Viola: "What country, friends, is this?"
Captain: "This is Illyria, lady."
Viola: "And what should I do in Illyria? My brother he is in Elysium"
- Shakespeare, Twelfth Night, I.ii.
Every year, thespians at the Dubrovnik Summer Festival perform Shakespeare at Lovrjenac Fortress, a medieval bastion which overlooks Old Town and the Adriatic. The performances -- in the open air within walls that pre-date the Bard -- are a true spectacle, punctuating days of Renaissance revelry for locals and tourists. While the repertoire changes, a constant is "Hamlet." This can't be coincidence: After all, some argue, Lovrjenac is more authentically medieval than Elsinore, Denmark -- and since no document explicity states that Shakespeare didn't wander south during his "dark years," he may, in fact, have based Hamlet on a lost foray to Dubrovnik. Thus, there is no evidence that the Denmark isn't a thinly disguised Dalmatia.
Except this: Nothing is rotten in the state of Dubrovnik.
Keep your towers, your cathedrals, your museums, and your main drags with names you rip out of foreign mythology. Dalmatia's pearl lacks the groovitude of London, the wandering alleys of medieval Prague; it holds no candles to Berlin's nightlife, can't boast the pulse of New York or flaunt Nobel Prize Winners a la Cape Town. It fans on the modern awesomeness of my beloved Wellington, hasn't the tangible history of Vienna, and lives without the wide allees of grand dame Paris.
But Lady Dubrovnik takes them all.
Dubrovnik is the Europe we dream of -- a city whose limestone streets echo antiquity, and whose medieval walls are lapped by the tranquil Adriatic. The city shines in the sun and glistens in the rain. It survived communism but doesn't reek of it; it was shelled less than 15 years ago, and rebuilt itself as it was -- not in bland, eyebrowless, uberefficient apartment blocks. It has the luxuries of a modern town, but hides them well -- find what you will, but you're better off getting lost in the Renaissance alleyways. When you stroll the streets at night, drunk tourists and "human doings" aren't spilling or spewing in front of you. If you're lucky -- you read that correctly -- to have a dousing of rain, the empty alleys shimmer in the full moon.
The city delights throngs of tourists without whoring itself to the corporate dollar. Medieval towns north of the Alps -- that's you, Rothenburg -- flaunt the Golden Arches, while Dubrovnik rejected them. There is one, count 'em one, western hotel in town (outside the walls), and the majority of visitors only stay for a day and depart on their cruise ships. It's far enough from the main tourist route to deter Eurailing students and Japanese throngs, but accessible enough for an easy holiday.
And then, the environs. The daytripping opportunities are nonpareil -- take a ferry to Mljet National Park (which Odysseus fancied), drive to the world's newest country (Montenegro) or the regional hotbed (Bosnia), sail along miles of untouched coastline, or bottle wine and brandy amateur cellars.
It's got the history, too. Croatia has the second largest Roman amphitheatre outside the Coliseum and the second-longest wall after China. It also gave the world the necktie (cravat), the fountain and ballpoint pens, Marco Polo ("Mark The Chicken"), and who knows, maybe "Hamlet."
Not that it needs it, though, since it plays host to "Twelfth Night" just fine -- and it should flaunt the sure thing rather than claim a tragedy. The play is enough of a marketing piece: after all, Viola does discover plenty to do in Illyria. She falls in love, cross-dresses, watches hilarity ensue, and finds her brother. Though she was, in fact, right about his whereabouts all along.
Matt