A Mad World, My Masters

Daniel Kennedy in The Taming of the Shrew, 2010.  Photo by Tommy Thompson.

I have always enjoyed the works of the prolific Thomas Middleton. Not only are they great on stage, but they are as equally entertaining on page. I read A Mad World, My Masters in anticipation of seeing the ASC's production and knew I would be in for a wild ride. Quite simply, this is the rowdiest, randiest, most bawdy thing I've seen on stage at the Blackfriars and I've seen every production since January 2009. It's a tour de force of Jacobean dick and fart jokes.

A Mad World, My Masters is typical of a Jacobean era satirical city comedy (a genre I love). Like many of these plays, the plot surrounds a down on his luck youngster pulling the wool over the eyes of older, established "gentlemen." In this case, Dick Follywit (Greg Phelps) is playing his uncle, Sir Bounteous Progress (Daniel Kennedy) for a fool. In a subplot, we have Sir Penitent Brothel (John Harrell) attempting to cuckold Master Shortrod (HA!) Harebrain (Rene Thornton, Jr.). Tying the two together is the "virgin" Frank Gullman, who sells her virginity to all comers (see, I can write like Middleton) and who aids Brothel and Follywit in their exploits.

There are quite a few standout performances in this production. Daniel Kennedy steals the show with his South Florida inspired Sir Bounteous Progress. He nailed "old man" like I've never seen. You have to see the play just to see the costume! And just the little moves and shaking, dotage gestures were enough to keep me enthralled. Greg Phelps tackles the role of Follywit with gusto and gives one of his best comedic performances. He is aided by the dubious mannered duo of Mawworm (Chris Johnston) and Hoboy (Benjamin Curns) who are somewhat reminiscent of Dicky and Coover from Justified, and the delightful Sarah Fallon. John Harrell is wonderful as the hypocritical Brothel and he totally pulls off a Rick Santorum look (intentional, I presume) with the Bible, sweater vest and nerd glasses. Allison Glenzer kills it as Frank Gullman's Jersey Shore inspired bawdy mom and, of course Miriam Donald is brilliant as Gullman. Thornton turns in a great performance as the duped Harebrain and Brandi Rhome is excellent as always in the role of Mistress Harebrain.

This play is definitely adult oriented, so keep that in mind if bringing kids along. The night I saw it there was a young girl on stage, which resulted in a few cringe worthy moments. Peter Saccio, the acclaimed Dartmouth Shakespeare scholar was sitting behind me at the show I attended and someone asked him his opinion and he laughingly summed it up: "Filthy, just filthy!" If you see it, and I highly recommend you do, be prepared to laugh extremely hard and leave your sensibilities in the lobby. If you are not a fan of the bawdy Jacobean city comedies, go see Much Ado twice in its stead.

Fletcher and Beaumont's Philaster, or Love Lies a-Bleeding

Allison Glenzer in The Malcontent, 2011.  Photo by Tommy Thompson.

The American Shakespeare Center has a long and successful history with productions of plays by Francis Beaumont and John Fletcher, most notably A King and No King, and The Knight of the Burning Pestle. The ASC is currently reviving Beaumont and Fletcher's tragicomedy Philaster, or Love Lies a-Bleeding and the result is much more comedy and much less tragedy. If you enjoy a good deal of laughter with your "tragedy," make sure to check this one out.

Greg Phelps is terrific as the titular character, Philaster, a Sicilian whose throne has been usurped by a Calabrian regally portrayed by Rene Thornton, Jr. Philaster has not been banished, and has a place in the King's court, much to the King's displeasure. Philaster is so popular among the people that the King cannot banish or kill him, posing many attendant problems for the King. Unfortunately for him, Philaster is in love with the King's daughter, Princess Arethusa (wonderfully played by Sarah Fallon). Because of this, the King decides to force her to marry the Spanish Prince Pharamond (a show stealing performance by Aidan O'Reilly). Of course, Arethusa is secretly in love with Philaster and the two conduct their romance in secret with the assistance of Philaster's serving boy Bellario (played by the superb Miriam Donald). Meanwhile, Pharamond is having an affair with Megra (a wonderful performance by Allison Glenzer). Of course, chaos, hilarity, and deception ensue as plots and confusion are uncovered.

