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‘Pericles’ by Fiasco Theater a Joyful, Redemptive Must-See at CSC
Fiasco Theater’s Pericles presented by CSC is one of William Shakespeare’s works written in the twilight of his career that reveals a “hero” who the fates torment and play with until it is enough, and he receives his wish of a fulfilled life with family. The production directed by Ben Steinfeld is stylized and cleverly wrought, advancing storms, shipwrecks, kidnappings and more with the ingenuity and charm joyfully delivered with as little forced spectacle as possible, yet with an intriguing, bold and seamless minimal set and prop design. Currently at CSC until March 24, this is a must see which Fiasco has brought for us to appreciate.
Steinfeld is Gower, the troubadour whose tale this is. Through his music, lyrics and poetry he sets up the play and requires the audience to use their imagination to become involved with Pericles of Tyre’s harrowing and amazing adventures of a lifetime. Steinfeld’s Gower introduces every section and gives a summation of events essentially cluing in and reminding the audience to stay focused and attentive. He leads the cast in song initially and establishes the mood for each of the acts, making sure to recap the events in rhyme after the audience returns from the 10 minute intermission before Act 2.
There are four actors who portray Pericles and give their timber to each scene and adventure that Pericles experiences as he goes on a hero’s journey learning wisdom, perseverance, patience and fortitude, struggling to overcome whatever Fortune brings.
The first Pericles is Paco Tolson who journeys to the kingdom of Antioch where he must solve a riddle to marry King Antiochus’ (Noah Brody) beautiful daughter (Emily Young). If he doesn’t solve the riddle, he forfeits his life and hangs like the other suitors in the public square which the creative team and actors simplistically yet fearfully stage with staffs and boxes/crates. Hearing the riddle, Pericles shows his brilliance apart from all the suitors who have courted the king’s daughter and died. He understands King Antiochus’ treachery. The riddle infers the king’s incestuous relations with his daughter, who he will never give to a suitor.
Upon realizing this horrid circumstance, Pericles also realizes his own fate. Either way, if he reveals the riddle and exposes the king’s sin to public humiliation or doesn’t, he’s a dead man.
Making his excuses, Pericles ends up escaping Antiochus’ kingdom. He intuits the king will figure out why he left and come after him, so Pericles goes on a journey to Tarsus where King Cleon (Devin E. Haqq) and Dionyza (Titiana Wechsler) make their home and suffer through the dire misery of famine that has struck their lands. Knowing their plight, Pericles brings corn to Tarsus’ starving people and saves them from death. Forever grateful, King Cleon makes Pericles revered and celebrated in the land with friendship and goodness. However, we learn that kings are political and variable and circumstances change to sever the friendship.
For the moment in his life’s travels Pericles is unaware of the possibility of deceit and betrayal. Called back to his home in Tyre by the administrator he left in charge, Helicanus (Paul L Coffey), Pericles once more bares himself to Neptune’s wrath on the fickle Mediterranean where the god upends and destroys his ship. Fiasco Theater’s inventiveness of Pericles braving the storm’s fury (Mextly Couzin’s lighting design and the Fiasco’s production design), using a bolt of cloth to suggest the tempestuous waves, maintains the stylized, roughly-hewn playfulness of the production. The soft, shimmery cloth symbolizing the waves belies the irony of Pericles’ situation on the roiling sea.
Pericles loses everything but his life and is washed up on the shores of Pentapolis. There, he is at the mercy of the fishermen who find him and change his fortune with happy information. Pentapolis is ruled by the goodly King Simonedes, (the humorous Andy Grotelueschen), a pleasant reversal of the kings who have gone before.
Shakespeare contrasts the kingdoms and their kings: the first is a lecherous murderer, the second variable in deceit and this third king. The fun loving Simonedes is popular even to the lowly fishermen who tell Pericles that the king holds a tournament and feast for his daughter’s birthday. The celebration is so that Thaisa (Jessie Austrian) may find suitors among the knights who joust for her. When Pericles’ armor washes ashore, the fishermen encourage him to compete for the king’s daughter. Shakespeare makes it a key point that though he is a stranger (an migrant) in their midst, he receives their country’s hospitality and mirth.
Pericles wins the jousting matches, performed with the sames staves Fiasco used to suggest the suitors’s hanging in Antioch. It is an example of how the theater company employs the props efficiently and meaningfully to emphasize themes of power, leadership and control. Through their variable exchange we note the contrast between the kingdoms and their rulers’ leadership, either deceitfully tyrannical or happily beneficent.
After the tournament, King Simonedes invites all the knights for a feast. The wooden crates which have been used as a throne, to circumscribe walls, etc., are now used to effect a long feast table. And there, Pericles (Titiana Wechsler portrays Pericles in this segment) gains the king’s favor and the love of Thaisa.
For his pains and pleasure, the Simonedes playfully uses reverse psychology to have the couple declare their love to each other by pretending to forbid their union. Jokingly, he reveals his pleasure at their marriage which produces an heir. In the next scene we see that a pregnant Thaisa, and husband Pericles (Noah Brody in this version) go on an ocean voyage back to Tyre to check on his kingdom.
Again, there is a storm at sea and dire circumstances. Thaisa who dies in childbirth must be thrown overboard to steady the ballast or the ship will sink. Pericles prepares her coffin with spices and jewels with a note to whomever finds the coffin to bury his wife whom he greatly loves. The child who was born as Thaisa died Pericles names Marina. To redeem the time, Pericles leaves Marina with those who revere him in the land of Tarsus. King Cleon and Dionyza promise to care for Marina like she is their own, while he returns to rule Tyre.
The staging of the scene where Marina is given to King Cleon is simultaneously juxtaposed with the fate of Thaisa whose coffin washes ashore at Ephesus. The director makes excellent use of the space at CSC to clarify what happens. As Pericles hands over baby Marina to his friends, a woman with powers of healing (Tatiana Wechsler with hair down in flowing priestly robes) restores Thaisa back to life. So thankful is Thaisa that she becomes a devotee of Diana and officiates at her temple. Meanwhile, Pericles is heartbroken and grieves his dead wife but joys that his child is being raised well. As fate would have it, during the fifteen years Marina has been brought up with the daughter of Dionyza, things grow problematic.
Dionyza envies Marina’s beauty and talents and decides she must be murdered for the sake of her own daughter, so their child will shine if the glory of Marina is removed. Though Cleon opposes Dionyza’s evil act, he is powerless to stop her. But just as Marina is about to be killed, pirates kidnap her and thwart the murder. In the following sequences, Gower shifts the mood once more and the riotous humor of how Marina’s chastity is used to great effect proves comical in a brothel run by Bolt (Andy Grotelueschen) and Bawd (Jessie Austrian). There, Emily Young’s Marina turns away the lusty, hot clients who are horrified that she pushes her virginity onto them and attempts to make them Diana (the feminist of the time) devotees. Of course the irony is that Thasia, her mother, is back in Ephesus praying as a Diana devotee.
In the second act, Fiasco’s farcical skills shine and the atmosphere shifts from Fate’s woes to merriment at those lecherous males who should be ridiculed for their unseemliness. However, when it is least expected, Pericles, who returns to Tarsus to bring his daughter back to Tyre to rule with him, discovers through Cleon that Marina drowned. Indeed, King Cleon and his wife have betrayed Pericles’ goodness and there is no punishment for them as there was for King Antiochus who the gods burned up. It would seem that incest is the worst crime when it begets murder. Dionyza’s intention of murder the wicked pirates interrupted; it is an irony is that the pirates evil act is turned around for goodness. Dionyza’s envy and murderous intention the gods leave to her and Cleon’s consciences to seek redemption.
