Reviews: A Midsummer Night's Dream @ The Shakespeare Theatre

A Midsummer Night’s Dream

Shakespeare Theatre Company

Free For All, Sept 2, 2015

            Each year, the Shakespeare Theatre Company in Washington, DC put on one Shakespeare play at the very beginning of their season that is completely free to the public. Tickets are raffled or included in a season ticket, and I was lucky enough to win a pair of tickets on the second night of this limited, two-week run.

This year, Ethan McSweeney has returned to the Shakespeare Theatre to revive his 2012 production of A Midsummer Night’s Dream, with a few original cast members and a host of new talent as well. Adam Green has returned to reprise his portrayal of Puck, the mischievous right-hand man of the Fairy King, Oberon, now being played by Dion Johnstone. I never did see the 2012 production of this play, but from the amazing performance I saw last night, I’m very glad that they decided to revive it for the 25^th Anniversary of the Annual Free For All.

            The four lovers, are always the romantic highlight of a Midsummer, with the war between the men, to the all out brawl between Hermia and Helena while the men are enchanted. Julia Ogilvie is both pitiable and hilarious as the tall Helena, chasing after her lost love, only to gain both him and Lysander, when Puck confuses Athenian men. As her friend and foil, Chasten Harmon is an earnest Hermia with an impressive fire when it seems her love has left her. As their dueling suitors, Ralph Adriel Johnson (Demetrius) and Stephen Stocking (Lysander) are almost too enjoyable; not only in their fights, but in the special new portrayals they have brought to their characters. Stocking wears a guitar as a crooning lover, while Johnson wields a golf club a bit like a sword as a quick-tempered juxtaposition to his rival. Green’s impish Puck assists in escalating both the stakes and the comedy within the fights, pitting the men and women against one another while adding mud, water and all sorts to the entertaining chaos.

            Not to be forgotten, The Rude Mechanicals are a rare treat for anyone with an ear for classic Broadway show-tunes and a soft spot for an ambitious amateur theatre troupe. While the antics in the forest are always a source of great amusement, it is within the ‘Tragicall Comedy of Pyramis and Thisbe’ where these actors are put to the greatest use. The piece is drawn out ten-fold beyond the script as everything that can go wrong will for these poor tradesmen. I don’t want to spoil their antics for any future audience members who may decide to apply for the lottery in the next ten days, but trust that I laughed more than I have in the many versions of this scene that I have witnessed.  McSweeny and his actors have made some bold, bold choices.

            As a Free For All performance, I felt like I left the theatre absolutely spoiled by such an amazing production – from the absolutely breath taking costumes, and sets to the gorgeous music and talents on everyone on and off the stage. If you have a free night, hell if you don’t, change your plans! The Shakespeare Theatre Company has given Washingtonians access to an amazing production that is understandable, relatable, while also hilarious and magical; it is everything Shakespeare should be. Each year, the Shakespeare Theatre Company uses this first production as a way of introducing audiences to Shakespeare, and I can’t imagine a more enjoy first meeting.

Articles: "Audience Members Behaving Badly" by Rebecca Ritzel

Published August 18, 2015

"Audience Members Behaving Badly" by Rebecca Ritzel

A Response by E Robertson:

            While I was in London, alcohol was available at almost every theatre I went to – or near enough that it wasn’t a big deal to ask for a plastic glass, leave the pub and walk into a small upstairs theatre, wine in hand. Sometimes critics were even treated to free drinks (as I saw happen at both The Royal Court and Southwark Playhouse) and usually it enhanced everyone’s agreeability and enjoyment of the entire scenario. As an usher, the only thing that would upset me about drinking patrons was how much rubbish they left behind.

            Wine, beer, and other refreshments has now made it into many of our theatres in the Washington, DC area, but unlike in London and Germany –it is not have a positive effect on theatre patrons. In the Washington Post today, I read an article about two intoxicated women at the Signature Theatre in Arlington, VA, in search of restrooms before intermission. One of the women even walked onto the stage, through the wings and interrupted an actress (not to mention the show) before her entrance. The other, was stumbling around curtains also looking for the restroom. Not only can these patrons not handle their liquor, they also cannot plan ahead for tiny bladders and go before the first act!

            If you keep up with US Theatre Happenings, you may also remember the drunk idiot who tried to plug his phone into a fake SET outlet on stage during a performance of Hand to God in New York. First, US Theatres were dealing with food, cell phones, and the occasional camera – but now people are literally walking into the performances and ruining the show for everyone, actors and audiences alike. Do we need to pass out etiquette guides along with programs as audiences walk into the theatre?

