

Cover photo: copyright Juan Rodriguez-Torrent. Witches 1 & 3. Paul Doniger's production at Pomperaug High School, CT, production: Angelica Aconfora and Kristen Valera

What the Critics Say

MACBETH resounds with Kabuki's passion, fascination. KABUKI MACBETH works. In fact, it works far better than one could have reasonably expected. ...Surprisingly enough, in Sunde's adaptation, the Zen philosophy seems engrained into the story, not imposed on top of it. ..the images prove striking...more and more frightening as Macbeth's lust for power turns into obsession and finally madness." Tom Jacobs L.A.DAILY NEWS

"The best of two worlds... fascinatingly enjoyable Sunde's writin g fluctuates between direct, modern statement and poetic imagery...the play works very well. This is a terrific show." William Glackin SACRAMENTO BEE, OAKLAND TRIBUNE

ACHILLES "the essence of passion. Sunde's play, which compresses the Homeric epic into manageable proportions, is lucid and direct. ... The play...makes you see and hear with awakened eyes and ears." Clifford A Ridley THE PHILADELPHIA INQUIRER

"ACHILLES is a stunning production that succeeds on every level... it's moving as an antiwar statement, it's visually dazzling, and it crosses every chronological, national and gender boundary." Toby Zinman "Critic's Pick" PHILADELPHIA CITY PAPER

"...OTHELLO, with a superbly poetic, pared to the bone script by Karen Sunde that magically mixes Elizabethan warmth with haiku-like clarity has converted me. ...hypnotically beautiful, emotionally dizzying... It is a sinuous, flawless twining of dance, sound, and story. ...uses Shakespeare's basic story...adds new levels of complexity to the quintet of characters at its core. Hedy Weiss CHICAGO SUN-TIMES "...spare poetry...tells the story with economy...works very well with Sato's visual imagery." Richard Christiansen CHICAGO TRIBUNE

"Damn the cliches and full speed ahead. This is professional theater at its best. KABUKI OTHELLO is in almost every way possible a feast for the senses, and rendered so by an exquisitely realized three-sided collaboration of theater artisans. ... the impact...on the eye, the ear and the imagination is, in a word, stunning."

Nels Nelson PHILADELPHIA DAILY NEWS

KABUKI LADY MACBETH "Sunde's script is very much about Lady Macbeth's loneliness and suppressed ambition as a woman in her society. ...a dazzling cultural hybrid, set to a beautifully distilled haiku-like script...a visual, physical and aural feast." Hedy Weiss CHICAGO SUN-TIMES. "Kabuki meets Shakespeare for magical Macbeth" Michael Phillips CHICAGO TRIBUNE

TAGS: macbeth, Richard III, Achilles, Iliad, Thetis, experimental theatre, shiva,

### Kabuki-West

### Three Plays

Macbeth + Richard III + Achilles

by

Karen Sunde

Conceived by Shozo Sato

Copyright Karen Sunde

For license to perform these plays apply to

130 Barrow St Suite 412

New York 10014

212-366-1124

karensunde.com@gmail.com

www.karensunde.com

CONTENTS

Introduction Kabuki-West

Production – How to do these plays

Kabuki Macbeth, Act I

Kabuki Macbeth Act II

Kabuki Richard III, Act I

Richard III, Act II

Achilles, Act I

Achilles, Act II

What the Critics Say

Shozo Sato, BIO

Author Notes

Other Plays and Screenplays by Karen Sunde

INTRODUCTION

You know these stories, but what's Kabuki? Ka-bu-ki means song-dance-drama. To picture it, let the sparse words trigger your imagination with music, color, dance, action – simple or not – from a flutter of fabric on a bare stage to the sensory feast of Grand Kabuki, any sort of performance can tell these stories. The directions suggest one staging among the many an imaginative reader can conjure.

Though originally commissioned for professional American actors working in a Japanese tradition, thereafter ordinary college, high school, even grade school students have taken exuberant delight (with their audiences) in creating their own versions of Kabuki plays I've written.

Danny Fruchter, founder of Peoples Light and Theatre in Malvern Pennsylvania first asked me to collaborate with Shozo Sato, who had been creating Western classic/Kabuki hybrids in Illinois. For our initial production, Kabuki Othello, I introduced a convention from ancient Greek drama – the Chorus – which became a feature of Sato/Sunde works. Five such plays have been commissioned by four different producers. Kabuki Othello and Kabuki Lady Macbeth are published and available from: www.dramaticpublishing.com

THESE THREE PLAYS

.

Kabuki Macbeth and Kabuki Richard III are permeated with Japanese themes filtered through Shakespeare stories, but for Achilles, I drew from Homer's The Iliad and adjacent myths, so its themes are universal, straddling East and West.

.

Considering these three stories together yields the sad conclusion that "killing entertains us". While we may lament that in our contemporary media entertainment killing is commonplace, have we noticed how few of our classics have no killing? Killing for power, in particular, ranks high. Now, it could be that cavemen entertained themselves with stories of killing for survival instead of for power, and it could be the 21st century will eventually embrace more wholesome entertainment, but for now...Macbeth, Richard III, and Achilles all deal with the elation (and consequences) of killing. Macbeth's story is familiar, and Kabuki Macbeth holds to that story, merely simplifying, and viewing it through an Eastern prism.

.

Richard's Kabuki story is more "played with," and here's why: If you track the labyrinthine blood-trail that history calls The Wars of the Roses, you may smile at Shakespeare's litany of enemy Queens in his Act IV "until a Richard kill'd him" which seems to say "Figure this out if you want; but I'm telling my story."

.

Shakespeare makes Richard III the embodiment of evil because he was the last king killed in those wars, and killed by a Tudor who was Elizabeth I's grandfather. Hah-so! Given that he must be evil personified, Shozo Sato said Richard's essence is like that of Shiva, Hindu god of creation/destruction, which it was my task to write, while limiting the cast as usual, so it seemed to me those bloody Queens, usually chopped, make a fertile field on which to play this play. And so we do. What emerged to a stunning degree was the hidden family drama that was always lurking there. Old Britain could make the Borgias blush.

.

With Achilles a drama had to be culled from an epic narrative and surrounding mythology – eg, the adventure of Achilles conception, his half god/half man dilemma. Spectacular Kabuki helped, as did the Chorus, and audiences from west to east seemed pleased. Achilles' premiere was uniquely cross-cultural: in the ancient Greek amphitheater at Kourion in Cyprus an American acting company performed a Greek legend in the style of Japanese Kabuki.

PRODUCTION HISTORY

.

Kabuki Macbeth was commissioned and produced by John Houseman's The Acting Company in New York, and performed on tour across the United States. Later produced at the Krannert Center, University of Illinois, and at Virginia Commonwealth University.

.

Kabuki Richard III was commissioned by Actor's Theatre of Louisville, but subsequent budget constraints prevented their planned production.

.

Achilles: a Kabuki play was commissioned to emerge from Danny Fruchter's "The Iliad Project: at the People's Light and Theatre Company, Malvern, Pennsylvania. However first performances at Peoples' Light followed those at Festival Mythos in Philadelphia, as well as a tour to Cyprus and Hungary

Book: A Gathering of Actors: The People's Light and Theatre Company in Cyprus and Hungary, by Peter Carnahan chronicles that first tour, with Achilles' development and rehearsals in the ancient Greek amphitheater at Kourion.

A company led by Shozo Sato from the Krannert Center at the University of Illinois, Urbana, went on tour to make a "Kabuki Homecoming" in Japan demonstrating the Americans' embrace of an intricate Japanese art form.

PRODUCTION: or how to do these plays

You could calI these plays "the song and dance of" Macbeth, Richard, Achilles; they resemble our musical theater. Performing Kabuki, the actors exaggerate and extend their voice tones, so the words must be simple, like lyrics, to facilitate clarity and foster an easy rapport with the audience.

In Kabuki performance, black-clad "Koken" are employed to change sets, manipulate props, perform any back-stage task in full view of the audience, scurrying as though invisible. I created my first Chorus by using Koken to perform that vital speaking role, and since then they tend to do double duty, and I call them "story-tellers who facilitate the action."

One of the Koken becomes the KI-PLAYER – who signals the opening of scenes and key moments by striking the "KI" (key) - wooden blocks - sharply, then in rapid succession, ending with three loud strikes to punctuate places where we might use a drum roll or a cymbal clash to say "ta-dah!" or here we go, or wasn't that something?

The "Mie" (mee-aye) pose, serves a similar purpose, but employs actors, instead of wooden blocks, It is an instant tableau the actor strikes, like a snapshot that says "got this?" In comedy, you could say we do a little Mie every time we do a comic "take" (reaction) toward the audience.

SETTINGS

TALKING THE TALK:

Making sense of the words: Whether one character or several (Chorus) speak a sentence, the text is meant to flow like ordinary conversation, and to be as clear and direct – not artsy. Its arrangement on the page will help the actor make it easy. Technically, lines starting with a small letter mean the previous sentence is still going on. Lines starting with a capital letter mean a new sentence begins here. Ends of lines may signal a comma, a period, or none. As in life, the more fun you have with it, the better it works.

KABUKI MACBETH

PRODUCTION:

An open stage with a sliding screen or drape can suggest chamber. A low platform can be a settling or sleeping area. Shredded fabric, drawn or dropped in, can present a curtain-forest. Kimonos and armor are traditional, but the form invites experimentation. Lights, costumes, music – the more colorful and dramatic, the better. Kabuki saturates the senses. Let your imagination run riot: Action scenes may expand into production numbers. Mime and dance may be used to embellish description.

CAST - 5 men, 4 women + Koken

WITCHES 1, 2, & 3

MACBETH

BANQUO, his friend

LADY MACBETH

MESSENGER

DONALBAIN, son of Duncan

DUNCAN, Shogun

MACDUFF, friend warrior

MALCOLM, son of Duncan

KOKEN, black-clad facilitators of the action

LADIES IN WAITING, LORDS, GHOSTS

Messenger doubles as Macduff

Koken double as Lords, assassins

Witches double as Ladies in Waiting

All but the Macbeths double as Ghosts

KABUKI MACBETH

I i Forest. Witches appear slowly from behind mist curtains.

WITCHES

Hear the roar

howling

following whine

From where?

From where?

No wind

No smell of storm

A tree drips cold

The sky is down

Comes the roar

howling

following whine

From where?

From there

Now

in the still

far below–

Yes

The quiet shirr

of steel

of steel. of steel

slicing flesh

(Burst of howling and whine)

Hoo ooo

Aii eee

Thick dew oozing

bone scrapes bone

from mud they gape

no breath they take

They stop the wind

The sky will not wake

Hoo ooo

Aii eee

Hush

Here comes one rising

crack—through the trees

rushing along

Hush, Hush, Hush

Hear him coming

leaping the earth

Let go the song:

(They begin their dance)

We come

from lonely reaches

to hang

in freezing mist

Round and round

the spinning whir

forth and back

the line will purr

Fulfilling the cycle

now rise and now fall

none can escape it

we ride one and all

Bound each to all others

and all

to the wheel

of Karma

Ha ahhh (Shrieking laugh)

BANQUO (Off, calling)

Macbeth–

WITCHES

Ha ahh!

Round and round

the spinning whir

forth and back

the line will purr...

BANQUO (Off, calling)

Macbeth

(Macbeth enters, fresh from a bath. Witches echo from concealment)

WITCHES

Macbeth, Macbeth, Macbeth...

MACBETH

I climb as though

without my legs

gliding from rock

to ledge

(Bellowing, from pleasure of climb)

Ho-oooh!

(Banquo enters, filthy from battle)

BANQUO

Macbeth!

They said you left

to cross the mountain

You must have risen

with the wind

What, have you bathed?

MACBETH

In springs that steam

between the rocks

bubbling hot

They heal

BANQUO

You stand there

pure as a babe

MACBETH

And you are tired?

BANQUO

Of course I am!

Battle fever

feeds you still

Soon as you cool

you'll groan

MACBETH (Laughs, bellows)

Ho-oh

BANQUO

I've brought great news!

MACBETH

Ho—oooh!

BANQUO

Go on—yes, bellow!

I saw you far

across the field

Twenty to one

they had you close

they bore you down

and then

your sword began to swing

Still sweeping till reaching

the traitor himself

Kurokawa

Your arm rose and fell

he was gone

in the swell...

the mighty tyrant

What seized you?

How did you feel?

MACBETH

I felt...nothing

I had no plan

no worry

no...nothing

The sword

was my arm

was my heart

I was...nothing

BANQUO

You felt nothing!

MACBETH

Something still

something small

a power so sure

and such an ease

no more

than falling into sleep

BANQUO (Laughs)

You won't sleep long

when you learn

why I've come

WITCHES

Macbeth...

Macbeth...

Macbeth...

BANQUO

Oh!

You have admirers here?

MACBETH

What are they?

WITCHES

Blessings, Macbeth

Blessings...

Blessings...

BANQUO (To Witches)

Move on

There's nothing for you here

but blood and battle sweat

MACBETH

They look like phantoms

in the mist

BANQUO

Macbeth, it's time for rewards!

WITCHES

Macbeth

great Lord of Kurokawa

MACBETH (To Witches)

Lucky try

but far shot

for he's dead

I'm Takatori

BANQUO

No!

That's what 1 came to say!

You're Kurokawa too

How could these women know?

You have his title now

Mountain wizards

is what they are

MACBETH

I have his title?

WITCHES

Feed the line slowly

no loose curl remains

BANQUO

Yes. Kurokawa's

And his land

WITCHES

Wind it and whirl it

Don't tangle the skein

MACBETH

I'm...Kurokawa?

BANQUO

Yes!

Now you have reason

to bellow

WITCHES

Round and Round...

MACBETH

What are they muttering?

WITCHES

the spinning whir...

BANQUO

They hit one fortune right

WITCHES

forth and back...

BANQUO

No doubt they want

to be employed

WITCHES

the line will purr

BANQUO

The Shogun...

MACBETH

is riding after?

BANQUO

Right away

MACBETH

I must–

WITCHES

Follow the thread

Take hold of the line

MACBETH

Get word to my wife

WITCHES

We weave

and you climb

Hand over hand

up sheer rock

you glide

Take hold of tomorrow

Let Karma guide

MACBETH (Angry)

Hah–

you claim to be Fate?

No!

You may see

something in the future

there are ways

but what I am

and what I do

are mine to say

Why else do I live a man?

Should I mark

the tracks you plot–

a chalk-footed rat?

When I'm done

you may chart my way

and call it Karma

Until then

I will make the turns

and call it me!

BANQUO

What's wrong?

Make peace

They're harmless creatures

MACBETH

We've stayed too long

BANQUO

Aha. Your blood has cooled

Your wounds begin to feel

WITCHES

Takatori

who is Kurokawa

will be more:

Shogun

(Like an echo, overlapping)

Shogun

Shogun

is the title

for Macbeth

BANQUO

Oho, do you hear?

MACBETH (To himself)

No–

It's in the air

my name

has become so strong

BANQUO

If he

is to be Shogun...

don't be sly with me

Grandmother

tell my fortune too

WITCHES

Blessings Banquo

Blessings

Blessings Banquo

BANQUO

They know me as well!

Or did you name me?

Did you call me Banquo?

WITCHES

Out and again...

MACBETH (to himself)

My name is in the air

WITCHES

the spinning whir...

MACBETH

where these bold women

can snatch it down

WITCHES

forth and back...

MACBETH

to weave their after-tale

of Karma

WITCHES

the line will purr:

He is Shogun

but you are

the father of many

Shogun

many Shogun

BANQUO

Father of Shogun

Now that's better!

Which would you rather

my friend—

get it alone

or roll many sheets

in the getting?

(Witches disappear)

MACBETH (To himself)

My name is in the air

I put it there

BANQUO

Friend Takatori

who is Kurokawa–

are you here?

But laugh

it's no more than a game

MACBETH

Where did they go?

BANQUO

Oop

Bad sign

They dropped their prey

They may be here

and still not seen

MACBETH

Come

BANQUO

Yes

Let's go down

This air

is far too thin

for mortal men

(Laughter of Witches)

I ii Foliage out. Shoji screens revealed. Lady Macbeth is seen behind open shoji screens.

LADY MACBETH

Waiting is not easy

but wait is what I do

day to night

year to year

waking only

by his light

when my husband comes

On the quiet side

of passion

I fill my valleys up

blending deepens

foaming spills

until he comes

to draw his cup

(Messenger enters, shown in by Lady in Waiting)

LADY IN WAITING

I wish to speak

with you

dear Lady

There is one who breathes

all red-faced

running

from our Lord

Will you hear him?

(Lady Macbeth nods. Messenger does a dance that relates the battle)

MESSENGER

Honored Lady Macbeth

I saw your Lord

in battle

saw from far

across the field

Twenty to one

they had him close

they bore him down

and then his sword

began to swing

The twenty went down

two, three to an arc

while his blade swept on

whipping chimes

on the wind

straight into sleet-driving arrows

One sped toward his neck

met his blade, lightning-fast

too fast for the thunder

that followed

Macbeth's horse staggered

beneath him

He slid free to the ground

Then a ball studded with spikes

spun on a chain to greet him

seeking his arm

leg or neck to entwine

so it's partnering blade

could sickle

that part from his whole

Then—I saw it

I swear, with these eyes—

Macbeth leapt from the ground

arcing through air

like the wind-god

howling a loud "Kurokawa!"

Then that mountainous traitor

blackened the sky

Kurokawa loomed

great as his crime

breathing the flame of disaster

belching a laugh-after-roar

he nodded to flick

the challenge away

Then he drove at Macbeth

with his seven foot spear

like an avalanche hurtling down

Macbeth stood still

watching the giant spear come

One lift of his arm

it was shattered

ice cracked in Spring

hacked-instant in pieces

it fell to the foot of Macbeth

One last sweep – Kurokawa stood headless

A spurting blood fountain

shot up instead

(Messenger has finished his dance. Bows and addresses Lady Macbeth)

Great honors race

behind this deed

Prepare your joy

Our hero comes

with titles fresh

Your own Macbeth

is new Lord Kurokawa

LADY MACBETH

(Short cry of astonished pleasure, but she is immediately demure again)

Kurokawa!

