The Wayward Women at Poetry Talk

A scene from The Wayward Women will be featured on Peter Storey’s Poetry Talk, a monthly show discussing contemporary poetics.

PoetryTalk

Stop by the Public House Theater September 13th at 8pm. Guests include Jacob Saenz, Robyn Shanae, and myself. Immediately following my interview, The Wayward Women‘s Act 2, Scene 1 will be staged, featuring Adrian Garcia, Gilly Guire, Alexandra Boroff, and Katy Jenkins reprising their original roles.

You can also check out original production photos by iNDie Grant Productions right here!

wwPoetryTalk

“Leave the dying bee to buzz itself away.” Katy Jenkins, Gilly Guire, Alexandra Boroff, and Adrian Garcia in Act 2, Scene 1 of the world premier of The Wayward Women. Costumes by Delena Bradley. Lighting by Benjamin Dionysus. Photo by iNDie Grant Productions.

Playwright, Theater Stuff, Wayward Women

Hamlet’s Madness

Crossover art commissioned from Sarah Parker (The Monster Ghost)

Crossover art commissioned from Sarah Parker (The Monster Ghost)

It is intriguing that in all of Hamlet’s most compelling monologs about depression, about suicide, and about the ennui of fatality, he is always (at least possibly) performing for people he believes to be spying on him. When he speaks to the actual audience, when he is without question himself, he is angry. He is angry at his mother, angry at his uncle, suspicious of his father, angry at himself, and admiring of strangers. Hamlet is a man who hates the familiar, especially himself, and respects the strange because it has not yet disappointed him. He is a man who trusts very few, and spends little time around those he trusts (Horatio, and presumably Marcellus), and hungers for the attention of those who are unknown or unknowable. These are, in my mind, very much the actions of a depressed person: disdain for the familiar parameters of his own life. Meanwhile, “depressed Hamlet,” his antic (or perhaps “antique”) disposition, seem very much to run along the lines of a performance: people think and indeed want him to be depressed, so he decides to “be depressed” for those people. The fact that his most famous speech of all time blends and doubles over this obscurity is particularly fascinating.

Theater Stuff, Unrehearsed Shakespeare

The Hour of Errors Heads to Elgin

ElginShakesIn commemoration of the 400th anniversary of Shakespeare’s shuffling off, Unrehearsed is joining Janus Theatre in Elgin, IL for a production of our short-cut of Comedy of Errors.

Mural Alley
66 S. Spring Street, Elgin, IL
Saturday, August 13, 1:30pm

FEATURING:
Chris Aruffo
Robbie Bersano
Bill Daniel
Nathan Ducker
Gilly Guire
Kevin Johnson
Kate Lass
Jared McDaris
Kamron Palmer
Kaelea Rovinsky
Chad Tallon

Unrehearsed Shakespeare

One Chance Left to See Hamlet Unrehearsed

hbTO BE OR NOT TO BE? Unrehearsed Hamlet returns one last time, August 2nd (Tuesday).

BLACK ROCK PUB
3614 N Damen Ave
$5 At the Door

CAST, August 2 (Tuesday)
Robbie Bersano
Adam Betz
Bill Daniel
Marcee Doherty-Elst
Christopher Elst
Sarah Franzel**
Gaby Labotka
Jared McDaris
Kamron Palmer
Stephen Rowland
Jack Sharkey
Mike Speck*
Aiyanna Wade

*Special Guest Artist
**Student Performer

Feel free to browse some photos from our last production of Hamlet, 2010, or from our recent performance, July 19.

Theater Stuff, Unrehearsed Shakespeare

Unrehearsed HAMLET is coming this July!

hbTO BE OR NOT TO BE? Unrehearsed Hamlet finally arrives in Chicago! Featuring a completely different casts each night, this “The greatest of Master Shakespeare’s works” is presented in the wholly unique fashion of Unrehearsed Shakespeare!

HAMLET UNREHEARSED
July 19 (Tuesday) @ 7:30pm
July 25 (Monday) @ 7:30pm
August 2 (Tuesday) @ 7:30pm

BLACK ROCK PUB
3614 N Damen Ave
$5 At the Door

CAST, July 19 (Tuesday)
Carolyn Baker Biery
Alexandra Boroff
Erin Caswell Brutscher
Nathan Ducker
Megan Gilmore
Kevin Johnson
Zack Meyer*
John Mobley
Izis Mollinedo
Danny Pancratz
Jack Sharkey
Lisa Tosti

