The fanfare surrounding Shakespeare’s 450th birthday has proven Johnathan Bates’ assertion that “Shakespeare has never fallen out of fashion but in the past 25 years or so his reputation has become truly stratospheric.”

There are articles delineating how phrases Shakespeare coined centuries ago are still in common usage and the fact that his birthday celebrations are being put ahead of festivities for St George’s day. There is no doubt that there is still an appetite for his plays to be performed.

However, Dominic Cavendish – the Telegraph’s theatre critic – conceded: Is this week not as good as any to admit just how intellectually challenging much that lies in the complete works can be and how borderline incomprehensible his language can get, both in terms of the now archaic and obscure nature of his references and the complexity of his poetic expression?”

Amongst all the interactive Bard games and video uploads of people reciting their favourite Shakespeare quotations, there have also been admissions from leading figures in theatre over the inaccessibility of the language. Cavendish’s article was entitled “Admit it – most of us don’t understand Shakespeare”.

Nick Hytner’s confession last autumn has also been reprinted:  “I cannot be alone in finding that almost invariably in performance there are passages that fly straight over my head. In fact, I’ll admit that I hardly ever go to a performance of one of Shakespeare’s plays without experiencing blind panic during the first five minutes. I sit there thinking: I’m the director of the National Theatre, and I have no idea what these people are talking about.”

Even actor Ethan Hawke, who was in The Winter’s Tale at the Old Vic, said: “I can’t even read the plays, I know some people can but I literally have a tape of the production of the play and read it while I [watch] it.”

There has been a renewed determination to make Shakespeare productions even more accessible. There is a push to ensure productions communicate energy, emotion, the vital essence of the work, and do its utmost to be as lucid as possible for the modern ear.” This, of course, is down to the actor.

As Audition Doctor stresses, if you don’t understand the language, the audience won’t either. Hawke’s admission is reassuring as that it doesn’t make you less of an actor not fully understanding the language and having to discover the language. It’s in sessions such as at Audition Doctor that the text can be unpicked and pored over.

As Hawke said: “I love breaking down the text and figuring out what the words mean.There’s a great joy that comes from at one point not knowing what a series of sentences mean and then later being able to get a laugh on it. Not only do you know what it means but you can actually translate it to a thousand people…That comes from building the character and inhabiting the circumstances with such commitment and force.”

Audition Doctor is about the exploring as well as the resultant performance. The satisfaction that comes at the end of every lesson is why students return time and time again.

Ethan Hawke went onto admit that while writing was the most peaceful part of making theatre,  “there is a tremendous amount of anxiety and stress that comes along with performing…I feel like I’ve spent a great bulk of my life at war with my nervous system.”

Audition Doctor sessions are all about preparation which greatly reduces the stress that comes hand in hand with an audition. As Hawke said: “Shakespeare becomes so alive in the doing.” The “doing” at Audition Doctor ensures that you “live” the character honestly, thereby giving a truthful performance.