Reviewed by: The Spanish Tragedy Elizabeth Zeman Kolkovich The Spanish TragedyPresented by The Broccoli Project at the Black Box Theater, University of Texas at Austin, TX. 04 20– 23, 2017. Directed by Who Ray and David Higbee Williams. Music and puppeteer training by James Smith. Lighting by Laura Nagy. Tech by Dana Moore. With Kat Agudo (King of Spain/Isabella/Lorenzo’s Page/Watchman), Casey Allman (Balthazar/Ambassador/Serberine/Hangman/Jacques), Gabe Colombo (Ghost of Andrea), Laura Doan (Bel-Imperia/Spanish General/Bazardo/Watchman), Patrick Greer (Duke of Castile/Horatio/Pedringano/Ambassador), Austin Hanna (Hieronimo/Ambassador), Nicole Harrison (Revenge), and Bryson Kisner (Lorenzo/Pedro/Watchman). On opening night of a student production of The Spanish Tragedyat the University of Texas at Austin, its directors warned the audience about a “blood splatter zone” and “puppet sex.” Although these two delightful spoilers accurately previewed its most memorable parts, the performance was still filled with surprises. This swiftly moving and thoroughly enjoyable puppet version of Thomas Kyd’s revenge tragedy demonstrated the value of creative approaches to Renaissance drama. Conceived and executed by a student group called “The Broccoli Project,” the performance began with a man singing the Muppets theme song. The company members and their friends had made all the puppets, and indeed many recalled Jim Henson’s style. Lorenzo’s dimwitted Page, not quite a frog but resembling Kermit, was a small green puppet with googly eyes and curly hair. Some puppet choices were irreverent, [End Page 703]such as Balthazar as an alligator and Jacques as a blue squid who gurgled in place of his lines, whereas others shaped characters purposefully. The most human-seeming puppets were Hieronimo, Horatio, and Isabella, whose simple dress of white shirts or blue overalls represented them as humble country folk (fig. 4). Although most puppets were about the size of the actors’ torsos, the King of Spain puppet was an enormous head worn over the actor’s own, and she needed to move his mouth with both hands. The King became a ridiculous, out-of-touch ruler who towered over his subjects and stood apart from them. Only six puppeteers dressed in black played almost all of the characters, and they brought out the humor in the play’s lines and situations. Deaths were funny when puppets awkwardly stabbed each other and released red string when they died. Two characters played by humans framed the action: Revenge as a pale woman with green-streaked hair in a black dress and Andrea as a thin man in a tie. Both sat in chairs on stage during the performance, as Andrea watched with worry and Revenge appeared bored and insolent. Otherwise, the black box stage featured only a giant cardboard tree (where Horatio would later hang), and the puppets sometimes held small props: letters, handkerchiefs, a knife, and a rope. The directors judiciously streamlined the text to a running time of two hours. Many cuts were practical: to enable a small cast to use few props and to eliminate dense lines or ones in Latin or Italian. The production cut Hieronimo’s masque of knights and kings, the dumb show with Hymen, a slew of minor characters, and the subplot featuring the Viceroy of Portugal and Villuppo, whose ambitious plotting nearly kills Alexandro. The Broccoli Project’s version became not a political drama about competing nations, but an interpersonal one about a few major characters at a single court. The small stage and few actors contributed to the sense that this Spain was an isolated, intimate place, not one positioned internationally. Three aspects of the performance deserve further discussion: the characterization of Bel-Imperia, the representation of Hieronimo’s grief, and the concluding play-within-the-play. This Bel-Imperia was no submissive virgin, but a bold, independent woman. She wore a red velvet lowcut dress and had huge red lips, spiky multicolored hair, and enormous breasts. She spoke fewer lines than in the playtext but delivered them with defiant conviction. Although the production retained enough lines to indicate that her family arranged her marriage to Balthazar to strengthen peace and produce an heir, it included less conversation about her being a valuable commodity...
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