It helps you immerse yourself that way, and he likes that each version has notes by different scholars, with possibly slightly different text. He even has multiple copies of “Othello” — 16 or 17, he thinks.
Arbus, applauding the wisdom of keeping multiple versions, cited one version of “Othello” in which the editor reassigned one of Desdemona’s lines to Emilia, and in the process, they removed a key for Desdemona’s character.
“Do you see?” Thompson marveled. “That is fascinating. Are from one line. ”
Later, over the phone, Arbus said that part of what makes Thompson so appealing on stage is that “his nerves are closer to his skin than many people’s, in that he’s very sensitive to language. language, very sensitive to other actors.”
“It was these big stories that I felt satisfied his soul in a way that perhaps nothing else could,” she said.
But that afternoon in rehearsal space, Thompson talked about trust – about how he might say yes to doing another Shakespeare play with Arbus even before she told him. What is she thinking?
“I mean, she might say, ‘Okay, this is going to be a comedy,’ he said. “And I hate comedies. I will still do it. “
Rising up a bit for his bait, Arbus isn’t referring to a title, just a potential role, a far cry from Shylock and the “Venice merchant” like Shakespeare – the weaver in “A Midsummer Night’s Dream” summer”. ”
“Bottom, Bottom, Bottom,” she said.
“I’d say OK,” Thompson said. “I’ll do it with Arin.”
https://www.nytimes.com/2022/02/03/theater/john-douglas-thompson-arin-arbus-merchant-of-venice.html Artistically in Sync, and reunited for ‘The Merchant of Venice’