If you are taking a short course or auditioning at The Poor School then you will have been asked to learn a speech from Shakespeare. For some people only this represents a problem in that their exposure to Shakespeare has been limited.

Below is a list of suggested speeches for men and women with a brief description of the character. A good idea is to cast yourself as accurately as possible. You could do worse than choose the piece that reminds you most of you.

Having picked your piece you must now read the play; your understanding of the speech depends on your understanding of the story around it. True, this may be easier said than done. If this applies to you, you must set aside some hours - spread over days - to read. It will be worth it. You will have to translate as you go.

Take this bit of Hamlet as an example:

Oh that this too too solid flesh would melt, thaw, and resolve itself into a dew, or that the everlasting had not fixed his canon 'gainst self-slaughter...

"What do the words mean?" is the first question. "What does this character mean by them?" the second. Often answer 2 is different to answer 1. This applies to all acting.

A reading of the play will tell you that Hamlet is on his own (and so talking to himself) and somewhat depressed, with a young person's tendency to blame everyone else for his troubles. Knowing this, look at the text and make sure you understand it.

"Oh that..." translates as "I wish..."; "Flesh" is his own body, his person, himself; and "solid" implies that it is tangible - he can touch it, feel it; it exists. It is "too" solid, meaning that there is something wrong - things would be better if it were different. "too" is repeated. We sometimes do this, usually for emphasis: "I really, REALLY, don't want to go...", for example. Probably the same applies here. "melt, thaw and resolve itself into a dew" means "disappear". An ice-cube, placed in sunlight, would "resolve (change) into a dew" within a few seconds. The "everlasting" is God. "Canon" refers to Canon (Church) Law, not guns. The Church was the State and made the rules. God has "set his stall out" against killing oneself.

Now you are in a position to guess what the character means:

"I wish I were dead. Shame I can't top myself".

If I were acting the part I would attempt to invest Shakespeare's words with the casual and brief rhythm of the modern version. Hamlet, (like most of us when we say such things) probably doesn't mean what he says but is simply feeling sorry for himself. Alternative interpretations are possible. What matters is that one has an interpretation of some kind.

I have used a lot of words to describe a simple process. 98% of Shakespeare is no harder than this and lots is easier. You need to obtain single editions of any play you are working on; these all contain notes. The writing is of such a quality that it will reward every ounce of work you put into it. You will get better quickly.

There are 31 suggestions for men and 26 for women. Whether you want intense, light or comic material you can find it broadly within your age range. Left out are some well known speeches which in my view are often difficult to make successes of (Lady MacBeth, for example or "To be or not to be"). This doesn't mean you can't do them. The list could be trebled in size. Please feel free to select any piece of Shakespeare which appeals to you and which you think you understand.

The list reflects my limited knowledge. You will notice that I am weak on the Histories. The age of a character is usually vague in Shakespeare and so my notes on this often represent no more than my opinion or best guess.

If you have booked and paid for an audition or a place on a short course and are in the process of working on your Shakespeare I would be happy to answer your particular questions. Email me and I will do my best to help.

Paul Caister
The Poor School

Suggestions - Men

Hamlet

Claudius Act 1 Scene 2 " 'Tis sweet and commendable ..." to "and our son."

Hamlet Act 1 Scene 2 "Oh that this too too solid flesh ..." to "...hold my tongue."

Polonius Act 1 Scene 4 "Yet here, Laertes ..." to "season this in thee."

Hamlet Act 3 Scene 2 "Speak the speech ..." to "so abominably."

Claudius, 40-60, attempts to reassure Hamlet and persuade him to stop sulking. Hamlet is about 20. He is intense, over-serious, brooding, highly intelligent, a bit of a virgin. The two speeches are very different. In the first he is on his own, nursing private grievances, indulging himself and slightly enjoying it; in the second he is precise, arrogant and witty. Polonius, 60+, a fussy but essentially loving old curmudgeon, here gives some "good advice" to his son.

