>> welcome to the program tonight we begin with our continued coverage with charlottesville, virginia win nick confessore and elle reeve. >> this was a the first protest movement to be online. people who could not have their views in public and they congregated on message boards and mostly anonymous. and the president came out in recent days and said it was a real view to have to be a national supremacist and he endorsed their views in some ways. it's the first time in history a president has actually done that for them and they were excited

by it. >> charlie: we continue this evening with "hamlet" running at the public theatre. we talk to oscariz isaac and so gold. >> a contemporary audience is less used to rhetoric and speaking verse. i think it's important to honor the tradition of speaking verse and poetry and giving the audience poetry with music to it. it's important not to alienate the audience and claim the poetry but to find a way that it's also contemporary communication. i like to put a group of people together with 299 people come every night and they're all in a room together and are going to communicate about grief and suffering and we'll be in the

room together and the communication has to make it to the audience. it can't be 400-year-old poetry but something the audience is going through. >> charlie: charlottesville and shakespeare when we continue. funding for "charlie rose" is funded by the following: >> and by bloomberg, a provider of multimedia news and information services worldwide. captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> announcer: there our studios in new york city, this is "charlie rose." >> charlie: we continue tonight with the event ins charlottesville, virginia and the president's response. viole

to reverberate through the country and president trump said there is quote, blame on both sides. >> what about the alt left that came charging as you say the alt right. do they have any semblance of guilt? what about the fact they came charging with clubs in their hands, swinging clubs. do they have any problem? i think they do. that was a horrible day. i'm not finished fake news. i washed it closely. more closely than you people watched it. had a group on one side that was bad and a group on the other side that was also very violent and nobody wants to say that but i'll say that.

you had a group charging in without a permit and they were very violent. >> do you think the alt left is the same ass neo-nazis. >> all those people -- excuse me. i'm condemned neo-nazis and many groups but not all those people were neo-nazi. they were not all white supremacists by any stretch. they were there wanting to protest the taking down of the statue of robert e. lee. you look at some of the groups and you see and you'd know it if you were honest reporters, which in many cases you're not, but many people were there to protest the taking down of the statue of robert e. lee. so this week it's robert e. lee. i noticed stonewall jackson's coming down. i wonder is it george washington

next week and thompson jefferson the week after. you have to ask yourself where does it stop. they were there to protest -- excuse me. you take a look the night before they were there to protest the taking down of the statue of robert e. lee. infrastructure question. go ahead. >> charlie: some suggested the president's response will embolden neo-nazi and white supremacists group. joining us from charlottesville is elle reeve as a correspondent for vice news tonight the covers the alt right and has been on the ground in charlottesville since friday morning. here's a look at her report at the documentary, "charlottesville race and terror." >> so when did you get into what you call the racial stuff. >> with trayvon martin and rice and all these things. in some case it's a little [bleep] getting himself in trouble acting like a savage.

whatever problems i have with my fellow white people they're generally not inclined to so much behavior and you have to think about that when you think about how to organization your society. >> oklahoma city. >> you have to go back to oklahoma city to talk about a white -- >> dillon roo. >> now you've named two and you remember the name of white bombers and white shooters. can you tell the name of all territor terrorists on the planes in 9/11. i'm here to spare ideas and talks in the hopes somebody more capable will come along and do that and somebody like donald trump who doesn't give his daughter to a jew.

you can't watch kushner walk around with that beautiful girl. >> charlie: here's a dramatic scene of the drama taking place after the scene after the car came through the street killing a young woman. >> it came down the street at 90 miles an hour to hit us. there are bodies laying on the ground right now. we did not want this. we told the police we did not want them here. i had to3 duck out of the way. i almost got hit myself. i've seen bodies flying being hit by that car. i've seen people in front. we did not want them here. now we have bodies on the ground. >> charlie: also joining me from brooklyn josh tyrangiel from

vice news tonight and the executive vice president of vice news media and joining me at the table nick confessore and he wrote during last year's election about the politics and white resentment. josh, give me the overview you had as a friend of mine and former colleague here how you want to cover this what made you decide to cover it that way. >> it started with elle. she's a really good beat reporter and has had her eye on line and what's coming from the self-proclaimed alt right. she's been paying attention to how they get together and describe the differences between the groups and grievances. elle has done a bunch of stories on the rise of the white

nationalists. when we heard they'd make the leap from the digital domain and gathering without hoods and anonymity getting down there. it's as simple as having a great reporter and you go from there and you trust them and elle earned every bit of it. >> charlie: and yours is not a traditional news program. there's no anchor that introduces reporters. excuse the word embedded but have you reporters telling stories in the filed. >> we like to get as immersive as possible and try to take people to events and make them feel something. it's not that we're not capable of doing more traditional reporting. we do plenty of explanation and analysis but when possible we want to be on the ground.

