Bathory: Petr Zavodsky & the Prosaity of Virtue

"Blind Cupid sings / A herald note to ev'ry God of Love / And ev'ry devil was beauteous once Above." George Thurzo (Chris Aruffo) pontificates on objectivity while Zavadsky (Sarah Jean Tilford) is overshadowed. Costumes by Delena Bradley. Lighting by Benjamin DIonysus. Photo by iNDie Grant Productions.

“Blind Cupid sings / A herald note to ev’ry God of Love / And ev’ry devil was beauteous once Above.” George Thurzo (Chris Aruffo) pontificates on objectivity while Zavadsky (Sarah Jean Tilford) is overshadowed. Costumes by Delena Bradley. Lighting by Benjamin DIonysus. Photo by iNDie Grant Productions.

Petr Zavodsky is, by most measures, the hero of Countess Bathory. She doggedly pursues justice against the evil Elizabeth; she is motivated not by gold or personal vendetta but by moral right; she is of humble birth (something we’re supposedly really big on in the US); and she overcomes many obstacles, rebuffs, and outright humiliations to accomplish what is right. There is no one else in this play that actively champions a selfless cause.

Unfortunately, the structure of the story and the elements of our production depict poor Zavodsky as a villain, or even a mere villain’s henchman.

Petr is the opposite of Elizabeth in virtually every regard. Elizabeth is highborn, wealthy, in charge, motivatedly selfish, charming, beautiful, and possesses the self-awareness of how to use these considerable advantages. Petr is common, un-moneyed, an assistant, myopic in her motivations, guileless, rodent-like (thanks to a gorgeous performance from actor Sarah Jean Tilford), and has no idea how to apply the limited advantages these attributes afford.

But Zavodsky has right on her side, dammit, and she’s gonna push that as far as it can go. Sadly, no one seems to appreciate Zavodsky’s virtue. She is unpraised, oft mocked, and never acknowledged for her efforts nor even her eventual (arguable) victory. She seems to graduate at some point from Thurzo’s assistant to the King’s, but there is no official word, and she continues to be alternately threatened or bossed around, depending on where she is.

The fact that the sexless Zavodsky is reviled by both sides, dismissed and ignored, while everyone worships either the stereotypically “male” King Matthias or the decidedly “womanly” Countess Bathory, is a point I’ll leave largely to more educated minds than my own.

It’s lucky then for Petr (and for all the young women of Hungary) that this adjunct seems utterly unconcerned with how others view her. Humble, pious, and zealous in her persuit for justice, Zavosky’s only reward in the end is that justice is done. We should all be so fortunate as to have civil servants such as she.

Countess Bathory, Theater Stuff

Bathory: Jane Maridova, Adaptation & Cultism

Jane Maridova (Lana Whittington) is forced into complicity in the Blood Ritual. Costume by Delena Bradley. Lighting by Benjamin Dionysus. Photo by iNDie Grant Productions

Jane Maridova (Lana Whittington) is forced into complicity in the Blood Ritual. Costume by Delena Bradley. Lighting by Benjamin Dionysus. Photo by iNDie Grant Productions

Last year, I ran a little workshop with the script for Countess Bathory. My ulterior motive was to work on ways I might communicate better as a director, but I also wanted to locate cuts and expand and diversify the women of the cast. Although most characters benefited from this process, by the far the most successful was Jane Maridova.

In the original script, Jane had two lines and barely a name. The only reason she had this name was so Helena Jo could go on a creepy sex-joke tangent about “Scabby Jane,” in order to link this play to Sycorax (which I might now never write). Since then, Jane has expanded to three scenes and has a clearer arc, perhaps the most representative of the cycle of cultist abuse.

Jane first appears as the victim of a con-woman attempting to steal her inheritance. Misfortunate forces her into the circle of Bathory’s servants, where she is quickly compelled to make a choice: abandon her entire personality and swear allegiance to Elizabeth Bathory, or die. Immediately after abandoning all her principles, she is ordered to prove her loyalty through complicity in their abuse. Though she is clearly not onboard with this new life (at least in our production), the next act sees her in full Menagerie mode, making derisive (and blasphemous) sex jokes alongside Helena Jo and adapting her own physicality to the animalistic behavior of Csejthe Castle.

Jane is unique amongst Bathory’s victims because she fights for so long. She does not submit demurely to the huckster Witch, nor even to Bathory at first. Even in the ritual scene, when the Witch is standing there holding a knife, Jane boldly strides up to her and calls her out for what she is. Still, like most of us, when the specter of death becomes a very real thing standing in front of her, she abandons her strength in order to survive. This strength is reborn in the form of cruelty and mockery, just like Helena Jo, or Anna Darvolya, or even the Witch. As King Matthias says,
“The strong are prosperous
And hold their sway: the weak shall pass away.”

Jane is a foil for Kate, who resists complicity as much as she is able. Ostensibly, Jane suffers less for playing along, but she also becomes largely indistinguishable from the other ‘animals’ of Bathory’s court. She is also one of very few characters whose fate we never learn. All we get is a cryptic aside from Helena Jo, “she is gone,” in reference to Scabby Jane, which might not even be a literal reference to Jane Maridova. Jane survives, presumably, but fades away into nothing.