O'Reilly, as Pharamond, really stands out in this production. ASC costume designer Erin West and I debated whether he looked more like Inigo Montoya from The Princess Bride or King Charles II: let's go with both. His accent is terrific in its silliness (he even sings one song using it). You can tell he really enjoys the role. Jeremy West also has a moment to remember as a fellow that hearkens back to Falstaff (complete with foolish attendants), and when he came on stage I had to do a double take as I thought it was Rick Blunt! West and Ben Curns also have an outstanding pre-show skit that is not to be missed.

Next up in the Actors' Renaissance Season is Thomas Middleton's A Mad World, My Masters. I always enjoy Middleton's plays, and look forward to seeing this production of the play.

Richard III

Benjamin Curns in Henry VI, Part 3, 2011.  Photo by Tommy Thompson.

I had the pleasure of witnessing the dress rehearsal and the PWYW performance of Richard III the finale of the ASC's War of the Roses tetralogy, part of The Histories: The Rise and Fall of Kings. This series, which continues with The Life and Death of King John and Henry VIII, but particularly the tetralogy focusing on the War of the Roses, has gained a cult-like following among ASC regulars, and there was definitely more of a buzz in the air last night at the opening than normal. There was a playoff like atmosphere in the crowd and everyone seemed to be a little more serious than normal. Likewise, the actors seemed to step their game up even more than normal. Not one "prithee" was called and I didn't notice any errors at all. The intensity level of the actors from the dress to opening was kicked up several notches. One could tell that the actors take this play (and series) very seriously and some were wearing their emotions on their sleeves.

Richard III is one of my favorite of Shakespeare's plays. While the action is not of the same level as that of 3H6, the language is stunningly beautiful, well beyond that found in the the H6 plays. I had a few quibbles with themes/characters being cut in this production, most notably the ghosts of Henry VI and Ned Plantagenet, but I understand why that was done for the play is very long and there just aren't enough actors to cover all of the parts.

Once again, Benjamin Curns takes on the role of Richard of Gloucester and he of course dominates the stage. Simply put, this is Curns' crowning achievement and you would be wise to see it more than once. This performance ranks right up there with his Iago and Mephistopheles (unfortunately I missed his Macbeth and Hamlet). His performance in the final act is amazingly intense. It's easy to see that Curns is a fan of this series of plays and he definitely has studied the role and the production history of the play. I was very moved as the play came to its conclusion, not only because of the emotional performance but because the series is drawing to a close. I know I will probably see it at least three more times, but it's just one of those things you know you will remember and miss for the rest of your life.

Rene Thornton, Jr. turns in a wonderful and powerful performance as Buckingham, at one point leading the crowd on with a rousing speech full of confidence, hope, and deceit. Sarah Fallon, for the fourth time, takes her bow as Margaret, a role she will always be remembered for. She lets loose with her customary intensity, but picks it up a notch for this one. You can definitely tell she cherishes finishing out the role to its conclusion. She also turns in an amusing performance as young King Edward V, complete with some over stuffing. I'm not exactly sure where the obese Edward V idea came from (his father was in his last years), but it's funny. Brandi Rhome is wonderful as Anne Warwick/Queen Anne and as the smart-aleck young Richard of York. She also displays her beautiful singing voice on "The Dog Days Are Over" to begin the play. I'm really glad she came back to the stage this season. John Harrell, the only person to have a role in every single on of the Histories series, returns as Edward IV and brings his wonderful facial expressions along for the ride in his turn as James Tyrrel, murderer of the Princes in the Tower. Allison Glenzer turns in a powerfully gut-wrenching performance as Queen Elizabeth and Miriam Donald is strong as the wise but scarred Queen Mother/Duchess of York. Aidan O'Reilly is magnificent in one of the play's most poignant scenes: the death of Clarence. Chris Johnston and O'Reilly are impressive as the Boar's henchmen, the Cat and the Rat: Catesby and Ratcliffe. Daniel Kennedy's Hastings is not to be missed and his costume is right out of the Ric Flair and the Four Horsemen catalog. And of course, I would be negligent if I didn't mention the brief but stirring performance of Greg Phelps as Richmond (even though I was hoping he'd somehow lose to Richard).

I am looking forward to seeing this production a few more times, but it's a bittersweet proposition knowing that once it's over that's it and that an important chapter in the history of the American Shakespeare Center will have turned as the War of the Roses comes to its conclusion.

Much Ado About Nothing- 2012 Actors' Renaissance Season Kicks Off

Chris Johnston in Henry VI, Part 3, 2011 .  Photo by Tommy Thompson.