>> charlie: elle, tell me, what did you anticipate when you went to charlottesville? >> i knew this would be a gathering of a bunch of desperate alt right groups. i was not anticipating how organized they'd be. i knew they had a ring of private security comprised of afghanistan and iraq veterans but once on the ground they were well organized. they had people doing crowd control and giving tiki torches and dropping off at a field. it's a highly organized group. >> charlie: did they trust you? you had a conversation with a guy responding to your questions in a direct manner. >> no, i don't think they trust me. they don't like women. they believe the media's run by jews.

i do try to present their argument to people can understand. >> charlie: how did the events unfold as you watched it? >> on friday night we arrived at 9:30 at a field on a virginia campus. there were so many people there and they were lining up in two columns. they had tiki torches and there was a massive line across the field. it was really stunning. in absolute numbers maybe a few hundred people but when the marching began there were animalistic chant and grunting and very chant and they were so

enthusiastic. they were so pumped. it was really scary. >> charlie: scary. scary for your own safety or scary for what might happen with ideologies. >> charlie: scary they had so many willing to show up and show

their face. many were armed not at the tiki torch parade but the next rally. scary because they were so emotional. it was clear they might act on their violent ideology. >> charlie: when did the car excellent happen? not accident, car terrorism. >> it had gotten crazy and the white nationalists were ordered to leave and they were marching through the city and that got canceled. there was an emergency order there were no assemblies. they were agitated they weren't able to express themselves. we went downtown and there were counterprotesters and they were

following and we crossed the street and two minutes later a car slammed into human bodies. >> charlie: killing the young woman. >> that's right and injuring many people. >> charlie: there's headlines saying they've been emboldened by what happened in charlottesville and b, the president's response. >> it was a movement perhaps the first protest movement to live entirely online for most of its existence. these are people who could not have their views in public or known to have their views. they congregated on message boards and redit and mostly anonymous. the president came out in recent days and he said it was actually a real view to have to be a white supremacist and endorsed their views in some ways.

for the first time in history a president has actually done that for them. and they were excited by it. they saw his denial. >> charlie: they were recognize and respected. >> and he said, well, i disavowed them later but they saw that as a strategic and they were cheered by the fact he refused at first to say they were bad people and that is a validation they have never had from this high level of government in their life time. >> charlie: so they're strengthened, emboldened to do what they did in charlottesville to rise of the destruction of a monument they feel is an offense to them. >> i think alt right lives in symbiosis with us in the press. they're too small a number to

have genuine political power. they're in some wade -- ways reflected on the president's view of immigration and the decay on america and threat to order of america. and they need these moments of confrontation to radicalize others who don't know they're there as an alternative to mainstream politics. >> charlie: josh, as a news editor at a number of news insttutions and executive producer, how do you see this in the context of the political history you have witnessed? >> what makes it a story for us and the reason we knew pretty rapidly it would be a big deal is the validation of the opinion. there's a digitalhood. if you were a member of the ku klux klan you put a hood on.

the fact people are willing to go out there and seeing their face knowingly seen on television screens and shouting terrible things and let's be clear, there's no pretense this is about a statue. there's plenty of legitimate arguments on what to do with complications in american history. that's not what this was. this is a canonical moment for us. the way the president handled it there's a reason you're seeing the outrage you're seeing. it's one we have to continue to be on top of. as nick said we're asking all sorts of questions at what point do we want to be very careful about not giving more time and not glamourizing something.

