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 preparationsâhe 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 naÃ¯vetÃ©, 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 himâhave 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. Heâs covered in beetle dung. Heâs gagging on the putrid air. I see him claw his way out
Theater – Duke University Press
Published: Jan 1, 2000
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