wood, I have enough to serve mine own turn.

-Out of this wood do not desire to go.

Thou shalt remain here, whether thou wilt or no.

-Whoo-oo.

-I am a spirit of no common rate.

The summer still doth tend upon my state and I do love thee.

[ Laughter ] Therefore go with me.

I'll give thee fairies to attend on thee, and they shall fetch thee jewels from the deep and sing whilst thou on pressed flowers dost sleep.

And I will purge thy mortal grossness so.

-Purrrrr.

-That thou shalt, like an airy spirit, go.

Peaseblossom, Cobweb, Moth and Mustardseed.

-Ready.

-And I.

-And I.

-And I.

-Where shall we go?

-Be kind and courteous to this gentleman.

Hop in his walks and gambol in his eyes.

Feed him with apricocks and dewberries, with purple grapes, green figs, and mulberries.

The honey bags steal from the humble bees, and for night tapers crop their waxen thighs and light them at the fiery glowworm's eyes.

To have my love to bed and to arise.

-Shreeeeee.

-And pluck the wings from painted butterflies to fan the moonbeams from his sleeping eyes.

Nod to him, elves, and do him courtesies.

-Hail, mortal!

-Hail.

-Hail.

-Hail.

-I cry your worship's mercy, heartily.

-Come, wait upon him.

Lead him to my bower.

[ Laughter ] The moon methinks looks with a watery eye, and when she weeps, weeps every little flower, lamenting some enforced chastity.

-Aaaaah!

[ Laughter ] -Tie up my love's tongue, bring him silently.

♪♪ [ Cheers and applause ] ♪♪ ♪♪ ♪♪ -William Shakespeare and Anne Hathaway were married in 1582.

He was 18, and she was 26 and pregnant.

Six months later, their daughter Suzanna was born.

And two years after that, the young couple had twins, Hamnet and Judith.

And soon after that, Shakespeare left Anne and the children in Stratford and went to London, where he found a career in theatre, writing plays and performing for a company of actors called the Lord Chamberlain's Men.

[ Rooster crows ] Of course, we can't know what he felt about his departure, but as he enters the creative summertime of his life, Shakespeare describes how the course of true love never did run smooth.

[ Chickens clucking ] Love can be a madness, a fever.

It can spin girls into boys, twist a man into a fool, a clown into a donkey.

And sometimes love departs on silent wings.

And nowhere is that restless spirit better captured than in this song from "Much Ado About Nothing."

[ Piano plays softly ] ♪♪ ♪♪ -♪ Sigh no more, ladies, sigh no more ♪ ♪ Men were deceivers ever ♪ ♪ One foot in sea and one on shore ♪ ♪ To one thing constant never ♪ ♪ Then sigh not so ♪ ♪ But let them go ♪ ♪ And be you blithe and bonny ♪ ♪ Converting all your sounds of woe ♪ ♪ Into, hey, nonny, nonny ♪ ♪♪ ♪ Sing no more ditties, sing no more ♪ ♪ Or dumps so dull and heavy ♪ ♪ The fraud of men was ever so ♪ ♪ Since summer first was leavy ♪ ♪ Then sigh not so, but let them go ♪ ♪ And be you blithe and bonny ♪ ♪ Converting all your sounds of woe ♪ ♪ Into, hey, nonny, nonny ♪ ♪ Sigh not so, but let them go ♪ ♪ And be you blithe and bonny ♪ ♪ Converting all your sounds of woe ♪ ♪ Into, hey, nonny, nonny ♪ ♪ Converting all your sounds of woe ♪ ♪ Into, hey, nonny, nonny ♪ ♪♪ [ Applause ] -In "Much Ado About Nothing," a couple meet again after a long time apart.

They've been lovers in the past, but love has turned sour and left its scars.

Performing as Beatrice and Benedick now are Meera Syal and Sanjeev Bashker.

-Oh!

[ Cheers and applause ] A kind overflow of kindness.

[ Chuckles ] How much better is it to weep at joy than to joy at weeping?

-I wonder you will still be talking, Signor Benedick, nobody marks you.

[ Laughter ] -What, my dear Lady Disdain!

Are you yet living?

[ Laughter ] -Is it possible disdain should die while its hath such meet food to feed it as Signor Benedick?

[ Laughter ] Courtesy itself must convert to disdain, if you come into her presence.

-And then is courtesy a turncoat.

But it is certain, I am loved of all ladies.

-[ Laughs ] -Only you excepted.

-Mm-hmm.

-And I would, I could find in my heart that I had not a hard heart for, truly, I love none.

-A dear happiness to women.

[ Laughter ] They would have else been troubled with a pernicious suitor.

Oh, I thank God and my cold blood, I am of your humour for that.

I had rathers hear my dog bark at a crow than a man swear he loves me.

-God keep your ladyship still in that mind so some gentleman, or other, shall escape a predestinate scratched face.

-Scratching couldn't make it worse, in 'twere such a face as yours were.

[ Laughter ] -Well, you are a rare parrot teacher.

-A bird of my tongue is better than a beast of yours.

-I would my horse had the speed of your tongue, and so good a continuer.

But keep your way, in God's name, I have done.

-You always end with a jade's trick.

I know you of old.

[ Cheers and applause ] -When the French composer Berlioz first saw Shakespeare performed in Paris in 1827, he said it struck him like a thunderbolt.

He became obsessed with Shakespeare, writing a "Romeo and Juliet" symphony, an overture for "King Lear," and at the end of his life, an opera called "Beatrice & Benedict," based on "Much Ado About Nothing."

And now here's a duet from that opera.

The night before her wedding, with her maid Ursula, the bride-to-be, Hero, contemplates her marriage to her beloved Claudio.

