For future blackmail/reference purposes, here are my overbearing and eccentric notes to the designers for the one act David Ives play I directed entitled Variations on the Death of Trotsky:
Notes to Designers Christian Boy and Alice Bristow
Statement of Vision
Variations on the Death of Trotsky is a dark comedy. It is both Post-Modern and Existentialist. On a literal level, it is realistic only in that its characters are sampled from genuine history and
even then, only lightly. On a more figurative level, the anachronistic colloquialisms and everyday figures of speech coupled with dark comedy and gallows humor make for a reality
that the modern American audience can sympathize with. The play spotlights multiple comedic vignettes regarding the death of Trotsky, who has
learned that he is due to die courtesy of an anachronistic encyclopedia. He channels Ralph Kramden to his wife, who waxes comedic about his death in one variation. One variation
suggests the historically implausible scenario that Ramon, the gardener who is due to kill Trotsky, and Mrs. Trotsky are in love and that the assassination is instead a crime of passion.
The final scene, however, is markedly distinct, peppered only lightly with comedic barbs and observations as Trotsky comes to terms with his own death, reaching hauntingly towards the
nasturtiums in his garden.
In terms of mood, I envision the piece evoking a sense of discomfort conducive to gallows humor in the early variations, building towards a climax which ambushes the audience with a
haunting portrait of a man (not necessarily the historical figure anymore but an everyman), frozen in a moment, a still-frame shot of the departed reaching towards a final glimpse of life
in his garden. In terms of our cast, we’re fortunate to have a talented cast who have facial characteristics that are reasonably evocative of the historical figures whom they are portraying.
However, I also feel that Trotsky himself is being used as an icon, a device to re-examine death and that Mrs. Trotsky and Ramon are, in large measure, defined by their roles as wife
and assassin. And so, I would suggest that the costuming be iconic, although I have supplied a small morgue of information on the characters.
With regards to the lighting and colors, I think this piece is extraordinarily sentimental in spite of its occasional harshness. This isn’t necessarily about the literal assassination of Trotsky in
1940 but is instead evocative of death, frozen in a sepia-toned newsreel dreamland.
In my mind, I picture the actors muted, warm colors with a soft halo of light around their forms. Perhaps the lights flicker slightly like a fireplace or a newsreel on damaged film; this isn’t reality. I like the idea of Ramon standing apart, in lighter but still largely monochromatic colors, a more stark black and white.
The nasturtiums needn’t be real nasturtiums but I would like them in shades of yellow and red, placed so that they do not distract from the action on-stage when they are not in use but
so that a final burst of light towards the end, resembling sunlight through church windows, can hit the flowers and make them appear more vibrant as a colder, more realistic light falls on
Trotsky himself. I realize that I’m sharing the stage with the other directing teams for this production. All of these thoughts are negotiable and, at the same time, are elements I’m willing to stage myblocking around to the limitations of the lighting plot and property/set placements availible.
Dramatis Personae
Leon trotsky
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Leon Trotsky had full hair on top, cropped closely on the sides. This is very close to how Brett keeps his hair ordinarily. I believe
the facial hair may be outside of his ability to grow and so we may need to consider some form of prosthesis, as the facial hair is a strong signature of Trotsky.
Illustration 2: Actor Brett Seay
Illustration 1: Leon Trotsky,
born Lev Davidovich Bronstein
Page 3
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Trotsky had various glasses he wore. A thick frame might be more evocative but really the only essential element
would be that they be at least somewhat rounded.
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Facially, Brett bears a decent resemblance to Trotsky. Trotsky tended to wear suit and tie ensembles, which were ill-tailored to his form and so I think a period (circa 1930s; the man wasn’t terribly fashionable) suit, vest and necktie
might assist in the illusion if they’re a few sizes too large on Brett. If no such suits are available, a simple sweater jacket should be fine, as I’ve found images of Trotsky wearing these as well. But I think it would be a plus if we
could make our Trotsky, like the historical model, look a bit too small for his suits.
Illustration 3: Young Trotsky
Illustration 4: Trotsky Reading the Paper
Illustration 5: Trotsky in his Later Years
Mrs. Trotsky
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Natalia Sedova was an active figure in Marxist political thought in her own right. The second wife of Leon Trotsky,
the couple had two sons, one of whom was believed to be murdered by Stalin. She was sometimes refered to as Natalia Sedova Trotsky, however never took his last name at any point during their 47
year marriage. In fact, Trotsky legally took the last name Sedov for citizenship requirements to enable his two sons to carry their mother’s last name, although there’s no
evidence in my research that Trotsky ever used his married name for any purpose other than legal technicality. Note that there was no historical “Mrs. Trotsky” and certainly not
the character who appears in this play. We’re inventing her alongside Ives. Although, Natalia Sedova is probably a good model.
