03 December 2017

The Taming of the Shrew, by William Shakespeare

The American Shakespeare Center’s travelling troupe is consistently excellent, and their production of The Taming of the Shrew, directed by Jemma Alix Levy, lived up to that high standard. The ASC’s distinctive performance ethos is one of the major factors in their success. Their performance style is a blend of the modern and the Elizabethan, as they perform in fully lit spaces and incorporate music (both Early Modern conventions), but give the plays a distinctly modern twist with modern music and attitudes.

Taming can be a really tough play to do well because the performance needs to navigate how the anti-feminist elements will be presented in a way that works for a modern, post-feminist audience. The high plot focuses on Katherina (whom Petruchio insists on calling Kate), known throughout Padua for being a fearsome and tempestuous woman who will endure the company of no man. The problem is that her beautiful and agreeable sister Bianca is being courted by several suitors, but their father Baptista has said Bianca cannot marry until Katherina has found a husband. When Petruchio arrives in town looking for a wife—any wife, as long as she’s rich—the suitors ask and Petruchio agrees to marry Katherina (to get her father’s money). Against her will, she is married off, and Petruchio begins the process of “taming” her, which essentially involves depriving her of food and sleep until she gives in absolutely to his will. While this is going on, a young nobleman named Lucentio has also come to town and fallen in love with Bianca. In order to circumvent both the existing suitors and the suspicious Baptista, Lucentio dresses up as a tutor to teach Bianca Latin and Greek. Through the strategic use of love poetry, Lucentio wins Bianca’s heart. When all parties involved come back together at the end for Lucentio and Bianca’s wedding feast, they make a wager on the submissiveness of their wives, and Katherina is the only one who obeys, at which point she makes a speech scolding the other wives for not looking upon their husbands as lords, masters, and gods.

Obviously the anti-feminist element is a major problem for contemporary audiences, which are unlikely to be all that sympathetic to a figure like Petruchio who essentially tortures his wife until her will is broken, or even to Katherina’s closing speech in which she declares an ethic of slavish subservience. In order to counteract this problematic subject matter, it’s crucial to have a strong comic performance.

In the ASC production, many of the funniest moments actually came from supporting characters. The funniest performance of the night was Calder Shilling, who played Petruchio’s servant Grumio and Lucentio’s father Vincentio. As Grumio, Shilling was all that one could want from a bumbling comic servant—he vacillated between terror that Petruchio (Ronald Román-Meléndez) would beat him, exhaustion after walking back to Petruchio’s estate, drunkenly attempting to defend his master with various foodstuffs, and trying desperately to lift a suitcase that every other character picks up with ease.

Another particularly funny performance came from Kyle Powell, playing the elderly suitor Gremio. Powell would laugh raucously at others’ misfortunes, particularly when the other husbands lose their money betting on the obedience of their wives, and his slow shuffle to get anywhere was comically over-performed. Similarly hilarious was the pairing of Constance Swain, who played Tranio, Lucentio’s servant who takes his master’s clothing and place to allow Lucentio to go undercover, and the slow-witted Biodello, played by Topher Embrey. As Lucentio’s servants, Tranio and Biondello needed to keep their master’s true identity a secret, which proved unusually difficult with a series of comic mishaps, including Biondello’s continual inability to remember that Tranio was pretending to be Lucentio and the arrival of Lucentio’s father (Shilling) after Tranio had employed a decoy (Hilary Alexa Caldwell) to pretend to be Vincentio and give permission for Lucentio and Bianca to marry.

30 October 2017

Argonautika, by Mary Zimmerman

Mary Zimmerman’s Argonautika straddles a number of boundaries—between ancient epic and modern drama, between comedy and tragedy, between poetry and theatre. Following the tale of Jason and the Argonauts, this modern adaptation based on the tale recounted in the Greek by Apollonius and in the Latin by Gaius Valerius Flaccus. But this is certainly no dry, creaking scholarly representation of the tale. Zimmerman’s play is defiantly modern, drawing on not only Greek mythology but hip hop, a smart, contemporary humor somewhat in the vein of a Tyler Perry comedy, and puppetry/costumes reminiscent of Disney’s Lion King. Although the hip hop numbers don’t do much for me personally, they seem strangely in keeping with the sassy Greek heroes, almost frat boy camaraderie of the Argo, and celebratory ethos of this swashbuckling sword-and-sandals play.