but the fact it's in our streets say big deal. >> charlie: and making headlines. tell us more. >> there was a libertarian shock jock and fired for making comments and he started doing more research, he says, into race and came to the conclusion that basically black people are inferior to white people and took it up as a cause and starting crying talking to me saying he didn't want to do this but he was committed to defending the white race. >> charlie: here's a clip. take a look at this. >> i'd say it was worth it. we knew there'd be a lot of resistance. the fact that nobody on our side died i'd go ahead and call that points for us. the fact that none of our people killed anybody in -- unjustly is

a plus for us and we showed our rivals we can't be cowed. >> and the car that struck the protester is unprovoked. >> it's not true. you've seen the video. >> i don't know much about it. can you describe what the video appears to show. >> the video appears to show someone striking the vehicle when the animals attack him again and he sought no way to get away from them except to hit the gas. sadly because our rivals are a bunch of stupid animals who don't pay attention they couldn't just get out of the way of his car and some people got hurt and that's unfortunate. >> do you think it was justified. >> i think it more than justified. i can't believe -- the amount of restraint our people showed out there i think was astounding. >> what do you think it means for the next alt right protest? >> i think it's going to be tough to top but we're up to the

challenge? >> why? i mean someone died. >> i think more people are going to die before we're done here frankly. >> why? >> why? because people die every day. >> charlie: when he goes home, elle, who is he? >> he lives in new hampshire. he's single. i asked him about this being his entire life. he told me when he takes a girl out to the movies they don't talk about racism. but this does seem to be what he does all the time. he has a massive arsenal of weapons. he does live podcasts. and that's how he makes his money through donations. by people who agree with him. >> charlie: how large do you think these groups are? >> how large? >> charlie: yeah. >> i don't know. i could make guesses based on how many followers their biggest leaders have but i think the most telling data point is a site called researcher is an

alt-right site that crowd funds cause has been able to over and over again over $100,000 a night and i think that's significant. >> charlie: do you think the they feel the exposure will show them as unacceptable in america as people seemingly rejecting what the president has said. >> i think the value of what we did was shown yesterday when the president referred to the people in charlottesville who were protesting against the destruction of the statue as very fine people. you can't watch the episode we made and think these are very fine people. it's not possible. in that regard i think it will hurt them. the fact we're talking about this hurts them because it brings people back to their awareness that just because they live in a polite portion of society doesn't mean everyone has decided we should be a

liberal democracy in which everyone's opinions and value are based on the content of their character. that's not where we are. the fact this conversation's happening does damage to their cause. but as i said i'm very aware of the double-edged sword. we don't want to gam orize -- glamourize them. >> i think it hurts them. a year ago the alt right would dress up in their idea of european defense euphemism. this was straight-up nazi. this was swat -- swastikas and nazi and they put it back on. >> charlie: did the white supremacists and neo-nazis blend? do they both accept a bit of

each other's philosophy? >> it's a varied movement. there's different camps. some say they're inspired by nazi ideology and some say they're the defenders of western organization. richard spencer -- >> charlie: who was down in charlottesville. >> before that he was at an event to hire trump. that was a big moment for him. he spent a long time trying to construct what he thought was a socially acceptable version of his ideology. >> charlie: tell me about robert ray. >> he writes for a neo-nazi website called "the daily stormer." it's extremely racist but it uses teeners memes and uses bright colors and tries to be hip and witty and they write good headlines. they get about 100,000 readers a month. >> charlie: here he is talking

to elle reeve. >> tell me what you think? >> i'm a feature writer. i do the report and there's men on the ground at the events. >> what does it mean to you? >> for one thing it means we're showing to this parasitic class it's our country and built by our forefathers and going to remain our country. we're stepping off the internet the big way. last night at the torch walk there were hundreds of us. people realize we're part of a larger whole because we've within spreading our means and organizing and coming out now we greatly outnumbered the anti-white, anti-american filth. at some point we'll have enough power we will clear them from the streets forever. that which is degenerate in

white countries will be removed. >> so showing up in physical state let's people know. >> we're starting to unveil a little bit of our power level. you ain't seen nothing yet. >> charlie: so to put into context the impact donald trump has done. >> i think he's taken some ideas they have invading hordes and people being stabbed in the back. immigrants coming in and tabling your jobs and he's taken the ideas and put them main street and put them in the center of public discourse and they're so excited. if they feel he's a white nationalist or share his ideas but they believe he has created a pathway for their ideas to move to the public sphere and

the mainstream. >> if you don't stamp them out you'll see what they've done. >> an alt-right organizer texted me last night, god bless this man, speaking of mr. trump. he really has our back and that's why they feel more powerful and take steps forward and do more protest. >> charlie: thank you elle reeve and josh tyrangiel. thank you very much and this is a reflection of the kind of journalism that's possible and it's great to see you. >> you too, charlie. >> charlie: we'll be right back. stay with us. william shakespeare's hamlet is one of the most well known plays and it stars oscar isaac and directed by sam gold. the two first conceived of the

