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All’s Well That Ends Well, Shakespeare Theater Company, Washington D.C., 9/17/10

               

     All’s Well That Ends Well doesn’t end well. This is because the ending is impossible to perform at a high standard. The actors aren’t to blame. Nor is it the fault of the director. No, in this case the shortcoming falls on the playwright. This is because the ending becomes an entirely different play. The characters change about 75% opposite of their previous selves. It’s not as easy as just becoming the opposite, but it’s still a drastic change.  It takes serious acting talent to be able to judge where to stop so that there is a glimmer of the true character that doesn’t fully disappear. Also they all change at different times in the same scene, while onstage. This means the actors also have to be able to morph in performance. To really pull this off, it takes raw acting talent. A lot of it. And this is not common. So most people have trouble performing such a challenging thing. Can you blame ‘em?

                

     The one thing about this play that really didn’t work for me was the set. The stage was bare, with a metal gazebo above it. The back drop was a sky. The idea was that it could take place anytime, anywhere. This worked when they turned it into a train station by projecting a dark wall on the back and lowering a clock. But for the other sets it seemed bland and monotonic. The direction kept Helena motionless, front and center for most of her scenes, which violated the idea of her being a courteous and faithful servant, as she was always the center of attention. The costumes were extremely effective. They were somewhat pre WWI but not completely. Like soldiers had old-fashioned garments as well as 20^th century ones. This left it up in the air.

     Helena herself was quiet. She didn’t project or seem to get excited over Bertram. This showed that she had given up on the thought of being with him at all. At the end she clearly showed the talent she possessed. She switched into the role of the ‘mission accomplished’ very well. Bertram was an arrogant jerk even in the end. This worked, because he never made the switch at all. He utilized the fact that it was not as effective to do what Shakespeare wrote because it’s so hard to do it right.

                

     The Countess Roussillon was one dimensional. She neither emotionally changed nor did she stay the same when the end came. She just seemed to emotionally disappear. She didn’t react or speak with any sense of caring.  Paroles was slick. He slid in an arrogant comment here and there until Lafew called him on it. Then he began to self destruct. In the end he became a monk like figure. He quietly accepted all insults that were thrown at him. Lafew was pretty mean to Paroles in the way he physically treated him. He made gestures that indicated he didn’t think Paroles was even worth a thought. But in the end his grandpa side came out and he softened. The king was a by-polar king. He either spoke in a quiet rage or a slow joyous stream. The production had its flaws, but all in all it was the play that brought it down. 

                            

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Twelfth Night, Sidney Harman Hall, Washington D.C. 9/5/2010, Shakespeare Theater Company, Shakespeare "Free for All"

Many Shakespearean comedies can be turned into a farce, and the cast can get away with it. A few of his plays are even considered to be better when performed as farces. Two Gentlemen of Verona, Comedy of Errors and Love's Labour's Lost are some of these. As You Like It has sometimes been played as a farce. It isn't one of the standout, 'made to be' farces, but it's well performed as a farce as well as a serious comedy. But its ‘sister’ play, Twelfth Night, is somewhat more serious. There are people who are wronged, disheveled and mentally tortured to a level beyond comic playfulness. Malvolio and Sir Aguecheek are not playfully made fun of, like Audrey or Silvius. They are really taken advantage of to a point where the entire play becomes bittersweet. In fact, Twelfth Night is highly revered, almost because it has many more layers than the simple comedy it first appears to be. The real strength that this play has is that to really understand it, you need to see it many times.

                         Yellow Stocking Clad Malvoilo and Olivia
This play was directed in a less serious manner than many others. Rose petals rained from the ceiling when Orsino, Olivia and Viola fell in love. Soppy music and very odd panels with roses painted on them were also added to the mix. Most lines were delivered with skips, jumps or affectionate gestures. It was as if the whole thing had a bow tied on it. This worked extremely well for the first comic scenes with Toby, Aguecheek, Maria, Fabian and Feste. When Toby and Aguecheek would tell jokes or trip and fall, the comic side of the play was really brought out by the effects and sounds. But in scenes with Viola, Malvolio and Olivia, it took away from the deeper meanings. Even the simple messages the play gives like 'don't judge a book by its cover' and 'analize the situation before you act' were muddled to a point where they were unrecognizable.