[ Soft music plays ] ♪♪ -♪ Vous soupirez, madame ♪ -♪ Le bonheur oppresse mon âme ♪ ♪ Je ne puis y songer sans trembler malgré moi ♪ ♪♪ ♪ Claudio ♪ ♪ Claudio ♪ ♪ Je vais donc être à toi ♪ ♪♪ -♪ Nuit paisible et sereine ♪ ♪♪ ♪ La lune, douce reine ♪ ♪ Qui plane en souriant ♪ ♪ L'insecte des prairies ♪ ♪ Dans les herbes fleuries ♪ ♪ En secret bruissant ♪ ♪ En secret bruissant ♪ ♪ Philomèle ♪ ♪ Qui mêle ♪ ♪ Aux murmures du bois ♪ ♪ Les splendeurs de sa voix ♪ ♪ L'hirondelle ♪ ♪ Fidèle ♪ ♪ Caressant sous nos toits ♪ ♪ Sa nichée en émoi ♪ ♪ Dans sa coupe de marbre ♪ ♪ Ce jet d'eau retombant ♪ ♪ écumant ♪ ♪ L'ombre de ce grand arbre ♪ ♪ En spectre se mouvant ♪ ♪ Sous le vent ♪ ♪♪ ♪ Harmonies ♪ ♪ Infinies ♪ ♪ Que vous avez d'attraits ♪ ♪ Et de charmes secrets ♪ ♪ Pour les âmes attendries ♪ ♪♪ ♪♪ [ Cheers and applause ] -Brilliant.

And now from an opera to a Broadway musical.

From Cole Porter's 1948 hit based on "The Taming of The Shrew," "Kiss me, Kate."

-[ New York accent ] Hey, how the hell do we get outta here?

-[ New York accent ] How did we get in here?

[ Laughter and applause ] -Whoa!

Whoa, whoa, whoa, whoa, whoa!

What is this?

-No, no, no!

-Holy moly, we've walked into a show.

-Um... [ Laughter ] -Hey, a lot of nice people here.

Handsome guys, some beautiful dolls.

[ Chuckles ] Yeah -- Hey, hey, Joe, who is that guy?

[ Laughter ] -What guy?

-That guy.

He looks just like that beautiful young broad on them pictures.

-What pictures?

-Aw, here.

Them pictures.

[ Laughter ] [ Applause ] [ Laughs ] -Oh, yeah.

-How you doin'?

-He looks like he's on a date.

-Oh.

[ Laughter ] How do you think it's goin'?

-Ehhhh.

[ Laughter ] [ Music plays ] Hey, what are you doin'?

we're talkin' to these people here.

-There's all these people back here.

You waving that at me?

-Whoa!

Witnesses.

[ Music continues ] If any of you bums are trying to impress some fancy dame you brought out here tonight, why not listen to a couple of guys with a little "expertrice"?

-[ Chuckles ] What?

-"Rexperti--" "artspertice"?

-What he means is, we got some good advice for a good time, like this.

♪♪ -♪ The girls today in society ♪ ♪ Go for classical poetry ♪ ♪ So, to win their hearts, one must quote with ease ♪ ♪ Aeschylus and Euripides ♪ ♪ One must know Homer and, believe me, Beau ♪ ♪ Sophocles, also Sappho-ho ♪ ♪ Unless you know Shelley and Keats and Pope ♪ ♪ Dainty Debbies will call you a dope ♪ ♪ But the poet of them all ♪ ♪ That will start 'em simply ravin' ♪ ♪ Is the poet people call ♪ ♪ The Bard of Stratford on Avon ♪ [ Laughter ] -Where is that?

-What?

[ Laughter ] Where is it?

The whole world knows where the Bard was born.

It's right here.

In America.

[ Laughter ] ♪ Brush up your Shakespeare ♪ ♪ Start quoting him ♪ -♪ Now ♪ -♪ Brush up your Shakespeare ♪ ♪ And the women you will wow ♪ -♪ Just declaim a few lines from Othello ♪ ♪ And she'll think you're a helluva fella ♪ -♪ If your blonde don't respond when you flatter her ♪ ♪ Just remind her what Tony did to Cleopatterer ♪ -♪ If she fights when her clothes you are mussing ♪ -♪ What are clothes?

♪ -♪ Much ado ♪ -♪ About nothing ♪ ♪ Brush up your Shakespeare ♪ ♪ And they'll all kowtow ♪ ♪♪ ♪ Brush up your Shakespeare ♪ ♪ Start quoting him now ♪ ♪ Brush up your Shakespeare ♪ ♪ And the women you will wow ♪ -♪ With the wife of the British ambassador ♪ ♪ Try a crack out of "Troilus and Cressida" ♪ -♪ If she says she won't buy it or take it ♪ ♪ Make her tike it once more As You Like It ♪ -♪ If she says your behaviour is heinous ♪ -♪ Kick her right in the Coriolanus ♪ -Oh!

-♪ Brush up your Shakespeare ♪ ♪ And they'll all kowtow ♪ -Thank you, Maestro!

♪♪ -♪ Brush up your Shakespeare ♪ ♪ Start quoting him now ♪ ♪ Brush up your Shakespeare ♪ ♪ And the women you will wow ♪ -♪ If you can't be a ham and do "Hamlet" ♪ ♪ She will not give a damn or a damlet ♪ -♪ Just recite an occasional sonnet ♪ ♪ And your lap'll have honey upon it ♪ -♪ When your baby is pleading for pleasure ♪ -♪ Let her sample your measure for measure ♪ [ Laughter ] ♪ Brush up your Shakespeare ♪ ♪ And they'll all kowtow ♪ -Forsooth!

-♪ And they'll all kowtow ♪ -I'faith.