CAST, July 25 (Monday)
Alexandra Boroff
Erin Caswell Brutscher
Bill Daniel
Christopher Elst
Sarah Franzel**
Megan Gilmore
Dawn MT Haley
Deanne Haywood
Gaby Labotka
Kathleen Lass
Jessie Mutz*
Kaelea Rovinsky
Lisa Tosti

CAST, August 2 (Tuesday)
Robbie Bersano
Adam Betz
Bill Daniel
Marcee Doherty-Elst
Christopher Elst
Sarah Franzel**
Gaby Labotka
Jared McDaris
Kamron Palmer
Stephen Rowland
Jack Sharkey
Mike Speck*
Aiyanna Wade

*Special Guest Artist
**Student Performer

Feel free to browse some photos from our last production of Hamlet, 2010.

Theater Stuff, Unrehearsed Shakespeare

Under the Word: Death Takes a Half-Day, Chapter 1

grCHAPTER 1
The Tragic Inevitability of Wednesdays

*Plat*

Pratilda Shadow had been working in Chicago for about twenty years, and in all that time had effortlessly managed to evade pigeon droppings. It was such a sitcom cliche, in fact, that she had never given it any real thought. But now her black suit, which never seemed to fit right no matter how many times she had it adjusted (which was never because, after all, it never seemed to fit right no matter how many times she had it adjusted), had a geographically significant white mark running down the left breast, inching ever closer to the tiny, scythe-shaped pin that rested upon the lapel. Pratilda stood still in the middle of morning foot-traffic and stared down at the stain’s pilgrimage. Contrary to popular experience or supposition, the stain continued to run several seconds after impact. She waited. In time, the pigeon’s leavings made contact with the tiny scythe-shaped pin. Pratilda nodded in grim satisfaction, then made her way toward the office. Almost remarkably (though she largely felt that nothing necessarily bore remarking upon), not one person had bumped into her, shoved her over, or called her a bitch during the ten seconds that she stood in the middle of the sidewalk, immobile.

Though barely over five feet tall, Pratilda was not what one would call an insubstantial woman (a term she found endlessly, bitterly ironic). Squat and rotund, she become accustomed to eyes sliding over her, hesitating only to confirm that such a thing did indeed dare to occupy space before roving along to more conventionally compelling sights; of which Chicago offered many.

Finally, inevitably, someone bumped into her. A tall, athletic, square-jawed man in a blue button-down and gray pants walked by without comment, instantly blending into a sea of identical executives. Pratilda considered getting herself a second coffee before work. She pulled her cellphone from her slim black bag and checked the time.

7:26. She was going to be late. On top of that, a reminder appeared at the top-right of the screen: “Jonathan Moarney,” it read, “Lunch break – 10:17.” Pratilda’s eyes narrowed. She was not going to be able to change her jacket. She would just have to work without it, which would no doubt elicit commentary about the professionalism of her attire. She worked in a fairly relaxed office, and wore a black button-down blouse of an entirely conservative cut, but being a squat, rotund woman meant that her breasts inevitably drew more focus than the rest of her, so much so that passersby of all sexes seemed to feel that they existed quite deliberately and without permission, and that such existence required at least a judging glance, if not outright objection. Pratilda’s supervisors (plural) were by no means the most enthusiastic exercisers of this logic, but they were certainly adept students at the school of anatomical-commentary. Still, there was nothing to be done about it. Jonathan Moarney, 10:17, could not wait. Time and tide, as they say, waits for no man, and in Miss Shadow’s line of work the opposite was usually true as well. It should be noted, as she trudged onward toward her office, that Pratilda was decidedly not a tide.

Throwing caution to the proverbial, she crossed Jackson Street during a do-not-cross light, as so many people in Chicago’s Loop (the economic center of the city) so often did. There were essentially three types of pedestrians in the Loop: those who walked where they wanted when they wanted, those too timid to follow the example of the first, and those who required tacit permission from the first group before embracing their own capacity for solipsism. A small, bent man in his mid-fifties, evidently belonging to the third group, took a cue from Miss Shadow and slowly followed her across the largely inactive street. There was an audible thump, and Pratilda looked back, never breaking her stride, to see that the small man had been hit by a taxi not one yard from the curb. She continued on her way, indifferent, halfheartedly wondering who was going to take care of him.

Some clarification may be helpful at this point. “Take care of” should not suggest that Miss Shadow was wondering about ambulances or street sweepers. Pratilda had what many would call a hobby, which occupied the majority of her spare time, and which occupied the entire lives (such as they were) of many of her contemporaries. She herself would not call it a hobby, or a calling, or a passion, or any other equally patronizing term. It was a job. She did not receive compensation in any traditional sense for this job, but there were certainly benefits accrued, which was her sole motivation for continuing her (such as it was) employment.