(The Messenger delivers a letter to the lady in waiting, which she, in turn delivers to Lady Macbeth, who reads it)

LADY MACBETH

Wild women

Sang out from the rocks

Avert your eyes

so joy may hide

her shameless face

Go

give order for

the greatest feast

our fields can raise–

The Shogun comes tonight

(Messenger bows and exits)

(Lady Macbeth takes a prayerful stance – palms out to receive)

LADY MACBETH

Wild women in the mist

I open to you now

Let power pour into me

Let desire

turn ripe flesh

to hot steel

I become

the pure tool

of my will

The Shogun comes tonight

(Witches enter, dance round Lady Macbeth, transforming her into a puppet)

WITCHES

You are ready

and you know the way

you feel the moment join

lives in motion

souls are met

actions lap

against a net

of time

Your time is now

Prepare to kill

To kill?

Prepare to kill

Tomorrow takes you

higher than you dream

and knowing

rises in your throat

that all is yours

and his

if you only

have the skill

and if you only choose

to kill

I iia Macbeth enters. The witches depart. As soon as she sees him, Lady Macbeth bows

LADY MACBETH (Teasing)

When great Takatori

crept from my bed

who would expect

I'd have to accept

bold Kurokawa

in his stead

MACBETH

You'll have to take them both

LADY MACBETH

As my Lord wills

(Excited, they meet with an embrace or sign of passion)

MACBETH

The sword of Tao was mine

so pure my mastery

it shattered the air

LADY MACBETH

All you've done

is no more

than I knew

you could do

Your new title

is but one

from Shogun

MACBETH

Wild women sang out

from the rocks

as though emerging out of me–

"Macbeth will be Shogun"

LADY MACBETH

They sang the truth!

MACBETH

It was my mind that spoke

LADY MACBETH

Your Karma

MACBETH

No

They were nothing

but hags on the wind

LADY MACBETH

The power

of your fate

grows within me

Duncan comes to declare

you his heir

MACBETH

Tonight it will be

LADY MACBETH

The moment he names you

chimes a bell

MACBETH

My life begins

How may we shorten his?

LADY MACBETH

You've brought him

under my roof

I'm ready

my love, to serve

MACBETH

Tonight he names me his heir

LADY MACBETH

So well

will I play your mate

tomorrow, when sun

floods your pillow

a new Shogun wakes

I iii Screens part revealing banquet hall. Procession begins:. Macbeth and Lady Macbeth position themselves as welcoming hosts. Warriors, including Banquo, Macduff, Malcolm and Donalbain enter and take their places. Shogun Duncan is saluted, takes his central place.

(Duncan nods, and Donalbain begins to speak)

DONALBAIN

As younger son

and least among you

I speak for my father

the Shogun Duncan

His happiness

a once dry well

now brims beyond

its upmost rim

The rot

that sucked him dry

has been removed

We thank Macbeth

who now bears titles

of the traitor

that he slew

called Kurokawa

My lord Macduff–

please tell the tale

as first you did

MACDUFF

Many saw

but none explained

his action

Magic

is what it was

(Other warriors pound floor, and make vocal sign of agreement)

BANQUO

Macduff's misled

It takes no special skill

to strike down traitors

MACDUFF

I am ready to wager

all I hold dear–

He struck with power

that was divine

DUNCAN

You all mistake

(All are startled, and turn obediently to hear the Shogun)

DUNCAN

Macbeth went mad

(All look to one another. Duncan speaks to Macbeth–)

DUNCAN

Come forth honored host–

When you raised your sword

did you intend

to murder Kurokawa?

MACBETH

No, my Shogun

DUNCAN

Did you strike to win

to wear the praise

and titles you now bear

MACBETH

No

DUNCAN

Did you do it out of fear

MACBETH

I did not

DUNCAN

No

You lost yourself

gave up your mind

MACBETH

Great Shogun...

DUNCAN (To warriors)

The sword

of the samurai

is his soul

the sword pure-cast

of honor

Desires of self

constrain it

Only emptiness will serve

To be at one with all

he must be nothing

Macbeth broke through

his mind

and loosed

its hidden power

Such perfection

we do not gain

to kill

but it can punish evil

MACBETH

I am unworthy

DUNCAN

You are blessed

May you continue so

dear cousin

DUNCAN

Now

while my joy flows–\--

MACBETH (Low to Lady Macbeth)

Our plan is monstrous

DUNCAN

While we bask in favor

with the universal powers—

let us turn the Shogunate:

I will name my heir

(Excited murmur among the Lords)

Step forth

away from your brother

away from boys' concerns

come forth my son

Come...Malcolm

(All stir, surprised. Lady Macbeth drops her fan. Malcolm moves center)

BANQUO (To Macduff)

Why does he name this limp twig

MACDUFF

Do not question the Shogun.

DUNCAN

Malcolm

You are still

a Lord in training

But as time comes round

I will raise you

to the weight of Shogun

Will you serve?

MALCOLM

I will give my self and soul

DUNCAN

Go forth, my son

Receive salute

(Malcolm steps forward. All bow to him,)

ALL

We pledge to serve

in his turn

Lord Malcolm

LADY MACBETH

Come

Let's dance in celebration

(Lady Macbeth rises to meet her Ladies-in-Waiting as they file in and begin to dance for the company. Her focus is on Macbeth as he turns, dazed, away from the dancing.)

BANQUO (To Macbeth)

Were the mountain hags mistaken?

Your name and Shogun

do not mix tonight

(Macbeth stumbles forward. Dance goes on behind him)

MACBETH

Why Malcolm?

Why did he name Malcolm

On the mountain

it was all so clear

I knew that it would be

(Lady Macbeth leaves the dancing, moves slowly toward him)

MACBETH

Kurokawa

I knew he'd say

and now

I answer to that name

My heart flew up

Where is the joy I felt?

Why can't I feel it now

when I hear 'Kurokawa'

It's ringing cold

because—

there was another word

and that was Shogun

I would be Shogun

LADY MACBETH

You leave the feast?

(Macbeth startled she is there, but bold–)

MACBETH

This changes all

LADY MACBETH

It changes nothing

MACBETH

A samurai lives for honor

Look-- (Indicating Duncan)

He sits enrapt in goodness

LADY MACBETH

And drives a dagger

into your vassal's back

MACBETH

He is my Lord!

I gut my bowels

\--and yours

if harm should come to him

LADY MACBETH

And who is Macbeth?

MACBETH

Vassal to the Shogun

LADY MACBETH

You....

MACBETH

Enough!

I iiia Witch draws curtain to create space for the Macbeths in private.

LADY MACBETH

Where has it gone

my love?

When last you came within

my chamber door

you wore

a royal helmet

It blazoned

in the firelight

of your conquering eye

You topped the world

Don't tell me now

to sleep with less

MACBETH

Be still!

LADY MACBETH

How will you still me—

with my grave?!

I am yourself

We, two forces

wound to one

I cry aloud

what your heart pounds

but cannot pound

to silence

MACBETH

You feel it well...

but do not know

the world of deeds

LADY MACBETH

Did I dream

wild women?

That day

your life erupted

into glory

Remember it!

MACBETH (Quietly, excited)

The world was mine

I felt the future

rising

in the mountain air

LADY MACBETH

To catch it

takes a man

I am your inside self

who cannot live

outside the house

that you provide

If you are not a man

then who am I!

I promise you

this feeble frame

on which is hung a woman

has steeled itself so far

that I could do this thing

alone

All parts that man and woman are

will blend in time

reverse in space

to serve you

Shall I strike?

MACBETH

Come—

The spirit I feel now

will lift me beyond nature

I'll top the world

with you my bride

my samurai

So step into the dance!

(Bouyed, they dance, or strike a triumphant tableau)

I iv Curtain opens to reveal front of King Duncan's bedroom, closed sliding shoji doors; where Macbeth sits alone, meditating.

MACBETH

The moon will climb

behind the bending willow–

The dark pool gleams

in sleep

(Magnificent sword suddenly dangles in air, suspended from long bamboo pole held by Koken. They or Witches manipulate it as it floats, teasingly guiding Macbeth to Duncan's room)

MACBETH (Seeing sword)

Why are you here?

What do you want with me?

Go away

cease to be!

Oh gods, you're bright–

you soul of samurai:

Swing gaily on a cherry bough

Bloom in my boyhood dream

My spirit streams in yours

unmoved and pure...

(He reaches for the sword, but it eludes him, slipping just out of reach)

You dare me!

WITCHES (Quietly, luring him)

Feel the blade

bending soft core

sliver edge

beaten white

You cannot steam-slice stone

alone

MACBETH (To sword)

Your slender hilt without me aches

what my mind can fashion

my hand can reach

with this arm

this arm is your mate!

(He lunges for the sword; it evades him again)

WITCHES

Ash and ore

beat it pure

beat beat

twice ten

thrice ten

pure of the pure

Heat Heat

heat from flame

to the white

of a midsummer moon

Heat it white

MACBETH

Yes

when it's white–

my strong heart

longing to burst

thrusts my flesh

to the core of the fire!

The samurai

will use his sword

only in service

of his Lord

(Burst of Witches' laughter–)

WITCHES

Hoo ooo

Aii eee

MACBETH (Angry)

I lie, you say?

Do I lie?

My lord is Shogun

so where is the lie?

The moment we join

that moment it's done

mighty Duncan will die

My Lord is Shogun

But the Shogun is me!

(He goes confidently after the sword. Macbeth follows the sword, grabs it. Witch opens sliding door, other Witches push Macbeth into room, close door behind him)

(Duncan's shadow appears on the screen, and Macbeth's shadow with the sword, then the fight between them goes on in silhouetted shadow. As the instant Duncan is wounded, red blood splashes over the white sliding doors.)

(Duncan breaks through sliding door, all red with blood matted hair. Long red trousers may indicate a profusion of blood flow. Stylized dance-battle between Macbeth and Duncan until Duncan is killed.)

MACBETH (Breathless)

He stayed apart.

I don't know why...

The blade refused to swing

my arm

that used to be as nothing

hung like lead

WITCHES

Poor Samurai

killed his sword

Is it dead?

MACBETH

My ease was gone

had run

I don't know why

it was so hard

to make him die

but now it's done

(Witches creep toward him, but keep a distance)

WITCHES

It's done

Macbeth

It's spun

Your honor is gone (Echo overlaps)

Your honor is gone

Your honor is gone

(Witches begin Noh Lion Dance in which they escort Lady Macbeth on stage)

LADY MACBETH

Why...

do you have the sword!

MACBETH

It's done

LADY MACBETH

Why do you have the sword?

Take it in

MACBETH

I've won

LADY MACBETH

Take it in

It must stay beside him

Take it in

Lay it there

MACBETH

The bell–

LADY MACBETH

There's no bell

Go!

Before someone comes

MACBETH

It's done

LADY MACBETH

So

This is the bold face

of battle?

MACBETH

I...

LADY MACBETH

Is this

your blood-tasting

ecstacy?

MACBETH

I won't go

LADY MACBETH

Give it to me!

(She takes the sword and enters the room. Macbeth lifts his head, sensing something.

We see her shadow inside the room.)

WITCHES

So easily

a point of steel

slips into the skin

so easily

a drop

will slide to fill

the puncture

O foolish man

who slits the membrane

holding life

For from

one giddy drop

of blood

will spread a stain

that grows

that swells

into a never ending flood

of pain

(Lady Macbeth emerges with blood-covered hands and robe)

LADY MACBETH

The smell...

is thick

floats into eyes

The smell itself

chokes breath

The smell

sticks

(She looks at her hand, slowly tastes blood. She begins blood dance. Bells begin)

MACBETH

Hear the bell?

Who struck...

released the beam

that struck

the bell

MACBETH

The boom

That doesn't rise

it flows along the ground

it shudders

from the sleeping vault of unknown sound

it rumbles

through my flesh

and strums the bone

it penetrates

too desolate to pray

another day

another life has come

I make our fate

(Witches wild laughter)

END OF ACT ONE

ACT TWO

II i Front of curtain. Malcolm and Donalbain face each other from opposite ends of the stage. They are numb with shock and grief.

MALCOLM

Donalbain....

DONALBAIN

Malcolm...

MALCOLM

Our father...

DONALBAIN

Our father's dead

(They turn out toward audience)

DONALBAIN

How can it...

MALCOLM

How did...

DONALBAIN

Macbeth has said...

MALCOLM

He said he killed the ones who did the crime

DONALBAIN

Yes

Macbeth has said

What can we do

MALCOLM

Our father's dead

DONALBAIN

I fear for you.

MALCOLM

We both must fly

DONALBAIN

But not we two together

MALCOLM

How could our joy dissolve

DONALBAIN

We wore it fresh

as nighttime dew

MALCOLM

How could we know

the glory of our father

had already set–

blazing

with the scarlet sun

DONALBAIN

My brother

take my hand

DONALBAIN

You must take care

MALCOLM

And so must you

DONALBAIN

I'll help you all I can

but we must fly

MALCOLM

And not we two

together

DONALBAIN

No

MALCOLM

Take my sword

as myself

to protect you

DONALBAIN

Take mine

so my spirit

goes with you

MALCOLM

I'll cross the water

to the island Kyushu

DONALBAIN

I'll go past mountains

MALCOLM

Home has no help

for Shogun's sons

where Shogun's beds

are butchery

(They exit in opposite directions)

II ii Banquet hall. Macbeth dressed in golden armor. Nobles warriors attend him. All very still. Responses are correct, but there is reluctance, not enthusiasm.

WARRIOR

Let all our voices

pledge once more

in this election

BANQUO

Who should it be but Macbeth?

ALL

Macbeth

Macbeth

Macbeth!

WARRIOR

For our Shogun

a deep salute

(All salute Macbeth appropriately, together. Witches then approach him ceremoniously with a great antlered helmet. They crown him with it.)

WITCHES

You wear the power

of a mighty stag

He lords the forest

with his will

But when the cycle

of the year is up

he finds his glory shed

his forehead light

his thicket filled

(Macbeth stands in triumph. Lady Macbeth signals)

LADY MACBETH

Come. Let the dance begin.

(But no dance begins. Instead, Witches cluster around Macbeth. Others, repelled, back away)

MACBETH

Macduff–

You have wish to retire?

MACDUFF

I go to

gather my men

to make you secure

(Macduff exits as Lady Macbeth speaks)

LADY MACBETH

Our honored friends

excuse

the quiet celebration

The preparations...

wearied me

(Banquo emits a tight laugh as he backs away)

BANQUO

So, my friend

you are Shogun

sooner than we could have dreamed

our mountain hags

were tried – and won

Could it be do you suppose

I should look

to making sons?

LADY MACBETH

What does he mean

(Banquo exits. Macbeth gestures sharply, Kuroko – Koken as assassins – surround him)

MACBETH

After him

and end his life

(Kuroko exit swiftly after Banquo)

MACBETH

End the father

end the sons

No flower will bloom

without a seed

without the source

no stream will feed

There's none

can wheel me

to the ground

WITCHES

Never fear

You will not fall

till the forest

comes down from high mountain

for none who bears

the sword of man

can harm Macbeth

MACBETH

Do you hear

my love

none who bears

the sword of man

can harm Macbeth

We are free!

WITCHES

Only take care of Macduff

Macduff (Echoing)

Macduff

He toys with you

and he's run

to serve young Malcolm

MACBETH

He's run

to young Malcolm

Whatever for?

To play at bouncing balls?

(Macbeth gestures sharply as before. Kuroko respond and exit just as another Kuroko enters with a bag dripping red. Kuroko displays a severed head to them.)

MACBETH

Run after.

Now my love

Who do you see?

LADY MACBETH (Stonily, dazed)

Your friend Banquo

His head

MACBETH

My friend Banquo's

come down

from high mountain

Shall we celebrate?

LADY MACBETH

Come

Let's to bed

MACBETH

They all

are jealous of me

Macduff!!

Magic

is what I was

he said

Macduff

is a shivering reed

who's seen

the steel of my arm

So let him snivel and run

What is he good for

but making sons

(Laughing, echoes himself)

but making sons

but making Sons

LADY MACBETH

Come

we cannot live

without the veil

of sleep

MACBETH

Oh no

I must be awake

There's much to do

when you're making Fate

(Kuroko enter with larger red dripping bag, and dump it, displaying, at Lady Macbeth's feet, the bloodied heads of Lady Macduff and her two children.)

LADY MACBETH

The Lady Macduff?

And all her little ones

I'm tired

come with me

come...

(Witches surround them, laughing. Macbeth and Lady Macbeth stand center, with heads spread before them. Mie pose of all)

II iii The forest. Lady Macbeth lies asleep. Macbeth sits over her.

MACBETH

Softly

you drop the veil

of sleep

while I

remain outside

To grow

defenseless so

cannot be

not with me

But is it soft– ?

The day is gone

new blood runs clear

you wake newborn

while I

am still as stone

my mind propped wide

to hinder monstrous things

who crowd the day

the night the time between

until I am

as they

(He weeps then howls like a beast. Lady Macbeth stirs)

LADY MACBETH

He's asleep.

Come

MACBETH

Who?

LADY MACBETH

No screaming

Hush...

We still can play

Come–

(She mimes playing ball with head of small child)

Little, little head

roll it

roll to me

little toss

shiny curls

tumble

roll to me

Oh-oh bumped his nose

no no – it bleeds

thick

wipe it quick

it bleeds

MACBETH

Your hands are clean.

Stop...stop

(She notices him as though for the first time)

LADY MACBETH

What, have you bathed?

