ANARCHY! ACTORS NYC RESIDENCY May 5th - July 22nd 2025 www.anarchyactors.com/nyc "When people ask me what makes a costume drama thrive, my answer is always the same: it’s in the details. In a genre steeped in the subtlety of glances and the careful placement of a teacup, a single scene can carry the weight of an entire narrative. That truth was never more apparent than in the high-society banquet scene in SON OF SLAVES, where the Moroccan protagonist’s kidnapping sets off a clash of titanic personalities: Lady Asbury and Princess Zaya of Persia. Lady Asbury, a figure of quiet desperation, represents the fragility of societal rules in the face of real human suffering. She is poised, proper, and utterly shattered inside, a woman clinging to the edges of her world. Across from her, we have Princess Zaya of Persia: unapologetically flamboyant, gloriously self-serving and regal to the core. Zaya is the sun in this scene, her light casting long, intimidating shadows. At this point in the story, Lady Asbury has become the moral compass of the narrative, advocating for The Moroccan, whose life hangs in the balance. But Princess Zaya, in all her grandeur, is unmoved. For The Moroccan is her property, an acquisition she’s not inclined to relinquish. Their confrontation brims with tension, not just because of what’s being said, but because of everything left unsaid. Princess Zaya’s power lies in her duality. She’s both absurd and terrifying. On one hand, there’s a comedic edge to her exaggerated vanity; on the other, her dismissive treatment of Lady Asbury reminds us that she’s not a caricature but a woman whose self-interest has calcified into tyranny. It’s rare to find a character who is so deliciously evil yet deeply human. Princess Zaya hits that sweet spot. Villains like Princess Zaya stand on the shoulders of cinematic giants. From Glenn Close’s icy brilliance in Dangerous Liaisons to Helena Bonham Carter’s eccentric malevolence in Great Expectations, costume dramas have given us some of the most unforgettable female antagonists. And let’s not forget Cate Blanchett’s haughty Lady Tremaine in Cinderella or Kristin Scott Thomas’s steely Mrs. Danvers in Rebecca. These women share a common thread: they command attention not just through their actions but through the sheer force of their personalities. There’s an art to making audiences laugh while their hearts are breaking, and this scene was no exception. The comedy here isn’t slapstick; it’s rooted in the absurdity of high-society decorum clashing with raw, human desperation. Princess Zaya’s dismissiveness, her biting remarks, and the almost theatrical way she “floats” into the room bring a kind of macabre humour to the proceedings. Lady Asbury’s carefully modulated attempts to reason with Princess Zaya, while the latter ignores her in favour of adjusting a piece of jewelry, create a tension that’s both uncomfortable and oddly funny. It’s the comedy of discomfort, the laughter that comes when we recognize our own helplessness mirrored in the characters. The banquet hall itself is a character in this scene. Its grandeur, with glittering chandeliers and opulent decor, provides a sharp contrast to the ugliness of the confrontation. This juxtaposition amplifies the tension, creating a space where the characters must maintain composure even as their emotions threaten to boil over. Through strategic camera work, I sought to emphasize the power dynamics. A low-angle shot of Princess Zaya makes her look larger than life. Conversely, close-ups of Lady Asbury’s trembling hands remind us of her vulnerability. These visual cues pull the audience deeper into the story, allowing them to feel the weight of every word and gesture."