57 pages • 1 hour read
M. L. RioA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The group join the other Dellecher students for the convocation, held on the 9th of September, which is the birthday of founder Leopold Dellecher. The convocation is one of those rare occasions in which students of different disciplines, such as theatre, choral music, studio art, languages, and philosophy intermingle. Dean Holinshed delivers his inaugural speech, welcoming the first years. He asks the students to make bold choices during their time at Dellecher, since in choosing such an unusual education, they have already shown they are remarkable.
Oliver notes that “it [is] a week before anything else interesting [happens]” (49). Sessions continue until they each receive a note about secret rehearsals for the Halloween play. It is an annual tradition at Dellecher to perform a scene from Macbeth for Halloween. The fourth-years are not supposed to reveal their parts to each other. Oliver is playing Banquo, and they will be performing Act I, Scene 3 and Act IV, Scene 1. Oliver wonders if there is a clerical error in assigning the part since Banquo is a major character in both scenes. Meanwhile, Richard seems unhappy with his part and walks away from the group. Meredith tries to talk to Richard, but he brushes her off. Oliver suspects that with the new casting, “the balance of power had somehow shifted” (52).
The group meet for combat class, where Camilo, a fight choreographer, teaches them how to perform action sequences. Camilo is happy that Oliver has followed his regimen over the summer and put on some muscle. Richard is absent from the rehearsal. Camilo directs a fight sequence between James and Oliver, asking James to slap Oliver with a backhand. Oliver is supposed to move away fractionally before James makes contact. But Oliver, entranced by the sight of James, freezes and is hit for real. James apologizes profusely.
The first off-book rehearsal for Julius Caesar is a disaster, with most people forgetting their lines. As James and Alexander struggle through a scene, Richard grows impatient waiting for his cue in the wings. He enters the stage and interrupts the scene; Gwendolyn orders him off. Richard leaves. Meredith scolds Richard for his bad behavior and he apologizes to her.
October’s first half sees the group busy with their secret Macbeth rehearsals as well as their usual sessions with Gwendolyn and Frederick. In Gwendolyn’s class, Oliver gets his turn at revealing his strengths and weaknesses. His greatest insecurity is that he is the least talented of the fourth years. When Oliver has trouble thinking of a strength, James reminds him that he is a very generous actor, making “every scene you’re in about the other people in it” (63). In one of Frederick’s classes, the fourth-years get into an argument about the dramatic worth of Julius Caesar versus Macbeth. Alexander contends Macbeth is the superior tragedy, while Caesar is the lesser play. Richard counters both have similar tragic setups. The argument turns to the characters of the play. While Richard thinks Caesar is the true hero of Julius Caesar, the others contend Brutus is more the tragic protagonist. James suggests Richard plays the same type of vain, arrogant character as Caesar in all his plays. Richard gets angry; James apologizes, and Richard in turn says sorry for his behavior during rehearsal. A truce is called, but Oliver notes that this is the first time that there has been such an open show of hostility between the friends.
On Halloween night, the players prepare to reach the lakeside beach—their “stage”—at their various designated times. Oliver and James come across each other at the wooded trail heading to the beach. As Oliver suspected, James is playing the lead role of Macbeth. This means Richard has been cast in a smaller role, which explains his recent unhappiness. Oliver and James await their cue in the woods. The performance begins with the appearance of the witches: Meredith, Wren, and Filipa sneak up under an overturned canoe. Macbeth and Banquo meet the witches, who prophesize that Macbeth shall be king, and that Banquo will be “Lesser than Macbeth and greater” (Macbeth, Act I, Scene 3).
