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I like to think of iambic pentameter as something like a grid underlay. It's there to create organization, but it's not the focus of the presentation. If you hammer the rhythm, it's like blacking the lines of the grid and obscuring the text. Shakespeare was actually pretty good about matching the meter to fairly natural speech. Take the line quoted in the text, "Thus conscience doth make cowards of us all." You'll probably find that you naturally stress CON, COW and ALL, hitting three points of the "grid." That's sufficient. Forcing an accent on DOTH and OF is unnatural and unnecessary.
Along similar lines, some years ago I really enjoyed https://www.youtube.com/watch?v=gPlpphT7n9s as an introduction to the realities of the pronunciation of Shakespeare's English. Jump to 5 minutes in for a demonstration of how "lines" and "loins" were pronounced the same and resulted in a pun that's missed in modern pronunciation.
I've always struggles with iambic pentameter. I know what it is but the de-dum de-dum explanation doesn't sound anything like what I hear in performances, original pronunciation or not. Rather than a galloping rhythm, actors seem to leave cavernous pauses in the middle of lines wherever they like. There must be a reason for it, or it wouldn't be included, but what is the effect it's supposed to give?
From time to time, there'll be a local news piece about how Seabrook, NH natives supposedly speak the closest thing to the original Elizabethan dialect still in existence. If you've ever heard a Brooker talk, it's certainly nothing like any performance of Shakespeare I've ever heard (although it does make you think about checking them for webbed toes...)