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Published on: 5/4/2008
Last Visited: 5/4/2008
Each spring co-directors John Cole and Ron Danko and a motley cast of students commit magic: They put on a play.
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"There is a whole lot of projection going on in this play," says Cole, who teaches humanities at RCC."Sometimes it's so bright, it's hard to see at all."
You follow Cole into the costume room/junk storage/dressing room, where costumes are hung in a long, narrow, L-shaped, cubicle whose cinder block walls are painted dark red.
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"Wear it," says Cole.
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"Having some people from the community join the class is very cool," Cole says."The hardest single thing is everybody's schedule.Second is scheduling the building - and creating the illusion it's a black box theater."
Cole and Danko talked about the play at length with the cast.
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"We talked about complexity," Cole says."There's no black and white."
The directors view Shylock as a victim of a very specific kind of racism in which people force him to be that which they despise.They need him yet project their fears onto him.He must betray his faith to exact revenge, although, ironically, he's the only guy in the play who can keep a commitment.
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"These Christians are bad," Cole says."Why can't a Jew be bad, too?"
He calls the play "wildly prismatic, absurdly comedic, terribly tragic, and of course, romantically magic ... "
In the end, he says, Shakespeare asks us to face our own perceptions of religion, race, and revenge.
"No one comes out clean in a world where religion becomes perverted to racism, and commerce is king," he says.
u u
Nearly two dozen people form a circle and hold hands.
"What I'd like you to do is focus on your reality," Cole says, "Your truth in the show.
...
Danko and Cole sit to one side taking notes.