By Don Levitt
I have a lifelong fascination with twins. As a very young child, I, like many others, had an imaginary friend, but I took the form of a single twin, who was like me in all respects. We enjoyed the same thing, finished each other’s sentences and looked exactly the same. I was known as Donnie, and my “twin” was known as Johnny. I was clean, Johnny was dirty. For two years, my mother endured my insistence that, “It’s not me, Mom, it was Johnny.” It was perfectly reasonable for the mother to be confused; After all, we were looking exactly the same. Today, my parents find me in the bathroom, looking in the mirror and laughing at the conversation with my reflected image, but at the time, the sheer depth of my commitment to this fantasy may have caused them some concern.
Eventually, sometime near first grade, I grew up with my imaginary twins, but my attraction to twins continues. I saw classmates who were twins, or twins I saw in movies and on television, with a certain degree of degree jealousy. I like the stories of them being wrong for others, making fun of people by changing places. I absolutely love movies, Father or mother trap (Original with Hailey Mills, thank you very much), and was impressed with the twins’ plans to relocate so that everyone could spend time with each other’s custody parents. Wouldn’t it be great to be able to be someone else and move away from it because you look the same? Thoroughly and completely put one on top of everyone else?
This tradition is from the beginning Horrible comedy Draws his comedy. The play, a farce by British playwright John Gudram, relies on two actors to portray two different types of identical twins, as well as a younger brother, who is allowed a farce, a dead ringer for his older, twin siblings. The plot of the play is meaningless and almost irrelevant. It is fun for the two actors to whiplash themselves through different scenes, trade acquaintances very easily and even enjoy the audience the most through the confusion created due to misidentification.
The use of twins and misidentification as a joke is almost as old as acting. In the early third century BC, the Roman playwright Plato used misrepresentation in his work, much of which was adaptations of earlier Greek texts. Shakespeare famously used the device Error comedy (Which Goodram makes sarcastic in the title of his play) and Twelfth night. Both jokes are twins, both identical and involved in fraternity, and the consequences that make their identities accidental and intentionally confusing. From Mark Twain to Stephen King, modern examples abound and range from comedy and comedy to drama, romance and horror.
The use of Shakespeare’s twins is particularly interesting. In the relationship between Shakespeare and Plutos, the Internet Shakespeare Edition notes: “One of Shakespeare’s earliest comedies was intensively based on two Latin origins. Error comedy Plato takes the plot of two plays: Menachami, A play about long separated twins who make mistakes for each other and eventually reunite; And Amphitrion Where the Lord and the servants are confused. Shakespeare combines the two plots and makes things more complicated by adding twin servants to the twin masters “(https://internetshakespeare.uvic.ca/ library / slt / drama / classical% 20 drama / plautus.html).
Goodram Horrible comedy No resemblance to Plato, Shakespeare, or Error comedy, Without the intentional play on words in its title. But it only depends on the concept of twins and the point of misidentification that it is Is The story. Goodram, whose previous plays were mostly Noir or MacBrey adaptations of Dickens, Canaan Doyle, and Poe’s stories, happily toys with these ideas, adding a dash of MacBooks to which he is more accustomed to the humorous effect.
There is almost no point in living in a conspiracy. The arrogance of this play যে that the two actors play all the roles এটি is a vehicle for the actors to have fun and flex their working muscles; The audience is really just taken on the ride. It’s crazy and suffocating and a lot of fun, but the saving grace is that it doesn’t take itself too seriously. Goodram cleverly, and quite intelligently, lets the actor and the playwright look at themselves from time to time. Through Act Two, a character is suddenly introduced to another character’s third identical brother and can barely hide his disbelief. “Oh my God! You’re nobody else, aren’t you?” He asks, to which the new character responds (Trop pays a funny tribute to himself), Yes – chances are – you’ve come to see my two identical older brothers – then, ‘Yes! I’m another one!’ ‘
Of course, the play relies on crazy entrances and exits to create the mechanics of the two actors playing all the roles, and Goodram has obviously invented fun to get one character offstage so that the other character can come. Even these conspiracies get a gentle tease: Later in the scene mentioned above, the first character asks, “Do the three of you often get together in the same place?” And the other responds, “If we can’t do that, no.”
I never gave birth to a single twin child, and I never had the same twin child, I was sure I could be a father. I never fell in love with twins and, to my knowledge, never dated twins. The excitement I felt at seeing the other twins grow up has largely disappeared. But every once in a while, I read or see something about the twins that caught my attention. I swallowed Horrible comedy With quick entertainment, and when I was finished, I couldn’t help but think, “Damn, that sounds funny!”