Inconsolable that she is gone, Pericles (an excellent David E. Haqq in the last, most emotional segment) will not speak and is dead in spirit. How events change magically to effect Pericles’ reunion with his wife and daughter is poignant and heart-rending, if not fanciful in hope. Interestingly, Shakespeare makes abundant use of the Deus ex Machina (the gods interrupt evil fate to save the hero) in Pericles. As Gower and the cast conclude the tale of Pericles, King of Tyre, we are uplifted by the grace of a happy ending, and the redemption offered to Marina, Pericles and Thaisa because of their goodness, devotion to the values of truth, generosity, decency and steadfastness.
The strengths of this production include the fine ensemble’s seamless acting which provides the coherence throughout, even though the character of Pericles has four actors which was initially confusing. The whimsical and at times farcical, lighthearted approach toward myth-making and storytelling through music, rhyme, dance and song are superbly balanced throughout. The stylization is the correct choice for a play that gyrates throughout voyage, disaster, and roller coaster storms that metaphorically parallel human joys and sorrows.
That the play has been spurned as silly and not worthy of being produced has been a misread of the depth of one of Shakespeare’s most trenchant latter plays. The life theme is an important one. For those who patiently endure, they gain wisdom in temperance and the power to face and overcome trials of their faith. The obstacles help one all the more appreciate and be grateful for a life that acknowledges human beings live on the brink of peril every moment of their lives. To be numb to that knowledge is to live a zombie death in life.
This is a must-see, for the music, songs, fantasy, laughter and fanciful, profound truth-telling.
Pericles. CSC, 136 E 13th St between Third and Fourth Avenues. Closes March 24th. https://www.classicstage.org/pericles/
‘Hamlet,’ Kenny Leon’s Dynamite Version, Free Shakespeare in the Park
There are more iterations of Hamlet presented globally in the last fifty years than are “dreamt of in your philosophy.” To that point director Kenny Leon’s version of Hamlet, currently at the Delacorte Theater in Central Park until August 6th, provides an intriguing update of the son for whom time is so “out of joint,” he is unable to seamlessly and speedily avenge his father’s murder. Leon’s version shapes a familial revenge tragedy. Once set on its course, dire events cannot be averted, for at the core is the initial corruption, “the primal eldest curse, a brother’s murder” that “smells to heaven.” From that there is no turning, until justice is served, the sooner the better.
In this 61st offering of Free Shakespeare in the Park, we immediately note the conceit of corruption and its ill effects to skew the right order of things, making them “out of joint,” off-kilter. This is an important theme of the play (expressed by Hamlet) and represented by Beowulf Boritt’s set, some of which is a wrecked-out remnant of his design from Leon’s pre-Covid production of Shakespeare’s comedy, Much Ado About Nothing.
That 2019 design sported a resplendent, brick, Georgian mansion that stylistically conveyed the wealth and rectitude of its Black, lordly owners rising up in a progressive South. Hope was represented by a “Stacy Abrams for President” campaign sign proudly displayed on the side of the building. A towering flagpole and American flag patriotically stood like a sentinel at the ready. Peace and order reigned.
It is not necessary to have seen Much Ado About Nothing to understand the ruination and disorder foreshadowed by Boritt’s Hamlet set which coherently synthesizes Leon’s themes for his modernized version. In one section a tilted smaller version of the former Georgian house appears to be sinking off its foundation. On stage left, an SUV is tilted off center, undrivable, in a ditch. The Stacy Abrams’ sign is torn and displaced on the ground like discarded trash. And the American flag with its long flagpole angled toward the ground signals distress and a “cry for help.”
The only ordered structure is the cutaway of a building center stage (used for projections), whose door the characters enter and exit from.
Boritt’s set design suggests “something is rotten” unstable and “out of joint” in this kingdom. Themes of devolution are foreshadowed. From unrectified corruption comes disorder which breeds chaos and dark energy, out of which destruction and death follow. And all of this springs from the unjust murder of the deceased in the coffin that is draped in an American flag and placed center stage. It is his life which is celebrated by the beautiful singing of praise hymns at his well-attended funeral in the prologue of Leon’s Hamlet. It is his life that is memorialized by the huge portrait of the kingly father in military dress which hangs watchful, presiding over events from its position on the back wall of the only part of the set that is not wrecked and disarrayed.
Cutting Act I scene i (soldiers stand on guard watchful of an attack from Norway), Leon opens with the elder Hamlet’s funeral. A Praise Team joined by a Wedding Singer, who we later recognize to be Ophelia (the golden-voiced Solea Pfeiffer), sing with beautiful harmony. Jason Michael Webb created the music and additional lyrics which set out the Godly tenets that all are importuned to follow or live by. To their downfall they don’t and this is manifested in tragedy.
Importantly, the first three songs are taken from the Bible. The first is from Ecclesiastes (“To everything there is a season). Then follow Matthew 5 (“To show the world your love, I’m goona let it shine”) and I John 5 (“When you go on that journey you go alone”). The last song that Ophelia sings is composed of lines from a love poem that Hamlet wrote for her.
The songs intimate the former moral rectitude and divine unctions found in the former Hamlet’s kingdom. Ironically, the memorial service represents the last peace that this kingdom will appreciate. As the set indicates, wrack and ruin have already begun. The scenes after the funeral represent declension and growing darkness. And after old Hamlet is buried, nothing good follows.
Numerous cuts (scenes, lines, characters) abound in Leon’s version. His iteration presents questions about the disastrous consequences of familial revenge which is different from Godly justice suggested by the songs. Importantly, Leon’s update (sans scene i) gets to the crux of the conflict with scene ii, the marriage celebration of Claudius (the terrific John Douglas Thompson and Gertrude (Lorraine Toussaint is every inch Thompson’s equal). We note their public affection for one another, which Hamlet later intimates is a lust-filled marriage in an “unseemly bed.” The partying has followed fast upon the old Hamlet’s burial, to the dismay and depression of his loyal son.
It is during the festivities when the sinister intent of the new king and duped mother Gertrude chide Hamlet (the fabulous Ato Blankson-Wood). They suggest he put off his mourning clothes, “unmanly grief” and depression for it is “unnatural.” Already, the cover-up has begun and Hamlet is the one individual Claudius must be circumspect about as the rightful heir to a throne which he usurped.
Gertrude importunes Hamlet to remain in the kingdom instead of returning to his studies in Wittenberg, and dutifully, he obeys, stuck with the daily reminder of his father’s death and mother’s “o’er hasty marriage.” This version emphasizes Claudius’ sincerity covering over his suspicion and fear of Hamlet. He is happy to keep him under his watchful eye. Throughout his magnificent portrayal, Thompson’s Claudius gradually reveals his underlying guilt and fear for his crimes of regicide and fratricide. We see his behavior grow more and more paranoid about Hamlet as the conflict between them grows and Hamlet unloads snide remarks on Claudius, Polonius and all those who are obedient to the usurper king as a provocation.
Leon’s version is a familial revenge tragedy which eliminates any reference to Norway or Prince Fortinbras seeking justice for his father’s death in battle with Denmark. Leon is unconcerned with Norway and Fortinbras. The conflict in his Hamlet is internal to Denmark, a divided kingdom like “an unweeded garden, rank and gross in nature.” Divided against itself, with brother vs. brother and son vs. uncle, and Gertrude the exploited, seduced pawn, Claudius’ guilt is a canker worm which gnaws at him. Likewise, gnawing at Hamlet after his father’s ghost’s visit, is the knowledge of what has to be done. But he maintains, “cursed spite, that ever I was born to set it right.”
