Arms and the Man

    Largely because of Shaw's reputation for witty conversational plays in his later career, Arms and the Man is often presented as a play about language.  Twilight Repertory doesn't see it that way.  We find a number of influences and resonances in the play, including Commedia Del'Arte, melodrama, early silent films, Oscar Wilde's The Importance of Being Earnest, and musical hall comedy of the late nineteenth century that led to what Americans recognize as Vaudeville.  We have attempted to bring these influences and resonances to bear on our production, which makes it much more physical in its comedy and emphasizes, we like to think, the true silliness of these characters.

    Although most of the characters are recognizable in their foolishness, one requires some explanation.  Sergius Saranoff is based, as Shaw makes clear in his notes in the play, on the nineteenth century idea of the Byronic hero.  Shaw describes him as having "acquired the half tragic, half ironic air, the mysterious moodiness, the suggestion of a strange and terrible history that has left nothing but undying remorse."  Like Lord Byron, he craves a romantic death and is appalled by human nature, including his own.  He is a man born to wear a cape, and to be ultimately smothered by it.

    Our production of Arms and the Man was followed by a special late night improv show performed by the Light Fingered Five on January 23^rd, 2009.  Check out their website for information about upcoming shows at www.lf5.org.