You stand there pure...

(Affectionately, she moves to examine him, but finds that he has bathed in blood)

from steaming springs

but thick

bubbling hot

and thick

it sticks

the smell...

(The smell is nauseating)

MACBETH

You're asleep

Wake up

LADY MACBETH

Three little children

all undone

One two three

then we

have none

MACBETH

You're dreaming

Come...

LADY MACBETH

Kill

kill the Shogun

Ah – oop

here's another

MACBETH

Be still!

LADY MACBETH

Slice him slick

hack him quick

See how they run

After the brothers

MACBETH

Wake up!

You'll be heard

LADY MACBETH

The smell

is thick

It chokes the eyes

Ahhmm

Are you afraid

to play?

MACBETH

Come...

you must wake

(He leads her)

MACBETH (Calling)

Women wild

upon the mountain

Macbeth is calling

Come!

(Witches gather)

WITCHES

Who is calling–

Come!

MACBETH

You have done this!

WITCHES

Great Lord Takatori

Kurokawa

Shogun?

MACBETH

Help her!

She believed you

from the first

WITCHES

Macbeth–

great ruler of the world

what more

do you require?

MACBETH

We ask for cure:

I want to see those gone before

(Ghosts of those Macbeth has killed begin to gather, Banquo and Duncan among them)

WITCHES

Come, Come, Come

from lonely reaches

where you hang in freezing mist

Come

Sing him the song

of his life string

wind out the line

of his days

unfold the role

that he plays

MACBETH

I do not fear you

Come

BANQUO

No, you–

come with me

I'll show you

battlefields a-rot

with steaming limbs

in every brilliant gash

a tongue a voice that screams:

"Take Macbeth

It was him"

(Macbeth strikes, trying to fight ghosts that slither away from him)

MACBETH

Back to hell

and let us be

This time is mine

it was made for me

DUNCAN

I weep, Macbeth

Your honor

a lifetime winning

was in a moment lost

Man's glory

is a time

of high danger

Desire is obsession

Obsession loses all

Follow fast, Macbeth

(Macbeth fights more furiously)

DUNCAN

Desire is obsession

Obsession loses all

(Lady Macbeth is surrounded, willingly, without offering resistance, being strangled by ghosts)

LADY MACBETH

Macbeth...

Macbeth

Let go my soul...

(Macbeth tries to fight ghosts who surround her. They part for him. She is dead.)

MACBETH (Quietly)

I am yourself

she said

We–

two forces wound

to one

(Pause. Then speaks to her)

You should have come

astride me to the field

then you'd have known

what life is

and how it wets the ground

Well then, come down

from high mountain!

It's time

that forests came down

I stand here

Come root-tearing down!

If all grace deserts me

I'm left as I am

Come crush me

I stand here

stark man!

(Macduff appears)

MACBETH

Stand clear Macduff

I have killing

to do

My hand will bleach day

to forever

MACDUFF

After death

it may

But you have cleared

the earth

of mine

I stand alone

No day comes

until you're gone

MACBETH

Aha

if you can

I am never to die

by any who bears

the sword of man

MACDUFF

Die now

for I feel nothing

The sword

is my arm

is my heart

I am nothing

MACBETH

No!

MACDUFF

Do you fear me now?

The sword I hold

is not of man

It is my soul

it is honor

I am air

I am rock

I am you

I am all things

MACBETH

No

MACDUFF

I have no desire

I am ready to die

You are mine

(They fight. Macbeth is killed, beheaded. His bloody is head speared atop a pike. Macduff in Mie pose)

II iiia Witches take Macbeth's head in their arms, move downstage.

WITCHES

Hoo ooo

Aii eee

Great Takatori

Kurokawa--Shogun

What has become of you?

What did you make him do?

It wasn't I

Nor either me

Did someone lie?

Did he believe?

Or did he choose

what he would choose

to do

Great Takatori

Kurokawa – Shogun

Who did he cry to

that moment

that last

What had he left

to gain

Parched wind is all

that remains

It wasntt I

Nor either me

Did someone lie?

Did he believe

Or did he choose

what he would choose

to do

Peace, now – be still

These things

are best unknown

Find peace

Over-glory

in the heart

will rot

and ripple through

the arc of time

but clean

replenished peace

can reign

when man

his selfish way

resigns

II iv Banquet hall. Malcolm seated on throne, center. Donalbain, Macduff, other noblemen seated. Celebration dance by Ladies-in-Waiting is in progress.

MACDUFF

Joy to you

great Shogun Malcolm

Smile on us now

Be as the sun

when it carelessly floods

the high mountain

We turn to you

longing for warmth

and pray

for the end

of dark days

Bless us now

MALCOLM

Macduff

my noble samurai

I thank you and promise

to you and all

who pledge faith to me–

Eternal peace

a peace to the end

from now until

the seas rise and blend

with the skies

So let us taste joy

and pass it to each

and ask that together

we raise

loud thanks

to this breaking day

Let Your voices blaze!

ALL

Ay ay ya!. . .

WITCHES

Come put your shoulder to the wheel

come set the wheel

to spin

just let tomorrow roll away

the wheel won't stop

the wheel won't stay

today's the day you win

Donalbain (Echoing)

Donalbain

Donalbain...

Why is it Malcolm?

Why not you?

Why is the first-born

always first

Why must you stand behind

always on tiptoe

trying to glimpse

parading life

through your brother's prime

DONALBAIN

The seed

was not less potent

that shaped my royal line

The earth is left

much finer that's plowed a second time

Why is it Malcolm?

Why not me?

This thorn

has snagged my pride

for I am just as bright

and just as royal born

WITCHES (Weaving around him)

Follow the thread

Take hold of the line

We weave

and you climb

Hand over hand

up sheer rock

you glide

Take hold of tomorrow

Let Karma guide

DONALBAIN (Excited)

I can be Shogun!!

(Witches offer two outcomes – the phrases may be mixed, or spoken in opposition, simultaneously)

WITCHES 1

Hush! Hush...

Fulfilling your cycle

now rise and now fall

none can escape it

we ride one and all

bound each to all others

and all

to the wheel

of Karma

bound each to all others

and all

to the wheel

of Fate

WITCHES 2

But is it real?

And are you bound?

Or is it chance

he wins, you lose?

Or do you dance

the step you choose

Decide–

Do you believe?

But excuse us–

while we weave

END OF PLAY

KABUKI RICHARD III

An open or proscenium stage to allow fluid transitions. Excess of color and beauty.

A light-weight curtain to be whisked open is customary, not essential.

CHARACTERS: 5 men, 5 women, Koken 2-6

MARGARET (of Anjou) – former Shogun's Lady (of Henry VI), ruthless

RICHARD – brother of dead Shogun (Edward IV), Protector to Shogun's heir, ambitious

HASTINGS – Chief Lord to dead Shogun, faithful

BUCKINGHAM – Lord, serves Richard, ambitious

ELIZABETH – new widow; former Shogun's Lady (of Edward IV), ripe

RIVERS – Elizabeth's brother, Lord, Uncle to heir

GREY – Elizabeth's brother, Lord, Uncle to heir

YORK – Mother of Richard & dead Shogun, widow of Richard of York

BETH – Elizabeth's daughter, future Shogun's Lady (grandmother of Elizabeth I)

ANNE – widow to Margaret's son, future Shogun's Lady (of Richard III)

PRINCE – Elizabeth's son, dead Shogun's heir (would be Edward V)

CHORUS – story-tellers who speak together; may include Koken, or any actors available; may also play LORDS.

KOKEN – facilitate the action. Dressed in black, they move sets, manipulate props in full view of audience, scurrying like invisible elves. Two will play NINJA

KI-PLAYER – Koken who signals the opening of scenes and key moments by striking the "KI" (key) or resounding wooden blocks.

DOUBLES: Beth may play the Prince. If not doubled, they're onstage once together. Rivers, Grey, Buckingham and Hastings may all double as Lords.

KABUKI RICHARD III

I i Prologue: Flute. KI-Player kneels at edge of stage, and strikes KI, to begin play.

Before curtain, a once beautiful, now haggard, woman enters, faces audience.

MARGARET

Margaret, I am

You may call me

a prophet

then I could laugh

A laugh is welcome

when the sky hangs black

The old have seen

everything

.

There was a time

my eyes danced

boldly

when I came riding

by land and by sea

from a far country

to marry a Prince

who grew to be

Shogun

But then came the killing

then the killing

began

.

I saw a youth

rise naked

smeared with ash

His name

this time on earth

is Richard

but Shiva

is his soul

.

Many don't believe me

but if they lived my life

they would believe

as I

The Shogun, my husband

my son, who was Prince–

both murdered

by Richard

So now I am widow

with my son's widow

my Anne

and we stand

remembering...

the youth I saw rise naked

from the ash

whose name

is Richard

.

This earth spreads a feast

Taste it all–

as long as you're strong

as long as you fight

again, again

until your loves

are hacked away

and then

trailing bloody flesh

they drag you through the market

of a bald country town

a woman left

as women are

with nothing

.

Still, I know

though many don't believe

that of the killing

finally

the gods will tire

And then rises Shiva

the young god Shiva

comes

I ii. Ki strikes; curtain opens; Richard alone in a dim spot in what is gradually revealed as a vast cemetery – may be the "field" to which we return in the final scene..

Richard as a child, sits on a mound of ashes (may be on crouched Koken who emerge to dress him) He smears himself with ashes, plays with dangling bones on a necklace.

MARGARET

He is last born son

of the one

created

to destroy me

So I killed his father

and they named him

Richard

.

Orphan grown

from all our wars

bred only to haunt

the little ground

still unstained

and so he became

Shiva

.

(A mime-dance with the aid of Koken: Richard grows from a child, changing, brought to manhood, finally will strike a Mie pose as the God Shiva. Koken's hands and arms create the rings of fire and many arms of Shiva)

.

CHORUS

There is a rhythm

at the center

of the world

we cannot see

.

Hold still and hear it

sink into feeling

the whispering beat

.

This rhythm came

before the Word

before the You or I

.

Waken to dance

Melt into the sky

For something to be born

something must die

.

RICHARD

High high!

Leaping licking fire

twirl out a world

spun on a snake stick

laughing as it curls

Fly fly!

.

(Richard gives a last leap and shout; quick and gleeful.. The Koken scurry away).

.

RICHARD

Fly hieeee!

.

I iii Drums. Music. The funeral procession of Shogun Edward enters: First the urn carried on by Hastings and Buckingham. Immediately behind, the late Shogun's widow, Elizabeth, flanked by her two brothers, Lords Rivers and Grey. Behind them Lady York and granddaughter Beth. Each person carries a white rose

.

RICHARD

She comes

The latest Shogun widow

Lady of the North

Look there

her lip is dragging

in the dust

as well it might–

my brother's bones

still hot among the ash

and she must know

North Lady cannot stand

alone

(Calling to her)

Elizabeth

.

(Richard spins round to greet them. Procession startled, stops. Urn will be set down)

.

RICHARD

My dear dead

brother's wife

I'm glad you went ahead

without me

.

ELIZABETH (Shocked)

Richard!

.

RICHARD

I see you've brothers

of your own

strong enough

to take your arm

.

Lord brother Rivers

(Nodding to each of them)

Lord brother Grey

you inlaws so kind

to bear our rose of white

.

ELIZABETH

How did you come

so soon...

.

RICHARD

Small wonder

I came at all

.

ELIZABETH

...from so far North?

.

RICHARD

...without an invitation

.

But where is my angel nephew

Where is your son

Missing his father's last rites?

.

ELIZABETH

How did you know?

The Shogun

died so suddenly

.

HASTINGS

I sent the news

to Richard

.

ELIZABETH (Surprised)

You

Lord Hastings?

.

RICHARD (Gleeful)

Aha. Lord Hastings

That's how it was

.

I asked you

Where is the Prince?

.

(Elizabeth and her brothers look at each other)

.

Hiee hiee!

You all look like

roosters returned

to find a fox

has called

.

YORK

Before the gods

be civil, Richard!

Pass on, pass on

.

(York signals the procession to begin again. As they speak, it does)

.

RICHARD

Ah, Mother

there you are behind

.

YORK

Yes, here I am

And you will

answer to me

.

RICHARD

When did vultures

earn the right

to wear a rose

that's white

Don't you know

what those in-laws plan?

.

YORK

I know my son

the Shogun Edward

who bore this world

all smiling on his shoulder

now is gone

.

RICHARD

I loved my brother too

.

YORK

Then show your knee!

.

RICHARD (Bowing)

Dear Mother

you still have me

.

YORK

You in place of him!

Can I arrange

a trade?

.

BETH (Holding York)

Grandmother please

You cannot bring

my father back

by hurting Richard

.

RICHARD

My angel niece

You wear our rose

with grace

.

BETH

Please help

Your mother has another son

Release him

Your brother Clarence

still imprisoned

in Zashiki-ro

.

RICHARD

Ah, yes

poor Clarence

still closed up

in Zashiki-ro

What was the reason?

Oh look there

see who's coming?

.

Yes, I remember

It was treason

.

(A second procession enters; only two women, bearing red roses: former Lady of the North [Shogun's wife], Margaret, and Anne, her daughter-in-law. They approach opposite Elizabeth, moving toward three downstage urns)

.

ELIZABETH

She dares come today!

.

(Margaret proceeds, as dialogue continues, to kneel by the three urns, of her husband, Shogun Henry, her son Edward, Anne's father, Warwick – all killed by Richard)

.

YORK

The ashes of her dead

lie already cold

No need to visit now

except to mock us

.

RICHARD

Hail, North Lady Margaret

.

(Margaret points her red rose at Richard as though it's her sword)

MARGARET

Viper!

You strike me

calling "Lady of the North"

She stole that crown from me

But now, Elizabeth

I take my turn

to gloat

Now it's you

has lost a husband Shogun

.

YORK (Pointing her rose)

She-devil!

You butchered mine!

As well as my first born son

Let this son die in peace

Leave Elizabeth alone

.

RICHARD

Put down your roses, Ladies!

.

(Richard takes York's white rose from her)

.

Have you not

enough loves dead

beneath this sign?

.

(Richard smiles at them all, then, with the rose extended, he moves to Anne, who has stayed aside, hiding herself)

.

The rose

is potent

beauty

Within its power

the warrior wilts

his senses crazed

his soul

intoxicate

with beauty

has no will

to war

Beware

the roses'

gaze

.

(As he finishes the dialogue, Richard holds the rose at Anne's chin)

.

(Anne lifts her face to look at Richard, swiftly raises her arm, and plunges a dagger toward his neck. He catches her wrist just in time to save himself)

.

RICHARD

I kiss your fingertips

sweet Anne

.

(With a shriek, Anne tries to bite Richard's hand that is holding her wrist)

.

RICHARD

Have you comfort, Margaret

in this tender wife

of your sweet son?

.

MARGARET

May her teeth bear poison

She's stripped of men

by your blade–

(Indicating the three urns)

of husband

of father

of husband's father Shogun

.

RICHARD

Then here she stands

in need

of all in all

And I am he

.

YORK

Richard!

.

MARGARET (Laughs)

Aha!

Let her strike

and you'll see

.

(Richard lets the dagger Anne holds move back to his throat)

.

RICHARD (Seductively)

Tender cousin

we two are braided

limb on limb

in blood

This thing you call

mother-in-law

axed my father

with the father of yours

raised their two comrade heads

on posts atop a wall

.

(Anne shrinks away, nauseated)

.

MARGARET

Look–

steeped in ashes

he still prowls

running women mad

.

(Richard forces Anne's dagger against his own throat)

.

RICHARD

Hold your blade steady

Let it breathe

against my flesh

.Your father raised me

from a boy

.

ANNE (Growling)

And you

you killed...!

.

RICHARD

Now!

Sink your blade deep!

I killed him

all for you

.

ANNE

Ahhhh...!

.

(Anne cries out, staggers away from Richard)

.

RICHARD

You cannot do me in?

I'll do it for you

If you want me to

.

(Richard places himself formally, kneels, his sword laid out before him, preparing to commit seppuku [to disembowel himself]. The others back away. Anne prowls, watching him. When Richard is ready, he looks up for Anne's answer)

.

ANNE

I do

.

RICHARD

Then sit where

I can see myself

die

in your eyes

.

(Anne stands still, refusing to accommodate Richard)

.

RICHARD

In exchange

for my death

that much you must do

.

(Anne moves to kneel opposite Richard. He gazes at her, then tips his head back)

.

RICHARD

Those eyes

before me

in every battle

blazed

I let

no man who claimed you

live

.

None lives

but by devouring

life

and you

belong only

to me

.

Goodbye my Anne

We two

are no more

than orphans

teethed on war

.

(Richard breathes, gazes at Anne, then, in the instant he reaches for the knife, she lunges, falling forward, and covers the knife with her body, preventing him from using it)

.

(As Anne lies face down, Richard flings himself into a Shiva-pose over her, triumphant)

.

RICHARD

What have I done!

.

(KI strikes. Mie pose. Formal movement of procession resumes)

.

RICHARD

As we two wed

tonight

the roses blend

the white with the red

befriending

all bleeding lovers

Those who still breathe

above this earth

must warm each other

.

Mother?

.

(York moves numbly forward to take Anne from Richard. The others, watching amazed now line both sides of the stage, forming an up and downstage corridor)

.

(Anne straightens, pulls free from York, looks back at Richard. Richard bows to her. Anne turns regally and exits upstage through the corridor of onlookers. It is a mysterious transformation, as though she has already become his wife, Lady of the North)

(Both sides, Elizabeth, Margaret, and their parties, fall in line to follow Anne. Only Buckingham remains. He slaps a fan in slow applause, punctuating his speech to Richard, who is motionless facing the audience)

.

BUCKINGHAM

And she...

will be...

North Lady

.