            Looking back at not only this, but American behaviour in concerts and in movie theaters – I am starting to fear for this nation. It’s not just blatantly rude, but it also speaks to our inability to pull ourselves together and act like responsible adults who know how to interact in a suitable manner for the situations in which we find ourselves. Although – if I look back at the History of Theatre – at least people aren’t publicly pissing themselves in the house or whoring in the aisles as you may have seen in the 15 and 1600’s in English Theatres. At least now they try to find the restrooms first.

            All in all – audiences had progressed and have now – to a small degree it seems, digressed. I would say that maybe some people just shouldn’t go to the theatre – but no, I disagree with that. I still think everyone should go to the theatre – but for God’s sake, know your limit, and stay in your seat until the lights go up! And trust me, the theatre is a lot older than your cell phone and that text can wait.

There it is – my rant-filled response to this article in the Washington Post. 

Happy Hump Day, everyone.

Articles: “Let’s Be Realistic: Can Theatre Beat Film at Recreating Life?” By Rob Weinert-Kendt

American Theatre – August 18, 2014

“Let’s Be Realistic: Can Theatre Beat Film at Recreating Life?” By Rob Weinert-Kendt

A Response

            This morning, on Tuesday, August 18, I woke up to check the websites of various newspapers and Theatre Blogs. On The American Theatre website, (an off-shoot of Theatre Communications Group), I found a newly uploaded article (Found HERE) that speaks on both realism and presentation in the theatre, vs the presented realism within Film. Writer, Rob Weinert-Kendt, used two productions to illustrate his argument: the unauthorized toddler/child production of The Lion King from his son’s summer camp, as well as a new play, John, at the Signature Theatre in New York by Annie Baker.

            This article came across both as a review of the two shows and their merits, as well as a social commentary of our perception of theatre in comparison to television. When watching small children on stage, Weinert-Kendt mentions that we as humans on display have the naturally tendency to ‘perform’ and stylize ourselves. Thus, when we watch theatre that is specifically meant to be ‘natural’ and mimetic of true behaviour – that is the deviation, the unnatural change of staged and displayed behaviour.

            Weinert-Kendt uses John as a way to speak about theatre’s near-inability to direct and focus your attention, except through clear and precise direction, design and recognition of an audience’s freedom of observation in the space. This is one aspect of live theatre that film will never truly be able to capture, due to the capacity of a camera lens and the absence of a real-time experience.  

            I love this article and highly recommend it – both for Weinert-Kendt’s excellent argument for live theatre over film, as well as for the sneaky review of John that is skillfully worked into this defence of the stage vs film. I also think it is important that I mention that the author does point out the merits of film and television as well, the great effect that a camera angle and perfect shot can have on the experience of an audience member.

            Personally, I love both mediums – but as argued in this article, I believe they are completely different mediums, whether or not the actors are being ‘natural’ or not. I think they are works that just fit better on stage than a screen, The Last Five Years, I’ve seen on stage and on film, and I honestly felt like the stage version was much clearer and easier to follow than the film. At the same time, there are things that films can do that wouldn’t be physically viable on stage – Game of Thrones for instance; I am very comforted by those characters (and dragons) being on a screen rather than a confined space with me. 

            Weinert-Kendt does an excellent job on answering this question with his review of John at the Signature Theatre in New York. He speaks to the skill of theatre makers in bringing this recreation of life to the stage, which I agree with entirely, but I would like to add that I believe proximity is also a large factor in the power of theatre as an art form. But if I spoke to this, I would drift into a discussion involving stylized theatre, which was not the subject of WK’s piece, and not the question of the morning.

Reviews: Teen Hamlet... the Rest is Silence @ Synetic Theatre

Teen Hamlet... the Rest is Silence

Synetic Theatre, April 10, 2015

            A clear narrative, strong physicality and intense dedication are what Washingtonians have come to expect from the professionals at Synetic Theatre in their tradition of silent productions (mostly) by Shakespeare. Last night, I enjoyed a performance from the Synetic Teens and I experienced no less. In the short span of 90 minutes, Teen Hamlet… The Rest is Silence was one of the clearest and most enjoyable versions of this play that I have had the pleasure of viewing on stage.

           Hamlet is arguably one of Shakespeare most famous tragedies, included in the syllabises of many public high schools and colleges across the country. The tale of the depressed Prince of Denmark, his adulterous mother and Murderous Uncle is famous for the long soliloquies. It’s hard to imagine that a play containing the line “Words, words, words,” could be done without any and still be understandable, but Synetic, through their use of precise, clear physicality proves that it can be done. With the direction of company member Alex Mills, the Synetic Teen Company bring to the stage a production that presents a clear narrative even without prior knowledge of Hamlet. However, if one does know the play particularly well, the choreography of Kathy Gorden is absolutely bursting with Shakespeare’s famous script.