All is covert and the truth is covered up. Polonius and Claudius spy on Hamlet to divine why he is “mad,” and Hamlet acts mad and rejects Ophelia’s love during the process of divining whether the ghost is telling the truth. Intrigue, chaos and darkness augment and have their way with the innocent and guilty. For Hamlet, the “time is out of joint.” An intellect, he is “blunted” (the ghost later says) from making the correct decisions or acting upon them in a timely fashion. The darkness that Claudius has set loose taints Hamlet and every principal character that must show obeisance to King Claudius’ illegal reign.
Key to the argument of choosing vengeance vs. justice is the enthralling scene when Hamlet meets his father’s ghost. Initially, the creative team (Jeff Sugg’s projections, Allen Lee Hughes’ lighting design, Justin Ellington’s sound design) present the father’s ghost on the back wall with projections on the portrait and the wall, accompanied by the ghost’s booming, shattering voice, which commands Hamlet’s obedience.
But at the description of the murder, the ghost possesses Hamlet. Blankson-Wood’s performance of the ghost consuming his soul is phenomenal and physical. He arches his back with the jolt of spirit possession and then rights his gyrating body as his father’s voice spews wildly from him, eyes rolled back, arms waving, the very picture of the demonic that Horatio (the fine Warner Miller) warned Hamlet might “tempt him to the flood.” At once frightening and mesmerizing, the possession enthralls us and changes Hamlet. It is a dynamic, successful scene showing the decline in the goodness from the initial praise songs to the devolution of the spirit’s will demanding vengeance. We are thunderstruck. Blankson-Wood’s authenticity frightfully convinces us of the spirit’s potential for evil misdirection into a vengeance which is not just and will bring devastation.
After the ghost leaves the vessel it inhabited and Hamlet swears Horatio and Marcellus (Lance Alexander Smith) to secrecy, Hamlet’s fate is sealed. He moves toward faith in the ghost, farther away from the light-filled unctions in the songs at his father’s funeral. Now, there is no “showing love” and “shining one’s light.” Intrigue and acting “mad” and conspiracy and cover-up overtake the mission of the kingdom. Hamlet toys with and ridicules Polonius (Daniel Pearce gives a humorous, organically funny portrayal) and does the same with Ophelia in a powerful scene, eschewing his love for her. Pfeiffer’s Ophelia shows her devastation and shock. His behavior is a complicating truth for everyone and it intensifies Hamlet’s conflict with Claudius.
Knowing Hamlet’s madness is not for Ophelia’s love, Claudius grows more paranoid and guilt laden. Clearly, when the actors make their presentation of the dumb show (Jason Michael Webb’s song “Cold World” is superb), and Hamlet presents ‘The Murder of Gonzago,’ he and Horatio see that Claudius’ guilty conscience is made manifest in ire and defensiveness. Though this scene is truncated, as is Hamlet’s description of how the actors should proclaim their speeches, no coherence is lost. Claudius runs away, his soul uncovered. Hamlet is convinced vengeance is the right course of action. But he has allowed himself to be misguided. Nothing good will come of following the ghost’s lead.
Leon truncates the minor speeches, retaining those that convey Hamlet’s angst at being stuck in the kingdom which is a prison. He can’t commit suicide (“To Be or Not to Be”) because his morality and fear of death forbids it. Stuck in Denmark, everyone is a potential enemy except Horatio. He uses coded speech with everyone especially Rosencrantz and Guildenstern, who Claudius/Gertrude have engaged to spy on him. Ato Blankson-Wood delivers the key soliloquies powerfully with insight as he makes the audience his empathetic confidante who understands his intellect has chained him to inaction. We are drawn into his plight, but become frustrated when his determination falters.
The paramount event where his intellect intrudes happens when Claudius is praying in the church (fine stylized staging). Coming upon Claudius, Hamlet rejects the opportunity to kill him because he thinks Claudius is confessing his sins and getting right with God. However, it is a missed opportunity which Hamlet squanders because Claudius’ prayers fail (“my words fly up, my thoughts remain below; words without thoughts never to heaven go.”). Claudius realizes to receive forgiveness he would have to give up the throne, Queen and his cover-up which he will never do.
Hamlet lacks proper discernment and moves from his bad decision to impulse. Not killing Claudius in the church, he rashly and mistakenly kills Polonius, assuming incorrectly that Claudius quickly ran up to Gertrude’s room. The stakes are raised for Claudius and Hamlet. Polonius’s death missing body incense Claudius who is overwrought with fear knowing his enemy Hamlet has put a target on his back.
Once more, the “time is out of joint,” and Hamlet defers vengeance and subjects himself to Claudius, finally revealing where Polonius’ body is. For Gertrude’s sake, Claudius sends Hamlet away with the orders for others to kill him in a plan that fatefully backfires.
Leon’s version has clarified the stakes for Claudius to escape accountability, manipulating Laertes (Nick Rehberger) from killing him by blaming Hamlet. Thompson conveys each of these cover-ups with precision. Also, clarified is Blankson-Wood’s angst and struggle confronting his father’s murderer. His use of irony as a weapon to prick Claudius’ conscience is superbly rendered as are his soliloquies whose philosophical constructs tie him in emotional knots. Hamlet, knowing that he is stuck in a morass with no way out, recognizes that like the other characters, he is on a collision course with destiny and ruination which is foreshadowed at the beginning with Boritt’s set.
Also, clarified in this version is Toussaint’s Gertrude who is in a state of ambivalence and guilt stirred by Hamlet’s antic behavior, which she suspects is his response to her marrying Claudius. When their confrontation occurs after Hamlet kills Polonius, she knows her relationship with Claudius must be thrown over, yet she hesitates and discusses Hamlet with Claudius ignoring Hamlet’s wise counsel. The doom she recognizes in Ophelia’s madness will only bring more sorrows, a trend which both Claudius and Gertrude comment upon. Toussaint’s description of Ophelia’s drowning is heartfelt and mournful.
The flow of events coheres because the through-line of Claudius and Gertrude in conflict with Hamlet is maintained with intensity. Stripping Norway from the action and leaving Fortinbras out of the conclusion is to the purpose of Leon’s emphasis of the familial tragedy. The contrast of the good son and man of action who achieves justice (Fortinbras) with Hamlet’s flawed son of inaction who is Fortune’s fool, exacerbating destruction via revenge gone wrong would have pleased Queen Elizabeth I. Contrasting the two Prince’s and showing the heroic one in Fortinbras is an encouragement of how royalty should rule. However, it doesn’t fit with the themes that Leon emphasizes, especially that a “house divided against itself cannot stand.”
Hamlet concludes with the slaughter of two families tainted by their association with a corrupted king, out from which there is no release except death. A final theme current for our time suggests that unless individuals stand against usurpers of power, the usurper and all who are his accomplices by not bringing him to justice will pay the forfeit of their lives and fortunes.
However, only Miller’s Horatio understands the full story of Hamlet and the striving between vengeance and justice. That vengeance brings disaster is why the ensemble finishes with the actors’ song that they sang when Hamlet first meets them. It is poignant and true and heartfelt when the spirit of Ophelia joins them and together they sing, “I could tell you a tale, God’s cry. It could make the God’s cry.”
Kudos to the ensemble and the creative team who carry Leon’s vision of Hamlet into triumph. These include those not already mentioned: Jessica Jahn’s colorful costume design, Earon Chew Nealey’s hair, wig and makeup design, Camille A. Brown’s choreography and Gabriel Bennett for Charcoalblue and Arielle Edwards for Delacorte’s sound system design.
