Dido, Queen of Carthage at the American Shakespeare Center

The chance to see an early English drama that is not produced very often is one of the benefits of the American Shakespeare Center.  As their last production of the Actors' Renaissance Season, the repertory company presents Christopher Marlowe's Dido, Queen of Carthage.  A retelling of the famous doomed romance from Virgil's Aeneid, this early work can be difficult to make compelling given the script's challenges.  While there are problems due to some jarring jumps in the narrative that are the fault of the script, this story of the gods interference with man and destiny exudes passion.

Aeneas and his men flee the destruction of Troy.  After wandering the seas for seven years, the goddess Juno causes a storm to wash the Trojans ashore in the kingdom of Carthage.  They meet the Queen, Dido, her sister, Anna, and Dido's suitor, Iarbus who provide the Trojans with comforts and support, rebuilding their tattered fleet.  The goddess Venus, who is Aeneas' mother, replaces Aeneas' son, Ascanius with the god Cupid who uses his love dart to make Dido fall passionately in love with Aeneas.  She does and a jealous Iarbus offers a sacrifice to the gods to win Dido's love back.  However, before any revenge can be made, Jupiter, king of the gods appears to Aeneas in a dream and  he is also urged by a visit from the god Mercury, that it is his destiny to go to Italy and found Rome.  He obeys and leaves a devastated Dido. Aeneas' abandonment of the heartbroken queen leads to a fiery tragedy for Carthage.

It is believed by scholars that Dido, Queen of Carthage is one of Christopher Marlowe's earliest plays.  It may also have been partially written by Thomas Nashe.  As such the play shows elements of the transition from narrative poetry to actual drama.  The poetry is beautiful and the talented actors deliver it with aplomb.  There are a few jarring transitions.   Now, Shakespeare has scenes in which the action happens offstage and in which the audience is told what has occurred.   Here the most difficult transition in the play comes just after Dido and Aeneas declare their very passionate love for each other in a violent storm.  Shortly thereafter Aeneas tells us that he just had the dream in which Jupiter tells him to go found Rome.  If the play was written in a later period that scene would have happened on stage (with Jacobean masque effects).  

There is also the opening scene of the play which might make some audience members uncomfortable as it depicts the love between Jupiter, king of the gods and his cupbearer, the male Ganymede.  The scene is mild compared to some productions portrayal of the male love story in Marlowe's Edward II.   Benjamin Kurns as Jupiter and Gregory Jon Phelps as Ganymede portray this relationship honestly.  It is theatrically heightened without taking it over the top.

Mr. Phelps also gives a delightful performance as the playful Cupid.  Allison Glenzer is perfect as the meddling Venus.   Brandi Rhome assays her roles as the vengeful Juno, the admonishing Mercury and as Dido's sister, trying to support her queen while pining for the Queen's cast off suitor, Iarbus.  Aidan O'Reilly as the noble Iarbus strikes a balance between jealousy and the truth that Iarbus is really just a nice guy in love with the wrong woman.

At the heart of this production are Sarah Fallon and Rene Thornton, Jr. as Dido and Aeneas.  They have a natural chemistry on stage. The actors are fearless in portraying the doomed lovers heightened emotions.  Mr. Thornton delivers a lengthy recitation of the fall of Troy that is riveting for the audience as well as the attentive company on the stage.  His dilemma in leaving his love to follow the orders of the gods is sympathetic and poignant.

Ms, Fallon must navigate what could be over-the-top hysterics in a lesser actor's hands.  In Ms. Fallon's outstanding performance Dido's desperate love is as beautiful a tragedy to behold as any Shakespeare heroine.   Her attempts to prevent Aeneas's departure are heartbreaking and her death will bring you to tears.

Dido, Queen of Carthage will be presented as part of the Actors' Renaissance Season at the American Shakespeare Center in Staunton, Virginia in repertoire with William Shakespeare's Much Ado About Nothing and Richard III, Philaster, or Love Lies a-Bleeding by Francis Beaumont and John Fletcher, and A Mad World, My Masters by Thomas Middleton through April 7, 2012. For tickets and other performance information, please visit www.americanshakespearecenter.com.

