Back to the sea, where we find Viola's brother, Sebastian made it to shore. And we have one of the most eloquent potential pirates in all of literature- Antonio. Antonio is just another example on how if you turn down a part based on # of lines you are an idiot. Antonio has some of the most beautiful language in the whole show and is NOT to be scoffed at. We find out that Sebastian is melancholy, thinking of how his sister must have died at sea. And how he doesnt want to share his griefs but Antonio manages to soften this resolve. Sebastian explains that a lot of people think his sister looked very similar to him, but the thing he seems to note most is this: she bore a mind that envy could not but call fair. Who doesn't love a character who is as smart as she is beautiful (handsome?) ??
Once again Sebastian tries to go but Antonio insists:
If you will not murder me for my love, let me be your servant.
Sebastian once again tells Antonio to leave him for all his good intentions, but Antonio can't do it, even though he admits to having enemies in Orsino's court:
But, come what may, I do adore thee so,
That danger shall seem sport, and I will go.
2.2
Malvolio has caught up with "cesario" and gives Viola the ring Olivia sent. We get the oh so popular at auditions "I left no ring with her" speech. a few favorite parts:
She made good view of me; indeed, so much,
That sure methought her eyes had lost her tongue,
For she did speak in starts distractedly.
She loves me,
...
Poor lady, she were better love a dream.
...
How will this fadge? (isn't "Fadge" a great word?!)
...
As I am 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!
That might be one of my favorite parts of this play. The beautiful empathy Viola continues to have for a woman in a similar state. In that way she's kind of the opposite of her fellow crossdresser- Rosalind. Anyone agree? Disagree? I think Rosalind and Viola would ALSO be an excellent 10 minute play
2.3
Back to the total party that is Sir Toby and Sir Andrew. Sir Toby gets a line that should really be the motto of every academic:
Thou'rt a scholar; let us therefore eat and drink.
and then, one of my favorite parts of the play happens:
Clown
Would you have a love-song, or a song of good life?
SIR TOBY BELCH
A love-song, a love-song. SIR ANDREW
Ay, ay: I care not for good life.
And then the song itself- perfection:
O mistress mine, where are you roaming? O, stay and hear; your true love's coming, That can sing both high and low: Trip no further, pretty sweeting; Journeys end in lovers meeting, Every wise man's son doth know.
What is love? 'tis not hereafter;
Present mirth hath present laughter;
What's to come is still unsure:
In delay there lies no plenty;
Then come kiss me, sweet and twenty,
Youth's a stuff will not endure.
You can count on that song as a lullaby for any future Trombley children... we love it enough we used one of the lyrics for various wedding pictures:
but back to the play... (incidentally... Katherine Miles Jones, photographer extraordinaire who captured the above moment, called me to tell me she was engaged to her husband Chad while I was seeing that 12th night production for the 2nd or 3rd time... so it's connected to their love story for me too!)
After this love song the songs get more raucous and Maria comes in to warn them Malvolio is going to freak out. Which is exactly what happens. But Malvolio wont stop the singing and they use songs to torment him before Sir Toby makes this excellent observation:
Dost thou think, because thou art virtuous, there shall be no more cakes and ale?
Once they have run Malvolio off (with the lovely image of Go, sir, rub your chain with crumbs.) Maria decides she is sick of Malvolio too and that she will help the boys gull him into utter stupidity. THe boys love her for this, but none more than Sir Toby:
SIR ANDREW
Before me, she's a good wench.
SIR TOBY BELCH
She's a beagle, true-bred, and one that adores me: what o' that?
SIR ANDREW
I was adored once too.
Such an unexpected/tender/wonderful yet still can't help but get a laugh kind of moment!! I love it! You guys/gals, I basically want to play every character in this play. Someone help me start cultivating more cross gender casting around here STAT.