(Hastings has hesitated, now turns out of the exiting procession, and comes toward them)

.

HASTINGS

Richard...

RICHARD

Eager Lord Hastings

.

HASTINGS (Moving to him)

Brilliant entrance!

You unraveled

their whole scheme

with just one pull

on a string

Elizabeth

with her brothers

intends to rule

the Prince

.

RICHARD

You are faithful, Hastings?

.

HASTINGS

To the Shogun

always

who, as your most loving brother

named you alone

Protector of his son

.

RICHARD

The Shogun–

may his rest bring him peace–

his Prince

and I

all thank you, Hastings

.

(Hastings bows, and scurries away to catch the procession)

.

BUCKINGHAM

He is faithful

to himself

as we all are

Lord Hastings expects more

from you

than he'll ever get

from Elizabeth

.

RICHARD

And you? Lord Buckingham

.

BUCKINGHAM

Humble Buckingham

serves the Shogun

you mean

to be

(Richard laughs loud, and draws a white cloth out into his hand)

BUCKINGHAM

Anne

who was wife

to a red-rose Prince

before you killed him

this time will not miss

the crown

.

RICHARD (Drawing his dagger)

Astute of you

And you expect...?

(Richard slices his palm, and holds it, bloody, toward Buckingham. Buckingham, startled, then answers Richard's gesture by holding out his own hand)

.

BUCKINGHAM

Would the land of...

Kyushu

be too grand a prize?

.

(Richard swiftly slices Buckingham's palm)

.

RICHARD

Not if I hear

my favorite brother Clarence

who's been closed up tight

in Zashiki-ro

these many lonely nights

is dead

,

(Buckingham startled, holds his bloody palm's wrist, looks at Richard)

.

BUCKINGHAM

You want Clarence dead?

.

RICHARD

Blood into blood

hand passes hand

All comes to those

who understand

a cunning partner

is worth

unmeasured land

.

(Richard smacks his palm into Buckingham's. Mie pose)

I iv. Dark night. Field (same set, no urns) Riders entering, will cross stage (may be mimed). It is Rivers and Grey, the two brothers of Elizabeth, with a boy, the Prince.

PRINCE

When will I be Shogun?

.

RIVERS

As soon

as soon can be

.

PRINCE

That answer's for a child

which I no longer am

Uncle Rivers

.

GREY

You certainly are not

.

PRINCE

Then tell me, Uncle Grey

Who is my enemy?

Who must I hate?

.

(As though on cue, a spear with a banner drops in front of them. All are startled, on guard, draw their weapons)

.

RIVERS

Who's there?

.

HASTINGS (Entering)

No one

you should challenge

Lord Rivers

.

GREY

Hastings?

.

HASTINGS

Not if you're doing

the Shogun's business

.

RIVERS

What do you mean?

The Shogun...died

.

HASTINGS

But you know

he named a Protector

before

.

BUCKINGHAM (Entering)

Release the Prince

RIVERS

I will not.

No!

.

(They fight – Rivers, Hastings, Grey, Buckingham, Ninja guards who attend)

.

PRINCE

Uncles, Uncles...!

.

(Richard comes like a whirlwind, wheeling through, knocking all to the ground. Buckingham and Hastings scuttle aside)

.

PRINCE

Uncle...Richard!

.

(Richard comes easily to rest in a Shiva pose)

.

RICHARD

Secure them!

.

(Richard's ninjas brutally secure and exit with Rivers and Grey)

.

PRINCE

Richard...

What are you doing

with my other uncles?

My mother will be angry

with you

.

RICHARD

Good

You know politics

already

.

(Buckingham and Hastings laugh, and fall in formation behind Richard and the Prince, and the interrupted journey continues)

.

RICHARD

It is true

my tender Prince

her brothers

have position

through your mother

Your mother–

you may be glad, child–

is a woman

And a woman

must get position

through a man

For your mother

that man is your father

and he is dead

.

PRINCE

And so...

what will you do

with them?

.

RICHARD (Chuckles)

Quick learner you are

my budding young man

.

PRINCE

Where are we coming to?

.

RICHARD

Ah, see–

your sweet sister Beth

coming to greet you

.

PRINCE

This is Zashiki-ro

I don't like it here

.

BUCKINGHAM (Exiting ahead)

But here you'll be safe

.

HASTINGS

Till you are safely Shogun

.

RICHARD

Call your sister

She's turning aside

.

PRINCE

Are you sure

I should speak to her?

She's only a woman

.

HASTINGS

Come in now, my Prince

.

(Hastings ushers the Prince off as Buckingham runs on. Beth stands at a distance, staring. Richard puts a hand up to welcome her – but she turns swiftly, and leaves)

.

RICHARD

What happened to Beth?

.

BUCKINGHAM

Not good

.

RICHARD

Go bid her come back

.

BUCKINGHAM

She came to visit

Uncle Clarence

.

RICHARD

Ahhh, yes

Clarence

.

BUCKINGHAM

And so

she found him–

already dead

.

(KI strikes. Richard and Buckingham in Double Mie Pose. Richard makes a sign; Buckingham hurries away.)

.

(Richard alone, to audience. He begins humorously, ironic, but winds into a frenzy)

.

RICHARD

Not good at all

So impolite

.

What should I do

with these Uncles?

Uncles everywhere

Tell me when

has any

ever nurtured

the ambition

to be Uncle!

But here we land

dumped side by side

none preferred

none granted any rank

but equal – Uncle!

I'll sweep us clean

of Uncles

One by one

remove them swiftly

saving mess

and futile screams

I sweep us clean

Stepping lightly

as I can

on every neck

Such sweet relief

in each fresh "crack"

I sweep us clean!

.

Poor country mine–

mute with longing

drooping

wasted

weeping for one

strong enough to lead

So from out

this festering stew

I simplify

distill the finest

"He"

The last surviving

Uncle

must be me!

.

(KI strikes. Mie pose)

I v. Palace, raised floor in palace garden. Hastings enters, enjoying sun, birds

.

HASTINGS

Tender petals

will at last unfold

Soon all is well

in every tattered world

The morning

however long coming

must finally answer

the warbling bird

.

(A Lord enters swiftly. [Rivers or Grey actor doubling])

.

LORD

Lord Hastings...

you must not meet

The signs

Are bad today

Great turtle in the west

means danger

.

HASTINGS (Laughs)

Go away

If I worried

over every sign

nothing would ever get done

It's a beautiful morning

The Prince must be crowned

.

LORD

But North Lady's brothers

the Lords Rivers and Grey

both so swiftly killed?

Both done away!

.

HASTINGS

These are swift times

my friend

Look within...

Only in quiet

decision

will balance be found

.

(Buckingham enters. Another Lord follows. They all proceed onto the floor and place themselves formally for a meeting)

.

BUCKINGHAM

A bright day, Lords

.

LORD

Buckingham, tell us

how feels the Protector today?

.

BUCKINGHAM

Richard?

Sparkling as ever

though matters of state

concern him

naturally

.

HASTINGS

How did North Lady

take the news

.

BUCKINGHAM

The...who?

.

HASTINGS

The Lady of the North – Elizabeth –

of her brothers sudden deaths?

BUCKINGHAM (Refusing Elizabeth's title)

Ah, you mean

Elizabeth

the last Shogun's wife!

.

HASTINGS (Uneasy)

You stayed

too long in bed

.

BUCKINGHAM

In bed or out

the world does roll

.

(They are seated. Richard enters regally)

.

RICHARD

Good morning, Lords

You all look fresh as dew

.

(Lords all salute him. He takes the head place)

.

LORDS

Richard. Protector of the Prince

.

RICHARD (Cheerfully)

Today we set the coronation

Yes?

BUCKINGHAM

We all know this

Lord Protector

But of who?

.

HASTINGS

Who?

The Prince!

.

BUCKINGHAM

I see

you haven't heard

the rumors

.

HASTINGS

What rumors

.

LORD

From Elizabeth's party?

.

BUCKINGHAM

Rumors

that our candidate...

.

HASTINGS

Candidate!

.

BUCKINGHAM

...does not have blood

that's pure

.

HASTINGS

You're speaking treason!

.

RICHARD (Soothingly)

Peace, peace

Buckingham has merely heard

Elizabeth's marriage is not clear

and by that slip – so sad–

the Prince is illegitimate

.

(Uproar in protest)

.

LORD

Above a whisper

that speech

Is full of danger

.

HASTINGS

Ridiculous!

.

RICHARD

Peace, gentle Lords

Our decision

is a grave one

.

HASTINGS

The Shogun would not name

a son whose title wasn't clear!

.

BUCKINGHAM

Perhaps

a slippery marriage

needed cover

.

HASTINGS

By all my honor – No!

.

(Buckingham turns abruptly to Richard to draw him aside)

BUCKINGHAM

Most honorable Richard–

a circumstance

I must relate

to you alone

.

RICHARD (Excusing himself)

Consider calmly

Councilors

.

(Buckingham and Richard move away, say nothing, but circle slowly on opposite sides, while watching the others. Lords buzz to each other, nervously)

LORD (Low)

Strange...

was Richard angry?

.

HASTINGS

Has any of you

seen Elizabeth?

LORD (Pause)

I sent him

apricots today

.

(As Buckingham and Richard join two Ninja follow them)

.

RICHARD

I am grieved

in my soul

to hear it

Seize the traitor

Now

.

(Ninja move swiftly and take rough hold of Hastings. Lords are thrown off guard)

.

RICHARD

Hastings–

whom I trusted–

has betrayed the state

by keeping secrets

.

HASTINGS

What secrets?

.

RICHARD

Be glad that I

preserve my calm

.

HASTINGS

What secrets!

.

RICHARD

Though you are stained

by such deep treason–

in light of former service

I allow you now the honor

to take your life

by seppuku ["hari kari"]

(KI strike. Mie pose. All exit quickly in different directions)

I vi. Zashiki-ro. Palace floor tipped to make a wall. Still in a garden, but outside the prison. Elizabeth enters, supported by York. She carries a small red bundle.

.

ELIZABETH

Did they say

that I was

Lady of the North?

If I were Lady of the North

I'd say

"Send in my son"

and he would come

Ahah. It is not so

.

YORK

Did you never look ahead?

And now you know...

Oh – fine primed ambition

and a cloudless day

think they

can sail forever

imagining

no touch of fog

can raze the line

where earth meets sky

High High

.

See – this battered hulk

(Referring to herself)

that bobs afloat

through ages of raging wind

still nosing scraps

of family

borne to shore

Build womanhood on them

.

(They have arrived where a Ninja stands guard, and steps forward to block their way. Anne is entering from another direction)

.

NINJA

You cannot pass beyond

.

ELIZABETH

Of course I may pass

Is this not Zashiki-ro

and do you not know me?

.

YORK

Too well he knows

.

ELIZABETH

I've come to see my son

.

YORK

My grandson, I

.

ANNE

And I

my nephew Prince

.

(Holding out her red bundle)

.

ELIZABETH

I have the royal garment

for him here

.

(The Ninja does not move)

.

YORK

We may not visit–

why?

.

NINJA

No one may pass

.

ELIZABETH (Startled)

I hear a laugh!

.

NINJA

What?

.

ELIZABETH

A touch of music

I think I hear his laugh

.

Whose order

can deny me

my own child!

.

NINJA

Only the highest

Protector of the Prince

.

(Anne crumbles, as though struck by a blow to the stomach)

.

YORK

Almighty Richard

.

ANNE

My husband

.

YORK

My last born son

What a blessing

.

ANNE

Stretch up here, Elizabeth

It may be you can

see him play

.

ELIZABETH (Bewildered)

The garment...

.

YORK

...for the Prince to wear

.

ELIZABETH

...so none

who have the joy

to see him

can forget

they are in presence

of the royal heir

.

ANNE

This man–

in kindness–

will take it in

.

YORK

Hah

What kindness

.

ELIZABETH

Will you take it?

.

NINJA

That much I can

.

(As Elizabeth kisses the bundle and hands it to the Ninja, another Ninja comes running. We seem to hear the cry of a child "Mother!" but it may not be real)

.

NINJA 2

The Lady Anne

.

ELIZABETH

I hear him calling me!

.

(Ninja 2 bows in front of Anne)

.

NINJA 2

You're called to be

Lady of the North

.

YORK

North Lady – she?

Elizabeth–

you must hide

take sanctuary

.

NINJA

Richard commands

your presence

instantly

The coronation will proceed

.

ANNE

The coronation...how?

.

NINJA

You and he

are to be crowned

He the Shogun

and you his Lady

ANNE

Nooo!

(Anne gives a gutteral cry, collapses. Mie of all)

END ACT I

ACT II

II i. Anne wanders out. It becomes gradually clear that she is dying.

ANNE

I know it could

have been a dream

but still

I hear him calling

softly

"Lady Lady...Lady...

Why do I hear it

What is the voice

Oh let me rest

Aiieee

.

Lady of the North

She filled my life–

haunting promise

beckoning grin

"You're meant to be

that Lady of all women"

But now I see

that I was only meant

to cradle agonies–

again again

and should I

finally be she

I die

.

I married Richard

.

Since he touched me

I no longer

touch the ground

but walk some world

between

the one I know

and one I cannot know–

unknown forever–

a creature

made to move

inside of twilight

never laying down my head

but still

awaking never

.

No longer am I one

with those

who taste their food

I cannot say with others

"What a lovely breeze"

as though

my eyes can only see

disaster

that I always knew

was there

.

Richard needs me

that I know

He reaches toward me

suctioning my self

and soul

full off my bones

to nourish him

Each time he wakes

I know

my step is lighter

on the earth

My step is dim

(Anne collapses; engulfed by the next scene, she'll drag herself away)

II ii. Raised floor full of dancers, celebrating the coronation. All the women may be used, except Anne, and all the men.

CHORUS

There is a rhythm

at the center

of the world

we cannot see

.

Hold still and hear it

sink into feeling

the whispering beat

.

MARGARET (Moves apart)

When all was still

within

your breast still

moved

out and in

flowing on the stream

of all

plunging to the sea
knowing – nothing is

that does not

move

with you

.

(Richard, gloriously dressed as Shogun, enters through the center. Dancers yield space to him, but his presence makes them dance more furiously. He strikes a Shiva pose)

.

CHORUS

Dance it down

Pound again

Push the veins

.

RICHARD

Your pulse explodes

like shot in crystal air

a spattered shriek

of bowels

ripped raw from sleep

There's nothing I won't dare

When horror floods

your brain

then push it higher

beat the beat

my sweet ones

dance the dream

.

CHORUS

This rhythm came

before the Word

before the You or I

.

RICHARD

Kaleidoscoping

beauty out of

terror's brutal scream

High High!

.

Leaping licking fire

twirl out a world

spun on a snake stick

laughing as it curls

.

MARGARET

Waken to dance

Melt into the sky

For something to be born

something must die

.

(All fall into a bow to Richard, their faces to the floor)

.

CHORUS

High high

Shogun Richard!

.

(Procession, with each coming to bow before Richard individually, begins)

.

RICHARD

You're choosing well

to do me grace

cleaning my footpath

with your face

Hee Hee

Now let me see

How many did I chase

as far as Hell

to get this place

.

(First to bow to him is his mother, York)

.

RICHARD

Is this your blessing?

Spittle under breath

How ungrateful when

I've made you once again

a Shogun's mother

.

You don't begrudge

poor Clarence' death

Between us family

what's another brother

.

(Other Lords bow low to Richard as he continues)

.

RICHARD

Why don't they up

and butcher me?!

Because they love me

They adore...

The more

atrocities I do

the more their admiration

grows

If now I make my stool

in this one's face

he'll swear he sniffs

a rose

To find the evil

men can do

don't search in books

Try bedrooms

backyards

chambers of the church

The worst among you

faint in disbelief

at what grotesque inhuman horrors

simple hearts have worked

(Elizabeth comes forward to bow. Her daughter Beth behind, won't move to Richard)

RICHARD

Ah Elizabeth

come out from hiding

to wish me...

what?

Happiness and wealth?

My Anne declines

to share

and fades away (so sad)

I require a North Lady in health

Whatever will I do

for heirs?

.

Is that my tender niece

back there

shying so denying

her wares?

.

BETH

I see you, Uncle

clear

.

RICHARD

Beth dear Beth

you risk my temper

Will not bend for me?

Well, well...

I owe you

so you take your fee

.

(Buckingham, the last to approach, bows ostentatiously)

.

BUCKINGHAM

Great Shogun

.

RICHARD (Rises menacing)

Buckingham

my very closest

friend

.

BUCKINGHAM

All we have achieved

will remind you

of the day

our two bloods kissed

in this...

.

(Buckingham draws out the white cloth bloodied with their pledge)

.

RICHARD (Furious)

All?

.

BUCKINGHAM

Great Lord

you remember

the title you promised

was mine:

Master of all lands

of Kyushu

.

RICHARD

I am Shogun

And foul whisperings say

my closest friend

has wantonly betrayed me

.

BUCKINGHAM

My Lord...how!

.

RICHARD

You didn't think

I'd sniff your trap?

What cleverness you show

.

BUCKINGHAM (Frightened)

What trap?

.

(But Richard instantly flips his mood as though it's forgotten, speaking casually)

RICHARD

I have a tickle

just here...

.

(Gestures down his throat)

.

Can you scratch it?

No?

Just so

there's a tiny bit

of something

catches those

who raise their voice

to cheer me

.

BUCKINGHAM

Do you refuse me my land?

.

RICHARD

A niggling bit

You left it there

to rattle in the dark–

this stone

.

BUCKINGHAM

You are Shogun

and we pledged:

my title

for the Shogunate

.

RICHARD

Annoying!

How it tugs me by the neck

chokes up the throat

of my acclaim–

this little stone

.

BUCKINGHAM (Heavily)

What stone...

is in your way

.

RICHARD (Charming)

A mite

for someone of the skill

you show

Just one small prince

inside Zashiki-ro

.

