OREGON SHAKESPEARE FESTIVAL (OSF) 2013, P.O. Box158, 15 South Pioneer Street, Ashland, Oregon 97520. 541-482-2111 or www.osfashland.org

OSF Part II: Non- Shakespearean Plays:

Three of the four non-Shakespearean plays are being given excellent productions with My Fair Lady and The Heart of Robin Hood leading the pack with Streetcar Named Desire a close third. The Unfortunates is appreciated by some audiences but not by this reviewer. To recap a paragraph from the introduction in Part I of these reviews: “The Unfortunates commissioned by OSF with book, music, lyrics by 3 Blind Mice (Jon Beavers, Ian Merrigan, RamizMonsef and Casey Hurt, with additional material by Kristoffer Diaz) is an unfortunate experience. It was put together by a committee and it looks it. It is dressed in grunge, the music fluctuates between Hip-Hop, blues, jazz and Gospel without rhyme or reason and the convoluted inanely excessive story line is difficult to follow.”

Angus Bowmer Theatre:

MY FAIR LADY (2/17-11/3) Adapted from Book & Lyrics by Alan Jay Lerner. Music by Frederick  Loewe. Director Amanda Dehnert. Choreographer   Jaclyn Miller.  Scenic   Design David Jenkins. Costume Design Devon Painter. Lighting  Design M.L. Geiger. Music/Sound Kai  Harada & Johanna Lynne Staub.

George Bernard Shaw would certainly not be thrilled with the original staging of My Fair Lady the musical based on his play Pygmalion even though much of his dialog is intact in text and lyrics. But he surely could not fault the total concept of Amanda Dehnert’s staging that is receiving raves reviews and will probably be sold out for its run scheduled for the entire season. He certainly would appreciate Jonathon Haugen’s performance as a bullying Professor Higgins who is challenged by his Pygmalion Elisa the once “squashed cabbage” whom he brought forth from her chrysalis to become a beautiful butterfly. Haugen’s solid portrayal of a ‘tough’ Professor Higgins is balanced by a fine comic timing in word and deed creating a memorable character infused with ambivalence. Shaw, the feminist, may want Eliza to ‘win the day’ but there will be no romance and Eliza don’t forget to bring the slippers.

The present production is absolutely cleverly unique and may be startling for those who have seen the show many times before but they will stand up cheering for the entire cast who hardly ever leave the stage. Hurricanes hardly ever happen in Hartford, Hereford, and Hampshire but the certainly do on the Angus Bower stage.

The inventive Dehnert states in the program notes: “Life isn’t neat and theater isn’t clean,” Life is messy, so should theater be. You should see where the lights hang, see the clothes being put on and taken off, see how people transform through the power of imagination.”

To this declaration she has reduced the orchestra to two marvelous center-stage grand pianos played brilliantly by Matt Goodrich and Ron Ochs. They are occasionally accompanied by a solo violin especially for “I Could Have Danced All Night.”

Yes the actors do change their costumes on stage and they ascend and descend from stairs where they sit surrounding the action. A huge neon sign dominates the back wall proclaiming for all to know that this is “MY FAIR LADY” like no other. Would you believe that during the staging of the “Ascot Gavotte” the hats descend from the rafters to perfectly fit on the dancers heads?

Jonathan Haugen’s unstinting chauvinistic Higgins (“Why can’t a woman be more like a man?”) is matched word for word, song for song and body language by Rachel Warren’s scrappy Eliza. She has played the role many times across the U.S. and her stage presence matches her superb voice. Surprisingly Haugen, who is usually cast in a Shakespeare play, was brilliant as Brutus in Julius Caesar two years ago, has an excellent musical

comedy’s a voice to match.

No one upstages Anthony Heald and his show-stopping portrayal of Alfred P. Doolittle is proof of that. David Kelly does get his share of laughs as Colonel Pickering but Ken Robinson’s Freddy Eynsford-Hill singing “On the Street Where you Live” has the cast as well the audience cheering his performance.  Suggestion: Do Not Miss This Show.

 

 

A STREETCAR NAMED DESIRE (4/17-11/2) by Tennessee Williams. Director Christopher Liam Moore. Scenic Design Christopher Acebo. Costume Design Alex Jaeger. Lighting Design Robert Wierzel. Music/Sound Andre J. Pluess.