Like many urbanites under the age of forty, Pratilda Shadow had two jobs. From 7:30 am to 5:00 pm, Monday through Friday, she was the office manager for Barvlok and Barvlok, a struggling accounting firm with (ironically) seriously mismanaged overhead. The rest of her waking life, and significant parts of the aforesaid hours as well when she could manage it, were dedicated to the commission, recording, and dispensation of death. She was, to put it in the broadest of terms, a grim reaper.

There were thousands, possibly millions, of such creatures in the world, floating about and reaping the souls of the recently deceased, ushering them on to their next mode of existence, and (at least in Pratilda’s case) filling out reams and reams of tedious paperwork afterward. Most of these grim reapers, possibly all others, were incorporeal in nature. It was an extremely convenient if somewhat boring style of manifestation, and if given the choice Pratilda would gratefully embrace incorporeality again. Sadly, no one had solicited her preference on the matter.

Miss Shadow had actually spent the majority of her existence as an Incorporeal. It was difficult to remember finer details, having not been constrained by time and, well, matter at that, well, time in her, well, life. As she recalled, she spent her time floating about mistily through streets and buildings and occasionally the Earth’s mantle, drawn toward the fatally condemned by instinct or something like it, siphoning up souls and dropping them off with blithe indifference, like an enormous and amorphous honeybee. The relevant information ascertained on this endless voyage was constantly transmitted to some unclear or unremembered entity via some no-longer-easily-understood connection she shared with it, and it with all her colleagues. Again, the honeybee metaphor applies.

Until one fateful day (though at the time she did not really understand what days were), her occupation drew her toward the parched wastelands of Las Vegas, Nevada, an area markedly bereft of Water. Being incorporeal and therefore brainless, she did not understand at the time that Water was the source not only of life, but also magic, fairies, mathematical truths, and generally all abstractions made constant. Excess of Water gave the Unreal life. It was often whispered that in the great expanses of the Pacific Ocean, massive quadratic equations could be seen breaking the waves like enormous Leviathan, consuming flying fish, small dragons, and the idea of Chivalry in their capacious jaws. It necessarily followed, then, that an absence of Water rendered a place exceptionally Real. Las Vegas was, in an example of infinite irony, one such abnormally Real place.

Pratilda was reasonably certain she had avoided Las Vegas for decades in her former existence, though at the time she did not understand what decades were. She often wondered how many other shades of death avoided the place as well, and what happened to all the neglected souls there. She never wondered very long, however: she was largely a pragmatic person.

However, for whatever terribly unfortunate reason, she had finally found herself drawn to Las Vegas some twenty-five years ago, where the excessive Reality had compressed Pratilda into her current, Corporeal nature. The sudden influx of gravity and hormones rendered her incommunicable for several weeks, after which time her employers (such as they were) insisted that enough was enough, and that her leave of absence would come to an end. They were unwilling to forego her services, despite the notable differently-abledness of being Real, and so a bureaucracy was erected to facilitate her continued work, in exchange for which she was allowed to stay alive despite the serious impediment of being several thousand years old. They issued her a black suit and identification (they chose the name “Pratilda,” but allowed her to pick her own last name; sadly, imagination was something that came with time), and redistributed her in Chicago, where they (and she) hoped the close proximity to Lake Michigan might one day restore her to Incorporeality. Pratilda suspected that such bureaucracy was proof that this sort of thing happened all the time, but was supremely uninterested in meeting other people like herself. She was bad enough company as it was. She also often wondered if a trip out into the middle of the Pacific might heal her of her newfound affliction, but thoughts of being digested by some bad poetry quashed her curiosity nicely.

She was sorely tempted, frequently, to offer a letter of resignation and let nature take its course. Sadly, Corporeality came with memory, and memory is a frustratingly unreliable means of accessing information. Miss Shadow could no longer remember what exactly happened to souls after death, nor whether death was an entirely pleasant experience. Regardless, her body came with all manner of anxieties and fears that prevented her from simply walking in front of a bus or starving herself. Despite her own best intentions, her body compelled her to continue existing. Although she had aged a little over the last quarter-century, she had every reason to believe this body was going to be the bane of her existence for several lifetimes to come.

