Jon Krupp: If political theatre is intended to make you change – is the first Courtesan scene urging you to change the politics of Venice, or to change the Courtesan’s desire for revenge?
Levine: also it seems like both these scenes are presenting somewhat random circumstances, random people – but Weil also writes a scene that shows that things aren’t random at all: a vision of perpetrators, where Renaud, the strategy planner instructs the military commander, Jaffier, about sacking, and then governing Venice.
“The same people whose father or son who has been killed, whose sister or daughter has been raped by soldiers under your command, will treat you as a god …”
First comment: “Am I the only one who feels like that was just a really long rape fantasy?”
Colleen: “It is a little slash-fictiony.”