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A CurtainUp Report
Oregon Shakespeare Festival -- 2005
David Avery and Phyllis Butler
ABOUT THE FESTIVAL
Ashland is a charming little town amidst the Cascade Mountains of Southern Oregon that has become a major regional theatre destination. Best known as the headquarters of The Oregon Shakespeare Festival, it's popular with theatre buffs from as far as Paris and New York, and as near as San Francisco and Los Angeles. The Festival began in 1935 when Angus Bowmer, a professor from Ashland's Southern Oregon University--founded in 1872 as Ashland College--transformed the popular old Chautauqua nationwide touring menu of lectures, seminars and entertainment into classical Shakespeare theatre. The 1890's "Chautauqua Tabernacle" became the site of today's fine Elizabethan Theatre, where Bowmer and his faculty friends staged Twelfth Night--tickets 50 cents--reprised this year in remembrance of the 70th anniversary. OSF produces eleven plays annually in rotating repertory from February through October. This season celebrating its 70th year, there's an interesting blend of newly commissioned works, and three popular Shakespeare plays mixed with other timeless classics. High season tickets now range from $29 to $65. OSF has other activities that might interest theater-goers as well. A backstage tour is available which includes all three theaters. Every night before a performance in the Elizabethan Theatre, a green show (which is free) is presented on the bricks in front of the theater. The festival also has class-like tutorials on many plays, which can be purchased along with play tickets. Finally, take the time to stroll through the beautiful Lithia Park, located directly behind the Elizabethan Theatre. For more information on the festival, Ashland, and how to order tickets: www.osfashland.org or (541) 482-4331. THE CAMELOT THEATRE COMPANY If OSF's eleven plays aren't enough for you, highly recommend is the Camelot Theatre Company in the tiny nearby town of Talent. Bay Area singer, actor-director Livia Genise, most recently with the Marin Theatre Company, not only directs but stars in many of the plays, which are both entertaining and important. Children of Eden runs from July 13 to August 14; followed by The Heidi Chronicles August 31 to October 2, and The 1940's Radio Hour October 12 to November 13. Contact the theater at www.CamelotTheatre.org or (541) 535-5250. LODGINGS Since most OSF patrons will be traveling to get to Ashland, below is a list of local lodgings. It is far from comprehensive: McCall House 10 Rooms $150. to $225 153 Oak St. 541/482-9296 800/808-9749 www.mccallhouse.com Ashland Springs Hotel 70 Rooms $139. to $209 212 E. Main Street 888/795-4545 www.ashlandspringshotel Ashland B&B Network [30 B&Bs] 800/944-0329 www.abbnet.com Lithia Springs Inn $129. to $249. 2165 W. Jackson Road Phone: (800) 482.7128 www.lithiaspringsresort.com |
Updated: September 8, 2005
Much as we'd like to do so, we can only cover some of the Festival shows. An * asterisk before the titles listed below indicates that a review has been posted. All cast listings in the production notes are given in the order they appear in the program.
THE ANGUS BOWMER THEATRE
*RICHARD III | ROOM SERVICE | THE PHILANDERER | *NAPOLI MILIONARIA! | *THE BELLE'S STRATAGEM
THE NEW THEATRE
*BY THE WATERS OF BABYLON | *MA RAINEY'S BLACK BOTTOM | GIBRALTAR
THE ELIZABETHAN THEATRE
*TWELFTH NIGHT | *THE TRAGICAL HISTORY OF DOCTOR FAUSTUS | *LOVE'S LABOR'S LOST
RICHARD III
If you like the Bard at his most ghoulish you'll love this famous history play. No denying it's brilliantly acted here at OSF, but for me the plot itself is too overdrawn and the women are all weak or crazy! Still Shakespeare's "Richard III" is one of the most highly regarded productions of the OSF season. Richard is played with wicked relish by veteran OSF actor and stunt man James Newcomb. Dipping and weaving on short crutches, clad in threatening black, Newcomb rises brilliantly to the occasion as he enters set designer Rachel Hauck's Spartan courtyard to begin his famous soliloquy "Now is the winter of our discontent."