The Angus Bowmer Theatre has no curtain for its proscenium arch and observing the delicate see-through two-story structure set off alarms for this reviewer. Not long into the 11 scene play, being staged in three acts with two intermissions, it became apparent that director Christopher Liam Moore was emphasizing the poetic aspect of Tennessee Williams’ seminal play. In doing so the casting of the very popular Danforth Comins as the rough hewn Polish Stanley Kowlaski may have been appropriate. Comins is no stranger to Williams’ plays having been cast two years ago as Biff in Cat on a Hot Tin Roof where he gave stunning performances.

Stanley, however, is a different breed than the sexually ambivalent Biff. He is a macho working class man whose rough sexual manners are integral to the Stella’s attraction and Blanche’s revulsion of him. One should not expect the guttural speech made famous by Marlon Brando on Broadway and in the film but Comins does not grasp the viciousness of Stanley’s personality and his shift in speech accents suggests that he has not fully invested himself in the role.

This is not the case with the other three major characters. Kate Mulligan initially portrays Blance Dubois on a one-dimensional note but early on her time upon the stage is quite brilliant and mesmerizing as she gradually descends into madness. Neil Giesslinger as Stella Kowalski nails the role as a stable sister to Blanche with an animal magnetism to Stanley. You will not recognize her as Kate in The Taming of the Shrew where she is so marvelously different in comedy. Jeffery King is perfect in the role as Harold Mitchell (Mitch) the lonely man saddled with a sick mother. His performance, though unique is reminiscent of Karl Malden.

There are other perceived casting errors including the poker game players who are non-distinctive and interchangeable in their acting or possibly as how they were directed. Daniel Jose Molina’s turn upon the boards as the young newspaper collection boy that Blanche attempts to seduce is a joy to watch. That scene is one you will remember but double casting the youngster as the doctor who takes Blanche away with her unforgettable line, “I have always depended on the kindness of strangers,” is a serious flaw.

If you are unfamiliar with the plot go to your computer browser and type in: “A Streetcar Named Desire” and select the web site of your choice. Suggestions: Well worth seeing despite this somewhat negative review.

 

Elizabethan Stage/Allen Pavilion

THE HEART OF ROBIN HOOD (6/5-10/12) by David Farr. U.S. PREMIERE. Director Joel Sass. Scenic Design Michael Ganio. Costume Design Sonya Berlovitz. Lighting Design M.L. Geiger. Composer Paul James Prendergast.

Time to set aside filmdom’s Douglas Fairbanks (1922) and Errol Flynn’s (1938) portrayal of Robin Hood and add John Tufts in tights to the list of actors trekking around Sherwood Forest in the role of “people’s choice” who robs from the rich and gives (shares?) with the poor. But did he, Robin, really do that? David Farr’s take on that legend suggests otherwise. In doing so he has created a hilarious script The Heart of Robin Hood that even includes a rival Martin of Sherwood.

It just happens that Martin starts out as Maid Marion (Kate Hurster) and Farr stealing a directorial conceit from Shakespeare puts her in men/boys clothing to compete with misogynistic and less than altruistic Robin and his Merry Men. Although the plot is complex in structure it is a breeze to follow. In doing so you will admire Director Joel Sass’s skill at creating humor even when heads roll and bodies litter the stage. His ‘shake-down’ of a crooked Friar (Jonathon Haugen) who physically looses his head brings gasps and laughter. Being able to do that indicates great directorial ability. There are a multitude of such brilliant staging effects that also include puppets, sword fights (of course), and fine comic acting by an expert cast giving the term ensemble performance a boost.

Prince John (Michael Elich) is the leader of the bad guys and true to form he is hot to marry Marion. He also is over-taxing the populous ostensibly to finance the Crusade against the “Muslim Terror” in the Near East where some of the good guys are. Off Marion goes to the magical forest ot become Martin of Sherwood. He/she is the true altruist by sharing his/her booty taken from the rich. Her sidekick Pierre (Daniel T. Parker) who against his better judgement tags along as Big Pete. Before all this happens we get to meet “Little John” (Howie Seago) who reluctantly joins the band when he learns that women are not allowed.

