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GUIL: It [Hamlet's madness] really boils down to symptoms. Pregnant replies, mystic allusions, mistaken identities, arguing his father is his mother, that sort of thing; intimations of suicide, forgoing of exercise, loss of mirth, hints of claustrophobia not to say delusions of imprisonment; invocations of camels, chameleons, capons, whales, weasels, hawks, handsaws -- riddles, quibbles and evasions; amnesia, paranoia, myopia; day-dreaming, hallucinations; stabbing his elders, abusing his parents, insulting his lover, and appearing hatless in public -- knock-kneed, droop-stockinged and sighing like a love-sick schoolboy, which at his age is coming on a bit strong. ROS: And talking to himself. GUIL: And talking to himself. ↗
The story of Yoshitsune and the Thousand Cherry Tres was both simple and complicated. Simple in that things never change: people consistently jealous or secretive or brave-hearted. As for the rest, it all came down to a series of misunderstandings, the type that could happen to anyone, really. You assume that the sushi bucket is full of gold coins, but instead it's got Kokingo's head in it. You think you know everything about your faithful follower, but it turns out that he's actually an orphaned fox who can change his shape at will. It was he who spoke my favorite line of the evening, five words that perfectly conveyed just how enchanting and full of surprises this Kabuki play really is: 'That drum is my father. ↗