The Merchant Of Venice

Shylock Act 1 Scene 3 "Signor Antonio ..." to "thus much moneys."
Launcelot Gobbo Act 2 Scene 2 "Certainly my conscience ..." to "I will run."

Shylock might be any age between 40 and 70. In this scene he is confident, powerful, articulate - the successful businessman. Launcelot might be 25. He is the most clownish of all Shakespeare's clowns. He addresses the audience directly in this piece which is much less complicated than it appears at first glance. Stand-up comedy.

Measure For Measure

Lucio Act 1 Scene 4 "This is the point ..." to "your poor brother."

Angelo Act 2 Scene 2 "What's this, what's this ..." to "smiled and wondered how."

Claudio Act 3 Scene 1 "Aye but to die ..." to "becomes a virtue."

Lucio could be 25 or 40. He is amoral, witty, a drinker, a frequenter of brothels but a rascal rather than a villain. Here he helps Isabella at the same time as giving expression to his endlessly dirty mind. Angelo is 40, give or take 10 years. He is a stiff, honest puritan. Here he is on his own and talking to himself in a state of shock and disgust: he has experienced physical lust for the first time. Claudio, 20's, is a decent lad who finds himself in prison and sentenced to death. Here he pleads with his sister.

Much Ado About Nothing

Benedick Act 2 Scene 1 "Oh she misused me ..." to "follow her."

Benedick Act 2 Scene 3 "I do much wonder ..." to "hide me in the arbour."

Benedick Act 2 Scene 3 "This can be no trick ..." to "love in her."

Leonato Act 4 Scene 1 "Wherefore ..." to "tainted flesh."

Benedick may be about 28. He is good-looking, wealthy, clever and thinks highly of himself. In the first piece he is slagging off Beatrice (a woman he fancies) to his mates, and enjoying doing so; in the second he is musing - in a manner designed to infuriate feminists - about the perfect woman, and in the third, he, again on his own, is reacting in excited shock to the news that Beatrice is in love with him. Leonato (45-65) is in despair and appears cruel in reaction to believing that his daughter, Hero, has behaved disloyally.

A Midsummer Night's Dream

Oberon Act 2 Scene 1 "My gentle Puck ..." to "back again."

Bottom Act 4 Scene 2 "When my cue comes ..." to "at her death."

Oberon is 35, give or take. He is strong and potent. Here, stung by his woman, he plots revenge. Bottom - any age over 25 - wakes up not knowing where he is and recalls his pornographic dream. Stand-up comedy.

As You Like It

Jacques Act 2 Scene 7 "All the world's a stage ..." to "sans everything."

Jacques (35-55) describes himself as being wrapped "in a most humorous sadness". He is wise, a loner, sardonic or sarcastic according to taste, and is often very pleased with his wisdom, as here.

Twelfth Night

Malvolio Act 2 Scene 5 "M.O.A.I ..." to "thou wilt have me."

Sebastian Act 4 Scene 2 "This is the air ..." to "here the lady comes."

Malvolio, any age over 30, is pompous, pernickety and generally disliked. On his own he reads a letter that makes him believe his mistress is in love with him. Elements of stand-up, in terms of playing the audience, but he talks to himself here. Sebastian (20?) is a lad who Olivia mistakes for someone else and consequently makes love to him. He emerges into the daylight, unable to believe his luck.

A Winter's Tale

Leontes Act 1 Scene 2 "To your own bents ..." to "how now boy?"

Leontes, the king, 35-40, is convinced his wife is having an affair. Outwardly friendly he broods bitterly to himself.

Romeo And Juliet

Mercutio Act 1 Scene 4 "Oh, I see ..." to "this is she ..."

Friar Act 3 Scene 3 "Hold thy desperate hand ..." to "Romeo is coming."

Mercutio is a young man, highly witty with edge and bitterness. As one of three lads on their way to a party, he takes the piss out of Romeo. The middle-aged Friar is a gentle, measured, caring and thoughtful man. Here he loses his temper with Romeo.