-♪ And they'll all kowtow ♪ [ Cheers and applause ] ♪♪ ♪ Brush up your Shakespeare ♪ ♪ Start quoting him now ♪ ♪ Brush up your Shakespeare ♪ ♪ And the women you will wow ♪ -♪ Better mention "The Merchant of Venice" ♪ ♪ When her sweet pound of flesh you would menace ♪ -♪ If her virtue at first she defends -- well ♪ ♪ Just remind her that all's well that ends well ♪ -Whoo!

♪ And if still she won't give you a bonus ♪ -♪ You know what Venus got from Adonis ♪ ♪ Brush up your Shakespeare ♪ ♪ And they'll all kowtow ♪ -♪ Thinkst thou?

♪ -♪ And they all kowtow ♪ ♪ Odds bodkins, they'll all kowtow ♪ -Hey!

-How you doin'?

See ya.

[ Cheers and applause ] ♪♪ -♪ [ British accent ] ♪ Brush up your Shakespeare ♪ ♪ Start quoting him now ♪ [ Laughter ] ♪ Brush up your Shakespeare ♪ ♪ And the women you will wow ♪ -[ Normal voice ] ♪ If your girl is a Washington Heights dream ♪ ♪ Treat the kid to "A Midsummer Night's Dream" ♪ -[ Normal voice ] ♪ If she then wants an all-by-herself night ♪ ♪ Let her rest every eleventh or twelfth night ♪ -♪ If, because of your heat, she gets huffy ♪ ♪ Simply play on and "Lay on, Macduffy" ♪ ♪ Brush up your Shakespeare ♪ ♪ And they'll all kowtow -- We trou' ♪ ♪ And they'll all kowtow -- We vow ♪ ♪ And they'll all kowtow ♪ -Yeah!

How about that?

-Oh, there were bumps.

[ Both laugh ] -Hey, how you doin'?

-Ha ha ha ha!

-Hey!

On the money.

♪♪ [ Cheers and applause ] [ Bird cawing ] [ Wind blowing ] [ Soft music plays ] ♪♪ ♪♪ -This Royal Throne of Kings, this sceptred isle, this earth of majesty, this seat of Mars, this other Eden, demi-paradise, this fortress built by nature for herself against infection and the hand of war.

This happy breed of men, this little world, this precious stone set in the silver sea, Which serves it in the office of a wall, or as a moat defensive to a house, against the envy of less happier lands.

This blessed plot, this earth, this realm, this England.

♪♪ [ Applause ] -Simon Russell-Beale with John of Gaunt's famous celebration of England from "Richard II," a piece that has appeared in poetry anthologies since the play was first published in 1597.

-It's 1956. jazz giant Duke Ellington is in Stratford, Ontario, playing a few gigs with his band.

-And there's a Shakespeare festival on, and Duke Ellington takes a break from his music to go and see the show.

The Duke sneaks in at the back and sits in the aisle to watch.

-So moved is he that he comes back the next night and the next, soaking it all up until eventually he is inspired to write his very own homage to Shakespeare.

-Here is the Midland Youth Jazz Orchestra to play the opening of Duke Ellington's "Such Sweet Thunder."

[ Applause ] [ Mid-tempo jazz plays ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ Music intensifies ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ Cheers and applause ] -[ Snapping fingers ] ...3...4.

[ Mid-tempo dramatic music plays ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ Music intensifies ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ [ Music fades ] [ Cheers and applause ] -By the mid-1590s, Shakespeare's career with the Lord Chamberlain's Men in London was flourishing.

He was riding high, having penned history plays about Henry VI and Richard III, and had high hopes for a little-known love story called "Romeo and Juliet."

[ Soft, dramatic music plays ] ♪♪ Those successes must have seemed far removed from the humble beginnings of this room on Henley Street, where Shakespeare was born.

But whilst his professional life was soaring, personal tragedy was soon to strike.

In 1596, one of the twins, his son Hamnet, died.

He was 11 years old.

The death must have had a profound effect on the playwright.

Perhaps like any true artist, Shakespeare channelled that grief into his work, for the years directly following the death of his son were filled by the creation of some of the most exquisite writing in the English language.

A sea change occurred, from comedy to tragedy.

♪♪ Melancholia and poisoned longing cast dark shadows into his characters.

Woven into their souls are the threads of sardonic introspection and bleak despair.

These plays, written in the autumn of his life, were rich in the textures of human frailty.

♪♪ And what better example could we share than this sonorous refrain from the lowly fool Feste in his bittersweet play "Twelfth Night."

♪♪ -♪ When that I was and a little tiny boy ♪ ♪ With hey, ho, the wind and the rain ♪ ♪ A foolish thing was but a toy ♪ ♪ The rain, it raineth every day ♪ ♪ But when I came to man's estate ♪ ♪ With hey, ho, the wind and the rain ♪ ♪ 'Gainst knaves and thieves, men shut their gate ♪ ♪ The rain it raineth every day ♪ ♪ When I came, alas, to wive ♪ ♪ Hey, ho, wind and the rain ♪ ♪ By swaggering could I never thrive ♪ ♪ For the rain, it raineth every day ♪ ♪ But when I came unto my beds ♪ ♪ With hey, ho, the wind and the rain ♪ ♪ With toss-pots still had drunken heads ♪ ♪ The rain it raineth every day ♪ ♪ A great while ago the world began ♪ ♪ With hey, ho, the wind and the rain ♪ ♪ That's all one, our play is done ♪ ♪ And we'll strive to please you ♪ ♪ Every day ♪ [ Applause ] -[ Sighs ] To be, or not to be: that is the question.

-Sorry, sorry, sorry.

[ Laughter ] Sorry, I mean you -- Yes, I - Yes, but if you don't mind a note, or -- or, "To be, or not to be."

Cos it's the choi-- it's the choice.

-Hi.

Er, "To be, or not to be"?

-Yeah, yeah, that's right.

"To be, or --" -It's not the skull.

[ Laughter ] -What?

-It's not the skull.

That's the wrong -- It's the wrong speech.