For tickets to this unique Hamlet which has one intermission, go to their website https://publictheater.org/productions/season/2223/fsitp/hamlet/
‘Scotland, PA.’ a Smashing Musical Adaptation of the Titular Film-Spoof of ‘Macbeth’
The Company of Scotland, PA, directed by Lonny Price, book by Michael Mitnick, music & lyrics by Adam Gwon, adapted from the titular film by Billy Morrissette, based on William Shakespeare’s ‘Macbeth’ (Nina Goodheart)
Scotland, Pa directed by Lonny Price, with book by Michael Mitnick and music and lyrics by Adam Gwon is a rollicking musical with clever twists, sardonic comedy and a morality tale tucked somewhere in between the all beef patties, special sauce, lettuce, cheese, pickles, onions on three sumptuous brioche buns. Well, perhaps I got carried away with the bun concept. Adapted from the film of the same title by Billy Morrissette which was produced by Richard Shepard, Jon Stern and Abandon Pictures, Scotland, Pa the musical, currently running at Laura Pels Theatre Harold and Miriam Steinberg Center for Theatre is a take-off of William Shakespeare’s Macbeth. There are even three stoner witches whose marijuana-toking hallucinations serve as the powder-keg to turn sweet protagonist Mac into a reprobate rapscallion.
Like the film the musical loosely reconfigures the “Scottish Play’s” key characterizations, plot and themes against the backdrop of a sleepy town Scotland, Pennsylvania hamburger joint. Nothing ever happens there, and no one anticipates that in a decade outsourcing and Reganomics will destroy unions, winnow high paying factory jobs and attenuate American workers’ pay checks making the situation in Scotland, PA even worse.
(L to R): Kaleb Wells, Wonu Ogunfowora, Alysha Umphress, Ryan McCartan, Scotland, PA, adapted from the titular film written by Billy Morrissette, based loosely on William Shakespeare’s Macbeth (Nina Goodheart)
For in this backwater of Pennsylvania, the economy is already rust belt before outsourcing vanishes the nation’s industries. There is little opportunity for high school graduates except working at fast food hamburger joint Duncan’s owned by Duncan (a humorously overweening Jeb Brown). Duncan (unlike King Duncan in Shakespeare’s Macbeth) is a horrible boss, penurious, abusive and greedy. He shortchanges and mistreats his workers, just like the corporate CEOs today. That is about the most forward thinking thinking that Duncan accomplishes for his business where he is slothfully satisfied to dump on Mac (Ryan MCartan) Pat (Taylor Iman Jones) and their friend Banko (Jay Armstrong Johnson) and keep any and all profits for himself. A poor businessman, he will not reinvest or motivate his workers to help his business expand.
Mac who is electrified by the business angle of fast food restaurants presents amazing ideas to Duncan who rejects them out of hand deeming Mac’s ideas dumb. Humorously, the ideas are famously brilliant having been implemented in Ray Kroc’s McDonald’s years later. Duncan’s arrogant stomping out Mac’s intellectual smarts, ambition and concern to accelerate Duncan’s bottom line reveals the “CEO’s” vapid bone lazy idiocy.
Taylor Iman Jones, Ryan McCartan in ‘Scotland, PA,’ directed by Lonny Price, adapted from the titular film by Billy Morrissette, based on William Shakespeare’s ‘Macbeth,’ book by Michael Mitnick, music & lyrics by Adam Gwon, choreographed by Josh Rhodes, music direction by Vadim Feichtner (Nina Goodheart)
Beyond frustrated, Mac spurred on by ambitious Pat comes up with an incredible idea and presents it to Duncan who once again demeans and tortures Mac with insults. As a final “hurrah of hope” Mac proves that the manager is stealing, believing that Duncan will reward him with a raise and the managerial position. Instead, Duncan gives his uninterested son Malcolm (Will Meyers brings down the house in his song “reveal”) the manager’s position. Malcolm who would rather play football rejects his father’s offer and leaves when Duncan tries to teach him the business.
Throughout, hippie stoners Jessie (Alysha Umphress) Stacey (Wonu Ogunfowora) and Hector (Kaleb Wells) sing about the town and Mac’s situation and effect the wicked transition in Mac and Pat’s destiny toward doom. In an argument with Mac, Duncan ends up falling head first into the hot oil of the fryer, an incident which just skirts manslaughter. What prompted this? Duncan catches Mac and Pat stealing and their guilt prompts them to struggle against Duncan though his death is largely accidental. But crime begets crime: in the commission of their theft, Duncan dies, they pin Duncan’s death on someone else and use Duncan’s money to buy out Duncan’s from his son. As Mac and Pat step deeper and deeper into the evil foretold and instigated by the witches, the musical progresses toward more twists, an investigation and scramble to hide the truth in an ironic, black comedy conclusion which is also poignant.
Jay Armstrong Johnson in ‘Scotland, PA,’ directed by Lonny Price, adapted from the titular film by Billy Morrissette, based on William Shakespeare’s ‘Macbeth,’ book by Michael Mitnick, music & lyrics by Adam Gwon, choreographed by Josh Rhodes, music direction by Vadim Feichtner (Nina Goodheart)
The surprises are many and the jokes are uproarious. The musical numbers are well staged and equally riotous and energetic. As Mac, Ryan McCartan is not only an adorable innocent turned miscreant, his vocals are smashing and his authenticity is spot-on in a role that one could make ineffectively campy which would have been a mistake. McCartan shines and we find ourselves empathizing with him as he stands up to detective Peg McDuff (the suspicious, inquisitive Megan Lawrence) and deflects her investigatory skills. Likewise, Taylor Iman Jones portrays wife Pat with sincerity and her voice is gorgeous. How can he not be loyal to her dreams and wishes though they include malfeasance?
Driven to seek a better life upward from their poverty, Pat motivates Mac toward with conniving subtly. The witches’ provocations spin and contort so that benign dreams morph into the nefarious and damaging, first with stealing the cash in Duncan’s safe then with manslaughter, then a cover-up murder. The crime dominoes fall and Pat is always there to “screw Mac’s courage to the sticking place,” as they enjoyably couple to commit even more dastardly deeds.
How Mitnik and Gwon transform a well-meaning, average, lower middle class husband and wife into thieves and murderers is humorous with all the stops removed. On the one hand, Jeb Brown’s Duncan is so loathsome, we are not surprised at the comeuppance he gets. His mistreatment of his workers, abuse of his son and arrogant insults and rotten demeanor drain all our sympathy upon his death. However, the black comedy deepens when investigator Peg McDuff comes upon the scene. Fear of discovery and the need to cover-up become the linchpins that send the “well-meaning” capitalists Mac and Pat right into hell with betrayal, murder and suicide.
Taylor Iman Jones, Ryan McCartan in ‘Scotland, PA,’ directed by Lonny Price, adapted from the titular film by Billy Morrissette, based on William Shakespeare’s ‘Macbeth,’ book by Michael Mitnick, music & lyrics by Adam Gwon, choreographed by Josh Rhodes, music direction by Vadim Feichtner (Nina Goodheart)
As their friend and foil Banko, Jay Armstrong Johnson is flat out marvelous in the role of the lame-brained, stoned out hippie who can’t get out of his own way. And Armstrong can do more than carry a tune; he has a show stopper number to boot. As with the others in the ensemble, his vocal power is prime. The surprise in his characterization occurs when he reveals he is more sentient than we imagine and actually is a threat to his two friends in blowing apart their alibi.
