Review of "Conversations in Tusculum"

[Nephele]

As promised UNRV member cornelius_sulla, I've finally written my little review of Richard Nelson's play that I went to see. I've already blogged about it, but I thought I'd post it here, as well.

 

On Saturday, March 15th, I had the pleasure of attending the live stage presentation of Richard Nelson's Conversations in Tusculum at the Public Theater in New York City. I got there about an hour before the box office opened and stood on line for the discount rush tickets. To pass the time, I asked my fellow rush ticket buyers whether any of them knew that this day happened to be the Ides of March -- the perfect day for attending this performance. None of them had known.

 

The Public Theater seemed the perfect venue for this play, with its neo-classical architecture. The impressive Corinthian columns which were a part of the theater and which framed the stage nicely complemented the minimalist scenery and costuming of the play, which takes place entirely in the country villas of Brutus, Cassius, and Cicero, and the surrounding hills of Tusculum.

 

Our MPC asked me whether the play was "sufficiently anti-Caesar for a devoted Catonian" like himself. And, I have to say, yes, it was sufficiently anti-Caesar. The character of Caesar doesn't appear in the play, but we do get to hear quite a bit about his manipulation of the characters Cicero, Brutus, Portia, Cassius, Servilia, and Syrus (the somewhat parasitic houseguest), who discuss Caesar and the events of their time.

 

While the parallels between our current U.S. government administration and that of Rome's of this era were not drawn with quite as thick a pencil as I had anticipated, there were nevertheless a few titters from the audience at one point when one of the characters asked whether Caesar had been drinking. The character is told "no," to which he replies: "It was better when he was drinking." Any other recognizable parallels between world leaders had more to do with the general theme of abuse of power.

 

MPC also asked me whether Cato came up in the play. Cato didn't appear in the play, as he was dead by the time of the events in this play. But one could experience Cato through his daughter's words. The character of Cato's noble daughter, Porcia, was presented as a woman of both strength and resolve. In one scene Servilia (who makes it clear that she dislikes Porcia and is displeased that her son Brutus has married her), is soundly criticized by Cicero for having helped to arrange an affair between her daughter (Cassius' wife) and Caesar. Servilia lamely responds by telling Cicero that "you don't understand." Then, later in the scene, Servilia attempts to defend herself by explaining that she didn't have a choice, that none of them have a choice when it comes to what Caesar wants. It is here where Porcia strongly stands up to Servilia and disagrees with her, in the matter of choices. Porcia is clearly her father's daughter.

 

Richard Nelson includes a number of source references at the end of his book to the play, pointing out where he "consciously transgressed" pertaining to historical fact. Regarding the accusation of Servilia having arranged an affair between her daughter and Caesar, Nelson admits that there is no record of Junia Tertia, Cassius' wife, going to Spain to be Caesar's mistress. But Nelson also states that there are "references (including a nasty one by Cicero) that suggest her mother did give her to Caesar at some point, at Caesar's request."

 

All in all, I found the play to be outstanding, and am seriously considering catching it one more time before it closes this Sunday. The actors were convincing, particularly Brian Dennehy in the role of Cicero. After the performance, I managed to meet four of the actors (including Brian Dennehy) and they graciously signed my copy of the book that I had purchased before the play.

 

It was truly a memorable Ides of March.

 

-- Nephele

[cornelius_sulla]

Cheers Neph. I was pig hunting on the weekend, chasing after my quarry with my son in tow, a universe removed from a cultured play in New York and for some reason my locale made me wonder about how the play went and what your review would be like. Dennehy as Cicero? That's difficult for me to imagine.

I'm still jealous, and Ursus can keep his kangaroos watching. A bit of kulcha goes a long way.

[Pertinax]

"Cato didnt appear in the play as he was dead", that is as good a line as I have read in a long time.Thats a very neat little review (neat in the English sense, not the American vernacular), pithy and amusing. I dont think pig hunting is very far away from the world of Roman aristocratic culture at all.

[Nephele]

"Cato didnt appear in the play as he was dead", that is as good a line as I have read in a long time.

 

Cato was dead: to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner...Old Cato was as dead as a door-nail...The mention of Cato's funeral brings me back to the point I started from. There is no doubt that Cato was dead. This must be distinctly understood, or nothing wonderful can come of the story I am going to relate...

 

I was just thinking what a great opening that would make for some play titled "Cato's Ghost" -- in which a penitent Julius Caesar learns the true meaning of Republicanism. We can cast our own MPC in the title role.

 

-- Nephele

[M. Porcius Cato]

Cato was dead: to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner...Old Cato was as dead as a door-nail...The mention of Cato's funeral brings me back to the point I started from. There is no doubt that Cato was dead. This must be distinctly understood, or nothing wonderful can come of the story I am going to relate...

 

Cato as Jacob Marley, huh? Who will play the role of the Ghost of Republic Past, the Ghost of Republic Present, and the Ghost of Republic Future?

[Nephele]

Cato as Jacob Marley, huh? Who will play the role of the Ghost of Republic Past, the Ghost of Republic Present, and the Ghost of Republic Future?

 

It was a strange figure -- like a child...viewed through some supernatural medium, which gave it the appearance of having receded from the view, and being diminished to a child's proportions. Its hair, which hung about its neck and down its back, was white as if with age; and yet the face had not a wrinkle in it, and the tenderest bloom was on the skin...The voice was soft and gentle. Singularly low, as if instead of being so close beside him, it were at a distance..."I am Cloelia, the Ghost of Republic Past."

 

I'll leave you to cast the Ghost of Republic Present. As for the Ghost of Republic Future...

 

The Phantom slowly, gravely, silently approached. When it came, Caesar bent down upon his knee; for in the very air through which this Spirit moved it seemed to scatter gloom and mystery. It was shrouded in a deep black toga, which concealed its head, its face, its form, and left nothing of it visible save one outstretched hand. But for this it would have been difficult to detach its figure from the night, and separate it from the darkness by which it was surrounded... "I am in the presence of the Ghost of the Republic Yet to Come." said Caesar. The Spirit answered not, but pointed onward with its hand. "You are about to show me shadows of the things that have not happened, but will happen in the time before us," Caesar pursued. "Is that so, Spirit?" The Spirit (a soothsayer, forsooth!) answered: "Beware the Ides of March!"

 

-- Nephele