Viola and Orsino made a picture-perfect couple, playing the characters to fit like puzzle pieces.  Even when Viola was disguised as Cesario, she and Orsino seemed to bond. He often affectionatly put his hand on her shoulder or hugged her. Viola often screamed at the audience. instead of switching personalities in her solo monolauges where she admitted her love of Orsino, she did the entire part with the same attitude and traits. She seemed to have only one level of emotion and physicality, as opposed to the genius heartbroken turned lover that the bard created. Olivia was very dramatic. She changed her dress for almost every scene, and rolled all over. She shamlessly forgot her maiden restraint. This side of the character fit the production well.

                                            Viola and Feste

What the production really benefitted from was the Aguecheek-Toby relationship. Aguecheek treated Toby like a brother in body language as well as vocally. Toby physically scorned him while vocally praising him. Fabian was physically on Toby’s side. Feste ended up playing them all with his mock-beggary. He had very many levels. He was a genius, knowing he wasn't a funny fool. His smart, double-headed humor was perfectly matched with his brilliant but sorrowful monologues. Maria was homely and endearing until she took part in the destruction of Malvolio. And he who was wronged the worst was also the most comical in the scene with his yellow stockings. Malvolio almost stepped out of character to be funny. Almost.

Feste and Fabian persuade Sir Aguecheek

The Tempest, Stratford Shakespeare Festival, Ontario Canada (2 September 2010)

                

Christopher Plummer can act. Is there any doubt about it? If there is, two words: Last Station. But did you know he’s also one of the stage’s most prominent actors? He has credits from all over the UK, Canada and US. He has played everything from King Lear to Richard III. He has also written a book. At 81, he is still able put on a show. In Ontario he is currently playing Prospero in The Tempest.  He brings many things to his show, but he doesn’t make it a one-man show. He shares the spotlight with fellow actors. Even in scenes with Miranda alone, he sits behind her and doesn’t do anything too showy.

What really makes him amazing is that he can act without any strain. His face isn’t contorted but he still conveys emotions. When he first caught Miranda and Ferdinand together, he looked old and weary without frowning. In his conversations with Ariel he conveyed deep affection without smiling. And with Caliban he showed hatred and disgust without sneering. Ariel was played by a small woman and painted completely blue. She played the mischievous creature to be a bubbling sprite.  Caliban also had an elaborate costume. He had many costumes and a snaky tail. The production had fantastic costumes and effects. Tickets go fast, so don’t miss Christopher Plummer’s The Tempest.

Two Gentlemen of Verona, Stratford, Ontario, CANADA. Stratford Shakespeare Festival, 9/3/2010 

                              Lance and Silvia 
Two Gentlemen of Verona is thought to be Shakespeare’s first play. It has clear roots to many of his other great comedies. Even lines are recycled. But it is also thought to be one of his weakest plays. I don’t think this is necessarily true. It really depends on the interpretation. The BBC movie played it more like a serious comedy, similar to Twelfth Night or The Tempest.  But in Stratford, the production was very different. The whole thing seemed like a joke about love. Usually, silly added things like Proteus stealing Valentine’s wallet or Silvia making cheesy lovey-dovey signs the second that Valentine turns away are considered way over the top and unnecessary. But here, the whole thing was over the top, so the cheesy gestures fit in. The different version made it almost a new play. Instead of seeming weak, it looked deliberately so. It was almost like a spoof on love, not a serious story with a moral, that Shakespeare wrote.

                                                      cover

The stage was small, square, and with seats 270 degrees around it. This provided an ability for the actors to range around the stage without turning backs to the audience. The players also lived up to the way the director directed the play. Old-fashioned clunky props and slim suits were used. The actors overacted and used silly sound cues, perfect for the spoofy nature. Thurio at one point even used a shiny wig, putting it on onstage before courting Silvia. They all made it like an old-fashioned movie.

                                            Proteus and Lance

The real thing that made the play work was the chemistry between players. Valentine and Proteus had secret handshakes to look like friends. They were all happily together at the start. Then when the conflict came, they all had odd costume changes and Crab actually came onstage and sat there. The whole thing was extremely funny. The audience was laughing till they were in tears. Valentine had a very good stage presence. When he wasn't speaking, he didn't just stand there like a rock, but reacted to what others were saying. Proteus seemed like a crook for most of the play. He slyly took Valentine's wallet. But in the end he showed his true colors. Silvia was like a diva. she often stood on a block to be taller and spoke with arms open to the crowd. Julia seemed shy, as she was often in the corners unless she was alone. Being one of the bards rarest plays, finding a production is like finding a needle in a haystack. So finding a true gem, and if your in the area or really love Shakespeare, don't miss The Stratford Shakespeare Festival's production of Two Gentlemen Of Verona.

