H
e a r t S o n s & H e a r t D a u g h t e r s of A l l e n G i n s
b e r g
N
a p a l m H e a l t h S p a : R e p o r t 2 0 1 4 : A r c h i
v e s E d i t i o n
RANDY ROARK
12/19 Dear Anne
Tonight I saw “Two Gentlemen of Verona”
at the Folger Shakespeare Library in a small 200-seat
theater. It’s not his best play (maybe his 1st) but there was a lot
in it that made me thoughtful—about how it’s the romantics who dream and sing
and talk incessantly about love but in the end prove to be rogues capable of
the cruelest and falsest and most self-centered behavior (“the taller the oak,
the larger the shadow”). And how those who come to love with the most
difficulty and the greatest innocence and almost reluctance are capable of
great feats of selflessness. But mostly what awed me about the production was
the radiance and confidence of the actors. When I got home I read the play for
the first time and saw how much they added to its rough outline, humaneness,
not with adding new words or changing a scene, but by adding stage business,
slapstick, and by making certain inspired choices not implicit in the text but
respectful to the play itself. In fact it was in the moments when they slowed
the play down that they connected most strongly with the audience—and they were
able to do this with a 400-year-old play, and a terrible play in parts,
especially the ending, which they played with self-conscious incredulity at
what was happening, as if they couldn’t believe it themselves. Their
performances were so vivid and alive that I still haven’t gotten over it or
settled down or been able to sleep, four hours later. I feel unnerved and
bottomless and off-center.
[From the author’s Washington
D.C. Notebook, originally published in NHS 2006,http://www.poetspath.com/napalm/nhs06/Roark.htm.]