It's the wrong soliloquy.

-It's Hamlet's -- Hamlet always has his skull.

-Oh, no, he doesn't.

[ Laughter ] -Yeah, whatever.

Either way, it's, "To be, or not to be: that is the question."

-"To be, or not to be: that is the question."

-Okay.

Good.

-Right.

Have you -- Have you ever actually played the -- -The Dane?

-The Dane.

-Have I ever given my Dane?

[ Laughter ] No.

-No.

[ Laughter ] Aw.

-What are you saying?

Are you -- Are you saying there's some reason I couldn't?

-No, what -- -Some - Some in-- -Did I say that?

-Some intrinsic reason why audiences wouldn't accept me as the Prince of Denmark?

Is that -- -No, I never said -- [ Laughter ] -Say it, say it.

I will never play Hamlet in Stratford-Upon-Bloody-Avon because... -Yeah, I never said that.

-...I'm ginger.

[ Laughter ] [ Cheers and applause ] -Is that -- Is it -- Is that what you're saying?

-No.

Of course now.

If I do -- When -- -If you do.

-When I do, it will be, "To be, or... [ Laughter ] "...not to be."

-To be or... -Or...

Sorry, sorry, I just don't... [ Cheers and applause ] -I-I'm sorry, Paapa.

Paapa, hi.

Um, I couldn't help it.

I was just overhearing -- -Uh-huh.

-I-It's really not that -- Try this.

"To be, or not to be: that is the question."

-No, no, no.

-To be, or not to be.

-Not to be.

-No, "To be, or..." It's a -- It's a choice.

"Or not be: that is the question."

-But "or" -- there's no point in stressing "or."

Just try it.

-To be or not to be.

-So, who are you?

[ Laughter ] -I'm just an actor.

[ Laughter ] -And I suppose you've played Hamlet, eh?

-Yeah, I have actually, yeah.

[ Laughter ] -Oh, gosh, sorry.

I didn't realise.

-It's alright.

-It's Eddie Redmayne.

[ Laughter ] My God.

-I'm not Eddie Redmayne.

-Oh, my God, oh, my God, oh, my God!

[ Applause ] -So, it's -- It's, "To be, or not to be: that is the question."

-[Inaudible] -What are you doing?

-Sorry, I -- I loved you as the Danish girl.

Yeah.

[ Laughter ] Amazing, that.

-Er, so, it's, "To be, or not to be"?

-Yeah, "To be, or not to be."

-No, "To be, or..." -Sorry, sorry, sorry.

[ Cheers and applause ] -It's, "To be, or..." -These film stars, they don't really know.

Look, "To be, or not to be: that is the question."

-So, "To be, or not to be..." -"To be, or not" -No, it's, "To be, or not to be: that is the question."

-I suppose you're gonna tell me you've played Hamlet.

-Not yet.

[ Laughter ] -Really?

You can't... -What?

-You can't -- You're -- you don't -- -What?

What?

Go on.

Say it.

What?

-You don't have a...pianist!

[ Laughter ] -Oh, oh.

I'm a pianist.

You almost broke my wrist, you psycho.

[ Laughter ] -No, it's, "To be, or not to be: that is the question."

-No, "To be, or... -Time out, time out.

Time out.

[ Laughter ] Sorry.

[ Cheers and applause ] Just calm down, right?

It's simple.

-Or.

-Don't lose focus.

"To be, or not to be: that is the question."

[ Laughter ] Yeah.

Land on it.

Just, "that is the question."

-That.

-Sit on it.

-I suppose they let you play Hamlet.

-Yeah.

-Oh!

-You can -- -"Broadchurch"!

[ Laughter ] -What's that supposed to mean?

-Er, it's a pretty...broad... church, isn't it, the people -- the people they let play Hamlet?

-That's really awful.

-Yeah, so, "To be, or not to be: that is the --" I would even... -Oh!

[ Cheers and applause ] No, no, no, no, no.

Idiots.

[ Laughter ] "To be, or not to be?

that is the question."

[ Laughter ] -Is?

-That is.

-No!

-No, no, no, no, no.

-To be, or -- Or..." -It's right in the middle of the line.

-Or... [ Cheers and applause ] -Hi, Eddie.

Um... [ Laughter ] Um Lend me your ears.

[ Laughter ] "To be, or not to be: that is the question."

[ Laughter ] -I don't think so.

I don't think so.

[ Cheers and applause ] Or... "Or not to be."

[ Laughter ] "To be, or not to be: that is the question."

-It's not the skull.

-It's not the skull.

-There's no skull.

-There's no skull in this bit.

-Sorry, who -- who are you?

[ Laughter ] -It is I, Hamlet the Dame.

-Oh.

[ Cheers and applause ] -Either way, she doesn't know what she's talking about.

-Leave him alone.

-Might I have a word?

[ Cheers and applause ] Might I -- Do you mind?

I hope you don't mind, but just -- just a minute, just a minute.

[ Laughter ] "To be, or not to be: that is the question."

-Ah.

[ Laughter ] Oh, yeah.

[ Cheers and applause ] [ Indistinct conversations ] [ Laughter ] -To be, or not to be: that is the question.

Whether 'tis nobler in the mind to suffer the slings and arrows of outrageous fortune, or to take arms against a sea of troubles, and by opposing end them?

[ Breathing heavily ] To die, to sleep no more; and by a sleep to say we end the heart-ache and the thousand natural shocks, That flesh is heir to, 'tis a consummation devoutly to be wished, to die... to sleep; To sleep, perchance to dream.

[ Breathing heavily ] Ay, there's the rub.

For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause: there's the respect that makes calamity of so long life.

For who would bear the whips and scorns of time, but that the dread of something after death, the undiscovered country from whose bourn No traveller returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of?

Thus conscience does make cowards of us all; And thus the native hue of resolution is sicklied o'er with the pale cast of thought, And enterprises of great pitch and moment.