COUNTESS BATHORY is back Thursday – Saturday. Be sure to reserve your FREE seats now!

June 9 – 25
Thursdays, Fridays, and Saturdays at 7:30pm
4001 N Ravenswood Ave, Ste 405
ALL SEATS ARE FREE

Countess Bathory, Theater Stuff

Bathory: Perpetuating Status Roles

Katy Jenkins as The Witch and Kaelea Rovinsky as Helena Jo. Costumes by Delena Bradley, Lighting by Benjamin Dionysus. Photo by iNDie Grant Productions

Katy Jenkins as The Witch and Kaelea Rovinsky as Helena Jo. Costumes by Delena Bradley, Lighting by Benjamin Dionysus. Photo by iNDie Grant Productions

Countess Bathory presents a cast thoroughly calcified in various caste positions, both by birth and by psychological manipulation. Nowhere is this more evident than in Helena Jo, Bathory’s “Bear” (played by Kaelea Rovinsky). Though ursine in appearance, even going so far as to describe herself as a bruin, Helena is loyal as a dog; she doesn’t even seem to have any concept of a world outside of servitude to the Countess. Every other servant has ambitions beyond their current status, or remembers a time when they were not so oppressed. Helena alone seems to exist solely in this world, even going so far as to reject the concept of escape.

Helena Jo is also unique in that she has an opportunity for promotion among the servants. At the play’s opening, Anna Darvolya is the senior servant: Helena Jo spends her time both currying Anna’s favor and abusing those beneath her. When Anna dies of an unspecified illness, Helena Jo seems to be in charge of running the house. She delivers messages for Bathory and either communicates with or serves as the porter. She’s clearly uncomfortable in this role, though, and the Countess is quick to let Helena know she is not great at her job.

Helena seems to be at the apex of her power in Act 3, Scene 2: harassing, commanding, and abusing three servants, presenting herself as the high priestess to a religion dedicated to Elizabeth Bathory. This dynamic vanishes, however, with the entrance of the Witch. Played by the same actor who portrays Anna Darvolya (Katy Jenkins, in this case), Erzi Majorova sweeps into the second-in-command position without so much as a by-your leave, leveraging her unique skills and obvious penchant for hucksterism to become Elizabeth’s confidant; at least in terms of the metaphysical. There is a noticeable parallel to Reagan’s psychic consultations (though presumably Reagan was not a fan of bathing in blood), and it remains unclear to the very end whether the Witch’s rites and rituals are having any effect at all, or if she is merely taking advantage of Bathory’s paranoia and delusions.

We see a markedly demure Helena Jo after this scene. There is no more abuse from her. She works in tandem with Jane (their newest acolyte), seemingly as an equal, and more than once warns Kate (the omega wolf) against endangering herself by angering the Countess. Act 4, Scene 2 seems to culminate in a choice for Helena: break away from a self-deifying abuser that has shown her virtually no sign of affection or appreciation, or double-down her cult-like loyalty in the hopes that, in the face of crisis, there will be some ultimate reward. “I am my Lady’s bear, then bite me, Dog / And prove the justice of a noble office.” Even after making her choice, she displays much of the confusion and guilt of an ambivalent apostate.

COUNTESS BATHORY is back Thursday – Saturday. Be sure to reserve your FREE seats now!

June 9 – 25
Thursdays, Fridays, and Saturdays at 7:30pm
4001 N Ravenswood Ave, Ste 405
ALL SEATS ARE FREE

Countess Bathory, Theater Stuff

Bathory is Back!

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“Mary-Kate Arnold does a spectacular job capturing the strength and drive of Bathory.” – Jerald Raymond Pierce, Chicago Stage Standard

COUNTESS BATHORY is back, Thursday – Saturday. Be sure to reserve your FREE seats now!

June 9 – 25
Thursdays, Fridays, and Saturdays at 7:30pm
4001 N Ravenswood Ave, Ste 405
ALL SEATS ARE FREE

"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, Theater Stuff

U/S JD Whigham Joins Bathory This Weekend!

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JD Whigham as the Swiss Messenger in The Wayward Women (March – April, 2016) Also pictured: Amanda Carson as The Duchess, Jack Sharkey as Cordelius, and Lauren Miller as The Magistress.

JD will be joining the cast of Countess Bathory this weekend as George Thurzo, high magistrate and (oft ignored) voice of reason in Baroque Hungary.

JD was last seen with We Three as the Swiss Messenger in The Wayward Women, where his drive, narration, underplaying, and modicum of snark provided a beautiful contrast and climactic button that ended the play wonderfully.

Countess Bathory has a slightly different mood than The Wayward Women

Countess Bathory has a slightly different mood than The Wayward Women

COUNTESS BATHORY is back Thursday – Saturday. Be sure to reserve your FREE seats now!

