Romeo Sierra Tango

Romeo Sierra Tango Lights come up on a raised platform covered in crumpled brown paper. Wads of brown paper obscure the facing on the downstage edge. The platform has two shallow trenches within it. White shirts are scattered about the platform. As he speaks, the actor is seen making final preparations—he is dressed only in Skivvies with a muddy white shirt tied by the sleeves around his waist, making a thin skirt. He is covered in not yet dry clay. He dons a World War I ammunition belt and slips under a length of brown white paper. Romeo reminds me of America, its reckless naïveté, its youthful vigor, its dangerous enthusiasms, its exaggerated self-importance. But while I can imagine a more mature, wiser America, Romeo remains fixed in his deluded solipsism, an obnoxious violent fool, masquerading as a lover. Romeo is no good to me like that. So I resurrect him—have him wake up months later in the tomb. I see him open his uncomprehending eyes, stir, begin to realize his situation. There he is lying next to the decomposing body of Juliet. He’s covered in beetle dung. He’s gagging on the putrid air. I see him claw his way out http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Theater Duke University Press

Romeo Sierra Tango

Theater, Volume 30 (2) – Jan 1, 2000

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Publisher
Duke University Press
Copyright
Copyright 2000 by Yale School of Drama/Yale Repertory Theatre
ISSN
0161-0775
eISSN
1527-196X
DOI
10.1215/01610775-30-2-93
Publisher site
See Article on Publisher Site

Abstract

Lights come up on a raised platform covered in crumpled brown paper. Wads of brown paper obscure the facing on the downstage edge. The platform has two shallow trenches within it. White shirts are scattered about the platform. As he speaks, the actor is seen making final preparations—he is dressed only in Skivvies with a muddy white shirt tied by the sleeves around his waist, making a thin skirt. He is covered in not yet dry clay. He dons a World War I ammunition belt and slips under a length of brown white paper. Romeo reminds me of America, its reckless naïveté, its youthful vigor, its dangerous enthusiasms, its exaggerated self-importance. But while I can imagine a more mature, wiser America, Romeo remains fixed in his deluded solipsism, an obnoxious violent fool, masquerading as a lover. Romeo is no good to me like that. So I resurrect him—have him wake up months later in the tomb. I see him open his uncomprehending eyes, stir, begin to realize his situation. There he is lying next to the decomposing body of Juliet. He’s covered in beetle dung. He’s gagging on the putrid air. I see him claw his way out

Journal

TheaterDuke University Press

Published: Jan 1, 2000

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