Most of the major characters are in place, conflict and strife arises, good guys get caught, good guys get rescued and love triumphs. Of course, what did you expect? After all the title is The Heart of Robin Hood. Plug the Dog (Tanya Thai McBride) has a ball hopping around the stage. Tufts and Hurster play off each other with perfect timing and display a charming charisma. Another member of the ensemble that deserves an accolade is Tasso Feldman who plays a valet, Priest, Lord “Tubbington”, the Green Man and a Wild Boar.

The staging, lighting, music and sound effects are spectacular and the forest uni-set mentioned in the introduction is perfect for this play. Running time a short 2 hours and 20 minutes including the 20 minute intermission.

SUGGESTION: An absolutely must see production.

Kedar K. Adour, MD

Bay Area Reviewer for www.theatreworldinternetmagazine.com

NOTE: TheatreWorld does not publish Festival reviews and all reviews are archived on this web site.

 

OREGON SHAKESPEARE FESTIVAL 2013, P.O. Box158, 15 South Pioneer Street, Ashland, Oregon 97520. 541-482-2111 or www.osfashland.org

The Oregon Shakespeare Festival (OSF) in Ashland has been under the Artistic Directorship of Bill Rauch for the last five years and each year there seems to be larger and more appreciative audiences. Rauch’s first foray into the OSF venue was in the 2006-2007 seasons when he received accolades for his directing of Romeo & Juliet and Two Gentlemen from Verona. He seems dedicated to the idea of “concept productions” of Shakespeare’s plays and the only ‘straight’ production in the last five years was the brilliant Henry VIII. The concept idea still dominates in 2013 and all three Shakespearean plays are parading the boards in very original and thought provoking style.

The least often produced Cymbeline and the ubiquitous A Midsummer Night’s Dream are gracing the outdoor Elizabethan Stage/Allen Pavilion and King Lear in the intimate theatre-in-the round Thomas Theatre (formerly the New Theatre). This year the evening performances begin at 8 rather than 8:30 p.m. which is a wise decision since many of the shows run three hours or more with King Lear ringing in at three hours and 15 minutes with two intermissions. Cymbeline takes second honors at three hours and 10 minutes with one intermission. The third play for the outdoor Elizabethan Stage is the U.S. Premiere The Heart of Robin Hood by David Farr an import from the Royal Vic of London that stole the hearts of the opening night audience. Most of the OSF plays receive standing ovations (whether they deserve them or not) but this one was the most spontaneous and deserved. It is ingeniously directed by Joel Sass who is no stranger to the Cal Shakes and the Bay area. Another familiar director is Amanda Dehnert who staged The Verona Project at the Bruns Amphitheatre also for Cal Shakes. Dehnert gets the brass ring for her imaginative, brilliant staging of Lerner and Loewe’s My Fair Lady. These last two mentioned plays alone are worth a visit to Ashland.

Another change for this year’s Elizabethan Stage is a “uni-set” used for all three productions. There probably is a cost savings but at a press conference the explanation was that Cymbeline, Dream and Robin Hood all have sylvan settings within their plots thus the unity of the set designs was appropriate. Sounds reasonable.

The final Shakespearean play is The Taming of the Shrew receiving a riotous rendition with the action taking place on an Atlantic City type board walk with a three piece onstage band. This production is part of Shakespeare for a New Generation, a national theatre initiative sponsored by the National Endowment for the Arts in cooperation with Arts Midwest. Its purpose is to attract younge audiences. This Taming of the Shrew will most certainly do that. It starts and ends with a hip-hop style dance with the amplified guitar, bass and drums bringing cheers.

The final two plays seen in this five day visit are Tennessee Williams’ popular A Streetcar Named Desire and the World Premiere of The Unfortunates. Whereas Desire is well worth, with a few caveats about the staging, since Kate Mulligan as Blanche gives a Tony Award type performance. The Unfortunates commissioned by OSF with book, music, lyrics by 3 Blind Mice (Jon Beavers, Ian Merrigan, RamizMonsef and Casey Hurt, with additional material by Kristoffer Diaz) is an unfortunate experience. It was put together by a committee and it looks it. It is dressed in grunge, the music fluctuates between Hip-Hop, blues, jazz and Gospel without rhyme or reason and the convoluted inanely excessive story line is difficult to follow.