project at juliard. it runs to september 3. i'm pleased to have oscar isaac and sam gold. >> it wasn't that long ago. combl are you >> we did all the scenes together. it's part of your course, right? >> i was studying shakespeare and wanted to work on hamlet. everybody wants to so it wasn't a strange idea to want to do hamlet. it's like the best play ever and everyone wants to get their hands on it and i grabbed oscar

for the minutes he had a day on his oscar training and asked him to do hamlet with me and do r&g scenes. >> charlie: is that's what they're called? >> you tackle the closet scene or one of the big meals and i thought it'd be fun to start with the friendship scenes and also we were students and friends. it seemed appropriate for the vibe of juliard. >> we did that at school and after we graduated we kept in touch and worked together on romeo and juliet he was an assist. zwlan >> and we did a play later. >> we always talked about doing hamlet and it took time to put the play up and we finally did and it wasszuñ almj

project. >> 10 years of talking about doing it and a couple years of putting it together. >> charlie: what makes it as great as it is? >> it's a bottomless play. you can look at it from a different point of view and each feels like an entire universe and you think, oh, everybody else has this idea about the play and when they open that door it's another endless -- the term poem unlimited is shakespeare's term. >> charlie: poem unlimited. >> it just keeps going. >> you start to look and it reflects itself and in a way it has the ambiguity of religious text where it's crafted in such a way it feels like it has infinite meaning and any question an actor would ask him the opposite is true. >> it's the most frustrating play in the world to direct.

you can never get it right. someone can always say wouldn't opposite work and it does. it's like directing in quicksand. you're trying to lay groundwork and get ideas settled. you want structure and you want it to be functioning but every time you get somewhere you could keep digging and digging. you're like digging into quicksand. >> charlie: few people do the entire text. >> it's three hours and 45 minutes but i have a hard time making it go fast. >> charlie: what was the presentation you wanted to do? what kind of story? how did you want to make it contemporary and at the same time there. >> it came from us and our friendship and i was talking

about the play over so many years i was never like, here's my idea. we started miles and miles from where we ended up and it was reall really what was inspiring us and moving out and how we were seeing ourselves reflected in the play. when it came time to go to production it was what was on both of our minds. i think what we were both really interested in at the time we started getting into rehearsals was the death of the father. the play starts with the death of hamlet's father and about his grief and the mourning process and the stages of grief he's going through. the idea of a man whose lost his father and the grief sending him into madness was something i think both of us could really see the play through entirely

through that lens and do quite well. >> i think you have spoken to the point that your mother was dying and you actually read from hamlet long passages. and you were informed by that experience in terms of how you wanted to own the part. >> we already decided and figured out how we'd do the play and november of last year my mother was diagnosed with pancreatic cancer and her decline was very quick and i was able to be with her and i was started on this and her favorite thing was to see me do shakespeare and came to see me in school. when i did romeo and juliet

she'd come to school and i read it to her and i almost read the whole play to her. i guess when i say it was like a religious text -- it felt because there's things in it that feel like parables and a meditation on letting go and grief and death and so it was very comforting for me and for her too and there was a section about the readiness of all and if it were to come let it be now and she was very moved by that and i thought that's amazing. so then as it got worse and in february she passed. she never wanted a funeral or any of that so we didn't do that. we just kind of as a family had our own little thing to say good-bye. my sister came to see the show and said it feels like the

version of a funeral she would have wanted is to have the space to grief and tell that story about losing someone you love so much and having this beautiful architecture and framework and ths communion with everyone else to tell it. >> charlie: this guy came with a sheer command. >> oscar -- it's a kind of magic trick where he knows the play inside and out and knows what each word means and how to use each word so well that he can do it as if its contemporary conversation. it's so clear in his mind. it's like when you learn a foreign language and you get to the point where you're thinking in the language. you're not thinking in english anymore. that's how he's gotten with the part.

