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CurtainUp Reviews
Shakespeare & Company Summer 2008 Season
By Elyse Sommer
New review: *All's Well That Ends Well Show Schedule: A click on show title will take you to production details and, if there's an asterisk * before the title, a review
Elayne Bernstein Theater The Goatwoman of Memphis|The Canterville Ghost About this All-In-One Format: Since summer theater productions run such a short time, instead of retiring each show after it makes way for the next production, we're putting details and reviews of shows at a particular theater on one page so that everything remains at your fingertips. No need to click to the archives unless you are looking for something from a past season. The list is organized in order scheduled. A click on a show will jump you down to that show's details-- an * asterisk before a title indicates that a review is posted. Shakespeare & Company 70 Kemble St., Lenox, (413) 637–1199 Schedules vary enormously, so check the company's Web Site. Founders Theater Shows The Ladies Man
Not to say that this absurd affair of mistaken identities, infidelities, and class consciousness lacks humor. There are laugh-out-loud situations, but some of them are interrupted by the interminable setting up of the joke. The story calls upon predictable elements of ancient buffoonery: the older doctor, Molineaux, and his young wife Yvonne attended by the sly servant Etienne and the sexy maid Maria, who are all terrorized by a gorgon of a mother-in-law, Madame Aigreville. Mix in the clown/patient Bassinet, a suspicious Prussian husband, Aubin, with a sexually precocious wife and scenes of twentieth century vaudeville appear in front of our eyes. Obviously, the Marx Brothers' use of identity confusion, slamming door humor and the clueless Margaret Dumont were informed by Feydeau's homage to even older comedic schools. The characters, like most humans, are the victims of their own machinations and deceits. In fact, Molineaux ruminates over the long history of his particular set of circumstances beginning with his childhood. Some of the twisted logic of the illogical should resonate with those of us who recognize our own foibles in Feydeau's characters. The voluptuous blonde Elizabeth Aspenlieder is the over-sexed patient, Suzanne Aubin, who inveigles the innocent Molineaux into a situation, which, of course, could have been avoided, if he had just told the truth in the first place. Her lusty performance as a sexual predator who likes to live dangerously under the ever watchful eye of her very, large and jealous husband, stirs the energy onstage to a rollicking, fevered pitch. She is wonderful. Michael F. Toomey as the bumbling patient Bassinet, barges into a situation where he is unwelcome, and, of course, causes untold mayhem. Toomey is a master of comic timing and twittering innocence. His Bassinet's meddling inquisitiveness is also the catalyst for much of the brilliant, frenetic stage business. Etienne, played by Dave Demke, is the calculating servant who handles his role with that smarmy wit that appears in the farces of ancient Rome and the Commedia dell' Arte. Etienne always seems to be a little wiser than the other characters, especially his master, yet, in the end, he is just another puppet involved in the grand confusion of life. These three dynamic performers share the stage with a cast that includes veteran Shakespeare & Co. actors Jonathan Cory and Annette Miller, who, regrettably, do not look comfortable in their roles as the doctor and mother-in-law. The costume designer, Govanne Lohbauer, has created luscious costumes of the Parisian Belle Epoch (1871-1915.) Carl Sprague's set is a beautiful piece of art in its own right with clever and adaptable design elements. The lighting by Les Dickert bathes the stage in a rosy glow of nostalgic gaiety. Because this is early in the play's summer run, the cast will have a chance to tighten up some of the timing and buffoonery as they become more familiar with the work. Charles Morey should continue to whittle away at this play in order to fine tune it into a more tightly honed, commentary on life. The Ladies Man is a pleasant little romp. A fine chance to see the origins of the American sitcom. THE LADIES MAN Written by Charles Morey Freely adapted and translated from Georges Feydeau's Tailler pour Dames Directed by Kevin G. Coleman Cast: Elizabeth Aspenlieder, Jonathan Croy, Dave Demke, Annette Miller, Caley Milliken, Michael F. Toomey, Julie Webster, Walton Wilson Set Design: Carl Sprague Lighting Design: Les Dickert Costume Design: Govanne Lohbauer Sound Design: Michael Pfeiffer Running time: 2 hours, 15 minutes (one intermission) Wednesday-Saturday 8:00 PM; Sunday 3:00 PM; Reviewed by Gloria Miller based on June 1st Performance May 23 - August 31
All's Well That Ends Well
The reasoning for Packer's music infused production of this rarely produced play is sound. Audiences have come to expect her company's Shakespeare presentions to be lively and pleasing to all ages which is certainly the case here. Moreover, this is a play that seems to demand something new and different to justify putting it on since it's a primary example of what directors and Shakespeare scholars often tag as problem plays. All's Well fits the problem play tag because it defies easy classification or presentation as comedy or tragedy, history drama or romance. It's also problematic because Bertram, the romantic lead's snobbish refusal to wed a wife beneath his social status makes him almost hopelessly unsympathetic. Helena too is a flawed heroine. Her love seems misplaced and is thus hard to root for and for some her way of asserting herself and achieving that "all's well " ending, tends to make her come off as deceitful. The two productions of the play we've reviewed —-the most recent by the Theater for New Audiences in 2006 and the other one ten years ago, when Shakespeare & Company was still on Plunkett Street— confirm that the play compels directors to attempt a fresh and different take to overcome the difficulties stemming from its failure to settle into an easily definable