Shakespeare in Love

Perhaps you remember remember the charming 1998 movie, Shakespeare in Love, starring Joseph Fiennes and Gwyneth Paltrow. Lee Hall—best known for Billy Elliott—has transformed Marc Norman and Tom Stoppard’s screenplay into a theatrical version, on stage at the Shakespeare Theatre of New Jersey through November 12. STNJ’s artistic director Bonnie J. Monte directed this lively production, which she describes as “a perfectly ebullient homage to Shakespeare, to life, to love, to the art of theatre, to the centuries of players who inhabit our stages, and to the process of creating art . . . a delight from beginning to end.”

Will Shakespeare (played by Jon Barker) is having trouble finding the right words for a sonnet, and is helped by his friend, fellow playwright, and competitor Kit Marlowe (Anthony Marble). Will encounters the enchanting young Viola de Lesseps (Whitney Maris Brown) and Marlowe again feeds him the words he needs to entrance her.

Viola, on the cusp of marriage, is smitten with the stage and, disguised as a man, tries out for Shakespeare’s new barely-begun play, and is tapped for the part of Romeo. With Viola as his muse, the Bard’s writing takes off. It being forbidden for women to appear on stage at the time, the lovers are in risky territory, not least because Viola’s fiancé (Marcus Dean Fuller) believes Something is Up.

The perils of casting, the comedic antics of rehearsals, the wiles of Viola’s nurse (Erika Rolfsrud), and the parallels between the evolving play and obstacles to the lovers keep the action moving in about a dozen directions at once. A fine—and large—supporting cast, especially noting Ames Adamson, Edmond Genest, Garrett Lawson, and David Andrew Macdonald, plays about forty roles! Spot, (Boston Terrier Dublin Delancy McFinnigan) makes his bone-afide theatrical debut, well trained by Seamus Mulcahy (playing John Webster). (Mulcahy has produced a DVD of dogs performing Shakespeare. A niche product in so many ways.)

Jon Barker and Whitney Maris Brown generate considerable heat in their lovely scenes together. Barker is a frequent STNJ cast member and has a gift for achieving perfect body language and gestures in any role, including this one.

Mention should be made of the energetic and entertaining way the cast pitches in with the set dressing for the numerous scene changes. Brian Clinnin’s deceptively simple-looking scenic design lends itself to transformations from lowly tavern to royal theater box to boat on the Thames.

Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit http://www.shakespearenj.org. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

Legends of the Undead are . . . Undead

Cemetery, gravestones

photo: John W. Schulze, creative commons license

In Chicago recently, we took a nine-year-old to a theatrical version of Dracula (playing at the Mercury Theater through November 5). “Weren’t you scared?” several audience members asked him after the show, as he was the show’s youngest audience member by many decades. “No.” This was said with deadpan aplomb. And possibly an eye-roll.

Perhaps some of the edge was off Bram Stoker’s classic because of all the much more horrifying real-life shenanigans filling the daily news, or perhaps it was because this production veered occasionally—and entertainingly—close to camp. While it wasn’t terrifying, it had good acting and nice touches. Notably, the production credits include acknowledgment of the show’s “violence and blood/gore designer.” Which gives an inkling.

When the Stoker’s tale first appeared 120 years ago, The Manchester Guardian dismissed it with almost the same nonchalance as our young theater companion. “Most of the delightful old superstitions of the past have an unhappy way of appearing limp and sickly in the glare of the later day,” the reviewer said. “Man is no longer in dread of the monstrous and the unnatural, and . . . the effect is more often grotesque than terrible.” Tell that to Ann Rice and Stephenie Meyer and the legions of other authors who continue to resurrect “the ancient legends of the were-wolf and the vampire”!