Because of this prophecy, Macbeth has Banquo killed in in Act III, Scene 3 of the play. In the next scene, Macbeth is to be confronted by Banquo’s bloodied ghost. Back in the woods, James soaks a bare-chested Oliver with fake blood prepared by the art students. James enters the stage again. Richard finally appears, but only as a voice actor, playing a spirit predicting Macbeth’s greatness. Oliver enters as Banquo’s ghost towards the end of the scene. The performance ends to deafening applause. The audience and actors mingle and begin to party in a “sort of sybaritic hysteria” (84). Oliver notes Meredith looks exceptionally beautiful in her sheer white costume. The friends drink late into the night until only they and some third-years remain on the beach. Richard stays aloof from everyone. Meredith and Oliver square off against and Wren and James for a chicken fight in the lake. Richard objects and calls Meredith a sexist slur. When Oliver defends Meredith, Richard is enraged. James backs up Oliver and Richard turns on him, pushing James in the water and holding his head down. The rest of the group pry Richard off of James. Richard claims he was just playing and walks off. Oliver consoles James.
In the five-act play structure, the first act is usually an exposition, setting up the play’s characters and premises. Act I of the novel establishes the close relationship between the seven friends, which Oliver describes as sibling-like. They know each other inside and out and banter good-naturedly. Richard is initially set up as a charismatic figure who dispenses important advice to Oliver. The friends often tease Richard about getting the best parts, and his relationship with Meredith, while they tease Meredith for being vain. These early linkages established; the plot presents the close-knit group with an unprecedented problem: the Halloween castings.
Going against type, the castings unsettle the friends. Because they, especially Richard, have begun to think of themselves as their stereotypes, any change in order leaves them feeling unmoored. Richard’s behavior at Halloween sets the stage for growing hostility between the friends. Oliver’s growing attraction for Meredith and his unacknowledged attraction to James are likewise potentially explosive threads.
The action in the novel mimics whichever plays the students are performing. In this section, the plays are Macbeth and Julius Caesar, two tragedies of ambition. In Macbeth, the title character’s ambition to be king turns him into a murderer; in Julius Caesar, Caesar’s unchecked pride and ambition lead to him being murdered by his closest friends. In real life, Richard’s ambition to always play the king is thwarted by the Halloween castings, driving him to violence and anger. Caesar, his other role, is killed by his closest friends; this blatantly foreshadows Richard’s fate. The teachers also unwittingly accelerate the group’s impending tragedy. Frederick and Gwendolyn, eager to utilize the group’s new energy and shifting dynamics, begin casting the students against their type. That is why James, and not Richard, is assigned the role of Macbeth, while Oliver gets the significant part of Banquo. These castings continue to evolve in later acts, bringing the tensions in the group out into the open.
Blood is established as an important motif early in the play, starting with Oliver playing Banquo’s bloody ghost in the Halloween performance. In the play, three witches—played by the girls in the Dellecher performance—predict that Banquo will be greater than Macbeth because his children will inherit the Scottish kingdom. Fearing this fate, Macbeth kills Banquo and is haunted by his bloodied ghost. As one of the witches, Filipa upends a bowl of false blood, “a red and viscous liquid” sloshing against the night (81). The blood is earlier described in detail as exuding “a sweet, rotten odor” (36). James bathes Oliver in the blood, which foreshadows them being bound by the blood of Richard, much as Caesar’s killers were tainted by his blood in Julius Caesar. Blood also being the symbol of passion, James and Oliver’s “bloody” interaction is an intimate moment that serves as a metaphor for their thinly veiled attraction to each other. The witches’ scene raises the question of whether or not Macbeth would have committed his crimes without the prophecy to spur him on. This ties in with the text’s important theme of free will versus fate.
This section introduces the reader to many terms from theatre performance, such as blocking. Blocking refers to the position and movement of actors on the stage. While actors do improvise a little while on stage, their blocking is predetermined to ensure smooth movements on stage. In If We Were Villains, the characters, beginning with Richard, begin to violate the blocking during rehearsals. This signifies a breakdown of the structure that keeps them safe and sane. The novel also focuses on speeches and soliloquies, which are important aspects of stage acting. An early important speech occurs in Act I, Scene 7, with Dean Holinshed telling the students to “make art, make mistakes, and have no regrets” (48). The speech shows that the Dellecher students are encouraged to live dramatically and boldly, a philosophy that undoubtedly affects their decisions. While Holinshed’s suggestions are positive, they also cast enormous pressure on the students to always be exceptional and dazzling. Thus, Dellecher and its philosophy have a role to play in the upcoming tragedies.
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