Marlowe’s “The Massacre at Paris” (Jenny Chen)

A few thoughts on what I remember from last week:
Some Paper Stagers were old-timers, I think, and the flair they added (not to mention Dr. Forbes’ mini-harmonica!) was wonderful in helping more people relax and settle down into their roles. It was also interesting to observe the freshers (like me) trying out lines and sliding into character — at first some lines might have been slightly mechanical but in the middle, as the plot thickened and more people were (unfortunately?) involved, you could sense people trying out twists and variations in the way they delivered (perhaps more movement and gestures would have helped loosening up even more — what little could be achieved in chairs anyway!), as if they were fitting their hands into a new glove, flexing, stretching, and maneuvering inside their newly acquired skins.​
I was actually wondering at several points about what became of Margaret in the play, since she seemed to simply disappear into thin air…
The version you read from had the stage directions “The Lord Admiral is found in bed”, but the one I read from (and by far the prevailing version I was able to hunt down on the Internet) had them like this: “Enter the Admiral in his bed”, and it killed me. I guess I took it too literally at first sight, but this misinterpretation of mine did seem very, very, unexpectedly (and therefore all the more) comical. This also led me to wonder if stage directions in Early Modern drama proved even more volatile than lines? To what degree were they consistent (I’m guessing consistency was a direct result of the development of print?)?
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