he brings the text alive in a way that's musically very beautiful and also extremely easy to understand and follow. >> people have spoken about in term of the audience members and they have spoken about it as well it's more compelling for them because they understand it better. >> i think a contemporary audience is used to it and speaking verse and poetry and giving the audience poetry which has music to it. but it's important not to alienate the audience and claim the poetry but to find a way that is also contemporary communication. i like to put a group of people together with 299 people come every night and they're all in a room together and they are going to communicate some things about grief and suffering and we're all going to be in the room to

experience it together and the communication has to make it to the audience. it can't just be 400-year-old poetry. it has to be a contemporary conversation about something everyone in the audience is going through. >> hamlet says in the play twice in two different spots. he says the actors are the abstract and brief chronicles at the time and the job of the actor is to show the age and body. body of the time and form and pressure. that's about now. the actor's role is to reflect to the audience how man is right now in this moment of time. so for us it was very important to try and strip away as much as artifice as we could and all that representational stuff and trying to convince you we're in elsinore and denmark and the crowns and thrones and all those things and try to make it more

immediate and relatable. >> charlie: do you think the audience makes a connection between the political time we live in? >> absolutely because because the man is a political animal and if you bring everything you can to it -- it happened just yesterday in the middle of to be or not to be when i start to say who would bear the whips and scorns of time. the insolence of office and they all erupted clapping because of the thoughts of what is happening right now and particularly what's happening in charlottesville and the president's terrible response to that. people were upset and angry. again we're all in this room together in the way we staged it is one that we're not pretending we're anywhere else. we're just talking here. there was immediate feedback.

>> charlie: in preparation have you watched those who have done it before the great actors who have tackled hamlet or do you want to stay away from that? >> i stayed away from watching. what i did instead in fell in love with john gillcord's recording because i knew i couldn't get to that kind of poetry even if i tried to imitate it. i loved here it like music. in a way it does feel at least in rehearsal it felt more like playing music. i'm a musician as well. often when dialog is sparse you have to infuse the words with feelings. with these words it's almost like thing of a sad thing and when i play the same thing happens. you start to say these words and then it starts to affecting you and you effect the words and it

creates a perpetual motion. >> charlie: what's the hardest thing about it? >> this production the way we've approached it because we tried to strip away the artifice it's physically very demanding. the hours and the vocal requirements and physical requirements for everyone involved. it's a very muscular show. i remember a friend tell me that in shakespeare's day they'd only do the tragedies on the weekend and the comedies during the week because they're too intense. >> charlie: and we talked about the timelessness of hamlet. here it is. >> the central thing that i'm trying to achieve in asking why shakespeare and also looking at all the plays is looking at

different actors who play the particular roles whether it's hamlet and not say this is better than that but say this is the genius and the great joy of theatre. you can see different people with different life experiences bringing something different to bear to something that was the same. >> yes. i agree with that wholeheartedly and why i'd never feel about the plays i've made you never listen to a favorite song once. you never listen to a beethoven symphony once. by the same token i can see hamlet for the rest of my life with different actors because something in the play will give uniquely to what the actor plays and time and audience it plays to. that when you say why shakespeare is partly why we do

it, it live anew and needs to be done then and only then and those on record have wonderful value and great import but shakespeare the why to get back to your central question, because he is here and he is now. >> charlie: you'd agree with that wouldn't you? >> absolutely. >> charlie: what, for you, knowing the history of how many productions have continued to be everywhere every year did you want to make sure you did? >> hamlet is this play that is like a devil for as a director. everyone has tried to do their hamlet. it can really get in your head you have to add something to that history and that's not a very healthy way to approach

working on a play. and so for me i tried to not think any of the productions i've seen or history at all. >> charlie: but can you? >> i think because you're in a room -- you respond to the people you're in the room with. so i get in a room with a bunch of actors and this beautiful language and you focus on that. what do they have to offer this audience in this moment in this room we're all in and it kind of takes over. i tried really hard to just listen to that. i tried to strip away everything else so i didn't come in with a concept. i didn't come in with who, like, i wasn't trying to think about a fascist dictator or what is elsinore and what is rotten in denmark and make a statement about it. i just said we're in a room, an

empty room with an audience and these words and let's see what comes from our time together. the essential nature of that helped me there having to be in too much dialog with a concept or history. >> charlie: do i assume hamlet went mad over the killing of his daughter? >> no, i think madness for me understanding through the lens of grief became so much more relatable. it's such a shock and trauma to lose someone you love so much it's a whole new existence. i think many people who have had to deal with that can see how

their mind gets away from them and you see the world differently. a lot of pretense false away. that i feel is a euphemism in the play for grief. >> charlie: some have said after doing theatre they have to take off for a while. they don't instantly go to another work. they live with it for months after they quit the run. does it overwhelm you like no other character does? >> the interesting thing that's been so different with the passing of my mother and getting married and the birth of my son, it's like my personal stake in doing hamlet lowered.

it means everything to me. it felt more like release than something needed to be proved. that's a wonderful state to be because you want your character stakes to be high because it gives us freedom. i was able to approach it in a strangely relax way doing all the work. >> charlie: one of your colleagues at juliard said your ambition was about being good and just the idea of being good. does that still infuse you?