Newcomb is chillingly excellent and amazingly athletic as the humpbacked, murderous monster, the Duke of Gloucester, eventually the British King Richard III. There's no way around portraying this over-the-top villain-Shakespeare's most malevolent character-as anything other than pure evil. But Newcomb is so effective as a man deformed in body and spirit I felt mightily 'discontented' for the rest of the afternoon.
Surely I'm not the only one who senses cynicism if not misogyny in Shakespeare's portrayal of the women in this play-atypical for him-from the unlikely wooing of the weak-willed Lady Anne (played by Laura Morache) to the superb Robin Goodrin Nordli as haggish Queen Margaret also widowed by the savage hand of Richard, who killed her husband Henry VI. Not to forget his grieving sister-in-law Queen Elizabeth, played by Suzanne Irving, who bends to his will with barely a whimper for his bloody misdeeds.
Only his mother (the Duchess of York, played by Linda Alper) is able to hold out against her depraved son, Richard, who is momentarily stalled when she decries his murderous ways.
Unless you're a student of English history it's difficult to follow the complicated political relationships that drive the story. But rest assured -- Thanks Be! -- Richard ultimately gets his comeuppance in the person of Richmond, afterwards King Henry VII.
Reviewed by Phyllis Butler based on 6/2/05 performance
| PRODUCTION NOTES February 18 - October 30 Written by William Shakespeare Directed by Libby Appel Cast: James Newcomb (Richard III), Michael Elich (Duke of Buckingham), Richard Elmore (King Edward IV and Cardinal) , Robert Vincent Frank (Duke of Clarence and Archbishop of Ely), Jonathan Haugen (Lord Hastings), Brad Whitmore (Lord Stanley), Tyrone Wilson (Sir William Catesby), Juan Rivera LeBron (Sir Richard Ratcliffe), Matt McTighe (Rivers, Lord Mayor of London and Ensemble), Chris Erric Maddox (Lord Richard Grey and Ensemble), Kyle Haden (Marquess of Dorset and Ensemble), Jason McBeath (Sir James Tyrrell, Sir Thomas Vaughan and Ensemble), Sandy McCallum (Sir Robert Brakenbury), Danforth Comins (Earl of Richmond, 2nd Murderer and Ensemble), Paul Michael Garcia (1st Murderer and Ensemble), Rafael Untalan (Ensemble), Brandon St. Clair Saunders (Ensemble), Chris Maslen (Sir Thomas Lovel and Ensemble), Robin Goodrin Nordli (Queen Margaret), Laura Morache (Lady Anne), Linda Alper/Robynn Rodriguez (Duchess of York), Suzanne Irving (Queen Elizabeth), Kyle Barnes (Richard, Young Duke of York), Travis Bond (Edward, Prince of Wales) Running time: approximately 2 hours, 50 minutes with one 15 minute intermission |
ROOM SERVICE
| PRODUCTION NOTES February 20 - October 29 Written by Allen Boretz and John Murray Directed by J.R. Sullivan Cast: David Kelly, (Gordon Miller), Tony DeBruno (Harry Binion), Michael J. Hume (Faker Englund), Richard Howard (Joe Gribble), Christopher DuVal Leo Davis), Jeffrey King (Gregory Wagner), Tyler Layton (Christine), Linda K. Morris (Hilda Manney), Eileen DeSandre (Sasha Smirnoff), Danforth Comins (Timothy Hogarth), Richard Farrell (Doctor Glass), John Pribyl (Simon Jenkins), Robert Sicular (Senator Blake), Jake Street (Bank Messenger) Running time: approximately two hours and 30 minutes with two intermissions (15 and 12 minutes) |
THE PHILANDERER
| PRODUCTION NOTES February 19 - July 10 Written by George Bernard Shaw Directed by Penny Metropulos Cast: Derrick Lee Weeden (Leonard Charteris ), Vilma Silva (Grace Tranfield), Miriam A. Laube (Julia Craven), Aisha Kabia (Sylvia Craven ), Mark Murphey (Col. Daniel Craven), James Edmondson (Joseph Cuthbertson), Jeff Cummings (Doctor Paramore), John Tufts (Pageboy) Running time: approximately two hours and 25 minutes with one 15 minute intermission |
NAPOLI MILIONARIA!
