Chapter 17
Will | London, present day
I can’t believe this. It’s our first day at the indoor rehearsal spaces in Bankside, and Hester is fucking late!
However, it’s not noticeable to anyone but me. Yet.
Around twenty-five to thirty people—including the actors, director, producer, designers, and stage management—are milling around the room, which is equipped with mirrors and props.
The dimensions of the Globe stage have been taped out on the floor for reference.
Over to the far side, a table is set up with stainless steel tea and coffee urns and several packets of biscuits for morning tea.
Excited chatter fills the air. It’s usually energising, and I should be fired up. But instead, I’m stressing out and getting angrier by the minute. Hester is spoiling this for me because she’s. Not. Fucking. Here. Where the hell is she? I should have insisted we come together.
The young bearded director, Jordy Watkins, strides past and claps me on the shoulder with a jovial ‘All right, Will?’
I straighten from my position against the wall and erase my scowl. ‘Yeah, great. Thanks, Jordy.’
I think he’s going to stop and chat, but he takes off to greet someone else. So I slouch against the wall again and pretend to read my script, keeping one eye on the door.
Chelsea, the stage manager with a severe black bob, begins taking our attendance.
Then to my relief, Hester slips through the door.
She scans the crowd, assesses what’s happening, adjusts her tote bag, and walks casually into the room.
There are hellos and nods for her. She’s ticked off the list, then looks around, as if searching for someone.
Her gaze lands on me by the wall, and our eyes lock for a second.
The rest of the room seems to fade away.
Hastily, I drop my eyes to the script, ignoring her warm smile. But it’s harder to ignore the way my body responds to it. Grrr, stop looking at me, woman!
The next time I risk a glance, Hester’s back is to me, and she’s chatting to a couple of the other female cast members.
I can’t help giving her the once-over; she’s looking particularly fetching this morning in a sage-green jumper and skinny jeans that show off her long legs and slim hips.
I gaze at her silky auburn hair, remembering how I buried my face in it long ago.
Not fair. She usually has it plaited. Why is it loose?
What has she been doing? Do I really want to know?
Jordy claps his hands briskly from the front of the room. ‘Right, everyone, welcome. I’m sure you’re as eager as I am to get this Shakespearean show on the road.’
There are nods and chuckles. Hester flicks her hair back, and I see she’s relaxed and smiling too.
No doubt because she’s seen the rehearsal schedule we were emailed.
Today is only a script read-through, plus meeting the design team and looking at their sketches for the set and costumes. Easy and fun.
I drag my attention from Hester and listen to Jordy as he runs through his concept for Twelfth Night.
‘As many of you already know, I’ve decided to give the production an Elizabethan theme since our opening night is the twelfth of January.
The medieval Twelfth Night feast is the traditional Feast of Fools, where servants and nobles swapped roles for one day and celebrated the Court of Misrule.
So think mistaken identities, topsy-turvy chaos, and festive energy.
You’ll all be wearing traditional costumes from Shakespeare’s time with some modern twists for ease of movement.
The design team has come up with some stunning but comfortable dresses for the female characters.
And yes, there will be doublets and hose for the male characters and for those of you in disguise. ’
There are light groans from the men and laughs from the women. Hester’s lips curve as well. Oh yes, I know how much you like a man in tight hose.
‘So as you’ll see by the schedule, I allocated this morning to our first go-through of the script. This is where we simply read without worrying about acting so you can hear the rhythm of the words.’
Hester nods along with the others, and I can tell she’s mightily pleased that this is all today involves.
‘But’, Jordy continues, ‘unfortunately, we’re on a time crunch due to the Christmas break. So I’ve decided to launch right into it. I’m assuming everyone knows the play?’
Everyone nods uncertainly. Myself included as I’m not sure where this is going.
Before I can delve into Jordy’s head to find out, he says, ‘Great! So here’s the revised schedule we’ll be following instead.
’ He produces a pile of handouts from his messenger bag.
‘Chelsea, could you do the honours? I’ll email it to everyone as well. ’
Chelsea distributes the schedules, and I grab mine, feeling a little thrown. I’m an experienced actor, but I still like to know exactly what’s going on, and Jordy didn’t mention this the last time I spoke to him.
‘So as you’ll see on your revised schedule, today has been allocated to running through a few of the play’s more pivotal scenes,’ says Jordy.
‘Tomorrow, we’ll go over to Shakespeare’s Globe to begin blocking work for the rest of the week.
Then after your two days off for Christmas and Boxing Day, we should be well prepared for working rehearsals on the twenty-seventh. ’
He smiles broadly, looking pleased with himself.