Julius Causar

Cassius Act 1 Scene 2 "I know that virtue ..." to "bear the palm alone."

Antony Act 3 Scene 1 "Pardon me ..." to "groaning for burial."

Cassius is described by Caesar as being dangerous with "a lean and hungry look". He is a political plotter, here attempting to ingratiate himself with and earn the trust of Brutus. Mid-thirties. Antony, a few years older, contemplates, on his own, the corpse of Caesar. He is in shock but grim and resolute.

Macbeth

MacBeth Act 1 Scene 7 "If it were done ..." to "fall's on th'other."

MacBeth Act 2 Scene 1 "Is this a dagger ..." to "or to hell."

Porter Act 2 Scene 3 "Here's a knocking ..." to "remember the porter."

MacBeth Act 3 Scene 1 "To be thus ..." to "who's there?"

MacBeth, young, fit, a great soldier, has a problem he can't solve (whether or not to murder the king) and in the first speech broods unhappily to himself. In the second he resolves, with no relish, to do the deed. The third piece finds him in a state of extreme neurotic stress where, having already killed the king, the answer to every question appears to be murder. The Porter is an opportunity for any man up to the age of 80 to indulge in some drunken stand-up.

King Lear

Lear Act 1 Scene 1 "Meantime we shall express ..." to "speak first."

Edmund Act 1 Scene 2 "Thou, nature ..." to "stand up for bastards."

Lear is in his 70's. Here he is still the patriarch; intolerant, short tempered, in control, making the rules. Edmund is a young, intense and very ambitious man. Waiting for his father he re-iterates thoughts he has had 1000 times before.

Othello

Othello Act 1 Scene 3 "Her father ..." to "witchcraft I have used."

Iago Act 2 Scene 1 "That Cassio ..." to "seen till used."

Othello, maybe late-30's, a successful soldier, respected and admired, has nevertheless been accused of "witching" Desdemona by Brabantio, her father. Since Othello is black the accusation puts him under some pressure. This is his measured response to the Council. Iago, a few years younger, here charms the audience as he charms the characters. We know he is wicked but like him all the same.

Suggestions - Women

Hamlet

Ophelia Act 4 Scene 5 "Where is the beauteous majesty ..." to "good night, good night."

Gertrude Act 4 Scene 7 "There is a willow ..." to "to muddy death."

In the first scene it is possible to ignore the many interjections by other characters; Ophelia is 16-22. She is delicate to a fault and inexperienced. Trauma has unhinged her mind. Queen Gertrude, middle-aged, describes Ophelia's death to Laertes.

Measure For Measure

Isabella Act 2 Scene 4 "To whom should I complain ..." to "his soul's rest."

Isabella, about 20, is traumatised by Angelo's sexual advances and, in shock, attempts to rationalise her course of action.

A Midsummer Night's Dream

Helena Act 1 Scene 1 "How happy some ..." to "thither and back again."

Titania Act 2 Scene 1 "These are the forgeries ..." to "parents and original."

Helena Act 3 Scene 2 "Oh spite ..." to "make you sport."

Helena is a spoiled teenager with a big ego. In the first speech she is cross that Demetrius fancies her friend more than her; in the second she is convinced that her 'friends' are making fun of her, laughing behind her back, and reacts with a temperamental outburst. Titania is a strong, mature and sexy woman; here she is blazing mad with her man and lets him have it.

The Merchant Of Venice

Portia Act 4 Scene 1 "The quality of mercy ..." to "the merchant there."

Portia is mid-twenties and not the warmest of Shakespeare's heroines. Here, in court, with precision but also with passion, she attempts to persuade Shylock to show mercy.

As You Like It

Rosalind Act 3 Scene 4 "And why, I pray you ..." to "fare you well."

Phoebe Act 3 Scene 4 "Think not I love him ..." to "wilt thou, Silvius?"

