Work Text:
Sherir pum Tol: Kyral as Sherir, Simon as Tol, Stocky as Bon, and Kendi as Ariboss
Little is known about Sherir pum Tol except that presented in “Stage Q.” We know that Sherir and Bon are siblings and that Tol and Ariboss are best friends. We know that Sherir and Tol are on some sort of quest, one that’s time sensitive. We also know that it’s an Andorian Opera. Since so little is known about the opera, there isn’t much we can do to compare characters, but thanks to linked character notes we can compare this song to Kyral and Simon’s backstories.
The song starts with the group at a crossroads, with Sherir arguing to go one way and Tol arguing to go the other. Though Tol tries keeping things calm, Sherir has a temper and attempts to physically push Tol down his desired path. This reflects the duel Kyral was forced into during his childhood, with Sherir more like his rival than himself. Bon and Ariboss both decide to scout out the trails on their own, and come back injured, with Ariboss succumbing to the injuries. Bon’s continued survival reflects how Kyral’s own brother survived his injuries in the duel.
The death of Ariboss is hinting at Simon’s backstory. We rarely get hints of this in Eridani itself, and most of what we know is from notes Henry Powell was given by the writers. Simon blames himself for the death of a close friend because he created a device someone else decided to use before it was ready. Similarly, Tol went on a quest, it was made dangerous by a party split, and his friend died. I think that by giving Simon this story, the writers were hinting at his past without having to explain it outright.
After Bon is well enough to move, the three surviving members of the quest work together to go down the seemingly less-deadly path. This symbolizes Starfleet, where people work together for the greater good regardless of what happened in their past, and they try their best to minimize death, even if it doesn’t always work for the red shirts.
MacBeth: Saavik as MacBeth, David as Banquo, Joanna, Tuyet, and Anise as the Witches, with Kirk and Spock as Ross and Angus
There isn’t much in other episodes to imply that Saavik is unhappy with her station, but I think her role as MacBeth is a way to show her ambition. She joined Starfleet Academy at a relatively young age of 16 and became captain two years younger than Kirk did, two things someone can only do if they’re ambitious, whether it’s motivated by curiosity or a desire for power. I don’t think Saavik is power hungry like MacBeth is, but I do think they both have their ambition largely come from others, and the choice of Act 1 Scene 3 really shows this.
MacBeth’s ambition comes from the Witches telling him where his search power will lead him. Our Medical Trio don’t give Saavik her ambition, but there are some small connections between them within this scene. Joanna is the CMC on the Eridani, and she says the lines of the First Witch. Tuyet, who says the lines of the second which is very eager and less experienced compared to Anise. The Second Witch is asked what she was doing, but the Third was not, and it is the Second who asks the First for more details on her day.
The source of Saavik’s ambition comes later, with Kirk and Spock as Ross and Angus. With Spock as her father and Kirk as her mentor, Saavik has large shoes to fill, whether any of them realize it or not, and I do think this is why she’s such an over achiever. Kirk and Spock being the two to deliver the news of the first gaining of power for MacBeth shows this. It also ads a sad note that when Saavik and David see their fathers in the first season they were created by Q to mess with them.
On the surface, it seems like David and Banquo don’t have much in common. David as Saavik’s brother is reflected in Banquo being MacBeth’s best friend, but Saavik saved David from death rather than killing him herself like MacBeth did. I think what they do have in common, though, is the distrust those in power have for him. MacBeth as king kills Banquo because he doesn’t trust him, thanks to the Witches and Banquo’s harsh, almost jealous reaction to them in this scene. Similarly, the Admiralty doesn’t trust David when he initially asks to be on the Eridani, though in their case rather than being rooted primarily in paranoia, the distrust is rooted in the disaster that was Genisis. Because of his actions during Genesis, David will have a very difficult time advancing in the ranks, and Banquo is told by the Witches that he will not.
Cabaret: Sopek as Sally Bowles
"Don't Tell Mama" being performed primarily by Sopek is a clear attempt by the writers to expand on the relationship he has with his mother. Like Sally Bowles, Sopek knows where his interests lie and is pursuing them with a passion, without much care for other people. Like Sally, these passions are at odds with the plans his parents had, leading to disappointment. More like Sally outside the club than that of the persona she put on in this song, both sides of the family disapprove of Sopek's career path, and he doesn't often talk about them, though Sopek has an amicable relationship with his parents compared to Sally.
By choosing to have him sing this song, of all the ones Sally sings that are far more iconic, the writers hint at the tumultuous and complex feelings held by Vulcans and show that Sopek still cares what his parents think, even as he goes against them.
Also, and this part is a stretch, the fact that Sopek's moment was from an Earth musical (one by Jewish-Americans no less) instead of a Vulcan one created for the episode may be a nod to the human half of Spock's heritage, since Sopek joined Starfleet due to admiration of him. I also find it worth noting that Sopek is dressed like Liza Minelli in "Mein Herr" rather than like a performance of "Don't Mama." Whether this was an oversite or done intentionally for aesthetic is debatable.
There is less to be said about Malachi, Terrance, and Lila, because they’re more in the background, but we can still gleam a few things about them from their role in the number. I think that being in Sopek’s song, introducing and supporting him, is a nod to how the three of them have are the closest people on the ship to Sopek, and are his friends whether he’s willing to admit it at this point or not. Malachi as the MC reflects his role on the Eridani as counselor, “one of the most important jobs,” as he often says. Without the counselor, star ships would likely be a lot more chaotic. I think Deanna and Malachi are part of the reason the Enterprise-D and the Eridani seem calmer than the Enterprise from the original series. The actors and era also contribute, but I don’t think the role of our counselors can be overstated. Similarly, a lot of the fun in Cabaret comes from the MC, and it would be a completely different show without him.
With Terrance and Lila, their inclusion is more about their relationships with Sopek than anything else. Sopek minds them less than his other crew members, even seeking them out, so it’s only natural that they be his backup singing and dancers rather than anyone else. Sopek talking to Lila when Sally usually interacts with the audience is a little flirty, and looks like a hint at his romantic interest in her.
The Merchant of Venice: Q as Shylock
I must say, when Q started reading Shylock’s monologue from Act 3 Scene 1 of The Merchant of Venice, it made me giggle. With Data giving it in Season 1 of The Next Generation and Chang in The Undiscovered Country, it felt like they were doing it on purpose, even if two of the three instances are in jest. I’m fairly certain that Q do not bleed, nor can they be poisoned or tickled, but as Q said when asked by Saavik why she does what she does, “If you bore us, do we not toy?” I think that line perfectly explains why Eridani’s Q and John de Lancie’s Q do what they do.