With this regard their currents turn awry, and lose the name of action.

[ Cheers and applause ] -In the British library is a manuscript of a play about Henry the VIII's chancellor, Sir Thomas More.

It's partly in Shakespeare's own handwriting, and this is the extraordinary speech he wrote as Thomas More quells a race riot in the city of London on Mayday, appealing to the mob to consider the plight of the foreign immigrants.

-The strangers should be removed!

-Grant them removed, and grant that this your noise Hath chid down all the majesty of England; Imagine that you see the wretched strangers, Their babies at their backs with their poor luggage, Plodding to the ports and coasts for transportation, And that you sit as kings in your desires, Authority quite silenced by your brawl, And you in rough of your opinions clothed; What had you got?

I'll tell you: you had taught How insolence and strong hand should prevail, How order should be quelled; and by this pattern Not one of you should live an aged man, For other ruffians, as their fancies wrought, With self same hand, self reasons, and self right, Would shark on you, and men like ravenous fishes Feed on one another.

You'll put down strangers, Kill them, cut their throats, possess their houses, And lead the majesty of law in liom, To slip him like a hound.

O, desperate as you are, Wash your foul minds with tears, and those same hands, That you like rebels lift against the peace, Lift up for peace, and your unreverent knees, Make them your feet to kneel to be forgiven!

Say now the king (As he is clement, if th' offender mourn) Should so much come to short of your great trespass As but to banish you, whether would you go?

What country, by the nature of your error, Should give you harbor?

go you to France or Flanders, To any German province, Spain or Portugal, Nay, any where that not adheres to England, Why, you must needs be strangers: would you be pleased To find a nation of such barbarous temper, That, breaking out in hideous violence, Would not afford you an abode on earth, Whet their detested knives against your throats, Spurn you like dogs, and like as if that God Owned not nor made not you, nor that the elements Were not all appropriate to your comforts, But chartered unto them, what would you think To be thus used?

this is the strangers case; And this your momtainish inhumanity.

[ Cheers and applause ] -Shakespeare is performed all over the world.

-He is translated into every language from Albanian to Zulu.

-Here are scenes from two landmark productions that open our eyes to his global influence.

-South African writer and director Welcome Msomi brought his company to Britain in 1972 with his Zulu Macbeth, "uMabatha."

-While the Japanese director Yukio Ninagawa brought his famous cherry-blossom Macbeth to the Edinburgh Festival in 1985.

[ Conversation in Zulu ] [ Shouted conversation in Zulu ] -[ Chanting in Zulu ] -uMabatha!

-Huh?

-[ Speaking in Zulu ] [ Thunder rumbling ] -[ Speaking Japanese ] -[ Speaking Japanese ] -[ Grunts ] [ Conversation in Japanese ] -[ Laughing ] -[ Speaking Japanese ] [ Moaning ] [ Speaking Japanese ] -[ Chanting in Japanese ] [ Thunder rumbles ] [ Applause ] [ Soft music plays ] ♪♪ ♪♪ -♪ When, in disgrace with fortune and men's eyes ♪ ♪ I all alone beweep my outcast state ♪ ♪ And trouble deaf heaven with my bootless cries ♪ ♪ And look upon myself and curse my fate ♪ [ Humming ] ♪♪ ♪ Wishing me like to one more rich in hope ♪ ♪ Featured like him, like him with friends possessed ♪ ♪ Desiring that man's art and that man's scope ♪ ♪ With what I most enjoy contented least ♪ ♪ Yet in these thoughts myself almost despising ♪ ♪ Haply I think on thee, and then my state ♪ ♪ Like to the lark at break of day arising ♪ ♪ From sullen earth sings hymns at heaven's gate ♪ ♪ For thy ♪ ♪ Sweet ♪ ♪ Love ♪ ♪ Remembered ♪ ♪ Such wealth ♪ ♪ Brings that then ♪ ♪ I ♪ ♪ Scorn to change my state ♪ ♪ With ♪ ♪ Kings ♪ ♪♪ ♪♪ [ Cheers and applause ] -Ah, great.

-Amazing, amazing.

Rufus Wainwright singing his own version of one of Shakespeare's sonnets.

-Shakespeare was about to enter his 40th year when Queen Elizabeth I died in 1603.

-When James VI of Scotland became the new King James I, Shakespeare's company was promoted and became the King's Men.

But this was a troubled period.

A terrorist attack, the Gunpowder Plot, nearly succeeded in blowing up the royal family and Parliament in 1605.

The world seemed to have lost its moorings.

It seemed to be adrift in a sea of uncertainty, and this prevailing sense of doom and futility is present in many of the tragedies Shakespeare wrote at this time.

-These next three scenes all take place in this darkness.

In "King Lear," we meet an old man who has resigned his crown and been thrown out into the storm.

In "Antony and Cleopatra," the Queen of Egypt prepares to confound her enemies and end her life.

But, first, in "Macbeth," we encounter a couple who have just committed murder.

[ Dramatic music plays ] [ Thunder rumbling ] -That which hath made them drunk hath made me bold; What hath quenched them hath given me fire.

[ Owl squawks ] Hark.

[ Thunder rumbles ] Peace.

It was the owl that shrieked, the fatal bellman, Which gives the stern'st good-night.

He is about it.

The doors are open and the surfeited grooms Do mock their charge with snores.

I have drugged their possets, That death and nature do contend about them Whether they live or die.

[ Laughs ] -Who's there?

What, ho.

-Alack, I am afraid they have awaked, And 'tis not done.

The attempt and not the deed Confounds us.

Hark.

I laid their daggers ready; He could not miss 'em.

Had he not resembled My father as he slept, I had done't.

My husband.

-I have done the deed.

-[ Gasps ] -Didst thou not hear a noise?