SHAKESPEARE’S PLAYS:

Thomas Theatre.

KING LEAR by William Shakespeare (2/21- 11/3) Directed by Bill Rauch. Scenic design by Christopher Acebo. Costume design Linda Roethke.

Lightening design by Christopher Akerlind. Music and Sound Andre J. Pluess.

The interpretations/analyses of King Lear are multitudinous. Director Bill Rauch waxed eloquent in the program notes “. . . of this masterpiece. As deep as the Mariana Trench, as high as Mt. Everest, as vast as the star-filled sky? You bet.” Taking this as his gospel one might be engulfed in the magnitude of his dark and powerful staging on the intimate theatre in the round Thomas Stage. You are part of the action yet you may withdraw with revulsion at the violence of man’s inhumanity to man and the thought that individual characters must virtually and actually be blinded in order to “see” clearly.

If you accept Rauch’s premise, and it is very reasonable, why after a precisely staged and acted first scene does he have the technical crew wheel a massive basketball backboard onto the acting area having Edmund (Raffi Barsoumian) enter dribbling a basketball and shooting hoops? After much thought Rauch may to suggesting that it is all a game to Edmund and that game will turn deadly. OK, that’s almost acceptable.

Michael Winters, who was a brilliant Prospero at CalShakes, will alternate in the role of Lear with former ACT favorite Jack Willis. Winters played the role in the production we saw. He gave a commanding and dominating performance ably supported by Vilma Silva (Goneril), Robin Goodrin Nordli (Regan), Richard Elmore (Earl of Gloucester) and Sofia Jean Gomez (Cordelia).

The technical effects, that sometime overpower the acting, are at times massive (an eight foot high metal gate and fence stretching diagonally across the floor), a staircase extending to the rafters,  appalling (Gloucester’s eyes being put out) and clever (four flashlights illuminating Lear’s face as he goes mad in the storm scene). The elevator conveniently lifting a portion of center stage with props gets extended use.   Suggestion: Reservedly recommend.

 

 

Angus Bowmer Theatre:

THE TAMING OF THE SHREW (2/15-11/3) by William Shakespeare. Director  David Ivers. Scenic Design    Joe Winiarski. Costume Design Meg Neville. Lighting Design Jaymi Lee Smith. Video/Projection Kristin Eflert. Music/SoundPaul James Prendergast.

In this age of political and social correctness The Taming of the Shrew becomes a problematic play as differentiated from Shakespeare’s problem plays. It is problematic because it treats women as chattel and has a misogynistic streak.  Fear not, David Ivers’ ingenious, hilarious staging is a joyful affair that will leave you laughing and is one of the must see productions at OSF.

You all know the story of rich Master Batista (Robert Vincent Frank) with two marriageable daughters. Elder shrewish Kate (Nell Geisslinger) and younger adorable beauty Bianca (Royer Backus) is being pursued by Gremio (David Kelly) and Hortensio (Jeremy Peter Johnson).  Alas along come Lucento (Wayne T. Carr) and his servant Tranio (John Tufts). They switch costumes in a screwball plot to get close to Bianca. But alas, no one gets Bianca until Kate is married off.  From Verona improvised Petruchio (Ted Deasy) with his servant Grumio (Tasso Feldman) come to Padua (A cue from Kiss Me Kate: “I’ve come to wed in wealthy in Padua”) and the fun begins.

Director David Ivers has set the action on an Atlantic City type boardwalk complete with neon everywhere and plentiful projections. A huge “Batista” sign blazes above his meat emporium that appropriately sputters when certain actions occur . Did I mention the three piece rock-a-billy band underneath that sign? Yep, they are there and with amplified sound accompany the denizens of the town in a hip-hop dance to start and end the evening.

The action is non-stop, the costumes garishly glorious, the acting spot on and funnier then hell. David Kelly as Gremio in robin-egg blue shorts is a hoot-and-a-holler stealing laughs from all. Deasy and Geisslinger are a perfect match and when the two newly married go off for their life together there is no doubt that Kate will win the day. Suggestion: Not to be missed.