BUCKINGHAM (Backing away)

Great Shogun...

.

RICHARD

We are not

such great friends

then?

BUCKINGHAM (Turning aside)

Excuse me please

I must consider

.

RICHARD

Consider

Hah

A heart

that wavers once

is next day

mute

as stone

.

Secure him

.

(Ninja moves, takes hold of Buckingham. Richard rises, draws his sword)

.

RICHARD

The deepest

deeds in service to all

a leader does

alone

.

(KI strikes. Mie pose. Then darkness. Lights cross stage as Ninja drag an unwilling Buckingham. Behind them the palace is dismantled down to the bare prison)

.

NINJA

Come then

You must come

.

BUCKINGHAM

Give me time

This man we serve

must be a devil

Let me speak to him

again

.

NINJA 2

You're misled

most honorable

cheating friend

.

NINJA

Even children know–

your devil

is no more real

than your angel

.

(They disappear with their lights)

II iii. Richard sits alone in a dim spot in a pose of meditation.

(The Prince, with a short sword, approaches stealthily behind him. He's wearing his long red royal garment, and holds his sword high, pointing at Richard's neck.)

PRINCE

Your business here!

Or I will stop your life

.

(Richard startled, then breathes, drawing himself taller)

.

RICHARD (Quietly)

You imagine

you can stop my life?

.

PRINCE

Uncle Richard?

Why are you sitting here

cold

and alone

You've come to release me?

.

RICHARD

In time

In time

.

PRINCE

What were you doing

.

RICHARD

Remembering

.

PRINCE

Excuse

my interruption then

I must be on guard

for assassins

.

RICHARD

Will you escape them

when they come?

.

PRINCE

I will

I'm a true Shogun

.

(Richard laughs)

.

PRINCE

What were you remembering?

.

RICHARD

When your grandfather

was young as you...

there was a baby Shogun

left to reign

and round him grew

a swirl of blood

that has not stopped

since then

.

When your father was

as young as you

his father

who was also mine

fighting

in that endless tide of blood

came next in line

for Shogun

but then was born

a baby Prince

When I

was young as you

our father in all that blood

was four years drowned

I served your father

in the fight

and so

the flowing blood still grew

into a mighty undertow

and then you see

we slew that Shogun

and his Prince

who was

as young as me

.

(Silence. The Prince watches Richard eagerly, but Richard sits stony, morose)

.

PRINCE

I'll be good as you

.

(Prince stands, making a flourish with his sword)

.

RICHARD

You will

.

PRINCE

I wear the rose

.

RICHARD

The rose

is potent

beauty

Beware...

.

PRINCE

I am the worthy heir

of my father

and of you

.

RICHARD (Laughs)

I see

Another baby Shogun

.

PRINCE (Angry)

I'm no baby

Do you have your sword?

(Richard draws his sword)

RICHARD

Oh yes

.

PRINCE

Come then

.

(They fight – the boy against the warrior. They play)

.

RICHARD

This is the dance

my fine young Prince

.

PRINCE

I'll be Shogun!

.

(When Richard finally takes him, it may be surprising, but it is clear, neat murder)

.

RICHARD

A life at war

is no more

sport

than this

.

(Richard kills the Prince. Mie pose)

II iv. The instant the Prince is killed, a scream and howling begins and builds into a hurricane. Lights flash bright, then sudden darkness.

.

(Set collapses, and we are in the field (cemetery) again. Richard has stayed center. The Prince is gone. The impression is of a great swirl of wind. Howl continues. .Margaret appears in a spot. York and Elizabeth, from other spots, howl)

ELIZABETH / YORK

My son...The child...

My son...The child...

.

(Howling continues behind her as Margaret speaks)

.

MARGARET

That's all

That's all

No more

.

RICHARD

You think so?

.

MARGARET

They gather against you

They come from all sides

The dance will destroy–

end the fire, water, wind

end the man that dares to murder

end the man that kills

.

RICHARD

Stupid women

It's you that set me on

.

ELIZABETH

I prepared a sweet life

set it free

but thirsty fangs

lay waiting

Kill him

Kill!

.

RICHARD

When you all drop still-borns

death is coming soon

Death starts in the womb

.

YORK

My jagged nails

would scrape this womb

to strips of skin

rather than give birth to you

again

Kill him

Kill!

.

RICHARD

Be one

Take part

Together bend

and share your fall

I am the order

all in all

.

MARGARET

Abortive last dregs

of your mother's

worn-out sack

Vomiting precious wine...

.

RICHARD

See the exquisite pattern

snowflake...

.

MARGARET

...you mutilate your line

.

RICHARD

...follow to where it falls

soft

on the fresh torn

belly of a doe

Crimson splatter

on the snow

I didn't start these wars

.

(York turns on Margaret, grabs her, circles)

.

YORK

No...

It's you

usurping outsider

You

you foreign worm!

.

MARGARET

I had a son

died so

And so did she

and so...

I say no more

.

YORK

You butchered mine before!

.

(Elizabeth grabs York, circling)

.

ELIZABETH

You disdained me

as mate

for your son

and so this other

snake-spawn of yours has...

.

YORK (To Elizabeth)

You common

glutinous fly

You shoved in

your own family

.

RICHARD (Delighted)

How!

Rabid dames

carry on the war

How strange

that only women

stand alive?

Full-grown females

impotence complete

except to howl

your consequence

is nil

Off-cast would-be

Ladies of the North

you're much too

insignificant

to kill

.

(Yowl, as women fly to attack Richard, then yowl stops abruptly at appearance of Beth.)

(Beth stands at a distance, looking young, innocent, holding out her arms. Draped across them is the red royal garment of the Prince. Seeing it, Elizabeth and York drop to kneel face down, keening for the dead Prince. Richard, too, is stunned by the image. Margaret backs away)

.

MARGARET

The forces

gather against you

Richard

It won't be long

.

RICHARD

My angel niece

Elizabeth?

.

(Richard turns his attention from gazing at Beth to her mother, who still kneels. As Richard approaches her to make his move, Margaret, aside, moans for them all)

.

MARGARET

The center of faith

is a desert now

The lord of the animals

roams

extinguishing our forms

all illusions into ash

laughing as we weep

behind his mask

.

(Beth backing off)

.

RICHARD

We must take good care

of your daughter

.

(Elizabeth looks up at Richard, frightened)

.

ELIZABETH

I have no daughter

.

RICHARD

Do not mock me

.

ELIZABETH

None

.

RICHARD

Now that she has no father...

.

ELIZABETH

None!

.

RICHARD

...and I have always been

her loving Uncle

.

ELIZABETH

Loving...

as you were Uncle

to her baby brother?

.

RICHARD (Seductively)

Elizabeth–

you feel the life

that surges new

within

Its essence

is not in myself alone

but centered

in a spark

that flies...between

.

Where should it fly?

Into another house?

.

Sensual contact

is the human's path

into a holy life

Ecstasy

is next to being

God

I must have a wife

.

ELIZABETH

You mean...

You want me to...

.

RICHARD

Not you

Your daughter

.

ELIZABETH

My daughter

.

RICHARD

I want her

for my wife

.

ELIZABETH

You!

Killer of her brother?

Of her uncle?

.

RICHARD

Dear Uncle Clarence

.

ELIZABETH

Killer of her aunt!

.

RICHARD

The Aunt I deny

.

ELIZABETH

You killed your wife Anne

as surely

as you killed my son

.

RICHARD

And I

dear one

am Shogun

.

So my wife

however blushing

she may be

will still be

Lady of the North

(Close to her)

You labored all your life

to have that place

Why not let it stay

with one of yours?

Rejoice!

You have a daughter

She may have a son

and he may be

another day

Shogun

.

(Pause. Then Elizabeth turns primly, and gives Richard her hand)

.

ELIZABETH (Summoning)

My daughter–

Beth?

(The instant Elizabeth turns to the place where Beth stood, with a flash, instead of Beth, there stands the Prince – turning into place, perhaps bloody)

ELIZABETH

My son–

his ghost!

.

(Behind the Prince, comes a procession of ghosts – first Anne, then Buckingham, Hastings, Lords, all the company. The Prince speaks as ghosts swirl in behind him)

.

PRINCE

We gasp between

two ages

both cast back to shore

The last – not dead

is dying

The next–

without strength

to be born

.

RICHARD

No!

You breathe no more

Stay there

.

PRINCE

None else

is left

alive

.

(The ghosts drift swiftly to surround Richard. He counters, terrified)

.

RICHARD

I needed you

and you obliged

dissolving

each after each

into me

thus you molded my career

So now

you cannot hold

this course

The world ends here!

.

PRINCE

There always comes another

.

RICHARD

No!

I've no remorse

There is no turning back

.

PRINCE

Then why do you fear?

.

(Lightning. The ghosts attack Richard. Movement of battle – synthesizer ghost battle. Ghosts create ring of fire. Richard is killed. Total silence. Richard, dead in the center, will slowly revive, to finally appear as Shiva. Anne, Margaret and company softly in chorus speak as the transformation begins to take place– )

,

ANNE

Our native earth

may stain all red

but still

life will renew itself

from clay

Destruction and creation

from earth's core

will rise and flow forth

come what may

.

CHORUS

Take part

in that of which you are

a part

A whisper

in the wind between

the howl of birth and death

Kaleidoscoping beauty

out of terror's brutal scream

.

ANNE

Cold sun slides

without a sound

behind dark mountain

but strikes its flame

again

at dawn

(Richard, now become Shiva, begins to dance)

CHORUS

There is a rhythm

at the center

of the world

we cannot see

Hold still and hear it

sink into feeling

the whispering beat

MARGARET

When all was still

within

your breast still moved

out and in

.

CHORUS

...flowing on the stream

of all

plunging back to sea

MARGARET

...knowing

nothing is

that does not move

with you and me

ANNE

You need not weep forever

You can find relief

when you learn you are the source

of all your grief

Your thought gives it force

You create every evil

you see

PRINCE

Believe in joy

and joy is yours

All will be as you see it to be

Evil cannot survive

when you don't keep it alive

with your fear

CHORUS

This rhythm came

before the Word

before the You or I

.

PRINCE

Banish fear

and you will fly

Your way is clear

ANNE

Dance your dance as lightly

as any girl or boy

Beat your beat in perfect time

marking only joy

CHORUS

Waken to dance

melt into the sky

For something to be born

something must die

Waken to dance

Melt into the skies

PRINCE

Wherever joy is born

evil dies

(Richard, dancing in full splendor, strikes Shiva pose. Final company MIE)

END OF PLAY

ACHILLES

This drama with dance, based on THE ILIAD and related myths, was commissioned by the People's Light And Theatre Company to be presented Kabuki-style. It premiered in the Greek amphitheater at Kourion, Cyprus, played People's Light and Theatre, Wilma Theatre, and the Festival Mythos in Philadelphia, as well as touring Cyprus, Hungary, and Japan.

ACHILLES

A Kabuki Play

A company of performers tell, sing, dance and enact the story.

CHARACTERS AND COMPANY: 5 men, 2 women, Chorus

BRISEIS – Narrator. Achilles' war prize

PATROKLOS – Greek warrior. Achilles' best friend.

AGAMEMNON – King; Commander of Greek armies.

ACHILLES – greatest Greek warrior

THETIS – Achilles' mother, Goddess of the sea

PRIAM – King of Troy

HECTOR – Priam's son, greatest Trojan warrior,

CHORUS: by turns they play—

SOLDIERS – both Greek and Trojan

CHRYSEIS – Agamemnon's war prize; daughter of high priest.

LYCAON (boy) – Priam's son, young soldier

GOD VOICES – Athena and Apollo

RIVER VOICE – the River speaks

KOKEN – "enablers" of the story; stage-hands

The set presents the "plain of Troy" which takes on many moods.

Achilles' tent is the main scenic item; its appearance and disappearance is incorporated into the company's action. All scenes flow seamlessly from one into another.

(First we see only Briseis, the narrator, isolated in a pin spot. Up-scrim unseen is a chorus of Greek soldiers led by Patroklos, speaking like a whispered echo)

BRISEIS:

I am Briseis

only a woman

And so

my grasp of truth

is in shadow

my story, only a part

You will forgive me?

In all of my life before

I knew

its purpose was living

but one day I grew

to know

the purpose of life

is war

SOLDIERS:

(Whispered)

...is war

the purpose of life

is war

(Very gradually, the soldiers become visible in dim silhouette)

BRISEIS: When the war started

SOLDIERS: or why

BRISEIS: no one knows

SOLDIERS: No one knows.

BRISEIS:

They say

it was a woman...

SOLDIERS: Helen!

BRISEIS:

...running from her husband

with the second son of Priam

the king

So she

though a queen before

in the end will be

like me

no more

than a prize of war

SOLDIERS: (Strong) A prize of war.

BRISEIS:

My life before

was a garden—

fine parents ruling the valley

three brothers standing

like tassled grain

so tall—

but all

were cut down

cut clean

one dark summer's eve

when I

became the prize

of Achilles

(Space begins to open with night behind scrim; Chorus may create crickets, owl, stillness. As Briseis' story goes on, goat bleats, neighing horse, isolated sounds of a raid punctuate her description.)

BRISEIS:

A goat bleat

in midnight air

came first

Then came the clash of bronze

BRISEIS and SOLDIERS: (Whisper) What moves on the mountain?

(Briseis, or shadows on scrim, may mime waking her husband, and etc– )

BRISEIS:

I touched

my soft-breathing husband

gathered a fleece

round my shoulders

stepped to the door

Torch light

flickered

on white walls below

Voices rose

startled

from sleep

I saw my brother

slight in his tunic

struggling with another

all armed

SOLDIERS: Another all armed

BRISEIS:

Then a grunt and a fall–

a sword blade came free

laying open the deep belly

of my brother

there on white stones

SOLDIERS:

As the others came running

too late for all three

BRISEIS:

My throat

opened to scream

but a hand sealed my mouth–

my sweet husband breathing

"Be still. Stay still"

and seizing his sword from the wall

(Chorus creates sounds of raid – donkey brays, swords clashing, muffled yells)

SOLDIERS:

Donkeys brayed

Armor came clanking

BRISEIS:

"No," I cried, "Stay!"

but too late

Already a torch blazed

cross his face

Gleaming silver filled our door

I staggered

my eyes frozen open

A sword's point

caught my sweet's chin

uprooting his teeth

splitting his tongue

twisting up into his brain

Blood rushed down that sword

I saw it and then saw no more

But I heard as I fell

a soft voice

PATROKLOS:

"Don't weep, pretty child

I'll see you married now

to a prince, a young god...

SOLDIERS and PATROKLOS:

...the finest

in all the world wide"

BRISEIS:

That voice was Patroklos

the kindest of men

SOLDIERS: And the silver death-bringing god...

BRISEIS:...was Achilles

(Immediate shout from the soldiers, with drum beat)

SOLDIERS: Achilles. Call Achilles!

PATROKLOS:

Achilles the champion

Our fastest, our best

Achilles!

(Soldiers sway with drum beat, becoming fully lit upstage of scrim, with Agamemnon at their head)

SOLDIERS:

Nine long years of seige

but Troy's wall

still stands

(Shout)

Agamemnon!

Nine long years of seige

but Troy's wall

still stands

Agamemnon!

PATROKLOS:

Men and ships came

All the kingdoms of Greece

for Agamemnon

SOLDIERS:

Nine long years of seige

but Troy's wall

still stands

Agamemnon!

PATROKLOS:

We came for the woman

came for revenge

with Agamemnon!

SOLDIERS:

Agamemnon

King of Mycenae

golden kingdom of Greece

PATROKLOS:

We came with Agamemnon

came for his brother's wife

for Helen of Sparta

SOLDIERS: Now Helen of Troy!

BRISEIS:

The armies were bored

they had nothing to show

SOLDIERS: No reward!

BRISEIS: So they ravished our mountain

SOLDIERS:

We ravished the mountain

for prizes

nights of pleasure

a dancing feast

BRISEIS:

Now I am the prize of Achilles

but Patroklos

dear friend

promised true

Achilles took me

not rudely

without anger

through my tears

SOLDIERS:

Nights of pleasure

spoil and prizes

a dancing feast

BRISEIS:

Still, the best prize

is Agamemnon's

SOLDIERS:

The blushing daughter

of a powerful priest!

(Sudden bright image, upscrim, of Chryseis, the priest's daughter.)

(Chorus: noisy partying that is gradually overwhelmed and stilled by a single ominous tone as dawn rises–)

PATROKLOS:

But at dawn

when the rose-flame ball

lifts through the mist

its trail burning purple

straight across waves

straight up the sand

SOLDIERS:

But at dawn

something new

breaks on land

(Chryseis' image is disappearing)

BRISEIS:

A whisper

a fearful word

comes wafting

from tent into tent

(Soldiers begins whispers that will swell)

PATROKLOS:

A whisper

wakens the living

to quiver

to hide

to draw tent-flaps tight

BRISEIS: But too late

SOLDIERS: (Barely audible) The plague...the plague

BRISEIS and PATROKLOS:

The whisper

the fearful word

still hurries on

licentiously curling

like mist before dawn

SOLDIERS: The plague. It's the plague!

(The scrim lifts; the Soldiers, plague-stricken, swarm – a living fresco of victims. Briseis, surrounded, moves upstage, hidden behind Soldiers who writhe–)

SOLDIERS (Individuals and Chorus)

Some god has sent this

Infection!

Stay away!

What can we do?

Stay away!

No, save us! Save us!

Stay away!

(Achilles entering; Soldiers swarm to the side, giving Achilles a grand entrance)

SOLDIERS:

Achilles! Call Achilles!

Achilles the champion

the fastest, the best

Call "Achilles"

and all Trojans

even Hector the mighty

hide behind walls

Achilles!