During the Actors' Renaissance Season there are no directors or designers. The American Shakespeare Center recreates what extensive research believes were the conditions that Shakespeare's acting company would have used to stage a play. The actors receive only cue scripts containing their lines and a short "cue", the last few words of the preceding actor's line. They are responsible for acquiring their own costumes and props from the stock available at the theater. There is a prompter on the side of the stage in case someone forgets a line. The rehearsal period is a matter of days.

Brother Russia at Signature Theatre in Virginia

Signature Theatre in Arlington, Virginia is to be commended for the commitment they have made in the 2011-2012 season to producing new work.    For audiences that enjoy being among the first to see a show and, perhaps, be able to see that show shaped and change in subsequent productions, this can be an exciting experience.   Unfortunately, not every show is one or two steps away from transferring to Broadway.   This is not a bad thing, but it is something to keep in mind when seeing the birth pangs of  theatrical babies.   Unless there has been a lot of press put out by the producing theater company, you may not have a clue what to expect when you purchase your ticket.   There is the danger that you might feel that your money has been wasted if you take a chance on a an unknown product.

This is not the case with Brother Russia, a new musical about Grigori Yefimovich Rasputin, one of the most infamous figures of world history.   The new musical, with book and lyrics by John Dempsey and music by Dana Rowe, shows quite a bit of promise.   Many of the songs in the score are quite terrific and help to enhance the story.   The acting company is enthusiastic and there are some wonderful passionate performances.   The problem lies with parts of the script and some of that is the framework for the story.

Brother Russia is a contemporary rock musical.   The story is framed in a familiar way by having an edgy Bohemian-style theater company tell the story (see Pippin).   The title character of Brother Russia (John Lescault) convinces the company to put on a performance of the life of Rasputin. Brother Russia insists that the play is the true story of his own life.   The company reluctantly agrees.   It is a fanciful version of Rasputin's life that bears only nominal resemblance to the actual history (again, reference Pippin).  During the telling of the story there are several breaks in the action some of which enhance the story of the Brother Russia character and others that just seem to grind the action of the play to a halt.  There is a disconnect in the narration as Brother Russia breaks the fourth wall to speak to the audience and then a scene or two later there will be a line stating that the actors are performing for an empty space.  The play reaches an emotional climax at the height of the Russian Revolution and the downfall of Rasputin and then seems to run out of steam.   The play ends not so much because the story is over, but as if the script ran out of ideas.

There are some diction issues with the full cast numbers that make it difficult to understand those lyrics.  Yet, there are notable performances.  Rachel Zampell is sensual and menacing as the Witch in her song Chid of the Wood.  Tracy Lynn Olivera leads a rousing ensemble in Vodka.   Amy McWilliams is haunting as the desperate Tsarina Alexandra and she is particularly poignant in the duet Matryoshka.

John Lescault overcomes the bizarre costuming he wears to be our enigmatic narrator, Brother Russia.   As the young man he conscripts to portray Grigori Doug Kreeger has a clear rock tenor that tests the limits of the sound system and has a magnetic personality that, while not on the legendary Rasputin's own scale, works for this production.   As the gypsy Sofya who reluctantly plays the gentle Grand Duchess Anastasia, Natascia Diaz gives a mesmerizing performance particularly in her songs Siberia, Elsewhere and in the love duet with Grigori, I Belong To You.

The costumes by Kathleen Geldard and makeup worn by the actors feel edgy for arts sake rather than feeling organic from the material of the play.   Music direction by Gabriel Mangiante is firm despite the few enunciation difficulties.   Eric Schaeffer has directed this fledging show with a firm hand which helps it overcome most of the script problems.

Brother Russia will be performed in The Max theatre at Signature Theatre in Arlington Virginia through April 15, 2012.   For tickets and other performance information please visit www.signature-theatre.org.

Ah, Wilderness at Arena Stage

If it were February Ah, Wilderness at Arena Stage would be the perfect Valentine to its playwright, Eugene O'Neill.   A sweet, sentimental comedy filled with nostalgia and memories that are recognizable in a modern day audience, this production, carefully directed by Kyle Donnelly is a delight.