Simpatico

Simpatico, Sam Shepard

John Judd & Guy Van Swearingen, photo: Richard Termine

Sam Shepard’s death in late July was “a stunning personal loss to all of us who knew him and a devastating loss for the theater,” said Artistic Director Emily Mann. Months earlier, the McCarter Theatre Center had scheduled Shephard’s Simpatico to open its 2017-2018 season, and the production has been dedicated to him. Running through October 15, it originated with Chicago’s A Red Orchid Theatre. It’s directed by Red Orchid’s Dado and retains much of the Windy City cast.

Fifteen years before the story begins, two longtime friends from Cucamonga, California, conspired to fix horse races. A prominent racing official tumbled to their scam, and they silenced him by threatening to reveal photos proving a particularly degraded sexual liaison, details of which are left to the audience’s imagination. One friend, Vinnie, still lives in California in squalor and an alcoholic haze, supported by his friend Carter, now a successful Kentucky horseman. Though they are tied together by the past and its criminal secrets, there’s bad blood between them, too, mostly because Carter stole Vinnie’s wife Rosie.

When the play starts, down-and-outer Vinnie (played by Guy Van Swearingen) has called Carter (Michael Shannon) in a panic, and Carter flies to California to try to calm him down. It seems the trouble is a woman Vinnie met, Cecelia (Mierka Girten), who has had Vinnie arrested. It takes quite a while to get the story out of Vinnie, because it keeps changing and because Vinnie’s preoccupation with Rosie keeps bubbling up. Carter agrees to help Vinnie with Cecilia, and when he meets her, Vinnie’s lies become apparent.

Vinnie learns that the former racing official (John Judd) is living quietly in Kentucky with his equine pedigree charts—another beneficiary of Carter’s guilt-money. Vinnie flies there with his shoebox full of blackmail pictures and offers them for sale. What was scandalous pornography some years ago is pale stuff now, and the wonderfully garrulous official isn’t interested. Nor is Rosie (Jennifer Engstrom).

The lines crackle along, and many are laugh-out-loud funny, despite the lies and deceit everywhere and the intensifying power struggle between Vinnie and Carter. Van Swearingen and Shannon play their relationship in a way that you may alternately sympathize with and loathe first one then the other. Girten is sweet cluelessness itself (“Why didn’t you tell me the Kentucky Derby is in May?”), and Engstrom’s Rosie is her polar opposite. Judd is so comfortable in his role as the racing official, he might have been recruited direct from a back room at Churchill Downs.

Shepard intended this play in part to be an homage to film noir. Characters reference classics like Double Indemnity and The Maltese Falcon, and Vinnie often poses as a private eye. In perhaps the most illuminating line regarding his character, Vinnie tells Carter he enjoys his fake stake-outs so much because you can see everything about people’s lives, like “someone cutting someone else’s throat.” One way or another.

For tickets, call the box office at 609-258-2787 or visit the ticket office online.

A Midsummer Night’s Dream

A Midsummer Night's Dream

Austin Blunk, Courtney McGowan, & Vanessa Morosco; photo: Jerry Dalia

This staple of outdoor summer stages—Shakespeare’s most frequently performed play—is on view in a delightful production from The Shakespeare Theatre of New Jersey through July 30. STNJ’s annual outdoor productions are performed in the beautiful Greek amphitheatre of the College of Saint Elizabeth in Florham Park, N.J. (take cushions).

STNJ artistic director Bonnie Monte directed the production, and she must have had a very precise idea in mind, because she served as the set and costume designer as well, inspired perhaps by Shakespeare’s own words in the play:

“I have had a most rare vision. I have had a dream,
past the wit of man to say what dream it was.”

A Midsummer Night's Dream - 2

Felix Mayes; photo: Jerry Dalia

The sets on the outdoor stage are always fairly simple, but the costumes were knock-your-socks off. Creative recycling was the theme, with iridescent CD’s forming a glittering backdrop for both the forest outside Athens—the fairy world—and a scaly cape for fairy queen Titania. Puck was gleefully porcupinish with headgear and epaulets sprouting colorful chopsticks? pens? A bathtub was filled with wine corks. More than thirty individuals and families received recognition in the program for aid in collecting the hundreds of “items of refuse” that went into the production. This made sense, actually, fairies being notorious pilferers.