     Valentine with Silvia's Father

 

                          

Comedy of Errors, Open Air Theatre, London, July 31

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This is a madcap production of a madcap play, and deserves a madcap review! 

             Regents Park Theatre, London, bears a striking resemblance to Shakespeare in the Park. It's outdoors, in a kind of stadium. The only thing that is really different is the stage. Instead of a circle, a thick rectangular platform serves as the set. There is a thin catwalk along the back. The atmosphere it perfect for a play because it was so neutral, in the park away from the city, making it possible to change it to anything.

             Comedy of Errors is not a tough play to get your head around. It is simple comedy with little variation in emotional levels. Therefore to make it interesting, you must do something special. This production was sort of like a cartoon. It was done in 40's Casablanca! It was the most unorthodox version of a Shakespeare play I have ever seen. There was a billboard of a sunset and a man watching across the back which read “Ephesus Welcomes You”. There was also a smooth lounge band. The women wore a lot of makeup and lipstick. The men wore square rimmed sunglasses and blazers. The Dromios looked like Turkish slaves. As servants, their parts were the only non-nobility based character roles, so their costumes worked well. There were musical numbers and quirky sound effects. The maid was French and spoke with a heavy and hilarious accent.  The fact that it was done in such an anti-cliche way allowed actors to really go all out. The guidelines of the text were less imminent.

               The twins were very funny. Antipholus of Syracuse and Dromio of Syracuse played a mis-match game with their twins from Ephesus. Antipholus of Syracuse was hilarious with his Dromio. The two were extremely comical in their ways. They looked and like they were honestly servant and master. And they had this thing where Dromio S. would poke Antipholus S. and then back and forth until they both fell over laughing. Dromio of Ephesus was very funny with his mistress and avoiding getting beaten. He cleverly avoided her blows by confusing her with gentle sarcasm. Antipholus of Ephesus was very strong, burly, and angry. He seemed to actually hate his wife. Not in a violent way, but in a begrudgingly.

              The sisters were a powerful 1-2 punch. Adrianna was so funny in her rebuke of Antipholus S., mistaking him for her husband, that the audience was literally crying. She was so mock passionate, so loving that she wrapped herself around his leg. He, in the meantime, had no idea what was going on. Dromio looked on in horror, and Luciana laughed  heartily. Luciana was very funny in her semi pursuit of Antipholus S. she liked him, but was ignorant of the fact that he was her sister’s husband. She seemed sweet and innocent seeming. Also the minor characters played a huge part. They were very strong all together. Angelo and his merchants were comical, swearing, and unswearing about the necklace. Egeon was played by the Herald from Branagh's Henry V. He was a picture perfect ex-noble, brought to seemingly the end of his rope.  Emilia was also very endearing in her way of making things right.

Henry VIII, Shakespeare's Globe, London, 31 July 2010

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Henry VIII is one of Shakespeare’s lesser known plays. This doesn’t make it a bad play. He has to work around the fact that Henry is Elizabeth I’s father, and a relative to the current king, James I. This means Shakespeare has to tell the truth without making it look like he was anything other than a righteous king. But there are a couple places where the great playwright himself skirts the line. This makes the play much more interesting. The dialogue is almost like a comedy, because that is how he chooses to mask the true ways of the true Henry VIII. Tragedy occurs to people who cross him, even in seemingly reasonable charges, though the underlying reason is not always what it seems. Often, Shakespeare slyly shows that certain player’s causes were just even though it was made clear that they were evil. It was also interesting because there was a little bit of ad-libing. It was funny, and it helped the plot along. I thought this was a perfect example of how different our times are.

Henry VIII is not easy. In fact, none of the histories are. But this one especially because the director must lay it out in a way that people can understand this play without knowing the plot in advance. Paraphrasing helped greatly with that. But acting must also be effective. Katharine was a perfect example. Despite the fact that she spoke with a Russian-sounding accent, she was in every way a proper Spanish lady. Also, she narrated because we could hear what she was saying to her serving women (obviously!). This was narrating the story without directly speaking to the audience. Wolsey and Buckingham also narrated, but stepped out of character. Wolsey did it in speeches, seemingly scheming, to take away from the kings subtly obvious faults. Buckingham spoke to the crowd urgently, but with a manner of ease. His final lines were delivered like a moral, rather than a desperate last resort. Together they were a perfect narrative crew.