At last, she had arrived at her office building. Barvlok and Barvlok was on the 63rd Floor, which was very expensive and just one example of the terrible decision-making process that dominated the firm. Pratilda had a number of ideas on how the accounting firm could save money, but the senior partners appeared to be supremely and paradoxically unconcerned about financial viability, and to be fair Pratilda was as well. She had been office manager there for over a decade, and people were starting to wonder how she stayed so (relatively) young-looking. It would be time to move on soon. Fortunately, Chicago was so populous, and the Loop so crowded, and city-dwellers so generally narcissistic and inattentive, it would likely be several centuries before she would have to leave the city entirely. Perhaps by then they would be building cities on the ocean, and she could risk poetic mastication in the hopes of returning to her former state.

Loop-dwellers, executives, wondered aloud quite frequently why cities like Chicago still existed. Why, after all, would anyone want to live and work in a city populated by trolls and fairy tale witches, where a poorly spoken insult just might pop into existence and exact revenge upon its speaker, where ancient gods would occasionally roll up in a party bus and drink an entire city block out of business? Why work in a city where an MDA (Master of the Dark Arts) could earn you an entry level position at Necromantic firms like Scoraxis and Smith (64th Floor, just above Pratilda)? Executives wondered these things in their offices. Hipsters wondered these things in their fair-trade hemp dispensaries. Part-time fast food workers wondered these things in their brokendown tenements. But they all knew the truth: cities like Chicago were the easiest places for an executive to get a retirement plan or a hipster to access creative outlets. As for the rest, they did not have the money or connections to leave. The fact that most successful cities were by large bodies of Water was an unfortunate reality inherited from the world before Reality decided to go into semi-retirement. The victims of this reversal of fortune, much like the cities themselves, were defined more by their inertia and habit than anything else.

Pratilda stared at her phone as the first elevator slowly climbed upward. Working on the 63rd Floor meant taking an elevator up to the 50th Floor, then switching over to a second elevator bank that would take her the rest of the way up. She was very much looking forward to leaving Barvlok and Barvlok. Sure, she had hoped to secure a pension before she left, allowing her to spend a little more time on her other job, but whatever let her spend less time in elevators would be nice too. More than once she had jolted awake at night, gasping and wild-eyed, haunted by visions of Godzilla (or a legally distinct yet similar beast) knocking over the building during a 9 am meeting. She was unsure how she felt about this potential eventuality.

Pratilda stared at her phone. A sloppily dressed, rail thin stork of a man was standing in the center-back of the elevator, and she could feel his red eyes boring into her. He was going to mention the pigeon-droppings, she could feel it. Yes, I am aware an abnormally large bird has taken an abnormally large shit on my abnormally large chest, thank you. At that moment, she would have given every dollar in her anemic bank account to prevent the inevitable commentary. Abnormally large bird. She wondered for a moment if it had been a pigeon after all. Maybe it was a giant bat or a gargoyle or Rodin (or a legally distinct yet similar beast). She was going to have to stop watching old Godzilla movies after 8 pm. She was going to have to stop eating sushi. She was going to have to start exercising more. She immediately shook off such ridiculous thoughts.

Pratilda stared at her phone. 7:36. The office should still be empty: no one would notice she was late, probably. It was pretty casual for an accounting firm. She would be fine.

Pratilda stared at her phone. “Jonathan Moarney” continued to glare back at her. She really, really did not want to take an early lunch that would not include any lunch. This sort of thing happened at least twice a week. Why was she so fat when she never got to eat? She was a grim reaper: shouldn’t she be as bony as the creepo staring over her shoulder at her chest? These were the sort of thoughts that ran through her head almost every time she rode the elevator. Better than claustrophobia, she decided.

“You got birdshit on your suit,” the creepo finally said. She ignored him. Before 9 am, Pratilda did not answer anyone unless they first said hello, good morning, pardon me, say, or offered some kind of similar preamble. She glanced down at her slim black bag and wondered idly where her taser was. She had not seen it in months.

They both got out on 50th Floor, Pratilda rapidly stalking over to the next elevator bank while the creepo said hello to a janitor. She continued to stare at her phone as she walked: she had no pressing emails or texts, it was just something to do. It was certainly better than interacting with people. Pratilda Shadow, despite having been an Incorporeal entity of perdition for thousands of years, was incredibly human.

The second elevator was halfway up to her office before Pratilda realized she was not alone. Using her peripheral vision, she discovered the lanky creepo had taken the same elevator. He was standing in the middle back wall, again. Pratilda was suddenly very preoccupied with her long-absent taser. Where was that thing? Under her bed, probably. She had never used it, anyway. She rarely went out at night, and was quite adept at sticking to crowded places during the day, despite her hatred of crowds. But no, it was the middle of the morning in the middle of the Loop. She was being paranoid.