The arc of development moves toward a swift conclusion and the “bedazzled by wickedness” Mac fulfills the prophecy of the witches, despite himself. We are left with the themes: “the love of money is the root of evil,” “crime begets cover-up and more crime,” “overweening, unrestrained ambition destroys.” Each are their own moral lessons. At least in this bucolic town, ethics still abide and “crime doesn’t pay,” after all. Of course that is because Peg McDuff believes in serving justice, not serving herself or any corrupt cronies, unlike our present times. In this the play’s small town folkways and ethics are charming reminders of the past. Oh how long ago and far away this America was!
The Company of ‘Scotland, PA,’ directed by Lonny Price, book by Michael Mitnick, music & lyrics by Adam Gwon, adapted from the titular film by Billy Morrissette, based on William Shakespeare’s ‘Macbeth’ (Nina Goodheart)
Scotland, PA remains a lovable, smash hit worthy of seeing a few times for its sardonic humor and the ensembles’ masterful delivery of clever humor and pacing to full effect. The songs are not earth-shattering in meaning, but they are tuneful and effervescent. Everyone in the cast from the three stoner witches to Peg McDuff are focused. Their portrayals have been well shepherded by Lonny Price’s incisive, thoughtful direction.
Set design elements thanks to Anna Louizos are funny in the transformation between the Duncan’s of Act I to the spoofing of the real Ray Kroc and McDonald’s in Act II. From the thunderous lightning cracks to additional lighting elements created by Jeanette Oi-Suk Yew and accompanying sound design elements by Jon Weston, Scotland, PA’s tenor, mood and irony shift and change providing a fabulous medium to stir the actors to hit their marks! Likewise, costume design by Tracy Christensen and hair, wig & make-up design by J. Jared Janas combine elements of the modern and throwbacks to the 1970s. I loved the look of the witches. And the restaurant outfits in Act 2 are a hoot!
Music Direction by Vadim Feichtner, orchestrations by Frank Galgano & Matt Castle and choreography by Josh Rhodes help to make this a great entertainment. Bravo once and bravo twice for good measure to the creative team, Lonny Price and the ensemble of Scotland, PA.
The production runs with one intermission until 8th December at Roundabout, Laura Pels Theatre Harold and Miriam Steinberg Center for Theatre (111 West 46th St). For tickets and times CLICK HERE.
‘Much Ado About Nothing,’ Directed by Kenny Leon, Powerful Messages for an America in Crisis
The ensemble in William Shakespeare’s Much Ado About Nothing, directed by Kenny Leon, Shakespeare in the Park, Public Theater (Joan Marcus)
From Emilio Sosa’s vibrant costumes to Beowulf Boritt’s impeccable set design (a landscape of roses, luscious, ripe-for-the-plucking peaches on the Georgia peach tree, the luxuriant front lawn, the Georgian-styled, two-story mansion-representative of an orderly, harmonious, idyllic world), this update of Much Ado About Nothing resonates as an abiding Shakespearean classic. Director Kenny Leon’s vision for the comedy with threads of tragedy evokes a one-of-a-kind production with currency and moment. This is especially so as we challenge the noxious onslaught of Trumpism’s war on democratic principles, our constitution and the rule of law.
Directed with a studied reverence for eternal verities, Leon, with the help of his talented ensemble, carves out valuable takeaways. They focus on key elements that gem-like, reflect beauty and truth in Shakespeare’s characterizations, conflicts and themes. By the conclusion of the profound, spectacular evening of delight, of sorrow, and of laughter, we are uplifted. As we walk out into a shadowy Central Park, our minds and hearts have been inspired to shutter fear and cloak our souls against siren calls that would lure us from reason into irrational insentience and hatred.
Grantham Coleman (foreground) Hubert Point-Du Jour, ensemble, William Shakespeare’s Much Ado About Nothing, directed by Kenny Leon, Shakespeare in the Park, Public Theater (Joan Marcus)
Kenny Leon has chosen for his setting a wealthy black neighborhood of Atlanta, Georgia, whose Lord of the realm, Leonato (Chuck Cooper’s prodigious, comedic and stentorian acting talents are on full display), shows his political persuasion with prominent signs on the front and side of his house that read, “Stacey Abrams 2020.” The impressive “Georgian-style” mansion which could be out of East Egg, the upper class setting of The Great Gatsby by F. Scott Fitzgerald, is ironic with the addition of its advocating support for Abrams.
With this particular set piece, we note Leon’s comment on black progress toward a sustained economic prosperity amidst a backdrop of oppression, if one considers the chicanery that happened during Abrams’ run for the 2018 gubernatorial election. It also is reminiscent of the house of the racist, misogynistic villain of Gatsby, the arrogant, presumptuous Tom Buchannan and other such elites (i.e. wealthy conservatives), who give no thought to destroying “people and things” of the underclasses with their policies. Yet Lord Leonato and his friends and relatives are not turned away from justice and empathy for others. This, the director highlights through this Shakespearean update, whose characters seek justice and truth and encourage each other to abide in kindness, love and forgiveness.
(L to R): Margaret Odette, Tiffany Denise Hobbs, OLivia Washington, Danielle Brooks William Shakespeare’s Much Ado About Nothing, directed by Kenny Leon, Shakespeare in the Park, Public Theater (Joan Marcus)
Leon approaches his vision of justice through love by weaving in songs and music. At the outset Leon incorporates such music with a refrain sung by Beatrice (the inimitable Danielle Brooks):
“Mother, mother, there’s too many of you crying, brother, brother, brother, there’s far too many of you dying. You know we’ve got to find a way to bring some lovin’ here today.”
As Beatrice finishes the refrain by asking “What’s happening?” her ensemble of friends which include Hero (Margaret Odette), Margaret (Olivia Washington), and Ursula (Tiffany Denise Hobbs), sing the patriotic ballad “America the Beautiful” as a prayer and inspiration for the country to follow its ideals of “brotherhood from sea to shining sea.” This is not a war-like unction, it a solicitation for peace and goodness. Clearly, the women importune God to “shed His grace” on America. One infers their feeling as an imperative for political and social change hoped for, in a true democracy which can guarantee economic equality and justice.
The arrangement of “America the Beautiful” is lyrical and soulfully harmonious. As the women sing this anointed version they transform the text from hackneyed cliche, long abandoned by politicos and wealthy Federalist Society adherents, and uplift it with profound meaning. They encourage us toward authentically pursuing justice, brotherhood and unity in love and grace, elements which are sorely tried during the central focus of Much Ado About Nothing, during Hero’s unjust slander and infamy until she receives vindication.
(L to R): Chuck Cooper, Erik Laray Harvey in Much Ado About Nothing, by William Shakespeare, directed by Kenny Leon, Shakespeare in the Park, The Delacorte Theater, Public Theater (Joan Marcus)
After the women finish singing, the men march in from the wars. Instead of arms, they carry protest signs decrying hate, uplifting love, proclaiming the right of democracy. Instead of a warlike manner they are calm. The theme of justice and the imperative for political and social brotherhood prayed for in the previous song is reaffirmed as we understand what the “soldiers” are fighting for. In Leon’s genius it is a spiritual warfare, a battle for the soul of American democracy. Leonato appreciates their endeavors and invites them to stay with him for one month to be refreshed and gain strength before they go back out for another skirmish against the forces of darkness.
The music and songs composed by Jason Michael Webb strategically unfold throughout the development of the primary love story between Leonato’s daughter, Hero (the superb Margaret Odette) and family friend Claudio (the excellent Jeremie Harris). And they follow to the conclusion with the funeral and redemption of Hero and her final marriage and dual wedding celebrations with the parallel love story between Beatrice and Benedick. The songs not only illustrate and solidify the themes of love, forgiveness, and the seasons of life, “a time for joy, a time for sorrow,” they unify the friends and family with hope and happiness through dancing and merriment. The melding of the music organically in the various scenes throughout the production is evocative, seamless and just grand.