We went to a matinee where numerous children were in the audience—an outdoor theater is one venue where sitting still and silent in your seat is not an absolute requirement, particularly for a comedy. Some of the complicated plot—the two sets of characters, the two sets of lovers, the play-within-a-play—may have been difficult for the youngest audience members to follow precisely, but there was such effective physical comedy and so many hilarious touches, like the performance of Ian Hersey as the ass, Bottom, they stuck with it happily.

The cast had many suitably antic performances, including the aforementioned Hersey and Felix Mayes as Puck, Courtney McGowen as Lion, Vanessa Morosco as Titania, and all of the fancifully costumed fairies.

STNJ produces an excellent KnowTheShow guide. Call box office for tickets (973-408-5600) or email: BoxOffice@ShakespeareNJ.org

The Bungler

The Bungler, Shakespeare Theatre of New Jersey

Kevin Isola & James Michael Reilly; photo by Jerry Dalia

Molière’s classic, but infrequently produced comedy about a lovelorn swain and his wily servant premiered July 8 at the Shakespeare Theatre of New Jersey and is on stage through July 30. The theater’s promotion promises that “if laughter is good medicine, then this show will cure all ills,” and the production directed by Brian B. Crowe leaves the audience well-healed.

Adhering to the strict requirements and principles of French Neoclassicism, Molière’s first full-length play has a single plot that takes place in one setting, in a compressed time span. His characters reflect the conventions of their class (the principle of decorum) and their actions and attitudes are real, probable, and (mostly) believable (the principle of verisimilitude). Molière stretches those rigid rules, established by the redoubtable Cardinal Richelieu, as much as he can through the introduction of elements of Italian Commedia dell’Arte. Many of The Bungler’s characters typify that tradition.

In Messina, Sicily, the young Lélie (played by Aaron McDaniel) falls for a servant, a ravishing gypsy girl (Sophia Blum). Upper-class, but without financial prospects, he must contrive a way to free her from her curmudgeonly master (Eric Hoffman). Alas, Lélie is not very bright, and relies on his valet Mascarille (a classic harlequin, played by Kevin Isola) to develop some ingenious plan. Complicating the valet’s stratagems are a formidable romantic rival (Sam Ashdown), Lélie’s upstanding father (Drew Dix), a money lender who could help out, wants to, then . . . (James Michael Reilly), and his glamorous daughter (Devin Conway).

All of these fine players (and others) eventually figure in Mascarille’s clever stratagems, none of which are understood by Lélie, who at every turn foils certain victory. Although there is only one plot in the play (as required by Cardinal Richelieu’s rules), Molière finds ever-more imaginative ways to set up and carry out the joke, which left the audience laughing uproariously in both anticipation and execution.

Director Crowe keeps the action moving, thanks to his skilled players’ exquisite timing and aided greatly by the many talents of Isola as Mascarille for both physical comedy and the on-point delivery of a line. McDaniel as Lélie, the perpetually confused yet inexplicably confident suitor, is a picture of bafflement. The set design by Dick Block is like a trip to the candy store, and Paul Canada’s costumes are beyond beautiful.

The Bungler, Shakespeare Theatre of New Jersey

Sophia Blum, Kevin Isola, & Aaron McDaniel; photo: Jerry Dalia

The STNJ used a translation of The Bungler by Richard Wilbur, the nation’s second poet laureate. Wilbur has won numerous awards for his translations, as well as his own work. The brilliance of his achievement is evidenced by the fact that, although the dialog

proceeds in couplets throughout, this device never becomes tiresome. Instead, it repeatedly delights with its freshness.

Shakespeare Theatre of New Jersey produces an excellent know-the-show guide for each production. Performances are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit http://www.shakespearenj.org. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

On Stage: The Merchant of Venice

Merchant of Venice

Rachel Towne as Nerissa (left) & Melissa Miller as Portia; photo: Jerry Dalia.