Definitely.

The elevator opened on the 63rd Floor, and Pratilda impersonated a cannonball exploding outward as she propelled herself out the sliding doors. There, wedged next to a doorway leading to a few cramped offices, was the reception desk, where she would sit until the regular receptionist arrived at 9. To the right, a hallway led to the men’s room and a sea of gray, lifeless cubicles. Even now she could hear Gorplog, Carnifex, Tim, and the other nocturnal employees wrapping up their evenings and getting ready to head out. Miss Shadow marched with heretofore un-demonstrated alacrity to her seat. She turned and was about to sit when she caught sight of the tall, sloppy creepo standing there, staring at her.

She froze.

“Howdy,” the creepo offered. “I’m here to fix the lightning.”

“What?” she croaked. “They’re fine. You’re not Dave. What?”

The creepo’s red eyes widened in confusion. Pot-head, probably. “The uh, the lightning. For the computers. They’re run by lightning, right? I got a call late last night. I gotta fix the thunderclouds in the storm generator.”

Pratilda’s stare reached inconsiderate length. “Oh… Where’s Dave?”

“He’s out for the week.”

Pratilda glanced down. He was wearing a blue polo shirt. His black slacks looked like they had been crumpled up in the corner of a bathroom that morning. They were three inches too short. He had a name-tag on his shirt. It read “Jonathan.”

“Sorry,” she offered. “I’m Pratilda. Shadow.”

“Jonathan” he lit up, offering his hand. She did not take it.

“Jonathan… ?”

“Moarney.”

“Excellent! Yes! Welcome aboard! Yes! I’ll take you, I’ll get you, to the lightning, I mean. Yes!”

Jonathan Moarney retracted his hand and backed away. “Okay… cool…”

“Come on!” Pratilda was practically skipping down the hallway now. She might have time for a lunch after all.

Stories, Under the Word

Butcher Boggle comes to Chicago

381398_1After ten long years, my sci-fi one-act Butcher Boggle is finally being produced; as part of Otherworld Theatre‘s 2nd annual PARAGON Play Festival. It, and 39 other plays, will be coming your way soon.

Like many of my twenty-ish-minute one-acts, Butchger Boggle is a kinda-sorta indictment of indecisiveness, of doing things halfway. You can actually see this same indictment in Countess Bathory (which was just premiered here in Chicago and just closed; it was surprisingly popular), in the character of Duke Thurzo: he thinks too much and does nothing, while fanatics and narcissists change the world (for better or worse).

Maybe all these plays and characters are my therapy. I guess we’ll see.

Playwright, Theater Stuff

Bathory: Elizabeth, and the Courage of our Convictions

"Heart, petrify, and be as hoary Rock." Mary-Kate Arnold as Elizabeth Bathory. Lighting by Benjamin Dionysus. Costume by Delena Bradley. Photo by iNDie Grant Productions

“Heart, petrify, and be as hoary Rock.” Mary-Kate Arnold as Elizabeth Bathory. Lighting by Benjamin Dionysus. Costume by Delena Bradley. Photo by iNDie Grant Productions

As we all learned in high school (or earlier, if you’re lucky), a Tragedy is defined by its subject’s Fall, or reversal of fortune (or peripeteia, for the vocab buffs). The ancient Romans (and to be fair, Shakespeare himself) seemed to perceive no fall greater than death itself, but for the Greek ideal, there were fates worse than death, and the greatest Greek Heroes were those who recognized this, recognized that they deserved such punishment for their tragic flaws, and accepted their punishment rather than escape through death.

Elizabeth Bathory is, by virtually any metric, a selfish, merciless, parasitic, destructive person. She uses the commoners like animals (both for labor and for sustenance), treats the nobles with disdain, and shows love only toward those who are unequivocally in her power (and often not even to them). Despite all this, she is one of very few characters that is consistent in her own morality, and because of this conviction we can find a certain nobility in her tragic descent.

In a reversal of classic comedies, Countess Bathory begins with a wedding.

In a reversal of classic comedies, Countess Bathory begins with a wedding.

The play opens with Elizabeth, not at the height of her powers, but optimistic and possessing a clear trajectory toward victory. Her opening soliloquy (a parallel of Richard III’s “Now is the Winter of our discontent”) says as much: she is marrying Ferenc Nadasdy to seize his power and reputation. She succeeds by scene’s end, but the seeds of destruction have also already been planted. Despite her efforts, her husband has “infected” her with affection. Ironically (though I’d argue is a fitting reflection of our own times), it is Elizabeth’s capacity to love others, limited though it is, that ultimately leads to her destruction.

