always buzzing just like
Anyway, being twenty-one is pretty okay I think. People sent me some lovely birthday wishes and I went and saw the LA production of Equivocation with a few friends. It wasn't as good as the Ashland one -- they went for modern costumes, which, uh, no, and also Sharpe wasn't John Tufts and Armin wasn't Gregory Linington who are two of my True Loves of Ashland, and Cecil was just bad. But! Shakespeare was Joe Spano, and he was pretty good, and Judith was McGee's Sister Troian Bellisario, and she was pretty good, and my favorite character in the play, Henry Garnet, the Jesuit love of my life not counting robots, was played by the Mayor from Buffy, and he was amazing. Just fantastic. It's hard to do Garnet badly, I guess, but, well, he went so well from the fatherly tension of Garnet and Shakespeare in the cell to the cough 'brotherly' tension of Richard Burbage and Shakespeare having a fight! So wonderful.
It did raise the question in my mind of how to do Cecil right. Cecil is the main villain (if you haven't seen the play you may know him as the son of the guy from this Kate Beaton comic) and he has a severe limp. I was under the impression that this was historical, although I'm not as sure about this now, but let's assume that it is historical and not just a douche move by Bill Cain. It means that you have a political operator, sometimes sympathetic but usually just conniving, with a major physical deformity of the kind usually used for some pretty ablist symbolism. Is there any way to play Cecil as a character with a limp who is also "twisted" instead of Cecil as a character with a limp who is therefore twisted? Should you cut the limp entirely? (Presumably the Richard III resonances wouldn't work quite so well, but his hump was imaginary, too.) Considering his role as a Cheney analogue, does he have to be sick in some fashion to draw the parallel to Cheney's heart disease, or is it superfluous? How would you direct it?
(
