…an improbable fiction – TWELFTH NIGHT, III iv

All three shows in this summer’s season of Kentucky Shakespeare feature one of those little moments I love, which keep us (the show-makers) from getting too precious about ourselves. Shakespeare loves to throw these in, but they’re not always there and I’m glad we have one in each of this year’s scripts.

That is to say: cheap and easy metatheatre, not of the more obvious and showier Hamlet/Midsummer lay-within-a-play type but rather that kind where a character says in so many words, “Huh; it’s almost like you people are watching a play right now or something…” and the audience says, “Yup.” No litcrit treatises required, just a pleasant but trippy little flash of the Droste effect.

The techniques of actors are mentioned when the conspirators meet in Julius Caesar and Brutus admonishes them not to look all dark and guilty about this (“good! – I swear! – good!”) project they’re about to embark on, lest someone catch on too soon:

          Let not our lookes put on our purposes,

          But beare it as our Roman Actors do,

          With untyr’d Spirits and formal Constancie,

“untyr’d” in this case playing with the obvious sense of “not tired” but also “undressed”, “not attired” (seeing as how the Frenchy word “costume” didn’t sneak across the Channel for another couple of hundred years and actors were still changing backstage in what they called a “tiring house”), which is gloriously tricky talk: don’t look guilty because a) that will blow the whole plan but also importantly b) what, when you strip everything away, do you have to look guilty about when our basic purpose is so gosh-darned pure? Oh, Brutus. Stoicism doesn’t mix well with your naïve grasp on human nature. Been there, pal.

But that’s less metatheatre than a useful simile. The fun bit comes right after the fun and difficult to stage stabby scene* when Cassius has the (purely genuine or meant to manipulate or both? Actor’s call) philosophical presence of mind to wonder:

                                       How many Ages hence

          Shall this our lofty Scene be acted over,

          In State unborne, and Accents yet unknowne?

Brutus picks up the thought:

          How many times shall Caesar bleed in Sport

          That now…lye along,

          No worthier than the dust?

And then Cassius chimes back in with one of the play’s many understatements of gross miscalculation:

          So oft as that shall be,

          So often shall the knot of us be called,

          The Men that gave their Country liberty.

The path of that thought gives the audience a nice trajectory from “You called it, Cassius” to “Cool; we’re watching that happen right now” to “But guys, that whole spin doesn’t really play out for you in the long run” (or, if the audience knows the play, even the incredibly short run).

Richard II is all about pageantry and a king who lives for it, but he doesn’t speak in theatrical terms as often as you’d think. The real meta moment comes just after his super-fancy deposition scene with the broken mirror and the “Ay, no, no, I” business and all kinds of melodrama, Richard being a terrific part to tear a cat in** – and the next scene starts with Richard’s uncle York telling his wife the story of Henry IV’s triumphant ride amongst the people and the way-less-triumphant Richard’s similar ride after him:

          As in a Theater, the eyes of Men,

          After a well grac’d Actor leaves the Stage,

          Are idlely bent on him that enters next,

          Thinking his prattle to be tedious,

which manages both to compare the less-popular Richard with the triumphant Henry, but also compare the scattered and about-to-be-quite-comic (at last – this play is sparse on the levity) actor playing York with the impressiveness of the big Richard set piece that preceded this little scene of would-be domesticity and boots. I laugh every time in rehearsal, and the actor playing York isn’t particularly playing it up. It’s just unavoidable.

There’s little of this in Much Ado, since the scenes in which Beatrice and Benedick are tricked into romance are so inherently theatrical it’s scarcely worth mentioning in great detail. But just in case you were nodding off, at the end of the fooling of Benedick, Don Pedro mentions it anyway:

          the sport will be, when they hold one an opinion of another’s dotage, and no such matter, that’s the Scene that I would see, which will be merely a dumb show…

“merely a dumb show” being an odd way to describe any scene between Beatrice and Benedick, who even for characters in Shakespeare are chatty (and prose-chatty at that which is harder to memorize than verse-chatty, believe you me). Perhaps he’s just thinking wishfully; perhaps, considering that the dumb show usually served as a prologue to the main action, that’s more what he’s going for. There are, as always, options.

As I said, I’m happy these little nuggets appear in each of the summer’s plays because I love to look for the little similarities in plays that weren’t chosen by that criteria. More connections will start popping up once we’re doing all three in rotation. They always do. Assuming there’s anything left of our minds to notice such things at that point…


*I’ll be Caska in ours and I’m looking forward to going in with the first poke, partially for Drama and partially because it’s only going to get harder to stage from there.

** that’s from Shakespeare…

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