Elizabeth Bathory (Mary-Kate Arnold) with Kate (Aiyanna Wade), at the height of her power. Costumes by Delena Bradley. Lighting by Benjamin Dionysus. Choreography by Orion Couling. Photo by iNDie Grant Productions

Even so, the first three Acts of the play are a fairly straight line upward. The Countess is presented with obstacles, and she readily overcomes them using various talents and tactics, especially the myriad complications of 2.2. For Elizabeth, the first half of our production is very much a leapfrog between displaying her social and political talents before indulging bestial desire for domination and blood. This then leads to the first-half climax, 3.4, where the Bathory is allowed to indulge both to her fullest extent: as a general in battle, ruling over massive bloodletting, proving her political and strategic might, demanding and securing her own will over everything. “Let none deny I am indominable” she shouts out into the torrents of death. She does not yet know that her husband Ferenc is dying an ignoble death a thousand miles away.

"I will have royal blood!"

“I will have royal blood!”

In Act 4, Agamemnon‘s prideful tread upon the purple carpet is paralleled in Elizabeth’s luxurious recline in red. Just when she thinks herself unassailable, however, mortality reasserts its heavy hand with the news of her husband’s death. One of the only two people she loves (excepting her divined self) is gone. She responds by upping the ante and insisting upon royal blood tonight,

“For that’s the tincture that will elevate
My sloughing flesh into Gentility
And make my vessel fast eternally.”

The Fall takes another soaring dive with the apparent betrayal by Kate (the other object of her love), and of course the appearance of the distant hand of King Matthias at last making itself known. In one proverbial swoop, Elizabeth loses her loves, her trust, her power, her reputation; and most damningly of all, these reversals ruin her bid for immortality.

throat

“My fear is mine, you cannot take it from me.”

It is endlessly intriguing that, just before her arrest, Elizabeth has the blood of two people available to her. To achieve godhood, she chooses not the royal-blooded Katalin, but rather the common and servile Kate. This, more than anything, suggests that Elizabeth has some other, secret desire in the consumption of blood. The fact that she chooses Kate’s blood suggests that Elizabeth saw something unique in Kate, and yet refused to take her blood before this moment. That, or that Kate had only then become something new, something divine.

The Fall of Bathory

The Fall of Bathory

Elizabeth has unquestionably lost everything in the final scene, when even a glorious death is denied her by the spite and pettiness of the so-called virtuous. However, this play is not just a story of a powerful person losing everything: it is the story of someone fighting to maintain their beliefs in the face of mounting temptation. “Damn hypocrites,” Bathory calls everyone else.

“You Devils have Beauty, wretches the Divine,
But I alone possess them both, both mine.”

In this speech, Elizabeth further implies that honesty is not possible (in others) unless all artifice has been stripped away, even to such an extent that one’s social abilities and natural beauty is destroyed. It may be that her love for Kate comes only because Kate’s capacity to charm has been forcibly removed.

CB 006

The King declares the virtue of finery

King Matthias and Count Drugeth show that they are willing to say whatever they must, ally themselves to whatever ethics they need, in order to get what they want. Duke Thurzo appears morally consistent, but as he never does anything it’s difficult to say (it is incredibly appropriate that Thurzo, like the legendarily hesitant Hamlet, is dressed all in black). Petr Zavodsky is alone among Bathory’s adversaries in her moral consistency, but is so made by nature that Elizabeth can barely recognize her as human. Moreover, it could be argued that Zavodsky turns a deliberately blind eye to the King’s hypocrisy in order to achieve her own ends. This leaves the Countess alone as a morally consistent figure in a world that, regardless of its values, consistently abuses and dehumanizes the weak.

Final Tableau

In Act 5, the King offers Elizabeth three chances to escape her tragic fate, if only she will admit fault. Such an admission, however, would make her just like everyone else, and remove all justification (in her own eyes) for her terrible actions. It would make every accusation true, and deny her the Divinity in her own mind that she was unable to assert on Earth. Rather than accept an extraordinarily easy out, Elizabeth chooses a slow, painful, drawn out, ignominious end. She will be slandered, forgotten, and any history will be written by her enemies. No one will understand what she perceived as the rightness of her own actions. Except herself. And that, it seems, is what mattered most.