-I heard the owl screech and the crickets cry.

Did not you speak?

-When?

-Now.

-As I descended?

-Ay.

-Hark.

[ Footsteps approach ] Who lies i' the second chamber?

-Donalbain.

-[ Sighs ] This is a sorry sight.

-A foolish thought, to say a sorry sight.

-There's one did laugh in's sleep and one cried "Murder" that they did wake each other.

I stood and heard them, but they did say their prayers and addressed them again to sleep.

-There are two lodged together?

-One cried "God bless us" and "Amen" the other, As they had seen me with these hangman's hands.

-[ Sighs ] -Listening their fear, I could not say "Amen" When they did say "God bless us."

-Consider it not so deeply.

-But wherefore could not I pronounce "Amen"?

I had most need of blessing, and "Amen" Stuck in my throat.

-These deeds must not be thought After these ways so, it will make us mad.

-Methought I heard a voice cry "Sleep no more; Macbeth does murder sleep" -- [ Breathing heavily ] The innocent sleep, Sleep that knits up the ravelled sleeve of care, The death of each day's life, sore labour's bath, Balm of hurt minds, great nature's second course, Chief nourisher in life's feast.

-What do you mean?

-Still it cried "Sleep no more" to all the house.

"Glamis hath murdered sleep, and therefore Cawdor Shall sleep no more.

Macbeth shall sleep no more."

-Who was it that thus cried?

Why, worthy thane, You do unbend your noble strength, to think So brain-sickly of things.

Go get some water, And wash this filthy witness from your hand.

[ Daggers thud ] Why did you bring these daggers from the place?

They must lie there.

Go, carry them and smear The sleepy grooms with blood.

-I'll go no more.

I am afraid to think what I have done; Look on't again I dare not.

-Infirm of purpose.

Give me the daggers.

[ Sighs ] The sleeping and the dead Are but as pictures; 'tis the eye of childhood That fears a painted devil.

If he do bleed, I'll gild the faces of the grooms withal, For it must seem their guilt.

[ Knocking in distance ] -[ Gasps ] Whence is that knocking?

[ Breathing heavily ] How is't with me, when every noise appalls me?

[ Breathing heavily ] What hands are here?

[ Whimpering ] Ha.

They pluck out mine eyes.

Will all great Neptune's ocean wash this blood Clean from my hand?

No, this my hand will rather The multitudinous seas incarnadine, Making the green one red.

-My hands are of your colour, but I shame To wear a heart so white.

[ Knocking in distance ] I hear a knocking at the south entry.

Retire we to our chamber.

A little water clears us of this deed -- How easy is it then.

Your constancy hath left you unattended.

[ Knocking continues ] Hark, more knocking.

Get on your nightgown lest occasion call us, And show us to be watchers.

Be not lost So poorly in your thoughts.

-To know my deed, 'twere best not know myself.

[ Knocking in distance ] Wake Duncan with thy knocking.

I would thou couldst.

[ Thunder crashes ] [ Applause ] [ Thunder rumbling ] -Blow, winds, and crack your cheeks!

rage!

blow!

You cataracts and hurricanoes, spout Till you have drench'd our steeples, drown'd the cocks!

You sulphurous and thought-executing fires, Vaunt-couriers to oak-cleaving thunderbolts, Singe my white head!

And thou, all-shaking thunder, Smite flat the thick rotundity o' the world!

Crack nature's moulds, all germens spill at once, That make ingrateful man!

[ Thunder crashes ] Rumble thy bellyful!

Spit, fire!

spout, rain!

Nor rain, wind, thunder, fire, are my daughters: [ Breathing heavily ] I tax not you, you elements, with unkindness; I never gave you kingdom, call'd you children, You owe me no subscription: then let fall Your horrible pleasure: here I stand, your slave, A poor, infirm, weak, and despised... old...man: [ Thunder rumbling ] But yet I call you servile ministers, That have with two pernicious daughters join'd Your high engender'd quarrels 'gainst a head So old and white as this.

O!

O!

'tis foul!

[ Thunder crashes ] No, I will be the pattern of all patience.

I will say nothing.

[ Dramatic music plays ] [ Applause ] ♪♪ ♪♪ -Now, Charmian!

Show me, my women, like a queen.

I am again for Cydnus, To meet Mark Antony.

Bring me my robe.

-Finish, good lady; the bright day is done, And we are for the dark.

-Put on my crown; I have Immortal longings in me: now no more The juice of Egypt's grape shall moist this lip: Yare, yare, good Iras; quick.

Methinks I hear Antony call; I see him rouse himself To praise my noble act.

Husband, I come: Now to that name my courage prove my title.

I am fire and air; my other elements I give to baser life.

So; have you done?

Come then, and take the last warmth from my lips.

Farewell, kind Charmian.

Iras, long farewell.

-[ Gasps, moans ] -Have I the aspic in my lips?

Dost fall?

If thou and nature can so gently part, The stroke of death is but a lover's pinch, Which hurts, and is desired.

-Dissolve, thick cloud, and rain; that I may say, The gods themselves do weep!

-This proves me base: If she first meet the curled Antony, He'll make demand of her, and spend that kiss Which is my heaven to have.

Come, thou mortal wretch.

With thy sharp teeth this knot intrinsicate Of life at once untie: poor venomous fool Be angry, and dispatch.

-O eastern star!

-Peace, peace!

Dost thou not see my baby at my breast, Which sucks the nurse asleep?

-O, break!

O, break!

-As sweet as balm, as soft as air, as gentle -- O Antony!

[ Gasps ] What should I stay... [ Gasps ] [ Soft music plays ] -In this vile world?

[ Sobs ] So, fare thee well.

Now boast thee, death, [Sobs] in thy possession lies A lass unparallel'd.

[ Sobs ] Your crown's awry; I'll mend it, and then play.