If you know Italians, you know you're in true hands from the opening scene when Papa shouts out from where he sleeps behind a makeshift curtain in the corner of the large main living room. Mama Amalia is out in the courtyard in a verbal battle with a neighbor. Their son and daughter bicker at the kitchen table. Everybody is yelling, arguing, demanding attention.
Though billed as a comedy, Napoli Milionaria takes a critical look at a motley family of Neapolitans-and humanity in general-during World War II. The Allies are bombing, the war will soon be over. To help the family survive, Amalia (Linda Alper) has established a small-time Black Market operation in their home, to which Gennaro has thus far turned a blind eye. When the local Fascist boss comes to check up on their burgeoning business, Gennaro hops into bed to play dead and hide the loot stashed under the bed. In a hilarious scene reminiscent of Puccini's "Gianni Schicchi" neighbors and relatives are recruited to wail and cry over the corpse.
The play is a comedic drama about love of family, about community and survival. Translated from popular Italian playwright Eduardo De Filippo's deeply felt story about a family caught in a dangerous emotional conflict, it asks what is the price to be paid for giving way to greed?
Directed with creative style by Linda Appel, the play is energized by the moving performance of Richard Elmore as Papa Gennaro, who brings universality to his anger when he must face the avarice and betrayal that has overtaken his family during his long wartime exile. In the end his compassion is truly moving.
Reviewed by Phyllis Butler based on 6/4/05 performance.
| PRODUCTION NOTES April 19 - October 30 Written by Eduardo De Filippo Directed by Libby Appel Cast: Richard Elmore (Gennaro), Linda Alper (Amalia), Juan Rivera LeBron (Amedeo), Heather Robison (Maria Rosaria), Armando Durán (Errico Settebellezze), Shad Willingham (Peppe the Jack), Richard Howard (Riccardo Spasiano), Judith-Marie Bergan (Adelaide), Terri McMahon (Assunta), Brad Whitmore (Miezo Prevete), John Pribyl (Pascalino/Doctor), Tony DeBruno (Ciappa), Jason McBeath (Federico), Catherine E. Coulson (Donna Peppenella), Laura Morache (Margherita), Sarah Rutan (Teresa), Matt McTighe (Wine Man/Guard) Running time: approximately 2 hours 40 min. including 1 intermission. |
THE BELLE'S STRATAGEM
The Belle's Stratagem, an 18th century comedy of manners by Hannah Cowley, hasn't been much produced. Yet it delights just as much as anything written by Sheridan or Goldsmith.
In the play, young Letitia Hardy (Heather Robinson) has been contractually engaged to Doricourt (Gregory Linington) since childhood. Now that Letitia and Doricourt are of age and he has returned from his travels, the couple meet and wedding plans are to go forward. Though she fell instantly in love with him, he seemed unimpressed. Vowing that she'll never marry someone who doesn't love her, she decides to try and provoke his anger and disdain with uncouth behavior, thinking that "it is much easier to change a sentiment to its opposite, than engender indifference into emotion." Meanwhile, Lady Touchwood is beset by the evils of "society" against her husband's wishes.
Robinson's Letitia has an engaging charm, and though Linington's Doricourt starts out somewhat shallow, by the end of the play we are happy that he too has found love. The real "hero" of the story is Saville (Shad Willingham), who though in love with the married Lady Touchwood, acts in her behalf to save her marriage to the somewhat less noble Lord Touchwood.
In keeping with all comedy of manners, the characters fill stock roles: we have a "notorious bachelor," a "liar," a "professional widow." Each is introduced as such by a pseudo-chorus in the opening scene.
Typical of Restoration comedy, the battle of the sexes mirrors the battle between society and the individual. What the masses want is put into direct opposition to characters' desires, often hilariously. The play has no shortage of witty lines. The costume ball at which the many and various machinations converge makes for a delightful finale.