Sir Toby then concludes the scene with proof that his partying is more hardcore than yours- because when you're up partying this late you may as well keep going into the day:
Come, come, I'll go burn some sack; 'tis too late to go to bed now
2.4
Another scene with an incredible piece of music, now we're back at Orsino's house and the fool is there as well. This scene is also known as the scene where Orsino looks really stupid for his misogyny and praises be, Viola calls him out on it, because she can, because she is dressed like a man. Let's start with some advice Orsino gives which Dan and I clearly ignored:
let still the woman take
An elder than herself: so wears she to him,
So sways she level in her husband's heart:
For, boy, however we do praise ourselves,
Our fancies are more giddy and unfirm,
More longing, wavering, sooner lost and worn,
Than women's are.
and now that we've offended all the young men by calling them unfaithful and wavering, let's insult the women:
For women are as roses, whose fair flower
Being once display'd, doth fall that very hour.
Orsino basically just played the horrifying "Christmas Cake" card... and shortly thereafter Feste appears to sing for everyone. The production I saw in Central Park made this song- Come Away Death, into a trio between Feste, Orsino, and and Viola. It gave me chills and was perfect- though Raul Esparza singing pretty much anything gives me chills. And now I share that version with you:
DUKE ORSINO
There is no woman's sides Can bide the beating of so strong a passion As love doth give my heart; no woman's heart So big, to hold so much; they lack retention Alas, their love may be call'd appetite, No motion of the liver, but the palate, That suffer surfeit, cloyment and revolt; But mine is all as hungry as the sea, And can digest as much: make no compare Between that love a woman can bear me And that I owe Olivia.
Luckily, this time, Viola s ready with something to say back:
VIOLA
Ay, but I know--
DUKE ORSINO
What dost thou know? VIOLA
Too well what love women to men may owe:
In faith, they are as true of heart as we.
but that's not where she ends it, she goes on to give one of the most BEAUTIFUL speeches:
She sat like patience on a monument,
Smiling at grief. Was not this love indeed?
We men may say more, swear more: but indeed
Our shows are more than will; for still we prove
Much in our vows, but little in our love.
2.5
MAN THIS ACT IS LONG!
Here we have the boxtree scene- the delicious prank pulled on Malvolio. But first we are introduced to Fabian who is pissed at Malvolio for snitching on his bear baiting festivities. Maria enters to let them know the trap is set and as she does, Sir Toby calls her a nickname that Dan just loves to use:
How now, my metal of India!
I am going to take this moment to say... this scene is a prime example of how staging is key. I actually find this scene fairly tedious to read. It seems to go on for a VERY LONG TIME, but in performance- it's always a favorite. Because the reactions/physicality/staging with fabian, sir andrew, and sir toby are always just the best part! (I'm thinking of Chris Johnston's Sir Andrew Moo-ing amidst the bird sounds his companions were making... and a lot of shenanigans with the discovery space) Sir andrew is really just my favorite here:
MALVOLIO
'Besides, you waste the treasure of your time with a foolish knight,'--
SIR ANDREW
That's me, I warrant you. MALVOLIO
'One Sir Andrew,'--
SIR ANDREW
I knew 'twas I; for many do call me fool.
Malvolio finds the letter and begins to work out ways it must be talking about himself. His line "A should follow, but O does" was the title of yet another brilliant piece of work by Stephen Booth presented at the Blackfriars Conference.
Again, all I can say about this scene is that if you are ever teaching it- STAGE IT STAGE IT STAGE IT!!! There is nothing more delightful than:
'Thou canst not choose but know who I am. If thou entertainest my love, let it appear in thy smiling; thy smiles become thee well; therefore in my presence still smile, dear my sweet, I prithee.'
Jove, I thank thee: I will smile; I will do everything that thou wilt have me.
Watching the actor playing Malvolio smile and watching the 3 spying on him reacting to it- theatre gold. Here's a shot of Dan Kennedy playing Malvolio in that same 2010 ASC production. (pictures of MY Dan playing Malvolio coming in Act 3 or 4. I promise!)
SIR TOBY BELCH
I could marry this wench for this device.
SIR ANDREW
So could I too. SIR TOBY BELCH
And ask no other dowry with her but such another jest.
Maria enters shortly thereafter and we get this gem of a line which I will certainly add to the etsy shop list:
MARIA
Nay, but say true; does it work upon him?
SIR TOBY BELCH
Like aqua-vitae with a midwife.
We should really start saying "like aqua-vitae with a midwife" as much as possible.
and with that joyful triumph, we come to the end of act 2. Not sure what the schedule will be like the rest of the week, but will do my best to finish up this play and keep blogging more diligently!
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