(L to R): Margaret Odette, Jeremie Harris, Billy Eugene Jones, Chuck Cooper in William Shakespeare’s ‘Much Ado About Nothing,’ directed by Kenny Leon, Shakespeare in the Park (Joan Marcus)
After the men arrive from their protest, the director cleverly switches gears and the tone moves to one of playful humor and exuberance. With expert comic timing, Brooks’ Beatrice wags about Benedick in a war of sage wits and words. Coleman’s Benedick quips back to her with equal ferocity that belies both potentially have romantic feelings but must circle each other like well-matched competitors enjoying their “war” games as sport. They offer up the perfect foils to a plot their friends later devise using rumor to get Beatrice and Benedick to fall in love with each other in a twisted mix up that is hysterical in its revelations of human pride and ego.
The relationship between Beatrice (the marvelous Danielle Brooks) and Benedick (Grantham Coleman is her equally marvelous suitor and sparring partner) is portrayed with brilliance. The couple serves their delicious comedic fare with great good will and extraordinary fun. Their portrayals provide ballast and drive much of the forward action in the delightful plot events. Danielle Brooks gives a wondrously funny, soulfully witty portrayal. As Benedick, Grantham Coleman is Brooks’ partner in spontaneity, LOL humor, inventiveness and shimmering acuity.
(L to R): Danielle Brooks, Olivia Washington, Erik Laray Harvey, Chuck Cooper, Tiffany Denise Hobbs, Margaret Odette, William Shakespeare’s ‘Much Ado About Nothing,’ directed by Kenny Leon, Shakespeare in the Park, Public Theater (Joan Marcus)
Various interludes in Act I are also a time for male banter about the ladies Hero and Beatrice and the love match with Hero that friend of the family Don Pedro (Billy Eugene Jones) effects for his friend Claudio (Jeremie Harris). The scene between Benedick, Claudio and Don Pedro is superbly wrought with Benedick’s insistence he will remain a bachelor. The audience knows he “doth protest too much” for himself and for Claudio. The pacing of their taunts and jests is expertly rendered. The three actors draw out every bit of humor in Shakespeare’s characterizations.
Into this beauteous garden of delight, exuberance and order creeps the snake Don John (Hubert Point-Du Jour), brother of Don Pedro, and his confidante and friend Conrade (Khiry Walker). Though they support the fight for democracy, Don John is engaged in sub rosa familial warfare. We move from the macrocosm to the microcosm of the human heart which can be a place of extreme wickedness as it is with Don John who quarreled with his brother Don Pedro, his elder and does not forgive him. Don Pedro extended forgiveness and grace to Don John, which Don John feels forced to accept though he is not happy about it. Indeed, he is filled with rancor and seeks revenge, to abuse his brother and anyone near him, if the opportunity presents itself which it does.
(L to R): Danielle Brooks, Grantham Coleman in William Shakespeare’s ‘Much Ado About Nothing,’ directed by Kenny Leon, Shakespeare in the Park (Joan Marcus)
The conversation between Conrade and Don John is intriguing for what Shakespeare’s characterizations reveal about the human condition, forgiveness and remorse. Indeed, Don John is reprobate. Whether out of jealousy or the thought that he has done no wrong, he feels bullied to accept his brother’s public forgiveness. The theme “grace bestowed is not grace received unless there is true remorse,” is an important message highlighted by this production through the character of evil Don John who eschews grace. Indeed, extending grace and forgiveness to such individuals is a waste of time. No wonder Don John would rather “be a canker in a hedge than a rose in his grace.”
Trusting Conrade, Don John admits he is a plain-dealing villain. When he learns of Claudio’s marriage, he plots revenge on Don Pedro by attacking his best friend and smearing Hero’s integrity and fidelity to Claudio. The jealous Claudio is skeptical, but later “proof” during a duplicitous arrangement with an unwitting Margaret, Claudio becomes convinced that Hero is an unfaithful, unchaste philistine.
Lateefah Holder (center) and ensemble in William Shakespeare’s ‘Much Ado About Nothing,’ directed by Kenny Leon, Shakespeare in the Park (Joan Marcus)
Claudio’s jealous behavior and immaturity believing Don John turns goodness into another wickedness as evil begets evil. As they stand at the alter Claudio excoriates Hero as an unfit whore to the entire wedding party. Hero, injured unjustly by Don John’s wicked lie and Claudio’s extreme cruelty, collapses. In a classic historical repetition, once again misogyny raises its ugly head and condemns the innocent Hero destroying her once good name. Benedick, the uncanny Friar and Leonato stand with Hero. This key turning point in the production is wrought with great clarity by the actors so that the injustice is believable and it is shocking as injustice always is.
Thankfully, The Friar’s (a fine Tyrone Mitchell Henderson) suggestion to return Hero to grace and redemption in Claudio’s eyes by proclaiming her death to bring her again to a new life is effected with power. Finally, we appreciate a cleric who bestows love not condemnation or a rush to judgment! The emotional tenor of the scene is in perfect balance. Odette and Harris are heartfelt as is Cooper’s Leonato. The scene works in shifting the comedy to tragedy and of uplifting lies believed in as facts with wickedness overcoming love and light. Once again we are reminded that Shakespeare’s greatness is in his timelessness; that if allowed the opportunity for vengeance and evil, humanity will corruptly, wickedly use lies cast as facts to dupe and deceive the gullible, in this case Claudio.
(L to R): Grantham Coleman, Jeremie Harris, Margaret Odette, Danielle Brooks (center) ensemble, in William Shakespeare’s ‘Much Ado About Nothing,’ directed by Kenny Leon, Shakespeare in the Park (Joan Marcus)
I absolutely adore how the truth comes to light, through the lower classes represented by Dogberry (a hysterical Lateefah Holder) and her assistants who are witnesses to Don John’s accomplices to nefariousness. I also appreciate that all the villains in the work admit their wrongdoing; it is a marvel which doesn’t always occur the higher the ladder of power and ambition one ascends. But this is a comedy with tragic elements, thus, evil is turned to the light and Beatrice and Benedick the principle conveyors of humor are lightening strokes of genius which soothe us to patience until justice arrives right on time.
I also was thrilled to see that the remorseful, apologetic Claudio willingly accepts Hero’s recompense (Leon has Hero dog him in the face) as she unleashes her rage at his unjust treatment. These scenes of redemption and reconciliation ring with authenticity: Cooper, Odette and Harris shine.
The celebrations, masked dance, marriage between Hero and Claudio, Hero’s funeral and the final marriages are staged with exceptional interest and flow; they reveal that each in the ensemble is a key player in the action. The choreography by Camille A. Brown and the fight direction by Thomas Schall are standouts. Kudos also goes to those in the creative team not previously mentioned. Peter Kaczorowski’s gorgeous lighting design conveys romance and subtly of focus during the side scenes; Jessica Paz’s sound design is right on (I heard every word) and Mia Neal for the beautiful wigs, hair and makeup design receives my praise.
Leon’s Much Ado About Nothing is one for the ages. It leaves us with the men doing warfare for the soul of democracy leaving Leonato’s ordered world of right vs. wrong where the right prevails. Once again soldiers fight the good fight and go out to resist and stand against the world of “alternate facts” where chaos, anarchy, and the overthrown rule of law abide (at this point) with impunity. Leon counsels hope and humor; progress does happen, if slowly.