♪♪ [ Applause ] [ Bell tolls ] -Shakespeare spent the last few years of his life back in Stratford.

He died on this day, in 1616, his 52nd birthday.

Though it is not known exactly how he died, a later account suggests he had a merry meeting with his mates, drank too much, and died of fever.

A fatal birthday binge.

[ Choir singing indistinctly ] He was buried here at Holy Trinity Church, in Stratford-Upon-Avon.

During his life, he wrote at least 37 plays, only half of which were published before his death.

His winter years showed no let-up in his creative output.

In the last season of his life, he discovered a lighter palette with which to paint his final plays.

Stories that explored the silver-lining between life and death.

From these last plays -- "Cymbeline," "The Winter's Tale," and "The Tempest," a new redemptive power emerged, which still has the ability to move us today.

[ Soft music plays ] -♪ Come away, come away, death ♪ ♪ And in sad cypress let me be laid ♪ ♪ Fly away, fly away, breath ♪ ♪ I am slain by a fair cruel maid ♪ ♪♪ ♪ My shroud of white, stuck all with yew ♪ ♪ O, prepare it ♪ ♪ My part of death, no one so true ♪ ♪ Did share it ♪ ♪♪ ♪ Not a flower, not a flower sweet ♪ ♪ On my black coffin let there be strown ♪ ♪ Not a friend, not a friend greet ♪ ♪ My poor corpse, where my bones shall be thrown ♪ ♪♪ ♪ A thousand thousand sighs to save ♪ ♪ Lay me, O, where ♪ ♪ Sad true lover never find my grave ♪ ♪♪ To weep there ♪ ♪ To wee-ee-p ♪ ♪ To wee-ee-ee-p there ♪ ♪♪ ♪♪ [ Applause ] -Shakespeare's tragedy haunted by death may plumb the depths of the human experience, but there is one character in the canon of all his work which perhaps more than any other celebrates life.

One incredible comic creation, we could not leave out tonight.

-The irrepressible, Sir John Falstaff -- a rogue, a thief, and a close companion of the dissolute playboy, Prince Hal.

From "Henry IV, Part 1," here is the Tavern Scene, where Falstaff pretends to be the king, and gives the prince some fatherly advice.

[ Laughter ] -There is a thing, Harry, which thou hast often heard of, and it is known to many in our land, by the name of pitch.

This pitch, as ancient writers do report, doth defile.

So doth the company thou keepest.

[ Indistinct shouting ] For, Harry, now I do not speak to thee in drink, but in tears.

[ Laughter ] Not in pleasure, but in passion.

[ Laughter ] Not in words only, but in woes also.

[ Laughter and applause ] And yet, there is a virtuous man whom I've often noted in thy company... [ Laughter ] ...that I know not his name.

-What manner of man, an it like Your Majesty?

-A goodly, portly man, i' faith.

[ Laughter ] And a corpulent, of a cheerful look, a pleasing eye, most noble carriage and his age, as I think, some 50.

[ Laughter ] By'r Lady, inclining to three score.

And now I do remember me, his name is Falstaff.

[ Crowd cheers ] That man should be lewdly given, he deceives me, for, Harry, I see virtue in that Falstaff; him keep with, the rest banish.

[ Crowd gasps ] -Dost thou speak like a king?

Do thou stand for me, and I'll play my father.

-Depose me?

[ Laughter ] If thou dost it half so gravely, so majestically, both in words and matter, hang me up by the heels for a rabbit-sucker or a poulter's hare.

-Ugh.

[ Laughs ] Bawr-bawr bawr-bawr-bawr bawr-bawr-bawr-bawr.

[ Laughter ] Well, here I am set.

-And here I stand: judge, my masters.

-Now, Harry, whence come you?

-My noble lord, from Eastcheap.

[ Crowd cheers ] -The complaints I hear of thee are grievous.

-I' faith my lord, they are false.

Nay, I'll tickle ye for a young prince.

[ Laughter ] -Swearest thou, ungracious boy?

Henceforth never look on me.

Thou art violently carried away from grace.

There is a devil haunts thee in the likeness of an old, fat man.

[ Laughter ] A tun of man is thy companion.

[ Laughter ] Why dost thou converse with this trunk of humours, that bolting-hutch of beastliness, that swollen parcel of dropsies, that huge bombard of sack, that stuffed cloak-bag of guts, that roasted Manningtree ox with the pudding in his belly... [ Laughter ] ...that reverend vice, that grey iniquity, that father ruffian, that vanity in years?

[ Laughter ] Wherein is he good, but to taste sack and drink it?

-Yeah.

-Yeah.

Wherein neat and cleanly but to carve a capon and eat it?

[ Laughter ] Wherein cunning, but in craft?

Wherein crafty, but in villainy?

Wherein villainous, but in all things?

Wherein worthy, but in nothing?

-I would your Grace would take me with you.

Whom means your Grace?

[ Laughter ] -That villainous abominable misleader of youth... -Falstaff!

-Falstaff!

-Old white-bearded Satan.

-My lord, the man I know.

-I know thou dost.

-But to say that I know more harm in him than in myself, were to say more than I know.

That he is old, the more the pity... -Oh!

-...his white hairs do witness it.

But that he is, saving your reverence, a whoremaster, that I utterly deny.

If sack and sugar be a fault, then heaven help the wicked.

-Yeah!

-If to be old and merry be a sin, then many an old host that I know... -Aww.

-...is damned.

[ Laughter ] If to be fat be to be hated, then Pharaoh's lean cows are to be loved.

No, my good lord, banish Peto... -Oh!

-...banish Bardolph... -Whoa!

-...banish Poins.

-Yeah.

Hey!

[ Laughter ] -But for sweet Jack Falstaff, kind Jack Falstaff, true Jack Falstaff, valiant Jack Falstaff... -Yay!

