ernest: (Default)
Fandoms: Twelfth Night, Hamlet
Characters: Viola, Hamlet, Claudius (mentioned), Gertrude (mentioned
Warnings: Horror, Surreal, Doppelgangers
Word Count: 1260
Summary: Viola holds, as 'twere, a mirror up to nature, and enters a castle sealed tight as a tomb

From a prompt generated by [personal profile] thisbluespirit : "Viola + Hamlet - doppelganger & stranded/survival scenario"




Lost on the high seas and sent down the wrong leg of the Trousers of Time, Viola never ends up in the funhouse mirrors of Illyria. She has no reason to recall the stories her father has told her of that country where nothing is but what is not. As she approaches the castle of Elsinore in her guise of a page she has no way of knowing that the reflections hidden behind its rough-hewn battlements are shadows of motion glinting off polished marble, and two-way mirrors that give all hallways the sterile glare and dim horror of an interrogation cell.
 
The front entrance is clearly only intended for the use of visiting dignitaries and the imposing expanse of wood unnerves her. Telling herself that it is only because she would not wish to inconvenience the doubtless dozens of people it would take to operate it, she moves around to the side, where she finds a door meant for daily use: more extravagant than those used by servants, but less overwhelming than the first. But actually, “daily use” may be pushing it, because this whole lonely place feels like somewhere whose inhabitants rarely leave it, and which hardly ever receives visitors. It is sealed up tight. Still, Viola knocks; her circumstances do not afford her many options.
 
ernest: (Default)
 I saw a really good production of Twelfth Night yesterday, and I have high standards for this play.

Viola and Feste were both played by nonbinary actors, and if there were ever appropriate characters for that casting choice, it's the person who finds themself in a strange world and moves between identities like water, and the fool who is a self-proclaimed corrupter of words.

Malvolio was played by a woman, which, gosh, everything about that storyline is way sadder with that choice. In this play where everyone is crossing boundaries and one of the most stunning monologues of the whole thing  involves the lines:
What will become of this? As I am a man,
My state is desperate for my master's love.
As I am woman, now, alas the day,
What thriftless sighs shall poor Olivia breathe

then to have Malvolio not only be a servant pining for a master, but also the transgressive attraction of one woman for another, is way sadder. The three main lovers are given grace for their love, but Malvolio isn't, and it's just awful! In the darkened room scene (which is uncomfortable at the best of times) she was just sobbing through the whole thing and begging Feste/Topasz to help her, and emphasized "no man was ever used thus"

I've seen productions where Feste regretted his role in this part of the charade, and kept hesitating before mocking Malvolio some more, while Toby and Maria egged him on. This Feste seemed instead to delight in the havoc and confusion they planted everywhere, and seemed more along the lines of Puck or Ariel, which was a terrific new take on it.

The man playing Sir Andrew was over seven feet tall and moved like a skinny beanpole scarecrow, and he was an absolutely perfect gull for Toby.

Any Twelfth Night worth its salt has Antonio desperately in love with Sebastian, and the really good ones have Sebastian return that love, and this one delivered both! Sebastian dressed like a sad gay poet in a 1950s boys boarding school, and when he saw Antonio in the last scene he ran (straight past Viola) into his arms and gave the purest hug ever.
ernest: (Academia)
First of all, I've finally decided that I'm going to prom. I've been going back and forth about this for weeks, if not months, weighing the amount of fun I'm likely to  have there against how much I would regret not going.

So my mom and I went dress shopping and had an incredible amount of luck. First store we went into was Forever Twenty-One, and the second dress I tried on was just perfect, and less than forty dollars. It has black flowers on a white background, with a modest amount of tulle and frilly stuff, and most importantly, it's strapless! This is a really big deal for me, because I'd normally never ever wear a dress like this, but hey, it's prom.

Another bit of luck. A friend of mine at church gets season tickets to shows at the Chicago Shakespeare Theater, and this month was going to be The Taming of the Shrew, but her husband got tickets to the Blackhawks game, so of course they had to go to that. So she immediately thought of me and called the box office so they could change the tickets to my name, and I went with my mom to that today. I was a bit worried about how they'd handle sixteenth century misogyny in this play, but it was just incredible. It was one of those productions that has a frame story of the actors at rehearsal. So in this play the actress who played Kate and the director (the character, not the real director) are a couple, but "Kate" keeps flirting with the girl who plays Bianca. They try to tackle what it means that Katherine just ends up giving in to Petrucio, but can't really come to any conclusions. And then at the end, after Kate makes her big speech about "Hey ladies, you're doing yourselves and your husband a huge disservice if you don't do everything he says" and Petrucio goes "Kiss me, Kate," there's a moment where she just looks at him and you can tell she's wondering if she should go with the stage directions or not, and then she finally goes "OH FUCK THIS" and rips her skirt off and storms off. Now obviously this was staged, but it was so well done. And then the director comes up and calls after her and finally calls her by her real name, which was an issue earlier in the frame story. (Sorry if this whole explanation of the plot is confusing, by  the way, but it really was this intense and jumbled when I was watching it.)

Speaking of Shakespeare! For Lit class, we need to write and perform a monologue for a character from any of the books we've read in Junior or Senior year. I'm going to be Iago, but I'm also a puppetmaster, working behind the scenes to control the marionettes of Othello, Desdemona and Cassio. You have no idea how excited I am by this opportunity! It's also really scary that I've been able to get into Iago's mind well enough to write this.

So I graduate in three weeks, and then mere hours after that, I'm going to that summer seminary program I was talking about earlier and I'll be gone for three weeks for that. And it's three months from today that I'm actually going to be at college. It just seems like everything's going too fast, and I need to find some kind of center point that I can hold onto, or I'll go crazy one of these days.

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++they took the world in their hands++

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