Written in 1932 when Mr. O'Neill was already a prominent American playwright who had earned three Pulitzer Prizes,  Ah, Wilderness is a gem of a play written to reflect the ideal family and childhood that Mr. O'Neill most certainly did not experience in real life.   Yet, do not expect to roll your eyes with cynicism at the foibles of the Miller family taking place a century ago.   The director and cast bring genuine emotion to this simple story and it is that respect and love of the material that makes this production a delight to audiences of all ages.

It is the 4th of July, 1906, Nat Miller (Rick Foucheux) and his wife, Essie (Nancy Robinette) are celebrating with their family.   Of their 4 children present, their second son, 17 year old Richard(William Patrick Riley) is in the angst suffered by every teenager from the dawn of time.   His romance with the girl next door, Muriel McComber (June Schreiner) has been discovered by her disapproving father (Leo Erickson).   When Muriel is forced to write a letter breaking things off with Richard, he impulsively decides to lash out by going out with the worldly college friend (James Flanagan) of his elder brother, Arthur (Davis Chandler Hasty).   Meanwhile the poignant dance between the former sweethearts Essie's brother, Uncle Sid (Jonathan Lincoln Fried) and Nat's sister, Lily (Kimberly Schraf) continues its never-ending repetitions broken forever by Sid's alcoholism.

There is not a weak link in this cast from the bratty little brother Tommy (Thomas Langston and T.J. Langston) to the hardworking clumsy maid Norah (Allison Leigh Corke).   Talisa Friedman is funny as the teasing teenage sister Mildred and Davis Chandler Hasty has the right amount of haughty pride as the college student brother, Arthur.    In smaller roles James Flanagan and Leo Erickson provide excellent support to the main characters.

Ms. Donnelly working with Michael Roth as the composer, music director and arranger has provided well thought out musical transitions using well chosen songs of the time period that set the mood and enhance the story.   In particular cast member, Pearl Rhein, skillfully accompanies most of the music with her violin.   Ms. Rhein also well plays the lady of the evening, Belle, whom Richard has an interesting encounter with during his adolescent rebellion in the second act.

As the poignant thwarted lovers Sid and Lily, Jonathan Lincoln Friend and Kimberly Schraf are golden in the darkest subplot of the play.   Uncle Sid is that alcoholic relative that one used to laugh at his antics at the dining table just as the Millers do, yet when all his said and done, his promises to change will always remain broken and his love for Lily unrewarded.   Ms. Schraf's Lily is the stoic maiden aunt who occasionally lets her guard crack only to have her heart bleed fresh every time that she does.

June Schreiner was the discovery of Arena Stage's Oklahoma as a true teenaged Ado Annie.   Here she plays the young love of Richard and her charm, beauty and willingness to let her emotions exude show that the promise of her earlier debut was simply the promise of her new talent emerging strongly with each character she portrays.   It has been a delight to see her professional career begin at Arena and with her graduation from high school eminent one can only look forward to a long and fruitful career whatever path Ms. Schreiner decides to follow.

As the angst ridden Richard, William Patrick Riley is pitch perfect.   It would be so easy to play Richard's emotional arc false.   Mr. Riley does not.   His Richard is a genuine teenager full of hopes and flaws and his journey through the wringer of what is ultimately one day in his life is fulsome, energetic and fun.  This is a coming-of-age moment for Richard, yet it is not the pinnacle of his life, just a slice of his journey to adulthood that is a lot of fun to watch.

And as the anchors of this family, Rick Foucheux and Nancy Robinette are simply the perfect couple.   They work so well together that they simple are the heads of this family.   Working through the foibles and dramas at the end, they are simply a long married couple that are deeply in love.

Ah, Wilderness will be performed in the Fichandler Theater at Arena Stage's Mead Center for American Theater through April 8, 2012.   It is part of the Eugene O'Neill Festival taking part in conjunction with The Shakespeare Theater at the Harman Center.   For tickets and other performance information as well as information on other events in the Eugene O'Neill Festival please visit www.arenastage.org.