Two opposites. Rosalind is posh, wealthy, educated, arrogant, 25-30 and here enjoys her own wit a fraction too much in telling off Phoebe who, in turn, is 18-25 and dead common. She knows a lot about sex and almost nothing about anything else.

The Taming Of The Shrew

Catherine Act 5 Scene 2 "Fie, fie ..." to "to do him ease."

Kate, 20's, flatters her new husband (in public), who she fights with but loves, in the knowledge that such behaviour will give her a better life.

Twelfth Night

Viola Act 2 Scene 2 "I left no ring with her ..." to "for me t'untie."

Viola is maybe 18. Dressed as a boy, orphaned, in a foreign land, in love with a man who doesn't even know she's a girl, she discovers she has another problem. She is on her own (talking to herself) and attempts, without any success, to solve her problems. She is a thoughtful and intense girl.

A Winter's Tale

Hermione Act 3 Scene 2 "Since what I am to say ..." to "fie upon my grave."

Paulina Act 3 Scene 2 "What studied torments ..." to "not dropped down yet."

Hermione, the queen, 30-ish, unjustly accused of adultery, is hauled into court hours after giving birth, having been thrown into prison. She is physically very weak and traumatised, but defiant. Paulina, middle-aged, uneducated but innately wise and courageous, confronts and berates the king for his stupidity.

Romeo And Juliet

Nurse Act 1 Scene 3 "Even or odd ..." to "and said 'ay'."

Juliet Act 2 Scene 5 "The clock struck nine ..." to "pale as lead."

Juliet Act 3 Scene 2 "Gallop apace ..." to "may not wear them."

Juliet Act 4 Scene 3 "Farewell ..." to "I drink to thee."

The Nurse, 40-60, gossips, good-naturedly and with innuendo, to Juliet and her mother. Juliet is 14 in the text but is playable by anyone under 30. In the first two pieces she is on her own and anticipating, with impatience, what is to come. In the first case it is simply news of Romeo, in the second it is him himself, who will spend the night with her for the first time. In the last speech she girds her loins to drink the potion that will give her the appearance of death; she is scared but determined.

Julius Caesar

Portia Act 2 Scene 1 "You have ungently ..." to "cause of grief."

Married to the second most powerful man on earth, Portia, 30-45, pleads with her husband to tell her what's wrong.

King Lear

Goneril Act 1 Scene 3 "By day and night ..." to "prepare for dinner."

Cordelia Act 4 Scene 7 "Oh my dear father ..." to "speak to him."

You can ignore the interjections from Oswald, the servant. Goneril - 28 to 38 - and having an affair with Oswald moans about her aged and semi-senile father. Cordelia is maybe late twenties. The terrifying, dominant father she has known all her life has become weak and gentle, helpless and batty. She watches him wake up.

Othello

Desdemona Act 4 Scene 2 "Oh good Iago ..." to "could make me."

Emilia Act 4 Scene 3 "Yes, a dozen ..." to "instruct us so."

Desdemona is a young 20. Until a few hours ago she had a blissful married life. Now she has been abused and hit. She is terrified, shaking and at a loss. She begs Iago to help her. Emila, middle-aged, tough, humorous, tries to re-assure Desdemona with worldly talk about men and sex.

Anthony And Cleopatra

Cleopatra Act 1 Scene 5 "Oh, Charmian ..." to "looking on his life."

Cleopatra Act 5 Scene 2 "Give me my robe ..." to "leave-taking."

Cleopatra, middle-aged, drunk, drugged, muses indulgently on Antony and several of her other lovers. The second piece, sober and heightened, takes place in the moments before she kills herself.

Henry V

Hostess Act 2 Scene 3 "Nay, sure he's not in hell ..." to "cold as any stone."

The Hostess, 50+, bohemian, debauched, here simply and quietly describes the death of her friend, Falstaff.

Henry VI - Part 3

Margaret Act 1 Scene 4 "Brave warriors ..." to "time to do him dead."

Margaret, 40's, having captured York, her enemy, celebrates with chilling triumphalism, taunting the man she will soon kill.