Her enemies dismiss her as mad, but as the too-thoughtful Thurzo says,

“What else is there, when Madness is giv’n sway?
What else but Madness when the Law is honor’d
In Letter while its Spirit is broken? What
Betokeneth this World where Words are Vapor
And evanesce with their own Breath? What greater
Revenge can this Devil betake on us
Than leave us in this Hell we have created,
Where Men crack fang’d Smiles, and naked Throats
Will justify their opening to us.
I have no Wisdom, not a Tincture for it,
To purge this thorny poison from our Veins.
Be off, be thoughtful, all of us, and ask:
What greater Penitence can we be worth,
Than t’ see ourselves in th’ Monsters of the Earth?”

"The Gods are beautiful and powerful / And through such blessings display their Favorites." Mary-Kate Arnold as Countess Bathory. Costumes by Delena Bradley. Lighting by Benjamin Dionysus. Photo by iNDie Grant Productions.

“The Gods are beautiful and powerful / And through such blessings display their Favorites.” Mary-Kate Arnold as Countess Bathory. Costumes by Delena Bradley. Lighting by Benjamin Dionysus. Photo by iNDie Grant Productions.

Countess Bathory, Playwright, Theater Stuff

Bathory: Deception in a Face

"But man; make me not this fallen race, so like th'Divine in form, so like Levaithan in action." Sarah Liz Bell as Katalin. Lighting by Benjamin Dionysus. Costumes by Delena Bradley. Photo by iNDie Grant Productions

“But man / Make me not this fallen Race, so like th’Divine / In Form, so like Levaithan in Action.” Sarah Liz Bell as Katalin. Lighting by Benjamin Dionysus. Costumes by Delena Bradley. Photo by iNDie Grant Productions

A lot happens in Act 4, Scene 2 of Countess Bathory. The playwright (me) perhaps demands a bit much of the audience by introducing a new character in the second-to-last scene, but in Katalin we see the thesis of the play in little. Aside from representing the continuance of the cycle of abuse, Katalin has two monologs, both of which describe the deceptive nature of appearances. In essence, she says not all ugly things are evil and not all beautiful things are good. It’s a message we hear all the time, but I feel that we (me especially) still need to hear, over and over.

“O wretch, thou art deception in a face,
For thy foul form did make me think a Devil
Of thee, but kindness like the holy Angels
Fonts out from hideous accoutrements.
A Pearl is hous’d in hard ridg’d shells, that time
And muscle must prize out, and so thy Soul,
As shining as the glorious Sun, is prized
Without the hard exterior tonight.”

This speech is also one of several times that Kate’s face is compared to rock, shell, and other solid things. While this can be an obvious commentary on the scabs and scars on her face, it is also an appropriate description of the character who most often keeps her thoughts to herself.

But Katalin doesn’t just remark on the dulpicity of beauty: she asks to be excused from a world where such dishonesty thrives. Not only is the most powerful and most beautiful woman in the world the seat of evil, but the King himself seems blithely unconcerned about her actions. Katalin asks God (or whoever will listen) to remove her from the human race, the only species that can choose mercy and yet so consistently does not.

“Devils! Devils! Devils! Devils! Devils!
What craggy and ensmoldered world is this
That birth and thriveth such Monstrosities?
What King will take my will away for her
Who here perverts the Nature of our land,
And turneth full luxurious against
A Woman’s ken? What creature bathes in blood?
What Parasite would feed upon her kin?
The Tiger’s dam will not consume her litter,
But what the lowest Beasts will not dare do,
She doth. Our King permits. Our King permits.
O Lord make me a weavil that bores into
The flesh of innocents. Make me a Wolf
That overpowers and devours the Lamb,
Or any wicked thing that Nature proves,
And I would call thee generous. But man,
Make me not this fallen Race, so like th’ Divine
In Form, so like Leviathan in Action.
O make me not Mankind, o Lord, and I
Will count my blessings greater than the Sky.”

After failing to give Katalin what she wants, Kate elects to go one further and actively escape the “civil jungle” of Hungary with her heart-rending “Kill my dreams” speech.

COUNTESS BATHORY is back, tonight and tomorrow. Reservations are full, but walkups are welcome.

June 9 – 25
Thursday, Friday, and Saturday at 7:30pm
4001 N Ravenswood Ave, Ste 405
ALL SEATS ARE FREE

 

Countess Bathory, Playwright, Theater Stuff

Bathory: What tokens, Lord, what signs of her Affection

Helena Jo (Kaelea Rovinsky) and Count Drugeth (Nathan Ducker) discuss unrequited affections. Lighting by Benjamin Dionysus. Costumes by Delena Bradley. Photo by iNDie Grant Productions

Helena Jo (Kaelea Rovinsky) and Count Drugeth (Nathan Ducker) discuss unrequited affections. Lighting by Benjamin Dionysus. Costumes by Delena Bradley. Photo by iNDie Grant Productions

For the vast majority of Countess Bathory, servants are either treated with scorn or ignored altogether. This is especially true of Helena Jo, who receives absent-minded rebukes more than anything else from Elizabeth. In Act 4, Scene 2, Helena has a couple of rare experiences: she briefly receives physical affection from the Countess, and Lord Drugeth speaks to her as an equal. In a sense, Drugeth even tries to convince her to abandon her cultish loyalty to Bathory, but this is ultimately unsuccessful.

