Clockwork assassin

“What do you make of that, Inspector?” Said Ainsley, his kerchief clamped against his nose and mouth.

“It’s a curious thing, Detective Sergeant. A curious and highly ponderable phenomenon.” Inspector Jeffries retracted the tip of his pen and allowed the flap of skin to fall back, covering the fracture and consealing the machinery inside the dead woman’s skull.

Constable Douglass fidgeted, pulling the collar of his great coat in around his cheeks and shuffling his boots against the stonework beneath. Sporadic plumes of mist erupted from the gap between his clutched fists with the release of each breath as he watched the other two men with a neurotically casual concern. After a brief moment of contemplation, the Inspector rose, replacing the pen in the breast pocket of his undercoat.

“Clearly,” he said at last, “somebody would have us believe that here, before us, lies the body of a mechanized automaton.”

“Well… clearly.” Said Detective Sergeant Ainsley, who was feeling not at all clear about Inspector Jeffries’ conclusion.

“And clearly,” resumed the Inspector, “we aren’t in the least bit taken in by such a cavalier, if exquisitely crafted, red herring.”

“We aren’t?” Said Ainsley.

The Inpector turned to Constable Douglass. “You and your men can be rest assured that you will not be facing an army of mechanicals any time soon.” Said Jeffries.

“That’s heartening to hear, sir.” Said Douglass.

The Inspector then turned to Ainsley and said, “Have the body taken to Mr. Klein for a more thorough perusal. Although I’ll wager that his observations will bear out the conclusion of our cursorary examination here.”

“And the particulars of this conclusion arise from… what exactly, Inspector?” Said Ainsley, hoping that his question was simply a request for a formal record of what he already had fully comprehended himself, rather than a confession that he hadn’t the faintest idea what the Inpector was talking about.

“It is true that the machinery currently entombed within this young lady is intricate and of, I daresay, rudimentry functionality. However, it is not sufficient to motorize a mannekin and endow it with anything even remotely resemblant of human behaviour. Indeed, to this degree we can surmise her identy with some accuracy, for she is certainly the sister of Maelzel’s Chess Player. A cunning and well-manufactured fraud.”

The Constable spoke. “If the machinery has been implanted, then where…?”

“Is the rest of the poor dame?” interrupted Jeffries. “It’s a quandary. Food for thought. Although in all liklihood, by now at least, probably food for the dogs.”

The Inspector removed his pocket watch.

“It’s getting late. Detective Sergeant, if you and the kind constable will excuse me, I will leave this scene in your capable hands. I’ll will see you at six o’clock sharp in the laboratory of Mr. Klein on the morrow. Good day”.

Without waiting for a reply, Jeffries turned on a sixpence and marched down the alley, disappearing into the fog like and actor stepping through the curtains after the final bow.

Titus Adronicus, The Tin Ceiling

Pleasantly surprised to see the following in my mailbox from the Tin Ceiling this morning:

The reviews for Titus are in!

“Titus Andronicus receives a compelling staging from director Robert Strasser…”  Paul Friswold, River Front Times
“Alan David, I think, stands out especially as the exquisitely villainous Aaron.  Small, slender, agile, terribly focused, and with intense eyes and a wickedly beautiful smile, he is simply perfection in this role…”  Steve Callahan, KDHX Radio
“there is fun to be had listening to some of the poetry, trying to figure out whether the wily Titus is really mad or just faking it, and watching it all play out…” Andrea Braun, Playback:stl
“There’s so little onstage that every single detail, every twinge of agony, hits home.” Judith Newmark, St. Louis Post Dispatch

< Vanity > Some of them even mentioned the humble editor, which was rather kind:

“I did read the play (once!) but I don’t remember the script well enough to comment on Damien Samways’ editing, other than to say that whatever he cut and/or clarified had to have been an improvement.” Andrea Braun, Playback:stl

Well, of course it was improved! Tsk. This isn’t amateur night.

“Shakespeare’s bloody and awkward Titus Andronicus receives a compelling staging from director Robert Strasser and editor Damien Samways, who navigate the plot holes with a clear emphasis on story over logic” Paul Friswold, River Front Times

But, as much as I’d like to take full credit for this production, the directing, casting, set design and Derrek Simmon’s perpetually excellent artwork (oil on canvas, for sale), just might possibly have eclipsed my own stellar contribution to performance art.

BTW, the show runs for another two weeks!!! so be sure to go and see it. I’m going again to make notes on what else we could “deftly trim” from this play before Robert takes it on tour to Paris. The French have a very short attention span, you see; it’s all that Moliére they’re subjected to from birth. < / Vanity >