June 9 – 25
Thursdays, Fridays, and Saturdays at 7:30pm
4001 N Ravenswood Ave, Ste 405
ALL SEATS ARE FREE

Countess Bathory, Theater Stuff

A Brief (?) Moment of Weakness

I wish there were buzzfeed-esque articles telling people why my plays are brilliant, and why people should appreciate them. It seems to work out well for nearly everything else. “Why Redgrin Grumble’s speech on the Dog Channel is important, and how it’s changing America.”
 
Have you ever noticed the endless line of people ready to explain why Tom Stoppard’s deliberately esoteric plays are made better by their deliberately inpenetrable material and the library of information you must consume in order to appreciate them? But when it comes to Shakespeare, or really anything else, we must be in a perpetual state of apology. Terribly sorry Sir, let me dumb that down for you a little bit more. Because of the ironic success of Rozencrantz & Guildenstern Are Dead (and make no mistake, that was very much an early example of Hipsterism), audiences are expected to put in hours of work before, during, and sometimes even after a Stoppard performance, and if they don’t well they’re just philistines. And Stoppard’s tedious research-papers-onstage continue to get produced. But Verse, well, let me get all those scary words out of the way for you, Sir.
 
I suppose it’s my fault for choosing what inspires me, as we all do.
Random Stuff

Countess Bathory Returns Tomorrow

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Countess Bathory is “Beautifully penned… with Mary-Kate Arnold nailing a role she was born to play.” – Ellen Cribbs

COUNTESS BATHORY is back this coming Thursday – Saturday. Be sure to reserve your FREE seats now!

June 9 – 25
Thursdays, Fridays, and Saturdays at 7:30pm
4001 N Ravenswood Ave, Ste 405
ALL SEATS ARE FREE

"Heart, petrify, and be as hoary Rock / Befriended but my silt and sand." Mary-Kate Arnold as Elizabeth Bathory. Costumes by Delena Bradley. Lighting by Benjamin Dionysus. Photo by iNDie Grant Productions.

“Heart, petrify, and be as hoary Rock / Befriended but my silt and sand.” Mary-Kate Arnold as Elizabeth Bathory. Costumes by Delena Bradley. Lighting by Benjamin Dionysus. Photo by iNDie Grant Productions.

Countess Bathory, Theater Stuff

Everything You Could Want… And More

“Tired of seeing Romeo & Juliet and King Lear for the 50th time? Then you should definitely check out Countess Bathory: A New Elizabethan Tragedy by Jared McDaris. It is everything you could want in a Shakespeare Tragedy and more. More than you are expecting. Of that I’m certain. They just opened so go see it! It’s a bloody good time.” – Brendan Stallings

COUNTESS BATHORY is back this coming Thursday – Saturday. Be sure to reserve your FREE seats now!

June 9 – 25
Thursdays, Fridays, and Saturdays at 7:30pm
4001 N Ravenswood Ave, Ste 405
ALL SEATS ARE FREE

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King Matthias II (Joshua Carroll) extols the virtues of Beauty. Costumes by Delena Bradley. Lighting by Benjamin Dionysus. Photo by iNDie Grant Productions.

Countess Bathory, Theater Stuff

Humanity and Beauty… Believable and Horrifying

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“GO SEE THIS PLAY!! Gorgeous writing and truly exceptional acting. Mary Kate Arnold brings the  countess fully to life, imbuing her with a humanity and beauty that  makes her actions all the more believable and horrifying. A wonderful evening at the theater!” – Laura S.

COUNTESS BATHORY is back this coming Thursday – Saturday. Be sure to reserve your FREE seats now!

June 9 – 25
Thursdays, Fridays, and Saturdays at 7:30pm
4001 N Ravenswood Ave, Ste 405
ALL SEATS ARE FREE

Helena Jo (Kaelea Rovinsky) has second thoughts on the latest victim of Countess Bathory (Mary-Kate Arnold). Costumes by Delena Bradley. Lighting by Benjamin Dionysus. Photo by iNDie Grant Productions

Helena Jo (Kaelea Rovinsky) has second thoughts on the latest victim of Countess Bathory (Mary-Kate Arnold). Costumes by Delena Bradley. Lighting by Benjamin Dionysus. Photo by iNDie Grant Productions

Countess Bathory, Theater Stuff

Bathory Burns On

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“Dark subject matter handled deftly, surprising moments of humor and pathos… it was very pleasant to hear non-Shakespearean verse that was just as passionate and fiery as the Bard’s.” – Jeremiah Barr

COUNTESS BATHORY finishes its first weekend tonight, but we’ll be back next Thursday. Feel free to drop by tonight, and we can try and make room for you, or reserve a seat for next weekend.

June 9 – 25
Thursdays, Fridays, and Saturdays at 7:30pm
4001 N Ravenswood Ave, Ste 405
ALL SEATS ARE FREE

The Wedding Dance. Choreographed by Sarah Liz Bell. Photo by Benjamin Dionysus, Lighting Designer

The Wedding Dance. Choreographed by Sarah Liz Bell. Photo by Benjamin Dionysus, Lighting Designer

Countess Bathory, Theater Stuff