This production’s greatness is in how the director and cast extract immutable themes. These serve as a beacon to guide us through times that “try our souls,” and they encourage us to persist despite the dark impulses of money-driven power dynamics and fascist hegemony that would keep us enthralled.
I saw Much Ado About Nothing in a near downpour then fitful stop and start to continual light rain during which no one in the audience left. Despite this the actors were anointed, phenomenal! I would love to see this work again. I do hope it is recorded somewhere. It’s just wow. The show runs until June 23rd. You may luck out with tickets at their lottery. Go to their website by CLICKING HERE.
‘King Lear’ Starring Glenda Jackson, a Royal Performance at the Cort Theatre
John Douglas Thompson and Glenda Jackson in ‘King Lear,’ directed by Sam Gold (Brigitte Lacombe)
William Shakespeare’s King Lear directed by Sam Gold is a must-see for its principal performances and its particular, stylized artistic design (scenic, sound, costume) which cleverly emphasizes the themes, symbolism and metaphors of the play. Above all, you should not miss Glenda Jackson who is a gobsmacking dynamo as the king who throws off the shackles of corruption and confronts his mortality to gain the wisdom of foolishness.
Jackson fits the titular role like it is made of her own flesh. This is a “once upon a lifetime” production that is astute, profound, if sometimes opaquely realized with regard to integrating Philip Glass’ music. Nevertheless, the director’s vision and design suggests overarching themes about appearance vs. reality, lies vs. truth, duplicity vs. authenticity, wisdom in madness and madness in wisdom.
Throughout, Jackson is a magnificent, who always rises to perform with sentience and power. Her Tony award winning portrayals in Edward Albee’s Three Tall Women last year were unforgettable. Likewise, her performance in King Lear follows with equal ferocity and fervor.
Pedro Pascal, Jayne Houdyshell in ‘King Lear,’ directed by Sam Gold (Brigitte Lacombe)
Shakespeare’s characterization of the foolish king is among the most searing, poignant and challenging of roles. Only someone with the breadth, knowledge, sensitivity and prodigious talent like Ms. Jackson’s should attempt it. And that is why, from a woman’s perspective, her performance of this man who is a king and a fool is almost counterintuitive. It is no ready coincidence that Jackson’s Lear exemplifies a startling emotional grist that moves the king’s ethos from corruption to madness to wisdom with breathtaking logic and moment-to-moment life.
In her every action, every breath and movement, every grimace and expression of inner torment and fury, we search out Lear’s evolving humanity as we feel his pain and empathize with him. Shakespeare’s characterization of Lear engineers the development of the play.
(L to R): Ruth Wilson, Glenda Jackson, John Douglas Thompson in ‘King Lear’ (Brigitte Lacombe)
It is Lear who creates the self-destructive vortex and whirls violently in it during the arc of his soul journey, buffeted by its abuse, yet buoyed up by a stalwart inner core of moral outrage and self-righteous fury. It is the recognition of his own corrupted judgment and the expose of his daughters’ wickedness that keeps him from drowning in complete madness. He is kept from this abyss by the Earl of Kent (the exquisite john Douglas Thompson) his Fool (Ruth Wilson in a humorous turn) the supportive Earl of Gloucester (the poignant and superb Jayne Houdyshell) and Gloucester’s son Edgar (Sean Carvajal) in a beautifully rendered performance) who becomes like the Biblical lunatic to escape the wrath of the court.
Sean Carvajal in ‘King Lear,’ directed by Sam Gold (Brigitte Lacombe)
After Lear spurns his third daughter Cordelia (Ruth Wilson) his daughter Goneril (the excellent Elizabeth Marvel) and daughter Regan (the equally fine Aisling O’Sullivan) presumptuously usurp his authority. They command that he heel to their authority, despite his generous bestowal of wealth and lands upon them. Rather than accept his retinue that follows him to his daughters’ castles, they provoke their father’s wrath to pursue their own agendas.
Maintaining his nobility and identity, Jackson’s Lear refuses to “live” under their terms. Homeless, he braves the stormy abyss of his own soul damnation reflected in the harsh elements with the help of his Fool and the Earl of Kent, disguised as a servant. Ruth Wilson’s Fool comforts Lear, chides him and peppers his rages at Goneril’s and Regan’s ignominous treatment with humorous jibes and quips which strip Lear of his courtly pretensions. Indeed, the Fool guides him toward humility and brings this lofty king into an endearment with his own “base” but noble humanity.
Pedro Pascal, Jayne Houdyshell in ‘King Lear’ (Brigitte Lacombe)
Gold’s version of Lear stylizes the trope that Cordelia and the Fool are similar by having Wilson expertly play both parts. If this is, in Lear’s mind, an unconscious projection of remorse, self-flagellation and wish fulfillment to forgive his loving Cordelia and keep her near, the doubling of roles is sensible. Certainly, Cordelia is the only daughter who loves him. Thus, it is appropriate that Cordelia-the Fool leads the foolish old man into wisdom to help perfect his soul and expurgate the corruptions he has internalized, surrounded by treacherous courtiers and family in a lifestyle that has caved in his better person.
During Lear’s journey into the dark storms of mental uncertainty deranged by a gilded, false life in the gaudy kingdom that he must leave behind (mentally) to grow, he stumbles upon his real self. Centered in truths he never experienced before in his court, Lear strives to maintain his autonomy and identity. He eventually comes to realize what is important in his life-his humanity/mortality/liability to err in judgment which he is able to forgive as he presents himself as “a foolish old man.”
(L to R): John Douglas Thompson, Russell Harvard, Michael Arden, in ‘King Lear’ (Brigitte Lacombe)
Gold’s decision (Miriam Bljether’s Senic Design) to regale the court in pretentious splendor hints at a surface gloss and artificiality/artfulness that distracts from confronting the underlying wickedness and greed in Lear’s court and kingdom. They are “dressing to impress” to cover up the incompetence, nihilism and emptiness within themselves. All that glitters is fool’s gold; it lacks value and worth in an inherently weak kingdom whose underlying principles (if there are any) do not guard against self-destruction and annihilation. Thus, in the stylization the director reveals the seeds of corruption and foreshadows the devolution of the kingdom that will follow hard and fast.
In this setting of “fool’s gold” we meet the commanding Lear and his three daughters at a celebration during which the string quartet stuffed into a corner plays the gorgeous music (original music by Philip Glass) which the courtiers and family neither acknowledge nor appreciate but treat as background noise to be ignored as they raise their voices over it. The family’s general lack of appreciation for their lavish lifestyle and their dismissal of the importance of the depth of their royal duties is reflected in their reaction to all the court accoutrements including a most civil tea service later in the play, held at an incongruent and ridiculous time and place. They are the arrogant, the privileged. Only Cordelia differs.
Thus, when Cordelia reminds the court of her loyalty to her father invested in her role as his daughter, we take this to heart. Do the others, after receiving their inheritance realize the obligations their father’s gift entails?
Elizabeth Marvel in ‘King Lear’ (Brigitte Lacombe)
Hardly. Regan and Goneril from the outset are principally concerned with “getting all they can” through false pretense. They could care less about the rights and duties invested in their father’s gift of an early inheritance. It is no small wonder that Goneril and Regan rail about Lear’s visits with his soldiers. They want the inheritance with no strings attached, wishing to be free of their father forever. Rather than pay homage and give extended hospitality to a vibrant, authoritative king, they take advantage of his public punishment of Cordelia and suggest that he is off balance. It follows that they will provoke his wrath and become his enemies, so that their unconscious desire that he dies sooner rather than later becomes a reality.
