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.

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.  

Review: Absolutely! {perhaps} @ Constellation Theatre Company

Absolutely! {perhaps}

by Luigi Pirandello

Constellation Theatre Company, 11 October 2014

            What is the truth? Is it based on facts or appearance, or does it rest solely in the mind? This question forms the base for one of Pirandello’s first full-length plays, where he explores the relationships between personal and public truths and whether the difference is important. Constellation Theatre Company opens their newest seasons with this comedy, originally written in 1917 in Italian, and later translated and adapted by Martin Sherman in London in 2003. Director Allison Arkell Stockman has chosen this new adaptation and set it within 1960’s Italy.

Based within the home of the Agazzi family in a small town, a group of friends have all come together to discuss the newest addition to the town, Signor Ponza, his wife, and his mother-in-law, Signora Frola. It seems that while the Ponzas live in another part of town, Signora Frola has been moved into the flat next door to the Agazzi’s, and is never able to see her daughter in person. Within the first act, both Ponza and Frola visit the Agazzi’s home, each telling stories of the other’s madness in relation to Ponza’s wife, who may or may not be Frola’s daughter. But who is telling the truth, and who is simply mad?

As this was a preview, I understand that the actors are still settling into the language and characters, possibly explain why the last night’s performances felt somewhat forced and unnatural. The Source Theatre is not a large space, and I am not a fan of over-articulation within small spaces. I think it is unnatural and uncomfortable though I know many theatre-makers in the United States still think it necessary, and I have a feeling that I may have been the only one in the audience that was really bothered by this. Eventually they did settle into their characters, and as I began to accept this world that they were trying to create, I could forgive the affected and unnatural voices I was hearing.

This play in style is a bit tricky, the writing is a tad uncomfortable as the author paints many of his characters with black and white views, while one character is allowed to be a voice of reason among the din of gossip. Lamberto Laudisi, played by Ashley Ivey, is the flamboyant and playful brother of Signora Agazzi. Ivey is very enjoyable to watch, playing with the characters and occasionally turning to the audiences as his co-conspirator, as he watches this farce unfold. Ivey’s character often comes across as the voice of Pirandello himself, criticizing characters that are likely based upon real people, and presenting the reasonable and kind alternative to prying that is to just let others be.

I also particularly enjoyed the performance of Michael Glenn as Signor Ponza, a man plagued by gossip, stressed and frazzled by the prying into his personal life by people who barely knows. Playing his frail mother-in-law, Kimberly Schraf is equally impressive as these pair leave the characters and the audience equally uncertain of who is mad and who’s truth is based upon fact. Always a personal fan of a woman in power, I found Julie Garner as the mayor to be an enjoyable adaptation in this modern reinvisioning of Pirendello’s play.

Techincally, this production was absolutely gorgeous, as both lighting and scenic designer, A.J. Guban created a beautiful 1960’s home that he lit to perfection. Costume designer, Kendra Rai placed this scene very effectively within the period with clothing and hair-styles that accentuated height of fashion that Italy is known for. Along these lines, I’d also like to applaud Palmer Hefferan for his use of all Italian music, keeping the mood of the play fun and the period clear.

Overall, Constellation Theatre has delivered a solid and enjoyable piece of theatre, beautifully designed and performed well. This is a light-hearted, comedic piece that gives insight on the serious issue of privacy – both comedic and insightful, audiences leave the theatre with much to think about. Absolutely!{perhaps} is playing until November 9^th at The Source Theatre in Washington, DC.

Reviews: Charles III @ The Almeida

Charles III

A Future History Play

Almeida Theatre, April 7, 2014

            Mike Bartlett imagines the future in a world where Queen Elizabeth II has shaken off her mortal coil and after a lifetime of waiting, her son, Charles, is the new King. Commissioned by The Almeida and directed by Rupert Goold, Charles III has been one of the most anticipated plays of the spring in London, not only living up to but surpassing all of my expectations.

            We begin with the entire company entering in black, the stage a simple raised platform with two steps, entirely covered in purple velvet, similar to the alter on which St. Edward’s Chair sits. This funeral procession segues into the opening dialogue revealing Charles III’s insecurity in his new role. Meeting with the Prime Minister, Charles is severely disturbed by a newly pass bill placed before him – government regulation of the press. Uncomfortable with the implication, he refuses to sign the bill, but lacking the dignity and force of his mother; he tries to take control with tyrannical displays of power in the form of tanks and guns. While William is trying to keep the peace and take control of the English Monarchy before Charles causes its permanent dissolution entirely.

            When one opens the pages of a Mike Bartlett play, it quickly becomes evident that he writes in his own style of verse, but here he takes on something closer to Shakespeare’s style. With rhyming verse, shared lines and a unique sentence structure, this truly lives up to the subtitle that Bartlett added on. More importantly, who speaks in verse or pros is a very carefully utilized as the royal family and their equals speak in verse, whereas those of markedly lower classes, such as a man working in a kebab shop, speak in pros. And on even closer inspection, the action even falls into Shakespeare’s five-act structure.

            As the confused and grieving heir to the throne and now new English Monarch, Tim Pigott-Smith delivers an older and more malleable ruler than England is used to seeing. With a sense of desperate egotism, Charles is easily swayed by the words of Camilla (Margot Leicester) and the Leader of the opposition (Nicholas Rowe), who steer him towards thoughts of definitive authority. A perfect rendition of what can happen when one is left too long in waiting for power, Pigott-Smith tells the story of a older man suddenly lost as he is thrust into the seat of power he may have long ago given up hope of ever achieving. Bartlett address head-on the question on the mind of many English citizens, will Charles be fit to rule in his old-age once Elizabeth II eventually does pass from this world?

            Supported by a cast of Royals who look eerily like their true-life counterparts, these men and women give a deeper insight into a very public family. William (Oliver Chris) is in every way the young and dignified ruler his role demands, while Bartlett’s Kate (Lydia Wilson) has an ambition that will either solidify or destroy William’s chances of being King. With the famous recklessness that we expect from the now 4^th in line to the throne, Prince Harry (Richard Goulding) falls in love and starts to explore a more civilian version of London, looking for ‘greasy spoons’ and wondering into Kebab shops late at night. While just outside of royalty, the Adam James as the Prime Minister, displays an expert calm as an uncommonly difficult monarch constantly challenges his authority.

            With all the drama and structure of an Elizabethan history, Bartlett and Goold have created a disturbing piece of futuristic history. A brave and bold piece of language, while occasional sounding awkward in the modern context, is expertly structured by Bartlett to emphasize the detachment of royalty from the plain speech of the average citizen. In less than three hours, a magnificent and somewhat terrifying what-if is placed before the audience, and unfolded; Bartlett give a fair argument to both sides, neither condoning nor condemning the English Monarchy.