For Drugeth, deigning to converse with a commoner is a sign of desperation. Drugeth scarcely speaks to Zavodsky despite his vested interest in the Adjunct’s investigation; he (like most) ignores Kate and later Jane, and even goes so far as to talk about the Witch behind her back in front of her face, like a piece of furniture. His disdain is by no means unusual, but it sets up a huge contrast with his actions in Act 4 (the only Act where he converses with commoners).

Drugeth was originally conceived as an amalgam of Othello‘s Rodrigo and a dime-store Iago: grand ambitions of clever manipulation, and entirely too susceptible to his feelings. Although there is still much to this, Drugeth is a privileged man scorned, like which Hell hath no fury. He sees himself reflected in Helena’s naive, confused, helpless, and above all wounded persona, and elects to not only abandon his unsolicited and unrequited worship, but moreover to punish the object of his misplaced affections. Drugeth’s similarities to the celebrity-worshipping middle class has been described before, but here we also see a resounding echo of the ego and privilege of a man. Elizabeth has deceived, seduced, manipulated, and tormented many people, but Drugeth was never one of them. She consistently rebuffs him, rebukes his open declarations of affection, and decries in no uncertain terms that he has no right to possess, command, or even appeal to her in any way. But Drugeth sees and hears what he wants, and decides to punish the imaginary spurning of his imaginary love in a way too cruel for any other adversary to devise.

In Act 5, Elizabeth is betrayed five times. The King betrays their noble blood for money, Thurzo betrays their familial love through indecision and inaction, Zavodsky betrays morality through her myopic dedication to the establishment, Drugeth betrays his professed love for spite, but Helena Jo’s betrayal is greatest of all: she betrays her religius devotion to Bathory because she is too weak to be a martyr.

But back to 4.2. This brief sequence between Helena Jo and Drugeth was originally conceived as a buffer between Bathory’s exit and the arrival of Zavodsky. Helena’s lines were there purely as a coy, slightly accusatory setup for Drugeth to perhaps qualify his epistles of love with some genuine feeling.

“What tokens, Lord, what signs of her Affection
Hath my Lady offer’d thee?”

This is the second time in the play when the word “token” is used as a direct contrast to blind faith. Ironically, Elizabeth’s own husband demonstrates how fragile and useless tokens can be once received.

When we finally rehearsed this scene, Helena (actor Kaelea Rovinsky) made the much more impactful choice of asking a question that affected her personally. Helena, who to date has received one token of affection in her time with Bathory (earlier in this very scene) asks Drugeth why he continues to pursue someone who so openly rejects him. It’s a valid question, and one that Helena can relate to. Elizabeth has a strange, intimate relationship with Kate; she shared loving moments with Anna Darvolya; she openly solicits the Witch Erzi Majorova’s council. Jane Maridova receives little affection, but she is validated and (after all) is allowed to keep her life after it is threatened. Helena Jo alone is consistently ignored or shunted aside, despite being Bathory’s most loyal zealot. It’s small wonder then that Drugeth chooses, briefly, to identify more with this wronged idoloter than the narcissistic nobles he more readily resembles.

In a monolog resembling Hortensio’s defiance of romantic love, Drugeth decides at 4.2’s end that there is no point in romanticism. Even Nadasdy, the only man to receive genuine love from Elizabeth, ultimately got little out of it. In the end, Drugeth is as pragmatic as anyone, and chooses cunning and cruelty over devotion. Considering Helena Jo’s fate, and the character of whom they worshipped, it is a little difficult to blame him, despite the revolting nature of his repentence.

“Oh would I could a Westerner become,
But I am chained like the Bruin, without
A star to pull me from my prison’d sight,
I fear I’ll stay and share my Lady’s plight.”

COUNTESS BATHORY is back, Thursday – Saturday. Reservations are full, but walkups are welcome.

June 9 – 25
Thursday, Friday, and Saturday at 7:30pm
4001 N Ravenswood Ave, Ste 405
ALL SEATS ARE FREE

Countess Bathory, Playwright, Theater Stuff