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Since we are inventing the character, I don’t particularly see the need to radically age or transform Erin for this part, although some modest aging, coupled with fashion or style
notes perhaps culled from Sedova’s somewhat bohemian 1920s/1930s sense of style might be suitably evocative.
Illustration 6: Natalia Sedova,
Trotsky’s Second Wife
Illustration 10: Actress Erin Dubyak
Illustration 8: Natalia Sedova
in Profile
Illustration 9: Natalia
Sedova
Illustration 7: Natalia Sedova with
Trotsky, circa 1938
Page 5
Ramon
Ramón Mercader was a communist, born in Barcelona and raised in France. He was an agent of the NKVD, something of a precursor to the KGB, following in his
mother’s footsteps as a covert agent. He traveled to Mexico in 1939, posing as Frank Jacson, a Canadian. He
wooed Trotsky’s secretary, through whom he met Trotsky, posing as a sympathizer to Trotsky’s politics.
In 1940, he murdered Trotsky with an ice axe, a mountain-climbing tool, in Trotsky’s home south of Mexico City. Trotsky’s guards burst in almost
immediately but Trotsky demanded that they let Mercader live, insisting that Mercader had a story to tell. Mercader identified himself to the Mexican authorities as Jacques Mornard, son of a Belgian diplomat. He was paroled after after 20 years and moved to Cuba.
He divided his time between the USSR and Cuba and was awarded the Hero of the Soviet Union Medal, one of only twenty or so non-Soviets to receive the award. He was revered as a
hero until his death in 1978.
For the purposes of Ives’ show, “Ramon” is a Spanish gardener doubling as a a secret agent intent on killing Trotsky.
I’ve found a number of productions that are staged with Ramon in a poncho and sombrero, with rather mangy looking apparel. I don’t feel that this is a
strong choice for my production. Going with the real Ramon’s physical appearance, perhaps a pair of black, CIA-style glasses and an anachronistic earpiece might reinforce the notion of
Ramon as a secret agent. Playing off the variation on Trotsky’s death in which Ramon and Mrs. Trotsky
allude to a romance, I’d like to stage that scene as some kind of Spanish dance, perhaps a very brief flamenco and a tango dip. Running with this idea,
I think a Spanish-style dancing tucedo (with gardening gloves and a gardening hat as props to reinforce the absurdity?) might be a strong choice.
The character of Manuel (Andrew Sachs) from the 1970s British sitcom Fawlty Towers (starring John Cleese) was a comically bumbling waiter from
Barcelona and he wore a black and white tuxedo that’s probably influencing my thought process somewhat here. I think it’s a more highbrow approach to
a blatantly Spanish comedic figure than the sometimes gauche (and perhaps somewhat offensive?) poncho and sombrero combination.
Illustration 11: Ramón Mercader
Illustration 13: Fawlty Towers Cast, Manuel seen in the White Tuxedo
Illustration 12: Actor Michael Driggers
Costuming, Set & Properties Requests
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Trotsky – A dark, sepia toned suit and tie, preferably a bit over-sized.
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Trotsky – Rounded glasses for Trotsky.
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Trotsky – Prosthetic facial hair.
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Trotsky – An ice axe (or reasonable facsimile thereof) to remain attached to Trotsky’s head for the duration of the play. Called for in the script. I’m imagining
something foam with a bit of foil, shop made, with a band that can be concealed through Brett’s hair.
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Mrs. Trotsky – A casual 1920s ensemble, either flapper-inspired or a something of a somewhat Bohemian/Parisian character without seeming too trendy, something
which still functions as domestic wear. Dark, preferably sepia-toned.
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Ramone – A black and white tuxedo (or tuxedo-like suit) possibly evocative of a Spanish dancer’s suit with some frill and perhaps with a red cumber bun.
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A desk with prop newspapers and books.
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An encyclopedia, current edition, called for in the script.
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A small row of flowers which could at least pass for nasturtiums. These flowers bloom in red and yellow although some greenery might help to accentuate them
when the lights are directed on them at the end as well as cut down on the costs for fake flowers. Called for in the script.
SPECIAL REQUEST:
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I’d like for the nasturtiums to have one flower which can be plucked every night or to have one dedicated nasturtium kept separate from the rest, to be incorporated as
a prop. When Ramon and Mrs. Trotsky announce their love for one another, I’d like like to incorporate a brief Spanish dance with a tango dip of some sort as a bit of
business and, playing off Ramone as the gardener, I want him to have a red nasturtium between his teeth. (Which might reinforce the symbolism of death. This
is also why I see him as possibly having a red cumber bun, using the color red selectively to reinforce the idea of death)
These notes are simply suggestions offered based upon my own research and some of the ideas I’ve had. I apologize for not getting
these to you sooner. Hopefully, you’ll find them constructive. I have every faith in your abilities and choices as designers.
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