Henry played the role to the way Henry probably was, not the way that Shakespeare clearly wrote him to be. This is allowed in our time, so it was very interesting to see him. He was real. He had human emotions, rebuking his daughter at first. Shakespeare would have originally had him be silently happy when he got the news that his daughter had been born. Anne was a devilish woman. She was clearly laughing inside at Katharine’s pain. It was a very unorthodox interpretation. The play was much more exciting than its reputation. Instead of being a history, it was like a comedy. It’s interesting to see what the rules were in his time.

Henry IV, Parts 1 & 2, Shakespeare's Globe, London, 30 July 2010

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Shakespeare’s Globe was a magical theater. When it was demolished (by Puritans in 1613), and replaced by tenements), it was a true tragedy. But the modern reconstruction (1993) is almost as amazing. The layout is three floors, with a "common" in the middle so that some people can stand. There is an overhang above the stage to project the sound. The experience is magical. Because most theaters are made or set up to fit the play, so there are some small changes. But when done in the same setting that he set it for, the play really comes to life, as if it was the 1st time anyone had ever performed the play. It is always great to see Shakespeare's most colorful character in his most authentically English play. The pubs and jolly fat men are like a trip back through time.

Many consider Falstaff to be Shakespeare’s greatest character. But it is much harder to play him that it seems. You can interpret him any way you see fit. But no doubt, when he is done well, there is nothing better. It is amazing to see a good Falstaff. And at London’s Globe Theater on July 29th, I saw a great one. Roger Allam. He played Falstaff to the crowd. The role can also be played darkly or non-chalantly. But Allam didn’t dawdle at all, everything was snap-snap. He almost didn’t have a dark side. He was amazing at warming the crowd. People were laughing so hard they were crying. The direction also was very good, because it utilized the entire stage. Many people place rings of characters around the star, but this director made the star bounce around, and sometimes he was alone while everyone else was spread around the opposite side. It sounds easy to do this, but it takes true genius to be able to format it all and make it work. Directing a play may sound easy, but is one of the hardest things to do.

Hal was very prince-like. He acted like royalty gone wrong, but kept in on a human level. It's hard not to overdo it and turn into the superhero-prince that many have attempted. He was like a puppet, though. He seemed rehearsed. It was as if everything he was doing was controlled by someone else. He was funny, but like a mime is funny. He was sort of empty. Poins was like also a crowd-pleaser. He was extremely flashy, wearing a suit entirely gold! He and Hal made a hilarious duo though. Their pranks on Falstaff made the theater shake with laughter. King Henry was also impressive.  He was a realistic king and disappointed at his son. He raged around the stage in a state of near hatred. It takes real talent to weave in and out of emotions like that Percy was very funny with his wife, and a beast on the battle field. He roared like an animal. Falstaff was great without stealing the show. The interpretation was also very interesting, because instead of Falstaff and Henry IV both flip-flopping bad father-good father, Falstaff was always bad and vice-versa.

I would definitely try and see Shakespeare’s globe’s production of Henry the Fourth Parts I and II!

Julius Caesar, Courtyard Theater, Stratford-Upon-Avon, July 28, 2010

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Little is known about the small, cozy town called Stratford-Upon-Avon, besides the fact that it is the birthplace of William Shakespeare, and that it marks the home of the Royal Shakespeare Company, or RSC. The RSC is famous for consistently producing world-class performances of Shakespeare plays. Their main house is currently under construction, so they are holding their plays in a temporary playhouse. The Courtyard Theater is constructed of plywood and paint within a metal box. On the outside it looks like an enlarged freighter. It is modular, and can be disassembled. They will bring it to New York later this year.

Julius Caesar is one of Shakespeare’s most famous tragedies. The role of Mark Antony has been played by many Shakespeare greats, such as Marlon Brando in the 1953 film. This play is extremely hard to even attempt, because it takes a full range of strong actors. The set also needs to change without changing. There are many settings that must be shown with one stage. The play also has almost no jokes, so playing to the audience is not an option. To even make an attempt at this play, it must take a lot of interpretation to bring the set, acting, and script all into one.

The performance opened outside of the script: Romulus and Remus fighting. This was extremely effective because it foreshadowed the fact that Rome would be divided. Then came the text. The first scene was beautifully directed, with the tribunes on either side of the cobbler, and the other merchants around the them. The yelling and scolding was magnified by this setup.