Reviewed by David Avery based on 8/10/05 performance.
|
July 27 - October 29 Written by Hannah Cowley Directed by Davis McCallum Cast: Gregory Linington (Doricourt), Heather Robison (Letitia Hardy), Michael J. Hume (Old Hardy), David Kelly (Sir George Touchwood), Miriam A. Laube (Lady Frances Touchwood), Shad Willingham (Saville), Mark Murphey (Villers), John Tufts (Flutter), Mirron E.Willis (Courtall), Demetra Pittman (Mrs. Racket), Terri McMahon (Miss Ogle), Jake Street (Tony and Ensemble), Aisha Kabia (Kitty and Ensemble) |
BY THE WATERS OF BABYLON
Pulitzer Prize playwright Robert Schenkkan's new play, was commissioned by the Festival and directed Bill Rauch in the 300 seat New Theatre. The imaginative setting of OSF's small theatre in the round added greatly to the intimacy of this sophisticated variation of Man meets Woman love story. Schenkkan's play touches on the lives of a feisty recent widow and her independent new gardener-an intellectual Cuban immigrant-and how the power of attraction and creativity redeems them.
Reviewed by Phyllis Butler based on 6/3/05 performance.
| PRODUCTION NOTES February 24 - June 24 Written by Robert Schenkkan Directed by Bill Rauch Cast: Armando Durán (Arturo), Catherine E. Coulson (Catherine) Running time: approximately two hours and 10 minutes with one 15 minute intermission |
MA RAINEY'S BLACK BOTTOM
What a surprise I got viewing "Ma Rainey" -- the first of August Wilson's award-winning 10-play cycle on the Black experience in America. Little wonder it was nominated for a Tony Award for Best Play in 1985.
At the start we hear a jazzy riff of melody from "C.C. Ryder." What at first seems to be merely an entertaining 1920's musical drama, is about to become an explosive tale about race and the price Black people have paid in America, as well as universal issues of pride and identity.
The story opens in a white-owned studio in Chicago where a group of black musicians are setting up to record a song. They're all waiting for Ma Rainey -- a popular blues singer who likes to throw her weight around to the white guys, who alternately praise and cajole her.
Into the easygoing backup musical group, Levee, an upstart young trumpet player arrives and immediately starts challenging their procedures-setting everyone off balance. He's sassy and ambitious. He won't compromise with the go along to get along guys, insisting they must use his arrangement of Ma's song. At first chance, he undertakes a forbidden flirtation with Ma's assistant.
Confronting both Ma and the white managers, he refuses to indulge Ma's slow-witted announcer nephew. In one of the most striking moments of this often gripping play, Levee, portrayed with dynamic force by Kevin Kenerly, tells the story of his mother's rape at the hands of a group of white men - and his father's revenge.
The rest of the four-piece band men are played with natural style by Josiah Phillips, Abdul Salaam El Razzac and Frederick Charles Canada. As the studio managers, Bill Geisslinger and U. Jonathan Toppo are perfectly cast as well. The story builds with marked intensity to a shocking climax. Ultimately Ma Rainey's' is a great play --meaningful and not soon to be forgotten.
Reviewed by Phyllis Butler based on 6/3/05 performance.
Further note: The final installation of Wilson's dramatic cycle is currently playing at the Mark Taper Forum in Los Angeles; for a review see Laura Hitchcock's article here.