But when I stare at the paper in my hand, I discover the first of the pivotal scenes he’s mentioned is act 1, scene 4 and ‘Will and Hester’ written alongside it.
Oh shit! We’re going to be acting right now!
I glance at Hester to see she’s no longer looking relaxed. A muscle ticks in her jaw, and her fist clutches her tote so tightly her knuckles are white.
‘So everyone who’s not acting, please grab a chair and create an “audience” in front of the taped-off stage,’ Jordy instructs, looking around at us.
‘We’ll do the first pivotal scene run-through, and then you can have a chance to give feedback on the performance.
Any constructive critique is welcome at this early stage. Will and Hester, you’re up.’
I push off from the wall and rub my jaw distractedly as everyone starts unfolding the chairs that have been stacked in the far corner. Fuck, I was hoping to practise at least one scene with her in private before we acted together in front of other people. He’s throwing us in the deep end!
‘Um, c-can we use our scripts?’ I overhear Hester ask Jordy underneath the commotion.
From her stutter, I can tell she’s freaking out.
If he says no, it’s going to be catastrophic for her.
But he says, ‘Yes, since it’s the first day.
But make sure you have your lines memorised by working rehearsals. ’
‘Of course. Thanks, Jordy.’ Hester sounds relieved.
She walks slowly to the side of the room to deposit her tote.
I want to go over and reassure her that she’ll be OK.
That she’ll have a script at least. But she’s concentrating, and I don’t want to disturb her character preparation.
Besides, I have my own performance to worry about.
All too soon, I’m standing in front of the expectant audience, who are no doubt glad it’s not them up here. One of the guys gives me a thumbs up and mouths, ‘No pressure!’
Hester is leafing through her script next to me with a shaking hand.
Though I don’t actually need it, I’m holding an open script too to make her feel better.
But from the way her shoulders are hunched and her fingers are jerking down the page to find the scene, I can tell it’s not helping. Fuck. This is going to be painful.
‘Any time you’re ready!’ calls Jordy, standing at the back with his arms folded.
I nod and walk off a little way, rolling my shoulders and getting into character. When I feel like I’ve embodied Orsino, the rich and powerful Duke of Illyria, I turn and state boldly:
Cesario, come—
For so you shall be, while you are a man.
But when in other habits you are seen,
Orsino’s mistress, and his fancy’s queen.
The audience chuckles at Shakespeare’s dramatic irony as the line hints at what’s to come. When ‘Cesario’ is revealed as Viola, she will indeed become Orsino’s ‘mistress’ and ‘fancy’s queen’.
I wait for Hester to say her line. But her eyes swing to the audience fearfully, and I clear my throat softly, to bring her attention back to me. But that seems to throw her even more. She opens her mouth, closes it again, and studies the script. The silence from the audience is deafening.
Fuck, I’m going to have to show my hand. She’s going to find out what I am soon enough anyway.
I step forward. ‘Can I just stop you before you begin, Hester?’
Her eyes snap to mine. ‘Er, yes?’
I smile at her reassuringly and turn to Jordy. ‘Do you mind if I have a minute with my co-actor? I have a few creative ideas about how to perform this scene.’
Jordy’s eyes roll heavenwards. ‘We’re not expecting an Olivier Award performance, Will. But go on then, if you must.’
I grab Hester’s arm and tug her over to the window.
‘What are you doing?’ she hisses.
‘Saving your ass!’ I hiss back. ‘Let down your vampiric shield, and I’ll guide you through the scene.’
Her green eyes widen. Our faces are so close together I can see tiny flecks of gold in her irises. Gorgeous.
‘W-what?’ Her plush bottom lip quivers, and I want to kiss it and bite it at the same time.
‘I can help you through this. But you have to trust me,’ I whisper.
She really shouldn’t trust me. But it’s either that, or this performance flopping majorly (and a stinging critique from the rest of the cast, which I really don’t want for me or her).
I grip Hester’s shoulder and whisper, ‘Let me in, and I promise it will be fine.’
For the audience, it looks like I’m giving her an encouraging friendly squeeze while I impart my creative ideas. But what I’m really doing is displaying my power. Only a vampire can fully appreciate another vampire’s strength.
Hester winces as I tighten my fist over her clavicle, and whether or not she fully believes what I am, she’s desperate enough to trust me in this moment.
A second later, I push against her mental wall, and I’m in!
Me: Fantastic. Now we can really act the shit out of this scene.
Hester’s mouth drops open, and I feel her pushing against my own wall. Fine, I’ll let her in briefly.
What the fuck? You’ve got a lot of explaining to do!
I chuckle and pat her arm for the audience, like I’m glad we’re both on the same page. Yeah, probably. But for now, let’s show these humans how well vampires can act.