genre and a second act that lacks the sublety to make the "all's well " ending completely persuasive. Normi Noel, who directed the play in 1998 sought to "release" Bertram and Helena from what she saw as an inability to speak their true feelings by drawing on Boccaccio whose The Decameron inspired All's Well. Director Darko Tresnjak's vision called for making the comic elements subservient to the tragedy inherent in the basic plot. While both productions had much to commend them, neither was perfect. In Tina Packer's version, comedy is back in the limelight and, while it doesn't get off scot free in terms of the problem play tag (nor does it raise the play's standing on the low run of the Bard's canon), it's certainly great fun — for both the audience and the usually non-singing actors whose solos, duets and ensemble turns enliven the production whenever one's interest tends to flag. Packer's buildup of the troubador and the original play's single song to ten was inspired by the fact that Rossillion, which is located in the south of France, is the birthplace of the troubador tradition of singing poetic stories. It's her high concept device for dealing with the mix of fairy tale, magic cures, violence and buffoonish comedy as well as to strengthen the second act. She also mixed up the periods for the various elements of the plot which works reasonably well. Those familiar with the play will see that the basic story remains intact: Helena (Kristin Villanueva), the young daughter of a physician, grows up in the house of the Countess Rossillion (Elizabeth Ingram), a playmate of. young Count, Bertram's (Jason Asprey). Her grownup love for him is unreciprocated. Bertram takes off for more excitement at the court of the king of France (Timothy Douglas). The king's serious illness, l gives Helena a chance to cure him using knowledge gained from her father upon which the grateful monarch offers her an opportunity to marry any of his eligible courtiers. Not surprisingly, she chooses Bertram. Insensitive young snob that he is, he objects to marrying a commoner but the King forces the issue. And so, while wed he must, consummating the marriage is another matter. Instead of bedding his wife he seeks adventure by going off to the Tuscan wars, leaving her this farewell letter: "When thou canst get the ring upon my finger, which never shall come off, and show me a child begotten of thy body that I am father to, then call me husband." The devastated Helena becomes a pilgrim. Though she may seem foolish for loving a man not worth loving, she's a Shakespeare woman with plenty of guts. Her travels take her to Florence where she takes advantage of Bertram's youthful womanizing by getting a lovely blonde Italian maid (Brittany Morgan, another attractive company newcomer) to help her trick him into giving her the ring— and a baby. From there it's back to Rosillion court where all ends per the much quoted title. Naturally, the above is a mere outline for the complications and machinations unspooled over the course of almost three hours. The musical elements begin even before the action begins and include some spirited dancing choreographed by movement director Susan Dibble. While the troubador concept can feel a bit forced, its enjoyment is boosted by the enthusiastic participation of the entire cast. That cast is too large to comment on all individually. As the world weary troubadour, Nigel Gore is no James Taylor, Bob Dylan or Pete Seeger, but he offsets his short comings as a singer by bringing his skills and presence as an actor to Lavache's rockstar persona. Kristin Villaneuva, a newcomer to the company, is is a delightful Helena. Jason Asprey's portrays Bertram with the required youthful bravado. Standouts among the older characters are Elizabeth Ingram as the Countess who, unlike her son, welcomes Helena into the Rsillion family; also Timothy Douglas as the King. In the comic department, Kevin O'Donnell is the production's scenery chewer as Parolles. Costume designer Jacqueline Firkins has an especially good time with his outfit. (Where did she find those great red Wellies?). Set designer Susan Zeeman Rogers uses three rotating panels at the rear of the stage to manage the shift of the action between the Rossillian court, to the French Court to Florence. As always the actors use the entire theater to give the audience the sense of being in the midst of the story -- which is what makes an evening at the Founder Theater a treat, even if you're seeing a problem play.
Director and Fight Director:y Tony Simotes Written by William Shakespeare Cast: Elizabeth Aspenlieder, Jonathan Croy, Michael Hammond (Iago), Merritt Janson, LeRoy McClain, Tom Rindge, John Douglas Thompson (Othello), Michael F. Toomey, Walton Wilson, Ryan Winkles, Kristin Wold Set Designer: Yoshi Tanokura Costume Designer: Gail Brassard Lighting Designer: Les Dickert Composer/Sound Designer: Scott Killian Movement director: Susan Dibble voice & text coach: Malcolm Ingram Assist. Fight director & fight captain Ryan Winkles assistant lighting designer: Chris Thielking assistant to the director: Kelly Galvin July 18 - August 31; opening July 25 Elayne P. Bernstein Theatre: The Goatwoman of Memphis a new play by Christine Whitley It's about a fading beauty living on a defunct farm in Tennessee bears the weight of her complicated past and must face it as her new husband adapts to the presence of her troublesome teenaged son. As the play unfolds, so does the history of secrets that keeps the title character trapped within her own soul. A chance for escape emerges, and she eventually discovers the price of her past mistakes. The Goatwoman of Memphis by Christine Whitley Director: Robert Walsh Set Designer: Susan Zeeman Rodgers Lighting Designer: Matt Miller Costume Designer : Govane Lohbauer Sound Designer/ resident Music Director: Bill Barclay August 1 to 31st; opening August 8th. The Canterville Ghost by Irina Brook and Michael Hammond; adapted from the fun ghost story for the whole family by Oscar Wilde and directed by Irina Brook. From September 12 to November 9. |
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