Elizabethan Stage/ Allen Pavillion

CYMBELINE (6/4-10/11) by William Shakespeare. Director Bill Rauch. Scenic Design Michael Ganio. Costume Design Ana Kuzmanic. Lighting Design David Weiner. Music/Sound Paul James Prendergast. Choreographer Jessica Wallenfels.

Bill Rauch’s directorial abilities are legion. His versatility and imagination are on display (again) with his mounting of Cymbeline. Consider that he has converted and made sense of Shakespeare’s convoluted plot that takes place in England, Wales and Rome. It is often played as a dark tragedy but Rauch visualizes it as a romantic comedy with eventual happiness abounding while death liters the stage. It works to perfection. All this includes a kidnapping of King Cymbeline’s (Howie Seago) two sons that took place 20 years ago by a trusted friend Belarius (Jeffery King). Then there is the King’s beautiful, beautiful daughter Imogen (Dawn-Lyen Gardner) who is in love with orphaned Posthumus (Daniel Jose Molina). Alas, a mean Queen (Robin Goodrin Nordli), step-mother to Imogen has a nasty son Clothen (Al Espinosa) that she is grooming to be King and therefore must marry Imogen. The queen puts out a contract on Posthumus who flees to Italy.

In Italy, not to bright love smitten Posthumus meets and makes a stupid bet with egocentric lothario Iachimo (Kenajuan Bentley) who travels to London to attempt a dastardly deed on Imogen. England is still under Roman rule and a sub-plot brings a Roman General (Jack Willis) to England to collect tributes that Cymbeline will not pay. That leads to Shakespeare’s obligatory fight scenes (Fight director U. Jonathan Toppo). You know that Shakespeare is fond of girls disguising themselves as boys, so Imogen gets do that as she heads off to Wales now named Fidele.

Back in Wales we meet Belarius and the rowdy/royal (but loyal) sons Guiderius (Raffi Barsoumian) and Ariviragus (Ray Fisher) and they get to ‘adopt’ Fidele as a brother. A magic potion enters into the plot, Posthumus shows up (don’t ask), confusion eventual reigns, the bad guys die off, the good guys win the day, lovers unite and peace between Rome and England is resumed. A pair of ghosts flit on and off the stage and add little to the evening, even though they are written into the script

Suggestion: A must see show.

A MIDSUMMER NIGHT’S DREAM (6/6-10/13) by William Shakespeare. Director Christopher Liam Moore. Scenic Design Michael Ganio. Costume

Design Clint Ramos.  Lighting Design David Weiner. Music/Sound Sarah Pickett. Choreographer Jessica Wallenfels.

What a difference five years makes in the production of A Midsummer Night’s Dream.  In 2008 the show was directed by Mark Rucker and it was a fiasco to this reviewer and to OSF audiences. It was a raucous, rock music infused and garishly lighted production with the woodland fairies as high-heeled drag queens straight from a San Francisco Folsom Street Fair. Happily Liam Moore who is the adoptive parent of two pre-teen boys asked them, and other youngsters, their opinions of what fairies looked like. They all agreed they should wings.

Moore has helmed a marvelous cast of youngsters and adults (with wings of course) to play the fairies and surrounded them with charming mortals but maybe “What fools these mortals be.” This is a gentle modern dress version that begins at the graduation within a Catholic Boarding School in Athens. A Catholic priest replaces Duke of Athens Theseus (Richard Howard) and Mother Superior replaces Hippolyta (Judith-Marie Bergan). They are to be married in four days.

When Egeus (Robert Vincent Frank ) complains that his daughter Hermia (Tanya Thai McBride ) is messing around with Lysander (Joe Wegner ) but is  promised to Demetrius (Wayne T. Carr ), she is offered an ‘or else’. Or else what? Or else be sent off to a nunnery and remain a virgin forever and ever. That’s not for Hermia so she runs off into the forest with Lysander. But wait, Helena (Christiana Clark ) is in love with Demetrius but he not with her. They end up in the forest in hot pursuit.

But then there are the rag-tag group of would be thespians, that includes egotistical Nick Bottom (Brent Hinkley), who are to perform the  Pyramus and Thisbe interlude at the wedding four days hence. Off to the woods they go to rehearse by moonlight. There is a charming scene of that moon rising in various increments to dominate upstage right and is reversed as the evening ends.