An overarching metaphor the director emphasizes throughout the play, is the irony of incongruence-in the court’s lack of probity and unseemly excessiveness. Incongruence is everywhere represented by the “out-of-place” music at the celebration and elsewhere, music which never quite melds throughout the arc of the play’s development. The “over-the-top,” ostentatious, meretricious faux “gold” walls and the formal outfits (Ann Roth-Costume Design) exchanged for less formal ones as the kingdom devolves and the characters’ wicked selves are exposed, also appear incongruous as they are presented. So do the huge ceramic dog and lion.
Russell Harvard, Aisling O’Sullivan in ‘King Lear’ (Brigitte Lacombe)
The gilt walls are present throughout the play with a similarly hued curtain that characters stand before during various scenes (a further emphasis of the themes of incongruity and fool’s gold or an idea that Shakespeare often uses that appears in The Merchant of Venice: “all that glitters is not gold”). The “fool’s gold” walls and audience curtain are the ironic, anomalous backdrop against which the characters are measured and either found wanting in that they exemplify the trope or are antithetical to it.
These artistic elements reflect the malfeasant influence his daughters and husbands have over Lear, an influence which is shaken out of him on his stormy journey coming to the end of himself.
(L to R): Jayne Houdyshell, Glenda Jackson in ‘King Lear,’ directed by Sam Gold (Brigitte Lacombe)
As the daughters and their husbands abuse the kingdom for their own nefarious ends all becomes rubble, wrecked by the familial divisions and war. The walls are the only remnants of the former “glory” of the court perhaps suggesting a universal concept. This kingdom is finished, but the spirit of duplicity (faux gold) of leaders’ pretense which they use to control their minions is present in every age. Eventually, by the conclusion the back gold wall takes on a different hue changed by shifts in lighting. Interpret this as you will, the hue doesn’t gleam, but suggests small points of light (starlight?) amidst characters comments (i.e. Kent: ‘The stars above us govern our condition”).
In the fateful universe of Shakespeare’s play, the arrogant, self-centered human beings are thwarted in the pursuit of their own wicked desires which are founded upon worthless principles (“fool’s gold”) and lies. This development is evident in the characterizations of Goneril, Edmund, Regan, the Duke of Cornwall. The other characters (Edgar, the Duke of Albany) who do not follow their lust for power rise to triumph. As object lessons, Cordelia, Kent, Gloucester, Lear are caught up in the hazard, subjects of poignant tragedy.
Glenda Jackson in ‘King Lear,’ directed by Sam Gold (Brigitte Lacombe)
And it all begins in the “golden” court, when Lear pronounces his inheritance to his inherently wicked daughters enticing them to flatter him in a misaligned quid pro quo as if to prove his greatness and their fealty to him. Goneril and Regan oblige him; Cordelia does not. In that fell act, treason and wickedness are exposed. The wrong daughters receive the bulk of the inheritance, the right daughter is disinherited. The world is in chaos, turned upside down as duplicity usurps love and order.
Lear makes a public show of Cordelia’s punishment sealing his misaligned judgment which the others see may be further abused. Indeed, Lear’s malignity is revealed in a court which embraces and exploits it. And this evil sets in motion the parallel plot with the Earl of Gloucester and his treacherous, conniving son Edmund (the wonderful, insidious Pedro Pascal) who usurps brother Edgar’s inheritance and place in his father’s affections and legal authority.
Glenda Jackson in ‘King Lear,’ directed by Sam Gold (Brigitte Lacombe)
In this secondary plot the illegitimate Edmund, who despises the goodness of his father, lies on his brother Edgar who is forced to escape with his life and go into hiding disguised as the madman beggar “poor Tom.” It is only when Lear, Kent and the Fool meet up with Edgar and take shelter in a hovel does Lear begin to understand his condition in light of poor Tom who is much worse off. In this beggar lunatic, he sees his true ethos without the vanities of the world and his court.
Lear journeys through his “madness” gaining wisdom and gradually throws off the misaligned corruptions of the “courtly mind,” represented by the “fool’s gold” set design. Lear becomes the humble, kingly fool. These scenes among Lear, the Fool, Kent and Edgar are particularly wonderful. The scenes between Carvajal’s Edgar and Houdyshell’s Earl of Gloucester when the blind Earl seeks his death are magnificently rendered by Houdyshell and Carvajal and incredibly touching and poignant.
Ruth Wilson in ‘King Lear,’ directed by Sam Gold (Brigitte Lacomb)
Thus, the deeper evils of this court once hidden in the hearts of Goneril and Regan and her husband and Edmund, feed on themselves and grow as the villains wreck everything to gain the advantage, an advantage which is never sustained with the good sense and order to keep it. The director correctly has the nihilistic Goneril, Regan, The Duke of Cornwall and Edmund contribute to demolishing all order in the kingdom symbolized by the ripped up set interiors as the court is rocked from within and without by war. Considering that they annihilate their inheritance and the goodness of Lear’s gift to them, portraying their father as their enemy, that evil which was hidden by glamour and civility explodes full bore by the play’s conclusion.
Goneril’s mocking lasciviousness expresses her unrestrained wildness “going over to the dark side.” Marvel’s development of characterization is superb. Likewise O’Sullivan’s Regan as the raging, screaming shrew (evolving from the sweeter sister at the outset) appears even more “off the beam” crazy than her father, Lear. And so does her husband the Duke of Cornwall (Russell Harvard’s signing is emotionally powerful) whose rage is at times inarticulate and can only be expressed with frantic signing and frustrated slamming.
By the end, the court reaches its true level of craven wantonness. The debased Goneril and Edmund have sordid sex on the floor reveling in the chaos and rubble. Regan and Edmund plot against Goneril in the disordered wreckage which no one bothers to clear out. Cornwall is stabbed as the actors pick their way around the debris of the once “glorious” court, followed by Regan’s poisoning by Goneril for Edmund’s love. The director again reinforces the theme that wicked amorality has no tenability nor the substance to sustain order. As those who deserve to rule, Edgar and the Duke of Albany (Dion Johnstone) prove themselves wise and just in restoring a kingdom ruined by greed, lies, usurpation, corruption and treachery.
Glenda Jackson in ‘King Lear’ (Brigitte Lacombe)
In his humbled, state after the madness of wisdom shines a truth he has learned, Lear states a key theme about his royal court: “robes and furr’d gowns hide all.” In another quote he states: “plate sin with gold, and the strong lance of justice hurtless breaks.” To “plate” sin with gold (as he had allowed) makes justice weak and breaks it.
By the end Lear gains the revelations of foolish wisdom for he has humbled himself with self-recriminations of his pride at discounting Cordelia’s goodness. We are uplifted by his reconciliation with Cordelia. We rejoice with him as she forgives him, and sorrow with him at her death which he follows with his own. In all of these emotional modulations of this iconic human being that is the recovered foolish king, Ms. Jackson just wipes out the audience.
Ms. Jackson accomplishes this because from the first scene to the last she assumes the mantle of the salty, unhoused, unbridled, tragic Lear and never strays in her focus and determination. As Ms. Jackson’s Lear comes to the end of himself, he manifests the truth that he is, as all men (and women) are great and small, a fool. In this human portrayal, we recognize we too are the kingly fools of our own universe. And we stink of our own mortal desires, mistakes, frailties. And perhaps that is in itself our royalty of revelation. It doesn’t get any better than that!
King Lear runs with one twenty minute intermission, three and one-half hours at the Cort Theatre (48th St.) You may find tickets and times at the website by CLICKING HERE.
CAROLE DI TOSTI 