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  Old John of Gaunt, time-honoured   
 Lancaster…

2
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  ..hast thou according to thy oath   
 and band brought hither Henry Hereford,
  thy bold son…

3
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  ..here to make good the boisterous  
  late appeal,

4
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  which then our leisure would not   
 let us hear,

5
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  against the Duke of Norfolk,   
 Thomas Mowbray? -Gaunt: I have, my liege.

6
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  Tell me moreover, hast thou   
 sounded him if he appeal the Duke on
  ancient malice,

7
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  Or worthily as a good subject   
 should, on some known ground of
  treachery in him?

8
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  As near as I could sift him on   
 that argument.

9
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  On some apparent danger seen in   
 him aimed at your highness, no
  inveterate malice.

10
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  Then call them to our presence.

11
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  Face to face and frowning brow to   
 brow…

12
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  ..ourselves will hear the accuser   
 and the accused freely speak.

13
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  High stomached are they both and   
 full of ire. In rage as deaf as the sea,
  hasty as fire.

14
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  (David Giles) What you do in   
 rehearsal is try and look all the time…

15
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  ..for ways of making the text live.

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  It is to put the emotion in with   
 the intellect that is…

17
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  ..the most dangerous, difficult   
 and private part of the rehearsal process.

18
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  I always worry about over-  
 simplifying what a play is about,

19
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  as much as I would worry about   
 simplifying what, by saying what a
  picture was about.

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  I think anything like this plays   
 on different people in different ways.

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  (Narrator) Shakespeare's plays,   
 though handed down to us as text,

22
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  were written to be performed.

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  The text really only comes to life  
  when it's in production.

24
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  Actors and directors are crucial   
 in bringing their own imagination and
  skill to a play.

25
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  In this programme, we're going to   
 look at three very different productions
  of Richard II…

26
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  ..and talk to the actors and   
 directors involved.

27
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  They reveal a wide range in the   
 way they interpret the character
  of the King,

28
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  and the different elements of the   
 play.