Well, it's that time of year again: The Actors' Renaissance Season at the American Shakespeare Center. This is like the NFL Playoffs at the Blackfriars, where the best of the best actors are invited to participate. I attended two PWYW performances of William Shakespeare's Much Ado About Nothing this past Saturday. This is probably my wife's favorite play. I enjoy it, I think it's very funny. It has several moments of brilliance, and features a few unforgettable characters, but it's not in my top ten. While it's not my favorite Shakesperean comedy, this is a terrific production of the play, and features plenty of solid work from these all-star actors.

We saw a production of Much Ado during the 2009 Summer Season at the ASC featuring Rene Thornton, Jr. and Sarah Fallon in the roles of Benedick and Beatrice. This time, Benjamin Curns and Miriam Donald Burrows, neither of whom were in that production, take the lead roles and are fantastic. Miriam plays the most likable Beatrice I've yet seen on stage or screen, but she is sufficiently snarky and seems to always get the best of Curns' Benedick. Curns turns in his usual excellent leading man performance and unleashes plenty of physical comedy throughout, including sitting on my lap while I was on stage in the Gallant's Stools. Miriam also made sure to get in on the action of using me as a prop as I was featured as the fresh faced lack beard to whom she is not attracted. I even had a patron tell me that I play a great fool during the interlude! I wasn't sure whether to take it as a compliment or an insult.

Continuing with the foolery, John Harrell is magnificent as the confused Dogberry. His facial expressions, always his strong suit, are at their best, and his costume is brilliant; sporting a very convincing gut. The returning Aidan O'Reilly plays his sidekick Verges in a style reminiscent of Paul Lynde. O'Reilly plays the total opposite role from Verges as the bastard Don John, the evil brother of Greg Phelps' Prince Don Pedro. It's good to see O'Reilly back on the stage in Staunton. Also turning in a hilarious performance is ASC fan favorite Daniel Kennedy as Antonio/Balthazar. Kennedy has a couple of brilliant comedic spots that I'm not going to spoil, but you must see.

Chris Johnston turns in one of his best performances at the ASC in arguably his biggest role to date, as Claudio. I'm happy to see that Johnston has been given a prominent role and he does not disappoint. Johnston plays opposite the returning Brandi Rhome as Hero, daughter of Thornton's Leonato. I was also glad to see Brandi return as she always does a great job, especially in a role like this. Thornton, as always, delivers the goods as the honor driven Governor of Messina.

It was also great to see Jeremy West and Sarah Fallon back on stage at the Blackfriars. While their roles are minor in this play, they have some good roles coming up and just seeing them made me feel great about this ensemble.

Before the evening show, Jim Warren and the cast announced the 2012-13 artistic year and we will have plenty of great plays to look forward to! Following the show, Warren gave a lengthy and informative TalkBack on artistic direction at the ASC.

The music for this show was very good, especially showcasing the talents of O'Reilly and Johnston. Speaking of Johnston, he has a released a CD of original music titled Bromios. It is available at the Blackfriars Box Office and on iTunes.

I'd also like to give special attention to Shannon Schultz, Erin Doerty, Ellie Laliberte, Dane Leasure, and Symmonie Preston for keeping everything running smoothly at the Playhouse during these often wild and crazy PWYW shows. These folks are unsung heroes and are important for providing you with a smooth and easy play going experience, so next time you're at the Playhouse, give them a little applause as well.

The Winter's Tale

Eugene Douglas as Leontes inThe Winter's Tale. Photo by Michael Bailey.

I took in a matinee performance of The Winter's Tale by the Almost Blasphemy touring troupe this past weekend. I had tried to read the play earlier in the year, and have to admit, I only got about half way through it. After seeing this production, I think I'll pick it back up.

Eugene Douglas is amazing as the Sicilian King Leontes. He stalks this stage in a bravura performance, very reminiscent of James Keegan at his best. He mixes in all the right emotions to make his performance one of the more memorable of this artistic year. Also outstanding is Stephanie Holladay Earl as Hermione, Queen to Leontes; Jake Mahler as the hilarious cutpurse Autolycus, Ronald Peet as the shepherd (he plays a great old man), and Rick Blunt as his clownish son. Denice Mahler is fantastic playing both the son and daughter of Leontes and Hermione. Daniel Abraham Stevens plays her love interest, Florizel, and turns in a strong performance.