The Shakespeare Theatre of New Jersey opens its 2017 season with Shakespeare’s dark comedy, The Merchant of Venice, about, as the theater describes it “A money-obsessed, patriarchal, dysfunctional society where wealth bestows power; one in which women cannot determine their own fate, and one marked by religious and racial prejudice.” Hmm. This production, which opened Saturday night, May 20, runs through June 4, and is directed by award-winning actor Robert Cuccioli.

Perhaps this play is not often performed because modern playgoers (and producers) are uncomfortable with its blatant anti-Semitism. Such views persisted in England, of course, through the eras of Dickens, Disraeli, Holocaust denial, and may even be again on the rise. It’s talking about them that’s so uncomfortable. Cuccioli, the cast, and the theater deserve praise for not soft-pedaling the ugliness of racial hatred. Shylock (Andrew Weems) is as intransigent in his demands as his foes expect him to be.

The gist of the story, you may recall, is that prominent Venetian merchant Antonio (Brent Harris), loans his friend Bassanio (John Keabler) money so he can woo the estimable Portia (Melissa Miller). Convinced several of his ships will soon arrive and refill his coffers, Antonio borrows the needed sum from his old adversary, Shylock, and agrees to the whimsical idea that, if he cannot repay the debt, he’ll let the Jew take a pound of his flesh.

When Antonio’s ships are lost, Shylock invokes that clause. Portia, disguised as a learned young judge, argues the case to save Antonio (“The quality of mercy is not strain’d, it droppeth as the gentle rain from heaven upon the place beneath”) , aided by her maidservant Nerissa (Rachel Towne), her pretended law clerk.

That part of the story has all the makings of tragedy, certainly high drama. The comedy comes from the suitors for Portia’s hand, made to choose among caskets of gold, silver, and lead, only one of which holds her portrait and her promise to marry. With great shows of manly confidence, they uniformly guess wrong, until Bassanio . . . you can guess the rest. Portia and Nerissa tease their men mercilessly, but not so frivolously as to form too great a contrast with the blacker heart of the play, the downfall of Shylock.

Weems, Harris, and Miller give especially strong and moving performances. However, the entire cast does an admirable job keeping the action going and creating interesting, compelling characters. They’re believably outraged at Shylock and charmed by Portia and Nerissa. In addition to those named, the cast includes Ademide Akintilo, Amaia Arana, Jeffrey M. Bender (his Prince of Arragon is priceless), Byron Clohessy, Ian Gould, Robert S. Gregory, Jay Leibowitz, Anthony Michael Martinez, Joe Penczak,  and Tug Rice.

Production credits to Brian Ruggaber (excellent set design); Käri B. Bentson (sound), Michael Giannitti (lighting); Candida Nichols (lovely 1900-ish costumes); and Alison Cote (production stage manager).

Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit http://www.shakespearenj.org. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

Intimate Apparel

Intimate Apparel

Quincy Tyler Bernstine & Tasso Feldman; photo: T. Charles Erickson

As Lynn Nottage’s Pulitzer Prize-winning play Sweat continues on Broadway, you can see her much-produced earlier work, Intimate Apparel, at McCarter Theatre Center in Princeton.  It opened May 12 and continues through June 4. Directed by the award-winning Jade King Carroll, Intimate Apparel takes place in 1905 on New York’s Lower East Side.

In Nottage’s story, reportedly based in part on the experience of her own great-grandmother, a lonely 36-year-old African American corset-maker reaches out, by post, to a distant male correspondent she has never met. As she cannot read or write, Esther, the corset-maker (played by Quincy Tyler Bernstine), relies first on a wealthy white client (Kate MacCluggage), then her more amorous-minded friend, the prostitute Mayme (Jessica Frances Dukes), to compose her letters.

Her correspondent is George (Galen Kane), a young Barbadian engaged in the grueling work of building the Panama Canal. Typical of people in epistolary relationships, Esther and George read between the lines of these exchanged letters, creating an image of the other that doesn’t line up with who they actually are. Inevitably, their meeting will be a challenge in reconciling dream and reality.