| PRODUCTION NOTES march 30 - October 30 Written by August Wilson Directed by Timothy Bond Cast: Greta Oglesby (Ma Rainey), Kevin Kenerly (Levee), Frederick Charles Canada (Slow Drag), Josiah Phillips Cutler), Abdul Salaam El Razzac (Toledo), Mark Peterson (Sylvester), Julia Pace Mitchell (Dussie Mae), Bill Geisslinger (Sturdyvant), U. Jonathan Toppo (Irvin), James J. Peck (Policeman) Running time: approximately 2 hours and 40 minutes, including 1 intermission. |
GIBRALTAR
| PRODUCTION NOTES July 5 - October 30 Written by Octavio Solis Directed by Liz Diamond Cast: René Millán (Palo), Vilma Silva (Amy), Kevin Kenerly (Steven), Dee Maaske (Francesca), U. Jonathan Toppo (Taylor), Julie Oda (Sharon), Bill Geisslinger (Jackson), Judith-Marie Bergan (Dot) |
TWELFTH NIGHT
"If music be the food of love, play on!" Thus begins Shakespeare's Twelfth Night, otherwise known as What You Will, his comedy about lost siblings, hidden agendas, and mistaken identities. Viola (Linda Morris) and her brother are shipwrecked on the shores of Illyria, though neither are aware the other has survived. Viola disguises herself as a man and becomes the servant of Duke Orsino (Michael Elich), who is in love with the bereaved Lady Olivia (Robin Goodrin Nordli). Not knowing that Viola is a woman, Olivia falls in love with her. Meanwhile, Olivia's uncle Sir Toby Belch (Robert Sicular) and his cronies begin a campaign to embarrass Olivia's steward Malvolio (Kenneth Albers) by convincing him that she is in love with him.
Like many of Shakespeare's comedies the plot is farfetched, so much so that the character named Fabian (Robert Vincent Frank) slyly comments "If this were played upon a stage now, I could condemn it as an improbable fiction!" But just as true is that nobody will care, as the play is one of his most loved. It is full of song, music, and much laughter. The production's simple set of a weather vane and sliding doors harkens back to Elizabethan times, and a musician enters many of the scenes to add a score to the action. Morris' Viola embodies the innocent love of youth, while Elich's Orsino has a world-weary air. Of course, some of the best lines belong to Belch and the clown Feste (Richard Farrell).
In an interesting twist, this production emphasizes the nastiness of the plot against Malvolio, whom Albers plays very straight. It leaves the audience with the ring of a darker note as counterpoint to the happy themes of love and marriage.
Reviewed by David Avery based on 8/10/05 performance.
| PRODUCTION NOTES June 7 - October 9 Play by William Shakespeare Directed by Peter Amster Cast: Linda K. Morris (Viola), Robin Goodrin Nordli (Olivia), Michael Elich (Orsino), Kenneth Albers (Malvolio), Robert Sicular (Sir Toby Belch), Suzanne Irving (Maria), Christopher DuVal (Sir Andrew Aguecheek), Richard Farrell (Feste), Robert Vincent Frank (Fabian and Ensemble), Gregory Linington (Sebastian), Mirron E. Willis (Antonio), James Newcomb (Sea Captain), Kyle Haden (Valentine and Ensemble), Jake Street (Curio and Ensemble), Jose Luis Sanchez (Priest and Ensemble), Paul Michael Garcia (Ensemble), Rafael Untalan (Ensemble), Jaclyn Williams (Ensemble), Chris Erric Maddox (Ensemble), Chris Maslen (Ensemble) |
THE TRAGICAL HISTORY OF DOCTOR FAUSTUS
Christopher Marlowe's "Faustus" is perhaps his best known work. It's a morality tale of a man who sells his soul to the devil for twenty-four years of all his heart desires. With the help of his evil servant Mephostophilis, he commands all the powers of hell; yet, he does nothing but request base knowledge and perform parlor tricks on the Papal court.
Whether it was Marlowe's intent to demonstrate that man, given infinite power, would waste it on useless trivialities or not, Faustus is forced to pay his bill to Lucifer, and the audience gets to tisk at his folly.
Marlowe has traditionally received second place to Shakespeare in literary merit. His play, while containing memorable phrases ("Que sera, sera" and "Is this the face that launched a thousand ships, and burn the topless towers of Illium?") lacks the resonance of Shakespeare. Even Shakespeare's fools engender some feeling from the crowd. Faustus engenders only scorn.
There isn't much that's pithy in this production -- we get to watch a foolish man destroy not only his life, but his soul. Unlike Shakespeare's less than noble but nevertheless sympathetic characters, Faustus elicits mostly derision. , I suppose that's we don't have Marlowe festivals around the country.
The director has made some rather interesting choices. There is much winking at the audience from several characters, and the drabness of the human plane is offset by the color of Hell which here seems to be taking its themes from Cirque du Soleil. . Of note is Ray Porter's very understated Mephostophilis, whose quiet demeanor holds a chilling menace. Johnathan Haugen's Faustus is a fool obviously whistling in the dark when he relates his plans during his soliloquies.