A Mad World, My Masters at the American Shakespeare Center

Rowdy, bawdy comedy has arrived on the Blackfriars' Playhouse stage in Staunton, Virginia.   The fourth offering of this winter season's Actors' Renaissance Season is Thomas Middleton's A Mad World, My Masters.   The humor is both witty and sophomoric.   The characters are as broadly drawn as their names would suggest.   The acting company is taking full advantage of this unsubtle comedy to thoroughly have fun with their costume choices and characterizations.    For an evening of laughs make sure that you travel to the Shenandoah Valley and catch this rare production.

Dick Follywit is heir to his grandfather, Sir Bounteous Progress.  Impatient, he plots to trick his grandsire out of his fortune.   With the aid of his comrades, Lt. Mawworm, Ensign Hoboy and a Footman they plot and scheme with silly disguises to rob him of his treasures.   Meanwhile, Master Shortrod Harebrain is desperate to prevent his wife from turning him into a cuckold.   Unfortunately, Master Penitent Brothel  schemes to become Mistress Harebrain's lover.    In the middle of this madness is the courtesan, Frank Gullman who has sold her virginity numerous times to raise the funds for her dowry.   She is hired by Master Harebrain as a moral companion to his wife.   Frank is double-crossing Harebrain by aiding Brothel in gaining access to Harebrain"s eager young wife.    To complicate things further Frank has once again sold her virginity and become Sir Bounteous' mistress.   What will happen when Frank meets Dick Follywit?   How will these entanglements be resolved?

Oh, what a tale is being woven at the Blackfriars'.   This play by Shakespeare's contemporary, Thomas Middleton is considered a city comedy.   It takes place in London and the laughs are broadly physical and liberally dosed with bodily humor.    Yet, the puns fly fast in Middleton's dialogue, crisply delivered by the eloquent band of intrepid actors.

The performers are clearly having a lot of fun with these characters.  In several minor roles Aidan O'Reilly and Jeremy West find ways to be memorable with little stage time.  Alison Glenzer plays Frank's mother by way of the Jersey Shore.  Brandi Rhome puts an angelic face on the silly adulterous wife and slinks as her succubus double.

The trio of comrades aiding and abetting Follywit's schemes are comic dynamos in the hands of Chris Johnston, Benjamin Curns and Sarah Fallon.   Gregory Jon Phelps delights in bringing Follywit's schemes to vibrant life.   An addition of a perfect costume accessory and he is off to the races.  Rene Thornton, Jr. is the hapless cuckold, Shortrod Harebrain.  He makes us laugh at the character's foibles.   John Harrell plays Penitent Brothel as meek and a bit bumbling, yet living up to his name deftly manages both sides of his character's name.

Miriam Donald assays with aplomb the many facets of Frank Gullman.   She plays the coy maiden and the brash courtesan and throws herself into two of the most outrageous scenes involving the most "adult" humor.   She is clearly a highlight of the production and is well matched by the astounding Daniel Kennedy who portrays Sir Bounteous Progress by way of South Florida.   Mr. Kennedy has made physical choices that enhance the comedy.   Between the two of them backed up by their rousing ensemble members this is a comedy to remember.

A Mad World, My Masters by Thomas Middleton will be presented as part of the Actors' Renaissance Season at the American Shakespeare Center in Staunton, Virginia in repertoire with William Shakespeare's Much Ado About Nothing and Richard III, Philaster, or Love Lies a-Bleeding by Francis Beaumont and John Fletcher, and Christopher Marlowe's Dido, Queen of Carthage through April 7, 2012. For tickets and other performance information, please visit www.americanshakespearecenter.com.

During the Actors' Renaissance Season there are no directors or designers. The American Shakespeare Center recreates what extensive research believes were the conditions that Shakespeare's acting company would have used to stage a play. The actors receive only cue scripts containing their lines and a short "cue", the last few words of the preceding actor's line. They are responsible for acquiring their own costumes and props from the stock available at the theater. There is a prompter on the side of the stage in case someone forgets a line. The rehearsal period is a matter of days.

Parental advisory:  This play contains a lot of bawdy humor both in the witty script and actually depicted on stage.   The play should be fine for mature middle schoolers and definitely will be popular with high school students.   Parents of younger children may want to review the fine notes on the play in the program or the American Shakespeare Center's website to decide whether this play is appropriate for the younger set.