The two strangers finally do meet, on their wedding day. Esther wears a beautiful dress made from yardage of white lace, a gift from a man who does know, understand, and appreciate her, the gentle Jewish cloth merchant, Mr. Marks (Tasso Feldman). He and Esther visibly yearn for connection, while all-too-aware of the cultural and religious barriers that separate them.

George, by contrast, turns out to be rough-edged, sexually demanding, and costly in every way. Esther can’t say she wasn’t warned. Her cautious landlady (Brenda Pressler), gossiping and busying herself around the boarding house, is into everyone’s business. However, she is genuinely fond of Esther, her boarder for almost two decades.

The cast of the McCarter production is excellent, especially Bernstine, who appears in every scene, and the ragtime-playing Dukes. Although her piano-playing is a theatrical illusion, she pantomimes playing the jazzy tunes with gusto. Thanks to Nicole Pearce’s lighting, the set design from Alexis Distler enables a half-dozen different “rooms” within a single scaffolded backdrop and minimal furnishings, and it echoes the “New York under construction” meme of Hamilton.

Those strengths aside, the play itself is disappointing. The story is sadly predictable, and Nottage has chosen to tell it almost entirely in two-person scenes. Interspersed is an occasional monologue (George reading “his” letters to Esther—a bit of a puzzler there, since it turns out he didn’t write them). It’s like going to a concert of nothing but duets. You long for a trio or a chorus number to break up the pattern and provide an energy boost. There’s too little of the vitality of the time and none of the cacophony of the locale, which may be a feature of this production rather than the play itself. But see it for the fine performances.

Additional production credits to Dede M. Ayite (lovely costumes); Karin Graybash (sound design); and Thom Jones(dialect coach).

For tickets, call the box office at 609-258-2787 or visit the ticket office online.

TV’s Charles III

Charles III

Tim Pigott-Smith in Charles III

Sunday night, PBS’s Masterpiece Theater will present the Tony-nominated play, Charles III (trailer). Mike Bartlett wrote both the blank verse play and the adaptation. I saw it on Broadway—see my review for more details—and if the televersion is as good as the stage one, it will be well worth seeing. “Part political thriller, part family drama, and a timely examination of contemporary Britain,” says PBS.

In a nutshell, the Prince of Wales is finally able to ascend to the throne following the death of his mother, Queen Elizabeth II, England’s longest-serving monarch.Then the games begin, pitting the unpopular and lackluster Charles against the lively and ambitious Prince William and his wife Kate Middleton (played by Charlotte Riley). And Charles almost immediately starts making a hash of things by injecting himself in a vital policy debate.

In real life, of course, Charles’s succession is considered a dubious outcome of Elizabeth’s reign. Polls suggest that more than half of Britons actually would prefer he be skipped over entirely, putting William on the throne. William V, that would be.

In a her article “Most Likely to Succeed: Where Prince Charles Went Wrong,” New Yorker writer Zoë Heller talks about his persistent unpopularity. One source of it is that he puts his oar into waters about which he knows little, taking stances that “do not follow predictable political lines but seem perfectly calibrated to annoy everyone.”

An exceedingly promising aspect of the television presentation will be the carryover of West End and Broadway cast-members Tim Pigott-Smith as Charles (“the role of a lifetime,” London critics said), Oliver Chris as Prince William, Richard Goulding as Harry (“the ginger idiot”), and Margot Leicester, practically a body double for the galloping Camilla.

WINK

Wink, Joshua de Jesus

Joshua de Jesus as Wink

We braved the Amtrak/New Jersey Transit/Penn Station debacle last Sunday to go into New York to see an off-off-(perhaps a third off is needed here, I’m not sure)-Broadway play in which our nephew-in-law is appearing.