Julius Caesar himself was the first thing that struck me. He was royal and tough, like a king without a crown. His fatal flaw was made clear from the get go. It was obvious that he cared to much for his social status, which was clear because he would not display and sense of fear. As a ghost, he was ominous and foreboding. He dressed in a white night gown stained with red, and wielded a sword. When Brutus rushed on Strato’s sword, he was cut off in the middle by the ghost, who walked in between the men and dealt Brutus’s final blow. This was effective because it is Caesar, not Strato, who really kills Brutus. 

Mark Antony was tyrannical in act II. He roared around the stage, terrifying messengers. Only Octavius was treated as an equal. Octavius also stormed about like a bull. Brutus and Cassius combined for an effective duo. They seemed to have an unseen connection which was like the bond of twins. Cassius had compassion, which is vital. Brutus came alive in the second half. He was passionate against Antony’s forces and in his death; he showed that he was really the noblest of all Romans!

Watching the play, it was immediately striking that there are almost no women. Contrary to many of his other plays, especially tragedies, there were no strong women at all. It is odd to see such a different style of writing from the same man. It's like two sides of a coin, but more so, as if the two sides are also of a different material.   

Back from Merrie England

I saw five plays in England:
Julius Caesar
Henry VI part I
Henry VI part II
Henry VIII
Comedy of Errors
I will not be available for a couple of weeks, so the reviews will halt.
To continue August 16-17.

Play 19

HALF WAY THROUGH! This is the half way point! I am officially through half of the non co-authored Shakespeare plays!

The Winter’s Tale, July 22, Shakespeare in the Park, Central Park, NY

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     Some nights are too rainy. Some nights are too muggy. Some nights are too dark. Some nights are just plain boring. And amongst this variety of nights, every once in a while, there comes one that is just perfect. A perfect night for anything, whether it be watching a sports event, attending a Shakespeare play, or just watching the stars. A night where the clouds cover half the sky, and stars the rest. A night where the moon peeks out every once in a while to bid hello to the earth. This was one of those nights. A night where The Winter’s Tale unfolds inside the Delacorte Theater, and as the music plays, and Hermione speaks, the moon seems to watch with the same intensity as the rest of the park. Quiet.

                                  Hermione, Leontes and Polixenes

     In my opinion, the first half of this play, in general, is not as potent as the second half. There just isn’t as much intense material. The opening, and death of Hermione, is moving, but not like her reunion with Leontes. The play is not one of his ‘super-plays’, but it does have some interesting elements. Many say that Hermione does not die, but she is hidden by Paulina, to ensure the Apollo’s prophecy comes true, and also to ensure that Leontes repents fully. I think that if she is hidden, Paulina is both devil and angel; Angel for preserving her life and the prophecy. Devil for keeping Leontes in such pain for sixteen long, painstaken years.

                           Shepherd and Clown (as gentlemen) with Autolycus

     This performance squeezed everything they could out of their bare set. They had basically a wood surface with ten or so trap doors and a glass panel. Basic. But as this play taught me, basic things do not breed boredom. They used it as the deck of a ship, a forest, a garden, a pasture and a palace. The actor strode around the stage so dominantly that it made the dull surface shimmer, and look twice its actual size.

                                             Leontes

     As for the players, Leontes and Polixenes were not as bonded in the early scene as some, but Leontes really came through in the hate speeches, seeming to spit his mind at his wife. Polixenes blew a fuse, showing his pent up anger, when his son disgraced him. Camillo and Paulina were both counterparts, and then fiancées. He was calm and soothing, though never afraid to speak his mind, while she was hot-spoken and angry, often cursing the world. But when the two were united, the audience “bled tears” with them, because they overcame, but did not forget their losses.

                                            Shepherd and Clown

     There were two more female leads. Perdita skillfully gushed emotion without becoming screechy. When she was handing out the flowers, she sobbed without screaming or wildly screeching. She and Floritzel combined for a powerful duo. Hermione was sweet and kind, though maybe overplaying the role of a goddess a touch too much. She was heavenly in a way that she, in my view, wasn’t meant to be. The Clown and the Shepherd played beautifully the innocence and fearfulness of law that good subjects should have. They were so king in giving Autolycus their gold to tell their story, that even he gave it back and apologized, in a righteous resolution. Autolycus was cunning and devilish.

                                                    Autolycus

     Though heavily cut. Shakespeare in the Park’s production of The Winter’s Tale was moving and delightful. Tickets go quickly, so don’t miss a chance!

                                                    Paulina and Leontes

Pictures courtesy of Shakespeare in the Park