            As an audience member, this was the first time that I found myself rooting for Claudius and Gertrude. Richard Bew, as the new King, possesses a stage presence and commitment on stage that is rare even in seasoned professionals and I found myself wanting him to get away with his horrible crimes because I enjoyed watching him so much. His Partner-in-Crime (literally) was no different; Maura O’Reilly portrayed one of the strongest Gertrudes that I’ve seen, and portrayed the duality of a torn conscious between her son’s grief and supporting her lover’s ambition with moving clarity. I have never thought of it this way before, but with these two actors, I actually understood Gertrude and Claudius as a true power couple.

            Sean Silvia as Hamlet held a vital role in this production and through his physicality and performance, portrayed a complex Hamlet. Through the unerring and very strong support of a dedicated ensemble, Hamlet’s madness is made clear after the death of his father with the jerky, almost spider-like movements of the dancers surrounding him. I was a little sad that he lacked a Horatio, but the Rosencrantz and Guildenstern twins (Ward and Will LeHardy) more than made up the loss with their comedic demise on the ship.  The Players Queen (Ana Tsikurishvili) and King (Annette Hasnas) were also very charming and comedic in their roles in Hamlet’s staged drama – I especially enjoyed the use of masks!

            I’m not someone who ever stands at the end of a performance, I think the standing ovation is overused and rarely earned, but last night I stood as I applauded. In 90 minutes, Synetic’s Teen Company gave a truly exceptional performance of a very complex play. The commitment and dedication that I saw last night drew me in and delivered one the most understandable and succinct performance of this tragedy that I’ve seen on stage. Every single member of that ensemble should be proud of what they are doing, I hope, for the sake of Washington Theatre, that they continue performing, and often.

Reviews: Much Ado About Nothing @ Synetic Theatre

Much Ado About Nothing

Synetic Theatre, February 18, 2015

           Synetic Theatre delivers another signature, non-speaking Shakespeare play through dance and physicality. This particular adaptation of Shakespeare’s romantic comedy is set in Las Vegas in the 1950’s – a time, when according to Director, Paata Tsikurishvili, the image and the façade are everything; but images can often be deceptive.

            Much Ado About Nothing is a fairly well-known Shakespearean play, Personally, I would argue that it is one of Shakespeare’s plays where much of the humour is within the wit of the words more than the situational humour in some of his other comedies. So then, how does a company, committed to speech-free performance deliver a clear, equally comedic performance? With minor adaptations to the action, though not the overall story, Synetic was able to deliver Shakespeare’s story in a clear and universal way, maintaining the comedic tone of the original.

            While the basic story of Much Ado follows the love affair of Hero and Claudio, Benedick and Beatrice can always steal this show with their witty repartee. Completely devoid of Shakespeare’s original dialogue, choreographer, Irina Tsikurishvili (also appearing as Beatrice), used playful and competitive physicality to show the rivalry between this heated duo. One particular moment that stood out, when Beatrice and Benedick (Ben Cunis) are ‘sparring’ in a casino with cards and tricks, Benedict first looses his shirt, and then, disappears briefly while a pair of jeans hit Beatrice. He returns in only his heart-covered boxers, dancing confidently and soon winning the game and trumping Beatrice.

            Tricking these two into falling in love, the other men and women of the production come together, using costumes to and mime to tell of the ‘repressed love’ that each feels for the other. Kathy Gordon as Margaret – wearing a leather jacket, hat and the heart-covered boxers was incredibly entertaining imitating a heart-sick Benedick, crawling on her knees and offering up her heart with feeble and trembling hands while her face twisted into the most pitiful expression.

            I must also mention the always hilarious, and physically impressive bumbling  trio of police officers: Dogberry (Vita Tsikurishvili), Verges (Gankhuyag), along with ensemble member, Justin J. Bell. These three were constantly climbing, falling, and blundering around the set of two staircases as they chased, caught and lost the Villians of this piece: Don John (Tolentino), Borachio (Guiducci), and Conrad (Bertocci). Usually this ensemble overhears Borachio and Conrad speaking about fooling Claudio. However, in this production, Conrad is female, and Verges – in a surprising moment of virility - is able to seduce pictures from Conrad that have been obviously altered. It appears that Conrad and Borachio were able to fool Claudio with images of Borachio and Margaret in the throws of passion that have been changed so that Hero’s face appears instead: a clever, wordless way of maintaining the story with a modern twist.

            Theatre performed entirely without dialogue is very uncommon in the US, and doing this with Shakespeare’s stories is particularly challenging. The Synetic Theater company, however, year and after year, produces these wordless productions that tell a complete tale clearly and break the boundaries of traditional western theatre by using physicality and dance to make the performance truly universal and understandable to all. While not the best performance of Much Ado, it is new and different, taking risks that I’d like to see more theatres do. Clear, comedic and engaging – this is a solid production worth seeing.