It was fun to rub elbows with intrepid theater-goers, trying a performance that might be a little risky, perhaps hoping for something a little risqué and figuring out which cast member they are related to. The play is Neil Koenigsberg’s WINK, directed amiably by Ron Beverly, and playing at the Theater for the New City, 155 First Avenue, just south of 10th Street through May 7.

Since we’d allowed so much extra time for train delays, we had ample time for a long cross-town walk and fortification with blood marys at the bar across the street from the theater, where a baby shower was in full swing.

The cast did a terrific job (nephew-in-law included), but the play itself is problematic. It takes place in Hollywood today, and its major conflict is between the desire of a teenage character, the eponymous Wink, to not declare a gender—“I’m just Wink”—and the determination of a Hollywood agent to find out. If Koenigsberg—a former Hollywood public relations luminary-turned-playwright—had set the play in 1950 or somewhere other than Hollywood, this obsession might be more believable. The gender identity wars are being fought on different ground.

A good reason to see this play, though, is to see Joshua de Jesus as Wink. He does a heartfelt job on territory that’s pretty well trodden. Joe Maruzzo is engaging as a past-his-prime actor, Jose Joaquin Perez is a homeless counselor, and Nikole Williams a public relations consultant struggling with how to describe Wink and getting no help from anyone. The awful agent is our nephew, Joe Isenberg.

As Director Beverly told me after the show, “Joe has to be willing to be not liked,” and he paraphrased a reviewer who said, “you may not like this character, but you can admire Joe’s portrayal.” We did! And we liked all the do-wop music too.

When Stage Productions Fail

Rose, red

photo: Vineetha Nair, creative commons license

Ouch. When a stage production doesn’t really work for you, who’s at fault? Are you having a bad day? Is it the play itself? Is it the production? We’ve all found ourselves at stage events where we thought—what??? This is Supposed To Be Good?? Remind me, how much did I pay for these tickets?

The Tony-award-winning Book of Mormon, was incessantly advertised as the best musical of the 21st century, after only one decade of that century had elapsed, but I didn’t even bother to review it. I found it so offensively racist and, this is a technical theater term, moronic, why bother? The problem was not the fault of the hard-working cast, but the cupidity of the original writers and producers.

This last weekend we saw a local community college production of Federico Garcia Lorca’s 1932 classic tragedy, Blood Wedding, immensely popular in Spain, I’m told. The plot of the original is probably a bit simplistic and over-familiar for modern audiences. There’s a deadly feud between two families and the daughter of a third family is involved with young men on both sides. Nothing good results.

What drew me to it was the promise of dance—tango, Argentine tango, and flamenco—integrated into the production. Plus, I’d never seen the play. A bad case of too-high expectations.

My notes for the producers:

  • The dancing is interesting, both the ensemble numbers and the sexy tango between the bride and her lover – good job!
  • Don’t conceive of staging that is beyond the capacity of the technical staff to implement; the moving curtains were tricky and slow
  • Yes, the mother of the groom bears great grudges, but let her develop a broader palette of emotions. Constant kvetching doesn’t maintain audience interest.
  • Eliminate redundancy. Even Shakespeare is trimmed for modern audiences. The mother doesn’t need to describe her complaints more than twice. Respect your audience. We get it.
  • Pick up the pace. Show you value the audience’s time.

Of course, I don’t know what happened in Act II with this production, because we cut our losses and went home. (Would that we had done that with Book of Mormon.) We weren’t the only ones.

This isn’t a complaint about Garcia Lorca, who wrote in and of a particular culture and time, and I’ve appreciated his House of Bernarda Alba, with Blood Wedding, part of his unfinished rural trilogy. You’ll recall that Lorca was only 38 when he was assassinated at the start of the Spanish Civil War.

Nor is my complaint about the mostly student cast, who soldiered gamely on with material so foreign to modern life, language, and ways of thinking. A number of them did fine jobs. Rather, my disappointment is with the theater director and producers who needed to shape a production enabling the whole team—cast and crew—to be part of a big success.

Does a play or musical come to mind that seriously disappointed you? How did it let you down?