-...and therefore more valiant, being, as he is, old Jack Falstaff, banish not him thy Harry's company.

-Banish not him thy Harry's company.

-Banish plump Jack, and banish all the world.

-[ Chuckles ] -I do.

[ Chuckles ] I will.

[ Up-tempo music plays ] [ Applause ] -♪ Life is a burst of laughter ♪ ♪ So, be happy hereafter, be happy hereafter ♪ -♪ Life is a burst of laughter ♪ ♪ So be happy hereafter, be happy hereafter ♪ -♪ Life is a burst of laughter ♪ ♪ So be happy hereafter, be happy hereafter ♪ [ Singing in rounds ] ♪ Life is a burst of laughter ♪ ♪ So be happy hereafter, be happy here after ♪ ♪ Life is a burst of laughter ♪ ♪ So be happy hereafter, be happy hereafter ♪ [ Choir singing in rounds ] -♪ Ah-ah ah ah ♪ -♪ Be happy hereafter ♪ -♪ Be happy hereafter ♪ -♪ Life is a burst of laughter ♪ -♪ Life is a burst of laughter ♪ -♪ Everyone mocks you, everyone mocks you ♪ -♪ Hereafter ♪ -♪ Everyone mocks you, everyone mocks you ♪ -♪ Hereafter ♪ -♪ Everyone mocks you ♪ -♪ Everyone mocks you ♪ -♪ Whether you're thin or whether you're fat ♪ ♪ But it is best for him who has the last laugh of all ♪ [ Choir singing in rounds ] -♪ But it is best for him who has the last laugh ♪ -♪ But it is best for him ♪ -♪ But it is best for him who has the last laugh of all ♪ [ Choir singing in rounds ] ♪♪ -♪ The last laugh ♪ -♪ Last laugh at all ♪ -♪ Oh oh ♪ -♪ Everyone mocks you ♪ -♪ Life is a burst of laughter ♪ [ Choir singing in rounds ] -♪ Life is a burst of laughter ♪ ♪ So be happy thereafter ♪ [ Choir singing i rounds ] -♪ Everyone mocks you ♪ -♪ Everyone mocks you ♪ -♪ Everyone mocks you ♪ -♪ Everyone mocks you ♪ -♪ Everyone mo-o-o-cks you ♪ -♪ Ha ha ha ha ha♪ ♪ Ha ha ha ha ha ♪ -♪ But it is best for him who has the last laugh of all ♪ ♪ Last laugh of all ♪ -♪ Everyone ♪ ♪ Mocks you ♪ -♪ Everyone mocks you ♪ -♪ Everyone mocks you ♪ -♪ Everyone mocks you ♪ -♪ Everyone mocks you ♪ -♪ Everyone mocks you ♪ -♪ Everyone mocks you ♪ -♪ Everyone ♪ -♪ Everyone mocks you, everyone mocks you ♪ [ Laughter ] ♪♪ ♪♪ [ Cheers and applause ] [ Soft music plays ] ♪♪ ♪♪ [ Applause ] ♪♪ -Our revels now are ended.

And These our actors, As I foretold you, were all spirits and Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp'd towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea all which it inherit, shall dissolve And, like this insubstantial pageant faded, Leave not a rack behind.

We are such stuff As dreams are made on, and our little life Is rounded with a sleep.

♪♪ ♪♪ -Now the hungry lion roars, And the wolf behowls the moon; Whilst the heavy ploughman snores, All with weary task fordone.

Now the wasted brands do glow, Whilst the screech-owl, screeching loud, Puts the wretch that lies in woe In remembrance of a shroud.

Now it is the time of night, That the graves, all gaping wide, Every one lets forth his sprite, In the churchway paths to glide: And we fairies, that do run By the triple Hecate's team, From the presence of the sun, Following darkness like a dream, Now are frolic; not a mouse Shall disturb this hallowed house: I am sent with broom before To sweep the dust behind the door.

♪♪ ♪♪ ♪♪ -Through the house give glimmering light.

By the dead and drowsy fire, Every elf and fairy sprite Hop as light as bird from brier, And this ditty after me Sing, and dance it trippingly.

♪♪ [ Choir vocalizing ] -First rehearse your song by rote, To each word a warbling note.

♪♪ Hand in hand with fairy grace Will we sing and bless this place.

♪♪ -♪ Through the house give glimmering light ♪ ♪ By the dead and drowsy fire ♪ ♪ Every elf and fairy sprite ♪ ♪ Hop as light as bird from brier ♪ ♪ From brier ♪ ♪ And this ditty, after me ♪ ♪ And this ditty, after me ♪ ♪ Sing and dance it trippingly ♪ ♪ Dance it tripping trippingly ♪ -Now, until the break of day, Through this house each fairy stray.

To the best bride-bed will we, Which by us shall blessed be; And the issue there create Ever shall be fortunate.

So shall all the couples three Ever true in loving be; With this field-dew consecrate, Every fairy take his gait, And each several chamber bless, Through this palace, with sweet peace; And the owner of it blest, Ever shall in safety rest.

Trip away; Make no stay; Meet me all by break of day.

♪♪ -If we shadows have offended, Think but this, and all is mended.

-That you have but slumber'd here While these visions did appear.

-And this weak and idle theme, No more yielding but a dream.

-Gentles, do not reprehend: If you pardon, we will mend.

-And, as I'm an honest Puck, If we have unearned luck Now to 'scape the serpent's tongue, We will make amends ere long; Else the Puck a liar call.

-So, good night unto you all.

[ Woman vocalizing ] -Give me your hands, if we be friends, And Robin shall restore amends.

-♪ Ahhhh ♪ [ Cheers and applause ] [ Cheers and applause intensify ] [ Cheers and applause continue ] [ "Dance of the Knights" from Prokofiev's "Romeo & Juliet" plays ] ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪ ♪♪