>> it's about can i be as honest as i want to be and approaching the work. it's like a monk who do their drawings. it's a one-way street. you put all this effort and focus and it's gone. >> charlie: if an actor said this is what i want you to give what would you tell them? >> it's being doing it as honestly possible. >> charlie: i was told acting is

repeating the lines as you thought them. >> the thought is an amazing thing for the audience is to watch an actor have the thought. you see the thought that gives birth to the language of the play and you see that ignite in an actor's imagination. i think the audience gets so excited to see that and not faking it and to see it actually happen. >> charlie: what's that about as an actor? >> it's about synchronicity. everyone's moving together almost unconsciously. when you do have the thoughts and when you're approaching it that honestly you're body unconsciously behaves in certain ways the audience pick up and suddenly we're synchronized and moved at the same time together and when you feel alive. i think it's working on it.

there's so much problem solving we had to do. like what goes into a soliloquy and what are the thoughts and and what are we getting into. >> charlie: is they collaborative process or singular process? >> if you take the idea that the play's not inevitable like what happens next doesn't have to happen next. it happens next because it happens. why does it happen. we sit and come to some why would am let want his girlfriend to go to a nunnery. you have to know why in that moment that happened and we wrestled with that.

we work hard to give good answers those questions. >> what's amazing with sam and his approach even the way he talks about it is why are you talking to your girlfriend like that. and oh, man, why do you act that way. why are you deceiving me. we're reverend to the text and we show it enough respect as if it was a real person behind it to make the words and say what is the human thing he's trying to say here. and he as a great b.s. detecter, sam. he can call out when you're fronting something or pretending or not approaching the way you would. >> charlie: to understand -- i don't want to use motivation because it's so glib but you have to put your self in the circumstances and the motivation

of shakespeare at the time he wrote it. >> for me because most of my career has been in new plays. i work with writers i'm not use to dead writers and a person next to me and saying "why'd you writeb [? that?" i don't know what was going on in his mind. what's important to me is i have that conversation enough to be able to get an answer that works for me and for me shakespeare is a guy who just lost his son. to me he took an existing story of revenge tragedy and lost his son and put his grief and maybe this character can't even get through his own revenge plot

because he's in such deep grief. that idea that there's a man, shakespeare, who's son died and as a playwright trying to grapple with that grief and whether he could get out of his grave and talk to me and tell me i'm off base, it helped me stay specific about the world we were make. there's a real person. he's a person with deep feelings who put those feelings into an imaginary story and we have to bring it alive. >> charlie: what's the answer to why did shakespeare have such genius? >> i believe in the theor yo of evolution. i believe and that things get

better through -- and it develops in stages and he took previsitin previsiting -- preexisting material and he keeps improving it and there's something better about that. to me in some weird way it proves the theory of evolution to me. >> he had actors he worked with and audiences giving him feedback and he kept making it. it happens in layers and stages. >> charlie: public theatre a >> they were an amazing institution and were supportive and gave us a great home for a very important project. >> charlie: you had actors playing more than one part.

>> yeah, we had a small company and a performer who plays music and the way they -- because there's a play in the play and players, there's actors in the play, the play provides an interesting opportunity to see people play multiple roles and always be actors. always be the players. >> you'll always have time to go to the theatre i assume. to go to the theatre. >> no better how big your film career is you'll always come back. >> the last time was seven years ago so there'd been some time away. doing this again reminds me how important it is to me and how special it is when you can have that kind of synchronicity with an audience live and say these

words. >> charlie: it bounces off them. >> it's such a physical sensation. even saying the words and it's an incredible feeling. >> charlie: between you, the stage and the actors and audience. that's the synchronicity with its own rhythm and own set of music. >> for sure and to speak of the music we have an incredible music who plays cello and he's a one-man band and plays music throughout the show. it's been a wild and special thing to be a part of. >> charlie: thank you for coming. >> thank you. >> charlie: great to see you. at the public theatre until -- >> september 4. >> charlie: you do not want to miss this. thank you for joining us. see you next time.

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>> announcer: the following kqed production was produced in high definition. >> the beef torta was out of this world. >> i actually don't discriminate against pizza. >> this is a temple to -- >> we couldn't see it, and we couldn't hear it. >> like, "whoa! i'm actually in san francisco?" >> this is amazing! [ laughter ] bring me more.