(Achilles is within reach, and some gasping victims try to reach him, while others hold them back. Soldiers plead–)

Help us, save us, heal us please!

(Achilles stops, aware of their reaching for him: instant silence)

ACHILLES:

They are soldiers

Do not hold them from me

(A hesitation, then one soldier speaks)

SOLDIER:

Great Achilles

They have the plague

(Loud murmuring, as soldiers verify their condition)

ACHILLES:

Then their need is great

Do you think I fear plague?

SOLDIERS:

Great Achilles

fleet as wind

loved by the gods

Tell Agamemnon

Beg him for us

You can speak

and you can save

It is Agamemnon

the omens tell us

it is he

who brought the plague

(Agamemnon is entering, self-satisfied, leading Chryseis, the priest's daughter, whose eyes are shyly averted)

(Achilles gestures sharply; the soldiers surround him. He bends to listen to them. Agamemnon stops, imperiously, upstage)

AGAMEMNON

What is this howling

this chaos?

And who says

I am the cause!

.

SOLDIERS: Help us, save us, heal us, please!

.

SOLDIER:

Great Agamemnon

leader of the armies

they have the plague!

.

AGAMEMNON:

I can see what they have

Clean it up

whatever it takes!

No attack can be launched

not even defense

in this state

.

(The soldier bows, but looks helplessly to Achilles)

.

ACHILLES:

Great leader

a way has been whispered

.

AGAMEMNON: To rid us of this plague?

.

ACHILLES:

One way

But the soldiers have fear

.

AGAMEMNON:

Damn their fear!

What is the way?

.

ACHILLES: A beautiful girl

.

AGAMEMNON: (Startled, but pleased) My prize?

.

ACHILLES: She's the daughter of a priest?

.

AGAMEMNON: And amazingly adept

.

ACHILLES: Her father came to beg for her?

.

AGAMEMNON:

Pathetic, yes

He offered ransom

.

ACHILLES: And you refused?

.

AGAMEMNON: I threw him out

.

ACHILLES:

You refused

And we have plague

.

AGAMEMNON: What?

.

ACHILLES and SOLDIERS: And so we have plague

.

(Agamemnon swells with anger, eyes flashing with rage)

.

AGAMEMNON:

No!

Damnable priests

They prophesy

nothing but evil!

It cannot be so

.

ACHILLES: There is one way to know

.

AGAMEMNON: (Explodes) No!

.

(The soldiers, dismayed, groan, cough, seem worse. Agamemnon, looks them over, then back at Chryseis, knowing the omen is true)

.

ACHILLES: Send her home

.

(Agamemnon is furious, anguished, but draws himself up proudly)

.

AGAMEMNON:

Let no one say

Agamemnon

does not tend his troops

.

(Chryseis looks up hopefully, steps forward)

.

If she must go

I'll let her go

.

(The soldiers rouse feebly, joyful. Chryseis bows gratefully to Achilles)

.

AGAMEMNON: (Furious)

But you

must find me another!

.

(Achilles, mild until now, turns on Agamemnon, suddenly angry)

.

ACHILLES:

Insatiate dog

How!?

We have no standing pool

of women

.

(From the soldiers, Patroklos steps toward Achilles, worried, a restraining hand out, while Achilles goes on raging)

.

ACHILLES:

All prizes

have been given

Do you intend

to take one back?

.

(Agamemnon smiles at Patroklos, nods toward Chryseis)

.

AGAMEMNON:

Release her

Send her home

Accept no ransom

.

(Joy from all. Two soldiers make a way for Chryseis as she begins to move out. But Achilles, wary, senses Agamemnon's intention)

.

ACHILLES:

Return her

to her father now

and get another

when we ravish Troy

.

Unless you think

we never will?

.

(Agamemnon, still smiling, ignores Achilles' challenge. Chryseis is gone.)

.

AGAMEMNON:

So you keep your prize

while I give up mine?

No. Let the Greeks

find me another...

.

or I take Briseis

.

(Achilles, restrained until now, explodes)

.

ACHILLES:

My prize?!

Arrogant snake

You're full of nothing

but lust and greed

Why should I fight for you?

I'll leave!

.

AGAMEMNON:

Then leave!

What do I need

with a strutting

acid-tongued pup?

You set yourself

equal to me?

Now feel the power of Agamemnon

King of kings

Give her up!

.

(Enraged, Achilles roars and draws his sword. But just as he raises it to strike, his head jerks backward; he is frozen in dazzling light)

.

VOICE OF ATHENA: (Amplfied) Stop your sword!

.

(Light and sound projections as Briseis narrates the supernatural moment)

.

ACHILLES: (To the light) Let go!

.

BRISEIS:

Down swept Athena

golden daughter of Zeus

unseen by all

but her dear Achilles

With her terrible eyes

ablaze

she yanked his fiery hair

.

VOICE OF ATHENA:

Put back your sword

Slash him only with words

Another day

he will pay

Obey!

.

(Achilles head is released. Alarmed, Patroklos has his hand on Achilles as he speaks to Agamemnon. Achilles lowers his sword, still gazing upward)

.

PATROKLOS:

Wise Agamemnon

Though you have more power

do not take the girl

that was given to him

And Achilles, you...

.

ACHILLES:

The Goddess stopped my hand.

I would have killed him, Patroklos

.

(Agamemnon stands calm, smiling)

.

AGAMEMNON:

Soft-voiced Patroklos

this quarrelsome boy

does not deserve you

.

(Achilles whirls on Agamemnon)

.

ACHILLES:

Wine-sot! Dog-face

without any gut!

,

PATROKLOS:

Achilles, please

You owe him allegiance!

.

ACHILLES:

He's not my Lord!

I am a Prince!

.

(Challenging Agamemnon)

.

Do you ever

stand in frontlines

of the battle?

When do you venture

on a raid?

.

AGAMEMNON: (Warmly, to Patroklos) Why not leave him?

.

ACHILLES:

Never!

Never do you dare

a fight!

.

PATROKLOS: (Sadly)

Achilles

You're making

the Trojans rejoice

.

ACHILLES: (Spins on Patroklos)

I have no quarrel with Trojans!

What have Trojans done to me?

Have they raided my cattle, my horses

Have they cut my harvests

from off the rich plain?

No!

I came to battle

for this man's revenge

but he, only he

offends me

.

(Achilles whirls on Agamemnon in a towering rage, raising his scepter in the air. Soldiers cower, terrified at Achilles' rage)

.

ACHILLES:

Thief!!

By this scepter

which will nevermore sprout leaf

or shoot or bud

being once carved from its tree

I swear

in the day of your distress

when you come to fall

at the hand of Hector

you will look and not find me

you will know not what to do

you will tear your heart with rage

for the day you insulted

the greatest of the Greeks

.

(Achilles hurls his scepter to the ground. Stunned pause. Soldier who took Chryseis away runs on excited, but stops, frightened by the stony silence)

.

SOLDIER: (Announcing)

His daughter is delivered

safe to the priest

.

(Soldiers straighten, feeling beginning of relief from plague, but all still riveted on Achilles' glare at Agamemnon)

.

AGAMEMNON: (Looking at Achilles)

Patroklos?

Give me his girl

(Patroklos looks at Achilles, who doesn't flinch)

ACHILLES: (Softly)

Yes

It is fit

.

It was you who first

brought her to me–

.

Bring Briseis

.

(Patroklos troubled, moves to get Briseis. Soldiers part, and Briseis is revealed happily approaching Achilles, who looks longingly at her, then turns away)

.

(Patroklos holds out his hand and Briseis steps forward to go with him, but when she sees she's where he's leading her, she sadly turns to gaze back at Achilles when she is handed to Agamemnon)

(Achilles refuses to watch as Agamemnon exits with Briseis, in grand procession. The soldiers, relieved the plague is lifting, follow Agamemnon, cheering)

.

(The stage grows darker and darker while Achilles is left alone; he is now at the edge of the sea in a storm. Sounds of waves crashing, and rolling surf)

.

(Alone, a gigantic roar erupts from Achilles. When he has roared to the peak of his anguish, he weeps. When his weeping becomes deep and loud, he calls–)

.

ACHILLES:

Thetis.

.

(Waits)

.

Thetis!

.

(The surf becomes louder, and Achilles calls his loudest–)

.

Mother!!

.

(Sudden quiet, then softer wave music. Then, as out of the dark sea and mist, Thetis comes dancing.)

.

(A grand, mysterious entrance. Sea may be created only by lighting and sound, or by colored streamers, flowing fabric, and mime)

.

(When Thetis sings, the Chorus may echo her, singing from offstage. When he sees Thetis coming, Achilles joins her dancing beside the waves)

.

THETIS:

Seek no answer

from the sea

The rolling mother of all

knows not why

she needs no reason

to be

.

She only flows

bounded by

dappled sway

deep streaming light

dancing bright

through indigo

turquoise

marine

.

Seek no answer

from the sea

she knows not why

she needs no reason

to be

.

Only flow

in tomorrow

Let it embrace you

leaving no trace

of today

.

Seek no answer

from the sea

Only flow

Be still and know

your future

in her endless

sigh

(Thetis teases Achilles back and forth with the dance, says laughing–)

THETIS:

There once was a boy

who ran off to the sea

Was it you?

.

But he ran and he ran

so fast

faster than even the wind

had seen

a boy run

.

Then he sang and he sang

so well

better than even the birds

had heard

a boy sing

.

So they whispered

he must be a God...

What does this boy

want with me?

.

(Achilles, drawn away from his sorrow, laughing, suddenly remembers his anguish, and sits abruptly, rude–)

.

ACHILLES:

Why do you ask

what you know?

.

THETIS:

You seldom call

You've become such a man

.

ACHILLES: Agamemnon...

.

THETIS: He's no one beside you

.

ACHILLES:

He dishonored me!

He stole my Briseis

The woman. My prize

(Thetis suddenly frightened, leans to stroke Achilles)

THETIS:

Calm. Oh, be calm

Not too much anger

dear son

born in pain

only to die

do not choose

to be taken too soon

by the greedy God

ruby-stained War

Calm. Oh, be calm

.

ACHILLES:

Like waves at dusk, Mother

I'm glass-smooth

And I will not fight

.

THETIS: (Joyful)

You'll leave the war?

You'll go home!

.

ACHILLES:

Perhaps I will

but first I need

a deed you alone

can do

.

(She is over-joyed, embraces, cradles him)

.

THETIS:

I can save you from all

but death

.

ACHILLES:

It's a promise, then?

You'll do this favor for me?

.

THETIS: Whatever you need

.

ACHILLES:

Then make sure

the Greeks lose

.

THETIS: (Frightened) Your own side lose?

ACHILLES: Someone must lose

.

THETIS: Then Hector wins

.

ACHILLES: Hector is worthy

.

THETIS:

But I fear him

Him beyond all

.

(As though from out of her mind, Hector appears, upstage, a powerful, mysterious figure. She sways, beginning her exit)

.

THETIS:

Seek no answer

from the sea...

.

ACHILLES: Is he stronger than me?

.

THETIS: None is stronger than you

.

ACHILLES: (Bitterly) No one mortal

.

THETIS:

But him

you must fear

.

ACHILLES:

I must fear?

.

THETIS:

Soon after he dies

so will you.

.

ACHILLES: (Sharply)

But I have your promise?

The Greeks will lose

.

THETIS: (Sad, vanishing)

You do

I know not why

the Trojans will rise

I only flow

Be still and know

.

(A bold battle cry, and Trojan soldiers come running on, to surround Hector)

.

TROJAN SOLDIERS: (Marching chant) Hector! Hector!

.

(Upstage of them, in kingly state, appears Priam, looking on. In great spirits, they take battle stances, tumble, march)

.

THETIS: (Voice amplified)

With the ancient pride

of Priam their King

the Trojans will rise

and a thousand spears clash

with one trumpeting voice

to boldly rejoice

.

PRIAM:

My brilliant son, Hector–

Rejoice!

.

(Thetis and Achilles are gone)

.

HECTOR:

My honored father

We Trojans strike harder than Greeks

here under the eyes

of our children

and wives

.

SOLDIERS:

Hector! Hector! Hector!

His face grows dark

as sudden night

his eyes flash fire

like lightening in a storm

as we strike

in a raging pack

close on the cry

of Hector

.

PRIAM:

Strike as you will

fulfilling

my ancient pride

for Achilles

sits coolly

aside!

.

(A great cheering battle cry; then sounds of battle, as the stage darkens and the soldiers swirl into the fight. Last seen – roaring Hector as Priam salutes him)

.

(Isolated light on Briseis. Behind her, the tent of Achilles is swirled into place)

.

BRISEIS:

A prize is passed on

and no one asks

Is there a difference

'tween tent and tent?

Oh yes

.

The tent of Achilles

yes, I remember

.

If I woke with pain

on my heart

for the arbor of clustered grapes

over my hearth-room door

or the three olive trees

on the hill

there came music

soft from beyond the drape

delicate music

smoothing my tear-stained face

.

(Achilles may enter like a dream)

.

Light gathered round

his face and limbs

moving on him

like an easy cloud

.

I shied

like a kid

behind its mother

In the sunset's wash

of orange gold

the murmur and sudden laugh

of old stories told

new politics and plans

were never denied me

.

He minded not

my listening

would even stop

to explain

though I

was only a woman

.

(Dawn. Achilles sits alone, playing a harp, in his tent)

.

BRISEIS:

But now

I am gone

and he sits with his harp

alone...

.

(Scene expands to Achilles' idle soldiers sluggishly cleaning their weapons)

.

BRISEIS:

...while his soldiers

grow old

their purpose in life

no longer sharp

out of battle

.

(Briseis disappears when the soldiers speak, surly and bored)

.

SOLDIER 1:

Watch where you swing

that thing

.

SOLDIER 2:

Aw, go soak yours

in brine

.

SOLDIER 3:

You, pretty face

were in my dream

.

SOLDIER 1: And you in mine

.

SOLDIER 3:

That old watchdog at home

was screwing your wife

.

(They fight, but Achilles strikes a strong chord and begins a story-song–)

.

ACHILLES:

Sing a song

of Peleus

chosen by the gods

.

SOLDIER 2: Chosen for what?

.

ACHILLES:

To play a slippery game

under a blistering

moon

.

SOLDIER 3: Chosen why?

.

ACHILLES:

Why is a long

winding tale

Why is a falling

of stars

.

SOLDIER 1:

Then sing "Peleus"

the song of your father

.

SOLDIER 2:

Sing Peleus

sire to Achilles

.

ACHILLES:

Deep beneath

flowing crystal

way down under

clear green waves

quietly was born

a thing of such grace

that the king of the gods

came near to lose his place

.

SOLDIER 3: That isn't Peleus

.

SOLDIER 1:

That's Thetis

his mother

.

ACHILLES:

She knew only

the melody of waters

the wisdom of the sands

no trace of the powers

her grace could command

.

Old man of the ocean

he saw Thetis first

could barely contain

the mighty thirst

she aroused

He wanted marriage

.

SOLDIER 3:

That's Poseidon?

.

ACHILLES:

But already his brother

the king of the skies

had seen the lightning

in Thetis' eyes

She must be his bride

.

SOLDIER 1:

That's Zeus

but come to Peleus!

.

ACHILLES:

The stage was set for battle

rival kings of sea and sky

while the female

commanding all

cared for nothing

but the tides

.

But before

the sky-god winner

could claim Thetis

for his bride

a potent sign

swept down to drown

these love-crazed rites

.

SOLDIER 3: (Boldly, as oracle)

A son of Thetis

will be mightier

than his father!

.

SOLDIER 2: Hah. That will limp his stick!

.

ACHILLES:

If Zeus so wed

the poor sky-god

would live in dread

of being overthrown

by his own

son

He could not have her

And furthermore

to be sure

he must forestall

by any means at all

Thetis from bearing sons

of power

.

SOLDIER 3: Get Peleus!

.

ACHILLES:

Yes, Peleus

A fine man

but mortal

A son greater

than Peleus

would threaten

no god

.

(Soldiers begin to mime the story; it may be danced in silhouette on the scrim)

.

SOLDIER 1:

So the gods

showed this mortal

.

SOLDIER 2:

Peleus!

.

SOLDIER 3:

Where to wait

.

ACHILLES:

Behind a jutting rock

on a tiny island

unknown to men

Sandy cove

cave underwater

inlet sparkling

turquoise

"She'll come naked

to bathe at noon"

they told him

So Peleus waited

.

They had warned him

to blind his eyes

for in seeing her

he would lose

the strength to attack

.

When she came swimming near

he did not forget

and pulled a weed-clogged net

before his eyes

When he heard Thetis climb

onto the rock

he dived

and caught her by surprise

She struggled mightily

turning first...

.

SOLDIER 2: Into a dolphin!

.

ACHILLES:

Huge, leaping

off the rock

.

SOLDIER 3: But he clung fast

.

ACHILLES:

She turned next

into an octopus

squeezing

the life from him

.

SOLDIER 1: But he still breathed

.

ACHILLES:

She turned then into

a slippery serpent

then a spiny clawing lobster

then an ink-spitting fish

.

So for hours and hours

he clung gasping

sticky, stung

covered with ink

until she yielded

lying at last

herself

within his arms

and they slaked passion then

rolling foam-tossed

in the waves

.

SOLDIER 2: Come to the wedding gifts now

.

SOLDIER 3: Come to the son!

.

(Achilles looks up suddenly, seeing Patroklos exhausted, at the tent's entrance)

.

SOLDIER 1: Patroklos!

.

SOLDIER 2: How goes the war?

.

PATROKLOS:

Not well

.

(The soldiers cheer)

.

For the Greeks

.

SOLDIER 1: (Confused) What?

.

SOLDIERS: Tell! Tell!

.

PATROKLOS: I don't have that much breath

.

ACHILLES: But they'd like to hear

.

PATROKLOS:

How can they hear?