The Penn State Centre Stage production, directed by Steve Snyder, brought the play to vibrant life, with an effective blending of high energy celebrations, absurdist comedy, and rather ironic solemnity. Broadly speaking, these three categories break down as follows: the Argonauts spend much of their time celebrating, cheering, and dancing; many of their adventures are played out with a keen sense of the dramatic; and the relationship between Jason (Brandon Gregory) and Medea (Sadie Spivey) is a love story constantly overshadowed by the violence that will inevitable come between the two.

The first half of the play moves much quicker, as it is largely filled with the Argonauts various adventures prior to landing in Kolkhis—the land where the golden fleece, the object of their quest, is kept. In this first half, the stand out performers are Zuhdi Boueri as King Pelias and Zack Wold as Hercules. Boueri plays the fickle and temperamental tyrant to perfection as the elderly Pelias. His sassy and irreverent dismissals of his blundering servants suggest simultaneously the potential for immediate fits of rage and the impotence of that rage. Wold’s Hercules is equally comic, as the buffoonish strongman whose very enthusiasm for himself and for his own feats often leads him into trouble. But it is only with the loss of his beloved companion Hylas (Timothy Lewis) that Wold’s performance really becomes spectacular. Hercules’ mad grief for his friend pushes the character and the performance beyond the clownishness of the strongman, and shows the real range a skilled actor can bring even to a relatively one-dimensional character.

In the second half the pace slows dramatically, as the focus becomes Jason and Medea’s relationship, and Medea’s moral conundrum about whether to follow her heart and betray her family and city for Jason, or to betray her heart and remain true to her family and home. As the relationship between Medea and Jason develops, we have constant visual reminders of the violence upon which the relationship is built and which will ultimately destroy it. After Aphrodite (Julia Chereson) bribes Eros (Lewis) to fire an arrow into Medea, she continually appears with an arrow through her stomach and a widening blood stain across her dress. When first introduced, Medea’s dress is green, but by the time she escapes with the Argo it is entirely red. This suggests visually the ominous nature of the Jason-Medea relationship, and indeed while it is a passionate relationship it is also a relationship doomed from the start and deeply imbued with a fundamental violence.

Throughout the play, Gregory was a strong lead, and Johnique Mitchell played a strong and compelling narrator role as Athena. Gregory’s ease as the leader of the Argonauts was a delicate balance between quiet strength and a subtle willingness to stand apart from much of the crew’s raucous misbehavior. And Mitchell was a commanding presence guiding events, both as the principal narrator who helped orient spectators within the story of the Argonauts and as one of the principle goddesses, along with Hera (Jordan Cooper) protecting the sailors on their voyage.

The production was visually appealing, with Greek inspired costumes with modern touches, unique lighting techniques and shadow performances, and Lion King-esque puppetry. The two fire breathing bulls that Jason has to yoke, for instance, were two person puppets consisting of several articulated body portions and two back legs run via poles. Or the dragon which never sleeps was created by perhaps eight actors holding portions of a giant dragon face and moving them rhythmically to give the appearance that this was one creature feeling and expressing emotions.

20 June 2017

Sylvia Review: Great Performances of a Dysfunctional Trio

A.R. Gurney’s play Sylvia takes a unique look at the relationship between a man and his dog. And a man and his wife. And all the problems that can arise from trying to love both. The play is funny, touching, and occasionally disturbing, and West Virginia Public Theatre (in cooperation with the WVU College of Creative Arts) gives a fantastic rendition of Gurney’s show. Under the direction of Jerry McGonigle, the show is well worth seeing.

Sylvia focuses on an upper middle class couple named Greg and Kate, whose have sent their kids to college and moved to New York City. They both have good jobs and things are going well. But then Greg brings home a dog, named Sylvia. This wouldn’t necessarily be that much of a problem, except for two things: Kate absolutely doesn’t want a dog, and Greg becomes completely devoted to Sylvia. He misses work and social engagements, and under the weight of his neglect their marriage suffers. Kate becomes increasingly concerned about Greg’s affection for Sylvia, and even Tom, Greg’s dog-owner-psychology quoting friend, warns Greg that it’s a big risk to give a dog a female name. Oh, and to make matters worse, Sylvia is played by a woman.