This play is interesting; it is intense during the first half, with many tough to watch scenes as Leontes destroys his family out of jealousy. The play seems to turn toward the comedic about the time of "Exit, pursued by a bear." There is a definite lighter feel to the performance following the musical interlude. Erin West's costumes are again outstanding and tell a tale of their own, particularly Hermione's bloody dress.

I'm looking forward to seeing this one again at Roanoke College in January and back on stage in Staunton.

Tis Pity She's a Whore

Patrick Earl as Giovanni in 'Tis Pity She's a Whore. Photo by Michael Bailey.

I attended a preview performance of the Almost Blasphemy troupe's 'Tis Pity She's a Whore at the American Shakespeare Center during the break between the Fall season and the Winter/Holiday season. I had read John Ford's brilliantly disturbing incestuous tragedy earlier in the year and was looking forward to the show with anticipation. I was not disappointed. If you are a fan of dark tragedy, then you will love this production.

I guess 'Tis Pity is similar to Romeo & Juliet, in a twisted way. Giovanni, played brilliantly by Patrick Earl, fresh from his return from University is hot to trot for his sister Annabella (the always excellent Denice Mahler), and seeks the advice of Friar Bonaventura (Kevin Hauver) to deal with his moral dilemma. Of course, the Friar advises against this evil, but Giovanni can't help himself and tries to reason with the Friar that his love for his sister is not wrong. Well, we also find out that the feeling is mutual with Annabella, who is being courted by a series of men including Soranzo (Jake Mahler), Grimaldi (Michael Amendola), and the dandy Bergetto (a typically entertaining Rick Blunt complete with a wonderfully geeky sidekick, Poggio, played by Stephanie Holladay Earl). Annabella is not interested in these men, and her tutor Putana, played brilliantly by Bridget Rue (nice costume) encourages her to pursue the relationship. They consumate their relationship and Annabella becomes pregnant. She later marries Soranzo at the urging of Friar Bonaventura following the murder of Bergetto by Grimaldi and after he discovers she is pregnant with her brother's child. Following this the play descends into a series of twists and brutalities that are too complex to detail here.

Other outstanding performances are turned in by Eugene Douglas as Vasques, a servant of Soranzo who has traces of Iago to him; Daniel Abraham Stevens as Florio, the father of Giovanni and Annabella, and Stephanie Holladay Earl as Hippolita. Again, Erin West deserves a big shout out for the costumes in this production.

This play is considered one of the most controversial in the history of the English language. After seeing it and reading it, I would agree. Basically, the feeling I was left with was one of shock. This is a must see production. One rarely gets to see something this shocking or controversial, particularly from a mainstream theatre company. If the tour is performing this anywhere near you, go see it and then check it out again when it returns to Staunton. It will blow you away.

The Tempest and Tamburlaine the Great at the ASC

I saw The Tempest at the American Shakespeare Center several times over the summer and fall seasons, but I never got around to actually reviewing it. The Tempest, as with many of Shakespeare's laters plays, is not my favorite. That said, I did enjoy the performances I saw. James Keegan was as brilliant as always in the role of Prospero. Keegan tends to dominate the stage at all times with his presence. Miriam Donald is wonderful as Prospero's child-like daughter Miranda, and she and Patrick Midgley's Ferdinand have terrific chemistry. Other great performances include Benjamin Curns' turn as Caliban, the half-man, half-fish creature; Chris Johnston as Stephano, and Allison Glenzer as Trinculo. Those three have the audience rolling several times. Curns, Johnston, and Rene Thornton, Jr. tear the house down as the spirits Juno, Ceres, and Iris. Erin West's costumes are fantastic for this production, really some of the best I've seen at the ASC. OK, so The Tempest wasn't my favorite ASC production of all time, but it was better every time I saw it and I can't think of a much better way to spend a couple of hours among friends.

Tamburlaine the Great, or the James Keegan Show, was something I had been looking forward to all season. I saw a preview of it early on but I missed the final scene because of a snoring boor in the audience. The play has some terrific language, but the plot is pretty sparse and the play is wholly dominated by the title character. There are a few moments for some of the other actors, particularly Blythe Coons as Zenocrate, Chris Johnston and Miriam Donald as Tamburlaine's minions Ucumcasane and Techelles, and Rene Thornton, Jr. as Bajazeth and Allison Glenzer as Zabina, but the play is pretty much a vehicle to show how great Tamburlaine actually is. You basically wait the whole play for Tamburlaine to get his comeuppance, but it never happens. Once again, Erin West's costumes are outstanding. I hope the ASC will consider a production of Tamburlaine part two.