Roaring surf

against the dry shore

is not so loud

as the deafening scream of death

released by our armies

.

ACHILLES: That's well.

.

(Soldiers gasp, staring at Achilles)

.

PATROKLOS: Achilles, you must come to fight!

.

(Achilles turns away)

.

SOLDIER 1: Was Hector there?

.

PATROKLOS: Hector ran

.

SOLDIER 2: He ran?

.

PATROKLOS:

Close on the heels

of our fleeing Greeks

like a lion snapping their backs

butchering the last

spurring the rest

with terror

.

(Achilles laughs. Soldiers shrink from Achilles toward Patroklos–)

.

SOLDIER 2 and 3: Tell, tell!

.

PATROKLOS:

I saw Chromios caught in his buttock

The spearhead drove

past pelvis bone

into his bladder

.

He dropped to his knees

with a gasp

then extending like a worm

let his dark blood

drench the earth

.

SOLDIERS: (Reacting lustily) Uuuhaah!

.

PATROKLOS: (To Achilles)

That was Chromios

composer of sweet verses

Do you still laugh?

.

(Achilles does not respond; Patroklos presses–)

.

PATROKLOS:

Abas, only joy of his father

was struck on the forehead

over the nose

smashing the bones

so both eyes dropped

and lay in the dirt

at his feet

.

(Soldiers terrified, but afraid to cry, giggle like children at a horror movie)

.

ACHILLES: Patroklos, what are you doing?

.

(But Patroklos expands, like a comic giving his audience more–)

.

PATROKLOS:

Hector even speared Phaistos

planter of seedlings

who stumbled

on the rim of his own shield

running

to get to the ships

so "pop" – with nothing but his belly

Phaistos received Hector's spear

then like a helpless turtle

squirmed

.

(Soldiers' laughter explodes, but Patroklos breaks down. Stunned silence, except for his weeping)

.

ACHILLES:

What is it

Has your father died?

Or mine?

You look like a child

who's run after his mother

begging to be held

pulling on her dress

.

PATROKLOS: People are dying!

.

ACHILLES: It's a war

.

PATROKLOS:

They're our friends!

Gods save me

from anger like yours

.

ACHILLES:

What's wrong with dying?

Life is only a moment

we all will lose

.

PATROKLOS:

You feel nothing!

You're not human

Don't tell me

your father was Peleus

It was the grey sea

smashed

on towering rocks

that bore you

in the image of a man

Where is your loyalty?

.

ACHILLES:

I am alone.

.

PATROKLOS:

Not when you've pledged

to fight with the armies!

Where is your honor?

.

ACHILLES:

Ask Agamemnon!

It is he

who took it from me

.

PATROKLOS:

The Trojans

have reached our ships

and you sit

pouting like a child!

Will you fight?

.

(No response)

.

Then let me!

.

(Startled, Achilles looks sharply at Patroklos. Briseis and Thetis apart, alarmed)

.

BRISEIS: No...

.

THETIS: (Amplified whisper) No...

.

ACHILLES: You?

.

PATROKLOS:

Let me go fight!

With your men

.

ACHILLES: (Roars)

With men

who whine and grumble

behind my back?!

.

(Patroklos scared, freezes. But Achilles suddenly laughs, magically playful)

.

ACHILLES:

You call me

a pouting child?

Then let's play–

Pretend you're me!

.

Stand here, my friend

and prepare

to wear a gift

from the gods

Bring me Peleus' wedding gifts!

.

(The Soldiers at first surprised, then run to bring Achilles' gleaming armor. Briseis and Thetis, as though in Achilles mind, try to intervene–)

.

BRISEIS: This is wrong, Achilles.

.

THETIS: The god Apollo loves Hector

.

BRISEIS and THETIS: Do not let him go to the fight!

.

(Achilles seems not to hear them, as Patroklos is ritually dressed in his armor)

.

ACHILLES:

Patroklos–

it was you at my side

when I held my first sword

you as the guide

when I took my first run

through the edging tide

Now

you will wear

my armor

.

(Achilles handles the armor with affection)

.

This came to Peleus

my father

with great gratitude

on the day he married

the goddess of the sea

.

All the gods rejoiced

now she was bedded safe

that Thetis' progeny would be

no more dangerous

than me

.

Wear it in health

beloved friend

.

THETIS: Don't let him go!

.

ACHILLES:

When you stride out alone

the sight of you

upon the hill

will chill the Trojans' bones

They'll think you're me

.

Fear will take hold of them

while your spirit will fly

Unleashed by

my armor

you'll do amazing deeds

You'll push them back

from off the ships!

Then come back here

.

Do not chase them cross the plain

Do not venture to the walls

Do not engage great Hector

He is meat for me

The sun god fights for him

So let him be

.

(In spot, in Achilles' armor, Patroklos strikes a battle pose; light brightens, isolating him; soldiers gather eagerly and sweep away the tent)

.

CHORUS: (Whispering on the fly)

Achilles?

Achilles?

Is it Achilles!

.

PATROKLOS: Now this is life!

.

(As Achilles backs away, watching, the battle begins. Patroklos and soldiers give a battle cry and turn to attack a swarm of Trojan soldiers who enter to face them. Briseis, isolated in a light, narrates–)

.

BRISEIS:

As out of clear air

shrieking

the hurricane comes on

so loud was the scream of battle

.

CHORUS: (As fight begins)

Is it Achilles?

Is it Achilles?

.

BRISEIS:

Brave Patroklos

touched by the spirit of Achilles

Achilles whom he worships

Achilles whom he longs to be

.

(All fight. Patroklos' energy phenomenal; Trojans begin to be beaten back. Briseis speaks at regrouping times, between actions)

.

BRISEIS:

Patroklos wheels

All Trojans turn about

seeking only to escape

screaming death

.

(Trojans are pushed back. Briseis cries out to Patroklos–)

.

BRISEIS:

They're on the run

They've left the ships!

Return now

Go back and tell Achilles

Do not chase them cross the plain

Do not venture to the walls

Do not engage...

.

(But Patroklos' fury only grows, he leads soldiers chasing the Trojans)

.

BRISEIS:

Brave Patroklos

touched by the spirit of Achilles

Achilles whom he worships

Achilles whom he longs to be

.Plain Patroklos

beloved of the boy god

older, wiser than Achilles

now feels life-purpose

surging to its peak

.

(Trojans, fighting for their lives, escape through their city wall – and create the closed barrier by lining their tight wall of shields against Patroklos)

.

BRISEIS: Do not venture to the wall!

.

(But Patroklos storms the shield-wall)

.

BRISEIS:

But oh the sparkle

of excellence sublime

of clear soaring spirit

like Achilles

Oh...to be pure hero

however alone

like Achilles

.

(As he climbs the wall, Patroklos' head is suddenly thrown back, frozen in dazzling light, and he topples down.)

.

BRISEIS:

Three times Patroklos climbed

Three times he fell to earth

but as he rose to try a fourth

high atop the wall

the sun-god Apollo stood blazing

and hurled him down.

.

GOD VOICE: (Apollo amplified)

Proud fool

Troy will not crumble

for you

.

(As Patroklos falls again, Achilles' helmet topples to the ground. Patroklos stands bewildered, panting, but undaunted. The shield-wall parts slightly and through it comes Hector. The wall, in chorus, keeps repeating Achilles' order–)

.

CHORUS:

Do not engage great Hector...

Just let him be!

(As Patroklos tries to gather his strength, a Trojan darts out, stabbing him in the back. Though Patroklos still fights ferociously, Hector bears down on him, throws him to the ground, stabs him in the belly, still gripping his sword)

.

HECTOR:

Achilles sent you to kill me

and your fool's heart

agreed?

.

PATROKLOS: (Gasping)

No need

Patroklos is no one

but you do name

your angel of death:

Achilles

.

HECTOR:

Unless

I am his

.

(Hector jerks his sword out of Patroklos.)

.

PATROKLOS: (Dying cry)

Achilles!!

.

(The instant of Patroklos death, Achilles stands, hearing his cry...

...and Hector lifts Achilles' helmet over his own head...

...the action freezes in a MIE pose...

...an unearthly cry of fury and anguish echoes far away)

END ACT ONE

ACT TWO

Briseis, alone. Soldiers behind. Dark. Lights play on the scrim and mimed shadows of the actions described may appear.

.

BRISEIS:

It was a long time

before I knew

the kindest of men

was gone

Sweet Patroklos

If he gave his life

to war–

War must be a great god

.

SOLDIERS:

Patroklos no longer knew

either sun or rain

as Trojans swarmed

like locusts

upon him

tearing off the armor of Achilles

.

BRISEIS:

Bold Hector longed

to slice Patroklos' gentle head

from its soft neck

to thrust it up

atop a stake

to fling his mutilate body

to ravenous dogs

.

SOLDIERS: But Greeks came screaming down

.

BRISEIS:

So like two screeching vultures

clash

above a single prey

.

SOLDIERS:

The armies met and clawed

above Patroklos

One hitched his foot

to a shield

whipping its sling

fast round his tendons

to drag him away

.

But that one was hit

through the cheek of his helmet

and so

with soft brain bleeding

down the spear

through his eyehole

he fell as well

upon Patroklos

.

BRISEIS:

Only the horses

given by gods

to Peleus

stood aside

refused to move

leaned their heads along the ground

.

SOLDIERS: ...and wept warm tears

.

BRISEIS: ...for Patroklos

.

SOLDIERS:

Ranged in a circle

the armies pulled

pulled in all directions

pulled Patroklos

as at the stretching of an oxhide

stretching till it's flat

till the moisture squeezes out

and the fat soaks in

so the armies leaned and pulled

and there was slaughter

on both sides

until the earth ran with blood

beneath Patroklos

.

BRISEIS and SOLDIERS:

Until a sound

struck the air above

that made them all stop still

a sound so strange

unearthly

piercing not the ear

but down beneath

the root of life

a wail

that wedged new terror

even in the boldest throat

of all who heard

.

(Battle sounds build until air is split with a SCREAM heard as high as Olympus and down to the depths of the sea. Briseis and soldiers fade back. Achilles stumbles on screaming, and throws himself down flailing and groaning)

(Thetis entering, draws Achilles into a violent dance to match his raging heart)

.

THETIS: (Urging in rhythm)

Speak...you must speak

Let it go

or the heart will break

.

(Achilles will not speak, only dances more wildly)

.

THETIS:

I would Peleus had wed

a mortal

instead of me

For you, my son

are much too great

Too great in grief

Too great in love

Too great in arrogance

in bravery

in anger

.

ACHILLES: (Scream) Aaaaahh!

.

THETIS: Too great in anger.

.

(Tortured Achilles finally collapses. Thetis catches and cradles him)

.

THETIS: Speak, speak...

.

ACHILLES:

Sweet sweet anger

As dripping honey

slows the wind

it swarms like smoke

until it chokes

my heart

.

I sat

a barren burden

on the land

and let my friend

be butchered!

.

Was this why

you feared

the monster Hector?

.

THETIS: No

.

ACHILLES: He wears my armor now

.

THETIS:

You said you would leave this land

.

ACHILLES:

Soon

.

Mother

you must get me

what I need:

a new armor

.

(Thetis alarmed, backs away)

.

THETIS:

You must not meet Hector

.

ACHILLES:

Why?

If I

am the stronger

.

THETIS:

Your destiny is clear

my son

Two ways lie there

for you

You may choose life

or glory

.

ACHILLES:

What life?!

The gods have life

not I

A man cannot choose

Life is only a thing he will lose

And my second choice is glory

but what will glory mean?

Perhaps a sweet release–

Until I kill

the demon Hector

I will have no peace

.

THETIS:

If you kill him

you will die

Let Hector be

.

ACHILLES:

Unless I kill him

I cannot live

So get the armor

for me

.

(Achilles raises his hand; Thetis bows, dance of armor begins. The chorus mimes assembling the armor made by the Fire God for Achilles)

.

THETIS:

Peleus

in wedding me

could not make me

mortal

But you

in childbed

have done it

even so

.

The mortal mother

coils a line of woe

no goddess knows

It grapples her

with his first cry

and binds her

evermore

A pull

from him to her

command inexorable

to abandon earth and sky

upon that cry

saying

.

I am the cause

of his life

and I

must keep him in it

Try as he will

to die

.

Let the armor woo you

away from war

It celebrates sweet life

fashioned by the God of Fire

to hold no limbs but yours

.

(Achilles moves, eager to wear his new armor, but the Chorus wants to sing of it)

.

CHORUS:

The fire-god etched

the earth upon it

and the sky

the great sea's water

and the tireless sun

the moon waxed full

and all the constellations

.

And in great beauty spread

two glorious cities

with marriages and festivals

a council and a court

herds of cattle

sheep and shepherds

soft fields tilled

and teams with plows

A great ox slaughtered

grapebearers dancing

girls and boys

and all

upon an Ocean River

binding strong the outward rim

.

(As Achilles receives his glittering armor, drumming signals a procession coming)

.

SOLDIERS: (Off)

Nine long years of seige

but Troy's wall still stands

Agamemnon!

.

THETIS:

The god did these carvings

of this earth before

there was war

.

SOLDIERS: (Off)

Massed armies of Greece

are beaten down by this land

Agamemnon!

.

THETIS: (Disappearing)

Choose life, my son

choose life

.

(A partition screens Achilles from delegation moving toward him; he, donning his new armor, occupies one side; wounded soldiers, led by Agamemnon, also limping, on the other. Soldiers catching sight of Achilles are dazzled, shield their eyes from his brilliance. They may be cloaked to undress Trojan uniforms.)

.

ACHILLES: (Amazed, to himself)

I feel the armor work

Life spilling

its feast of joy

filling my veins until

all my fury is distilled

to gentle wisdom

and now I see it all

like a god

.

AGAMEMNON:

A long time away

great Achilles!

.

(Agamemnon waits on his side, but Achilles does not respond)

.

Too long, may I say?

Petty quarrels

shouldn't keep us from...

.

Perhaps you'd like news

of the war?

.

(Silence)

.

Often I've thought

our angry words were...

.

ACHILLES: (Interrupts)

Enough!

Your news: the war?

.

AGAMEMNON

Well, we...

Difficulties come upon us

Hector rages irresistibly, and...

.

ACHILLES: I have some word of that

.

AGAMEMNON:

And so many of us gone

and of those still alive

the bravest

lie down among the ships

all hit by arrow or by spear

.

ACHILLES: Yet you are here

.

AGAMEMNON:

Because I want...

we want...

We need you back, Achilles

And there are gifts

I wish to offer you

in restitution

for your injury

.

ACHILLES: Agamemnon...

.

AGAMEMNON: (Louder, insisting–)

Seven unfired tripods

Ten talents' worth of gold

.

ACHILLES:

You dishonored me

What does it matter now?

.

AGAMEMNON: And twenty shining cauldrons...

.

ACHILLES:

You took

the bride of my heart...

Now what did we come here for

Helen, was it not?

.

AGAMEMNON: Twelve horses – racers all!

.

ACHILLES:

Yes, it was Helen

Each man

loves his own

as I loved mine

.

AGAMEMNON: And seven women of Lemnos...

.

ACHILLES:

If you gave me

twenty times what you possess

as many gifts

as there are grains of sand

.

AGAMEMNON:

Their handwork is superb

and their beauty...

.

ACHILLES:

I would still go home

.

My father Peleus

will give me a bride

My one desire

is to enjoy with her

the pleasures

of my own sweet land

.

(Agamemnon, astonished and dismayed, plays his last card)

.

AGAMEMNON:

I've brought one

who misses you more

Achilles

.

ACHILLES:

All the fabled majesties of Troy

cannot be worth my life

Cattle and sheep can be had

for the lifting

and tripods can be won

and tawny heads of horses

but a man's life cannot be lifted

or won again

once it has crossed the line

.

AGAMEMNON:

I return her to you now

and before all the gods I swear

that she

never has been touched

by me

.

(Agamemnon pulls Briseis forward, beautifully dressed, and pushes her across the barrier toward Achilles. Briseis lifts a hand toward him. Seeing her, Achilles is moved, reaches toward her, then stops himself–)

.

ACHILLES:

She should have died

before I took her

for all the pleasure

she can give me now

.

(Briseis stung, twists away, looking for the kind man she misses)

.

BRISEIS:

Where's my friend?

Where is Patroklos?

.

(Achilles – struck by her words as by a dagger – roars, all his pain and rage rekindled. He strikes down the screen, and Agamemnon sees him bright in his armor. The soldiers cheer, and Achilles' roar winds him straight into battle. Briseis, stepping away from the tumult, narrates. The tent is swirled away)

.

BRISEIS:

Like a lion

when spear-hit

spins

foam breaking on his teeth

Then deep in his chest

his mighty heart groans

and lashing his ribs with his tail

he rears–

so Achilles' eyes raged

full glazed

for the fight

.

(Drums. Fighting. A crush of Trojan soldiers Achilles whips like a whirlwind, killing one after another)

.

BRISEIS:

In fury

Achilles swept like fire

raised by whirling wind

blazing

through a dry wood mountain

.

While the black earth ran blood

.

(Soldiers fall in heaps and begin to fill the River – which may be presented by a long blue cloth stretched across the stage; shaken, to ripple and flow by Koken)

.

BRISEIS:

The noble River

full with corpses

heaved in anguish

unable at last

to cast his waters

into the sparkling sea

so congested was he

with the Trojan dead

Achilles killed

so brutally

.

(Achilles grabs an unarmed boy-soldier stumbling past him; the boy slips to the ground, clutching Achilles' knees in supplication)

.

LYCAON: Achilles!

.

(Achilles pulls the boy's head by his hair and recognizes Priam's son, Lycaon)

.

ACHILLES:

How is this?

The Trojans I killed

long ago

rise up to face me

.

LYCAON:

My life must be charmed

.

ACHILLES:

You silly child of Priam

could the grey sea not hold you?

