Abstract
Imagine Ann-Marie MacDonald on tour with Nightwood Theatre’s This is for You, Anna, a play which presents a woman with the strength and will to exact the most violent revenge against a man who submits her young daughter to sexual victimization, a victimization unto death. Set this play and this woman against Othello and the pale Desdemona who dares ask for no revenge. Then imagine MacDonald, in grim jest, passing amongst the touring company, from bed to bed, pillow in hand: she feigns the smothering of each woman, each time saying, “Goodnight, Desdemona!” Such is the germination of a feminist adaptation of Shakespeare.1
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