King of the fairies Oberon (Ted Deasy) is upset with his queen Titania (Terri McMahon) and concocts a fairy dust to make her fall in love with the first person she sees on awakening. This fairy dust will also be used on our runaway lover(s). More complications: Puck (Gina Daniels) has turned Bottom into an ass and he is the first person Titania sees. . . love blossoms. Puck also puts the dust into Lysander’s eyes and the first person he sees is Helena.

From here on in the acting is an over-the-top romp with marvelous visual effects, a bit of slapstick and the little fairies (Peaseblossom, Cobweb, Mustardseed and Moth) running around looking very cute. The greatest humor is provided by the acting troupe. Although Brent Bently has the most inane action and many of the laughs, Francis Flute playing Thisbe in drag and unbelievable costumes is hysterical. Not to be out done is

marvelous K. T. Vogt playing the wall in the interlude. Director Moore wisely extends the slapstick of the acting troupe since they set the audience in a fit of laughter.Suggestions: Highly recommended and bring the kids. The coupling of Bottom the ass and Titania is very discrete.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com

 

Hershey Gelder on the set for GEORGE GERSHWIN ALONE on Berkeley Rep’s thrust stage playing until  June 23,2013

GEORGE GERSHWIN ALONE: Music and lyrics by George Gershwin and Ira Gershwin. Book by Hershey Felder, with Hershey Felder as George Gershwin.  Directed by Joel Zwick. Berkeley Repertory Theatre’s Thrust Stage, 2025 Addison St., Berkeley. (510) 647-2949. www.berkeleyrep.org  june 8–23, 2013

GEORGE GERSHWIN ALONE a pleasant evening but no brass ring at Berkeley Rep.

George and Ira Gershwin provided Broadway and Hollywood with a plethora of lyrics and music that thrilled audiences at the time they were written and are still doing so today. They wrote more than 1000 popular songs together and if asked the question of what came first, the music or the lyrics, Ira would insist that they were intrinsically created as one. This is what Hershey Felder playing George Gershwin tells us early on in his 90 minutes upon the stage as he takes on the mantle and persona of George Gershwin and occasionally lectures to us.

Felder who is an accomplished pianist and adequate singer wrote the show after doing extensive research perusing original manuscripts, personal letters, interviewing family and biographers and, of course, listening to audio recordings. The results are very apparent as we learn about the short life of George Gershwin and listen to his music played on the center stage grand piano, sung by the performer and often in recorded music.  George and Ira wrote over 1000 popular songs and George, who wished to be known as a serious composer alone created “Rhapsody in Blue”, “An American in Paris” and “Porgy and Bess.”

Felder has been playing Gershwin for over 10 years and his polished delivery never misses a beat from his narrative, singing or piano playing. His first big hit was “Swanee” that was picked up and made famous by Al Jolson. Felder’s mimicry of  Jolson’s singing and the similarity of Ethyl Merman’s singing brought the most laughter of the evening.

There is not much laughter during the evening since Gershwin’s life is not the stuff that dreams are made of since he died at age 38 of a brain tumor. Early in his career he was financially successful enough to buy a 5 story Brown Stone house in New York City where his entire family lived. This period in the story telling of the relationship between his diminutive father and large dominating Russian-Jewish mother and his fathers deep love was both funny and touching.

Where acclaim and financial success were the end result of their popular music, George’s foray into the semi-classical genre with “Rhapsody in Blue”, “American in Paris” and opera with Porgy and Bess was devastating to his ego when they were panned by the critics.  In time his genius was recognized but critical failure of Porgy and Bess also was a financial one and the brothers went off to Hollywood to write for the movies. Alas, the moguls there wanted songs that could be whistled like “those of Irving Berlin.”

Into this biographic story telling Gelder liberally introduces such memorable songs as “I Got Rhythm”, “Summertime”,“They Can’t Take That Away from Me”,  “Fascinating Rhythm”, “But Not for Me”, “S’Wonderful” and more.  To end the evening he plays the entire score of “Rhapsody in Blue” with appreciated energy. Although he received a standing ovation, for this reviewer and companion it was a pleasant evening but did not grab the brass ring.

Kedar K. Adour, MD

Courtesy of www.theatreworldinternetmagazine.com