The cast of the WVPT production is the best element of the show, giving strong performances all around. Cassandra Hackbart gives a vivacious performance as Sylvia, offering the highest level of energy as she navigates the character’s mercurial mood swings. One moment she is jumping all over Greg (Joseph Olivieri) totally devoted to him, then the next moment she is terrified of being sent to the pound, then the next she is screaming abuse and obscenities at an off-stage cat. Constantly running around the stage, Hackbart brings a lively humor to the show, particularly with the dance routine meant to impress Kate (Cathy O’Dell) after Greg brings Sylvia back from the groomer. Hackbart’s Sylvia is performed somewhere between a dog and a child: devoted, playful, loving, but also prone to tantrums, and quick to change her mind.

Olivieri and O’Dell offer well matched performances as Greg and Kate. Their chemistry perfectly conveys a loving couple, devoted to one another, but on the rocks—in Kate’s opinion because of Greg’s midlife crisis. Both characters are hard to fully like, and hard to fully dislike—there isn’t a clear villain here—and both actors have moments where we feel deeply for them and moments where we detest them. For instance, in many of her interactions with Sylvia, Kate comes across as a shallow, jealous, and even irrational opponent of the dog. But then when she opens up to her friend Phyllis (Joe Mortimer), we see the depth of her love for her husband and how painful their marital problems are for her. O’Dell’s best scene comes near the end, when Greg is about to take Sylvia to the suburbs and give her away. Despite her loathing for the dog, Kate is deeply conflicted in this moment, and O’Dell shows that conflict simply and subtly, but in an unmistakably powerful way.

Olivieri offers similar fluctuations as Greg, often coming across as a devoted owner who genuinely cares about his dog, but also reading as callous and self-centered in his interactions with Kate. Greg is trying to find himself, rethinking/abandoning his job, finding a new lease on life through his relationship with Sylvia, and experiencing a midlife disillusionment with his existential condition: as he tells Sylvia, he’s facing either “the anxieties of late middle age or the disillusionment of late capitalism.” Olivieri shows these conflicting uncertainties through the confusion he brings to the character—the inability to get control of his excessive affection for his dog, punctuated by brief glimpses of the shambles his marriage and professional life are rapidly becoming. But even in his relationship with Sylvia, Greg is not always admirable. He willingly accepts that he’s a hero who saved her life, and even accepts it when Sylvia deifies him.

The fourth actor in the contingent is Mortimer, who plays all three of the minor roles: Tom the psychology quoting dog park denizen, Phyllis the snobbish alcoholic socialite whose husband has developed an unusual fondness for gold fish, and Leslie the androgynous therapist who recommends Kate get a divorce and shoot Sylvia. Mortimer is the comic relief of the play, performing these absurd roles with the most blatant humor of any performer. His dynamic performances both take us out of the immediate triad of Sylvia-Greg-Kate, and also offer an almost choric commentary on the main action of the play. For instance, Tom warns Greg about becoming too attached to Sylvia, particularly giving her a female name, but then another book he’s read suggests that their love for their dogs (to the exclusion of their wives) is genetic and therefore can’t be helped. These different tensions and ideas illuminate the main action of the show.

Through the prism of Greg’s relationship with Sylvia, Gurney explores a number of dynamics and problems, including issues of interpersonal relationships, the human divide from nature, and finding/forming one’s identity. The play challenges what it means to love, and to sacrifice for those we love. It also asks how we find meaning, happiness, and connection in the world—how do we find what makes us happy and balance that with making those we love happy?

The play runs 21-25 June at the Gladys G. Davis Theatre in the Creative Arts Center on WVU’s Evansdale Campus.
Performances begin at 7:30 PM on the 21-24 June and 2 PM on the 24-25 of June.
Tickets can be purchased by calling 304-293-SHOW, at a WVU box office location, or by visiting www.ticketmaster.com.
Tickets are $14-$26.