What takes center stage in this production is what takes center stage is the spectacle of the assorted minions of Hell, flashing lights, and multiple explosions.
Reviewd by David Avery based on 8/06/05 performance.
| PRODUCTION NOTES June 8 - October 7 Written by Christopher Marlowe Directed by James Edmondson Cast: Jonathan Haugen (Doctor Faustus), Ray Porter ( Mephostophilis), Demetra Pittman (Chorus), Shad Willingham (Wagner), Brent Harris (Lucifer), Juan Rivera LeBron (Robin and Ensemble), Kenneth Albers (Valdes), Abdul Salaam El Razzac (Cornelius), Josiah Phillips (Pope Adrian), Mark Peterson (Pope Bruno and Ensemble), Julia Pace Mitchell (Good Angel), Catherine Lynn Davis (Evil Angel), Matt McTighe (First Scholar, Covetousness, Frederick and Ensemble), Tyrone Wilson (Second Scholar, Gluttony and Ensemble), Chris Maslen (Third Scholar, Alexander the Great and Ensemble), James J. Peck (Devil Wife, Belzebub and Ensemble), Frederick Charles Canada (Emperor Charles), Andréa Ferraz (Pride and Ensemble), Laura Morache (Lechery, Helen of Troy and Ensemble), Jaclyn Williams (Wrath, Paramour and Ensemble), Sarah Rutan (Envy, Old Woman and Ensemble), Jason McBeath (Benvolio and Ensemble), Brandon St. Clair Saunders (Sloth, Vintner's Boy and Ensemble), Chris Erric Maddox (Duke of Vanholt and Ensemble), Nicole Strykowski (Duchess of Vanholt and Ensemble) |
LOVE'S LABOR'S LOST
Love's Labor's Lost is Shakespeare at his most controlled. The language i is full of comedic innuendo and double entendre. The plot is fairly straightforward : King of Navarre (Brent Harris) and his three companions vow to leave off earthly pleasures (mainly women) for a life of study and improvement. Complications come via the arrival of the princess of France (Catherine Lynn Davis) and a foolish Spaniard named Don Armado (John Pribyl), his page, and a fool pursue the affections of a country lass.
The play richly displays the Bard's command of language, though modern audiences tend to miss out on some of the more oblique references that would have been screamingly funny in Elizabethan times. Still, there is much that won't sail overhead: the witty exchanges between the King and his compatriots, the Princess and her ladies, and amongst the two camps contribute volumes to the battle of the sexes. Berowne ( a notable performance by Jeff Cummings) enters the contract of abstinence reluctantly at best, pointing out "O, these are barren tasks, too hard to keep/Not to see Ladies, study, fast, not sleep" and that "having sworn too hard a keeping oath, Study to break it, and not break my troth."
Don Armado is played broadly by John Pribyl and he along with some other characters (reminiscent of the "mechanicals" in As You Like It) perform a hilariously inept pageant for the nobles in the final act.
To truly appreciate the language in this play, I would recommend reading it beforehand. The wordplay is fast and furious, and though the physical comedy carries the production just fine, it will be much funnier to anyone "in the know."
Reviewed by David Avery on 8/7/05 performance.
| PRODUCTION NOTES June 9 - October 8 Written by William Shakespeare Directed by Kenneth Albers Cast: Brent Harris (King of Navarre), Catherine Lynn Davis (Princess of France), Jeff Cummings (Berowne), Tyler Layton (Rosaline), Jose Luis Sanchez (Longaville), Christopher DuVal (Dumaine), Andréa Ferraz (Maria), Sarah Rutan (Katherine), Derrick Lee Weeden (Boyet), John Pribyl (Don Armado), Jaclyn Williams (Jaquenetta), Eileen DeSandre (Holofernes), James Edmondson (Sir Nathaniel), Jeffrey King (Dull), Ray Porter (Costard), Robert Sicular (Forester, Marcade and Ensemble), Julie Oda (Moth), Jeris Schaefer (Aramis and Ensemble) |
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