I scraped you from a hedge before

and sold you off in Lemnos

.

LYCAON:

Great Achilles, I escaped

and I'm weary of the fight

What is it worth?

You see I've stripped my helmet off

and thrown down my sword

.

ACHILLES: Then feed the earth

.

(Achilles casts his spear, but the boy squirms away, then scrambles back, clinging again to Achilles' knees)

.

LYCAON:

You got a hundred oxen for me!

Spare me now

You've cut the throats

of both my brothers

My mother

was not Hector's!

Spare me

Only spare me

.

ACHILLES:

You cry?

Why?

Patroklos is dead

who was better than you

And even I

splendid, invincible

with a mother immortal

will die

.

(Lycaon lets go of Achilles, lifting his hands to screen himself. Achilles kills him and flings him into the river, which bellows up angrily)

.

ACHILLES:

Lie where fishes

caring not for anyone

can feed

on the shining fat

of Priam's son

.

(The River lurches, the armor of the floating dead clang together)

.

BRISEIS:

The rushing water

spewed

masses of armor

cresting bodies

sputtering foam and blood

until the River itself

enraged

rose on its precious flood

to curse Achilles

.

RIVER GOD: (Chorus amplified)

Brutal man

do not kill more!

My living flow is choked

with your glut of death

.

(As though rising, the dead challenge Achilles from within the swirling river. Angry at the challenge, Achilles jumps in to fight the River)

.

ACHILLES:

All Trojans die!

Or give Hector to me

No howling river

can save you

.

BRISEIS:

Achilles leapt to the middle

Deep-swirl

of boiling surge heaved–

beating down his shield

with its swallowing waves

.

(Achilles is overwhelmed by the river, and disappears within it)

.

BRISEIS:

Achilles swept off his feet

catching at branches

of an uprooted elm

dragged the whole cliff away

The waters ran above him

and fiercely beneath

rolling the soil

from under his feet

.

(Achilles struggles to get free as water wraps round him. He tries to run, but the River runs after with soldiers making a huge roar, and River falling on his shoulders. He falls and twists to fight back, surfaces gasping, screams–)

.

ACHILLES: Gods save me!

.

(Red (fire) now streams from the sky, to overwhelm the River)

BRISEIS:

When Achilles cried out

all the gods heard

so down swept the Fire-god

hurling a gale of flame

to fight

the heaving River

.

(Flowing streamers – red for fire, blue for water – whipped by Chorus/Koken into undulating curliques that fight for dominance amid loud fire and water sounds)

.

(Gasping Achilles, still fighting, is finally freed, exhausted, when the blue of the River retreats, followed by the red of the fire, and he turns to look across the plain, where a Wall of Shields has formed)

.

ACHILLES:

Great Wall of Troy

will even you

do battle?

.

(THE WALL – chorus members behind each shield – is screaming like a crowd in terror, then through the Wall steps Hector in Achilles' old armor)

.

(The Wall screams, tries to pull Hector back inside. Above the Wall, the head of an old man appears, pleading–)

.

PRIAM:

Hector, my son

stay inside our wall

Have mercy on me

We all will die

if you fall

A young man

can lie butchered

still in beauty

But an old king

his white hair smeared

with dung

and eaten by dogs

is pitiful

.

(Hector salutes his father, but stays rooted, in armor he stripped from Patroklos, to fight Achilles alone. Achilles sees Hector, rears roaring, begins a slow advance. Wall emits a low tone that builds as Achilles moves closer)

.

ACHILLES:

You died

the moment

you drew the blood

of my beloved

Patroklos

.

Still there you stand

brazen

in armor stripped

from my dearest friend

.

Now it will sear your skin

till flesh and metal blend

for in stealing it

you stole my honor

.

My spirit sears you now

It can't release

and fly to me

until it sees you

to your end

.

(Just as Achilles comes within striking distance, and both brace for the impact, Hector spins and evades Achilles by running away)

.

(Startled at first, Achilles sharply laughs, and runs after Hector. They may run in place with the wall moving opposite, behind them)

.

BRISEIS:

As in a dream

a man is not able

to catch one who runs

nor the one who runs

to get away

.

As when a hawk

swoops for a dove

but she slips loose

and flies

while he

shrill screaming

close after

plunges again and again

furious

to take her...

.

so Hector would make for the gate

and Achilles race ahead

to prevent him

and on and on

one, two, three times

round all the great walls

Until at last Hector froze

.

(Suddenly Hector's head is flung back, frozen in dazzling light. Achilles stops)

.

BRISEIS:

For down swept

golden Athena

who loved Achilles well

but to Hector she said

GOD VOICE: (Athena tricking Hector)

Run no more!

Stand

and we'll take him

together

.

HECTOR: (Amazed, to the air)

You'll fight with me?

Then Achilles

die!

.

(Hector signals Achilles with an upraised arm. Achilles faces him, waiting)

.

HECTOR:

Let us swear an oath:

If I kill you

I will strip your sword and armor

but give your body

to your friends

Will you swear the same?

.

ACHILLES:

What oath

can there be

'tween a lion

and a man?

.

Did you swear

such kind words

for Patroklos?!

.

(Achilles attacks viciously. They fight. Hector, loosing, looks frantically about)

.

HECTOR:

Athena, help me!

Where are you?

.

(Hector is bewildered. Achilles strikes)

.

ACHILLES:

The goddess tricked you

She fights for me!

.

(At Hector's vulnerable moment, dazzling light strikes them both. But Achilles, his head thrown back, realizing the choice he's making, shouts as he strikes Hector in the neck next to his collarbone)

.

ACHILLES:

Take my life, then!

I choose glory!

.

(Hector chokes, falls, and lies dying with Achilles over him)

.

HECTOR:

As you love

your parents

do not fling my corpse away

.

ACHILLES:

Hah!

Dogs strip your flesh

until their fangs tire

then birds rip what's left

off your bones.

I only wish I could hack

and eat you raw!

.

(Achilles pulls his spear roughly out of Hector, roaring–)

.

ACHILLES:

If this is glory

it's not enough!

.

(A moan rises when Hector dies, but from all sides Greek soldiers swarm to celebrate and to pick Hector's corpse, tearing off the armor. They cheer and shout, but, as the armor disappears in pieces, they begin to back off, because Achilles is still roaring – still stabbing and kicking the corpse of Hector.)

.

BRISEIS: (Isolated, in darkness)

As soldiers swarmed

to stab the corpse

again, again and again

Achilles ripped his bloody armor

off of Hector

pierced his ankles

lashing rawhide through the tendons

and whipping horses to a run...

.

(Uneasy, soldiers back away. The actor Hector has been replaced by a dummy corpse, which Achilles begins, laboriously, to drag, screaming as he does so)

.

...began to drag great Hector heavily across

the dry and rocky ground

Round and round the walls

his bare head thumped on stones

(Now horrified, the soldiers run off. As Achilles drags the corpse, red ribbons stream from its mouth, trailing longer and longer as they go round and round a large circle)

.

Achilles, in his grief and rage

Every day for twelve long days

dragged dead Hector

'mid billowing dust

face down

(Full darkness now, except for Briseis isolated in light)

.

BRISEIS:

So Achilles embraced

his purpose in life

.

Did he grow

into a man

or beast?

.

I know only

the night of killing

is long

before the soft dawn

offers peace

.

(Dim light on Achilles, alone, perched over the corpse of Hector like a beast of prey, guarding it. Frightened Trojan soldier sneaks to edge and bows low)

.

SOLDIER:

Do not strike, great Achilles

In deep secret

honored Priam

King of Troy

begs to approach

.

(From distance, Priam, disguised and filthy, shuffles hesitantly. Achilles snarls. Priam stops, still far off. His attendant, terrified, runs away. Priam begins a story)

.

PRIAM:

I sing a song

of the king of sorrows

Do you know any such king?

.

(Priam takes a step to approach, but Achilles stirs, ominous, and Priam stops)

.

PRIAM:

This king once stood proud

atop his golden city

of the shining towers

brimming with riches of earth

.

And best among his riches

he counted

his fifty fine sons

And the greatest, the kindest

among all the fifty

was Hector

.

(Priam, watching Achilles, creeps closer, but Achilles snarls, rearing)

.

PRIAM:

King of sorrows

he loses them one by one

his riches, his sons

and knows

when Hector

the best, is lost

he'll have none

.

(Priam stops his song, goes on humming. Pause. Achilles sharp–)

.

ACHILLES:

That king was a fool

to look for more

from the gods

than pain

A mortal's life

is spun with sorrows

though it's true

he untwines

evil and good

by turns

.

PRIAM:

Such a mortal I heard of

named Peleus...

.

(Achilles startled, glares at Priam, who goes on humming)

.

PRIAM:

...with only one

brave son

who cares not for him

in his age

but stays

far from home

.

(Achilles painfully reacts to his own story)

.

ACHILLES:

...robbing other old men

of their sons

.

(With a harsh laugh, nearly weeping)

.

So Peleus' boy has grown

.

(Priam dares a move to Achilles, close enough to stretch his beseeching hand)

.

PRIAM:

Let me only

touch

my son

.

(Achilles screeches like a hawk, shoots up threatening to strike, but Priam dives to catch Achilles' trailing hand)

.

PRIAM:

This is the hand

that killed

the best

of my sons

Is it the hand

of a lion

or only

a man?

.

(Then slowly, watching Achilles, Priam draws this hand to his lips and kisses it. Achilles crumbles, sobbing. Priam cradles Achilles. They weep together)

.

PRIAM: Why have we war?

.

(Achilles looks up at Priam. Pause)

.

ACHILLES:

We'll eat

and then sleep

I've gone many days without.

You as well?

.

(Priam looks at him, and nods "yes," then–)

.

PRIAM:

First let me

see

my son

.

(Achilles springs up, sharply–)

.

ACHILLES:

Do not dare

to anger me!

.

(Achilles strides away. Now begins a procession of dead and living witnesses– Hector, Lycaon, Patroklos, Agamemnon, soldiers. They gather round Achilles)

.

(Priam is separate, does not see Achilles lift high the corpse of Hector, then ritually cleanse, gently prepare the son for the father. The others slowly sway)

.

ACHILLES:

A man

may gash and tear

the animal flesh

of another

letting spill

the precious nectar

of his breathing fluids

out over the earth

.

And this is called

glory

.

SOLDIERS: And this is called glory

.

(An animal is raised; Achilles cuts its throat. Priam's fallen asleep where he sits)

.

ACHILLES:

I give it back

Though I cannot choose

life

I return

to the gods

their glory

.

(Lights, sound and company move, as though in a dark whirlwind. Thetis appears; all characters gather to witness the story's end)

.

BRISEIS:

So deep into the night

the father and the son

honored each other

with feasting

and at last

fell into sleep

which both had refused

for many terrible

nights and days

.

CHORUS:

Thetis

deep in the sea

do not weep

that he

is only a man

and not a god of the sky

.

(Thetis raises her arms in a blessing)

.

ACHILLES:

Though weak of body and brain

I claim

the courage

of lions

to die

without knowing why

.

(Achilles lifts his helmet to arm himself, all others watch; Briseis questions them. They answer, singly and together as a whole society trying to understand)

.

BRISEIS: So he must die?

.

AGAMEMNON: When the war started

.

ALL: or why

.

AGAMEMNON: no one knows

.

BRISEIS:

Forgive me

.

ALL: (Murmuring) no one knows

.

BRISEIS:

I must try

to understand

.

PATROKLOS:

Man

is no more

than man

.

LYCAON:

War is a game

the gods play!

.

HECTOR:

We men

are its pitiful pieces

.

AGAMEMNON:

They flick us

from off their board

.

ALL: with a laugh

.

PATROKLOS: caring not

.

ALL: that our lives drip away

.

THETIS: (Amplified, as a god)

War is a game

the gods play

.

Child of man

can grow

only high as a man

has no choice

but to die

.

BRISEIS:

Still I know

man's glory can fill

the whole sky...

.

(A loud god-laugh that echoes from the whole sky. Priam wakes, hearing the god-laugh, stands, confused, looks at the others, then answers the laugh)

.

PRIAM:

Man's glory can fill

the whole sky...

.

(The others join him, and their combined answer gets louder)

.

PRIAM and ALL:

...when he stands

gazing

full in the eyes

of another

saying–

.

ACHILLES: You are as I

.

PRIAM: You are as I

.

ALL: You are as I

END OF PLAY

APPENDIX

SHOZO SATO \- BIO

Shozo Sato, a master of Zen arts, was officially adopted into the Kabuki family of Nakamura and is a master of the highest order of the Japanese Tea Ceremony, ikebana (flower arrangement), and sumi-e (black ink painting), and has published many books on these subjects.

.

Sato is the founding director of Japan House at the University of Illinois, where he is a professor emeritus. In 2004, Sato was awarded the Order of the Sacred Treasure from the emperor of Japan, and in 1992, the minister of foreign affairs of Japan awarded him a Certificate of Commendation for his promotion of Japanese culture throughout the world. In 2003, he received the first Cultural Achievement Award from the Japan America Society of Chicago.

.

Sato has received national and international recognition for creating a new form of kabuki through adaptations of the plots of well-known Western classics. He has conceived, designed, and directed award-winning productions that have been seen in Europe, the Middle East, Africa, Japan, and the United States. He resides in northern California, where he established a center for Japanese Arts, and freelances as a director and visiting professor in theatre and Japanese arts

AUTHOR NOTES

THE PLAYWRIGHT TO HERSELF

(On writing Kabuki Macbeth) Recreate Macbeth? Sure. Very Funny. I know it backwards. Played the Lady in three separate productions. But to redo it? Impossible.

.

No matter what I say, the original will haunt me. And it's a very bad luck piece, Macbeth. The Brits won't even say the name aloud.

.

Ok, but Kabuki needs something different: straight to the point, simple, short, more like lyrics – they jazz around with their voices, you know. It's sex and violence with an ethereal wash of Zen.

.

So I've done it. And luckily, words are not the main thing in Kabuki. I mean, it's a sensual feast. Of course "hearing" is a sense, but to feed the hearing you also have music, sound, rhythm, voices. And where we must have words, yes, I've tried to find some.

TO THE VIRGIN VIEWER (who's seeing the Sato/Sunde Macbeth)

.

In Kabuki Macbeth, you'll see a story that comes from Scottish history. We know it because Shakespeare wrote a play called Macbeth.

.

In Kabuki Macbeth the story is retold, and in a form that is to the Japanese as "westerns" or musicals are to us: cultural wellsprings, sheer entertainments that celebrate who we are, how we live, and what we like to believe. In it you'll find purity, evil, beauty, violence, mystery, heroism, passion.

.

It is a world completely strange. Don't be thrown. Just...take a breath, deep as your belly, and let yourself sink – into the brilliant pool of colors. Then, as with your first glimpse of a geisha girl, a samurai film, a plate of sushi – then, slipping into that pool, you'll begin to experience Kabuki.

ACHILLES – (reflections from Playwright to Audience)

.

The Iliad, with its hero Achilles, is the first, and many would say, still, the greatest work of Western literature. A story of warriors and honor, this epic song echoes the heroic traditions of both East and West.

.

The Iliad celebrates violence – contains passages so graphic even media-soaked hearers squirm. Yet, while it entertains us with gore, it also questions. Of the many nations comprising the Greek armies, and the many nations on the Trojans' side, none is the favorite, none shown finally right or wrong. And this epic does not end in victory, but pitifully, quietly, with an enemy's embrace.

.

The Iliad speaks to our time of worldwide violence balanced crazily against worldwide longing to be done with war. So why not make Kabuki theatre? Why not make a cultural crossing place from this warrior's song? KS

Karen Sunde, a playwright and screenwriter, lives in New York

ASTERISKS in Play List below indicate published plays available for purchase at: <http://www.broadwayplaypubl.com/alphlist.htm> * http://www.dramaticpublishing.com **

PLUS MARKS (+) indicate ebooks available free online.

For descriptions of all works, see http://www.karensunde.com. Some screenplays are at http://www.howardshulman.com

.

PLAYS BY KAREN SUNDE

LIBERTY+

BALLOON *

DARK LADY **

TO MOSCOW **

SWEET LAND OF FIRE+

HAITI: A DREAM (in Facing Forward) *

NATIVE LAND+

OH WILD WEST WIND (in Rowing to America) **

ANTON, HIMSELF+

MASHA, TOO+

ANTON, HIMSELF: First & Last+

PLEASE GOD, NO WEDDING OR SHOOTING AT THE END+

IN A KINGDOM BY THE SEA (in Plays by Karen Sunde) *

HOW HIS BRIDE CAME TO ABRAHAM *

TRUTH TAKES A HOLIDAY (in Plays by Karen Sunde) *

GENTLEMAN JOHNNY

ME & JOAN (of Arc)+

WHEN REAL LIFE BEGINS+

TRACKING BLOOD WHITE+

DEBORAH: THE ADVENTURES OF A SOLDIER

2020 SEXCARE

THE FASTEST WOMAN ALIVE **

KABUKI OTHELLO **

KABUKI MACBETH+

KABUKI KING RICHARD+

ACHILLES+

KABUKI LADY MACBETH **

QUASIMODO (a musical)

SPA (an opera)

THE SOUND OF SAND

SCREENPLAYS BY KAREN SUNDE

UNDERCOVER PATRIOT

COUNTDOWN

OVER THE RAINBOW

BOULE DE SUIF

SECRET SHIP

HOW HIS BRIDE CAME TO ABRAHAM

IN A KINGDOM BY THE SEA

THE LINE

PARALLEL LOVES

DREAM HOUSE

FINAL QUEST: THE MOUNTAIN OF THE GODS

TRIPPING TAMMY

THE FASTEST WOMAN ALIVE

LOVE HITS EARTH (& Other Disasters)

CHICKS GOTTA SWIM

NEXT!

~~~~~~~
