The Comedy of Errors

"The Comedy of Error" presented by The Public Theater at Delacorte Theater, June 2, 2013

(photo by Joan Marcus)


The first of the Public Theater's presentations of Shakespeare in the Park is Shakespeare's take on Plautus' Menaechmi, complicated with an extra set of twins separated as small children.  There's no adaptation credit given in the playbill, but one might presume that dramaturg Robert Blacker was pivotal in the streamlining of the book down to a 90 minute one-act.  The result is a farce set in a 1940s Ephesus, complete with a jitterbugging, lindy hopping chorus gathered around the jukebox - - Shakespeare meets Guy and Dolls. 

Director Daniel Sullivan focuses his energies around Hamish Linklater and Jesse Tyler Ferguson as they take on the dual roles of Antipholus and Dromio, respectively.  Mr. Linklater achieves the greater success in creating two distinct characters around the long-lost brothers.  Mr. Ferguson comes in a close second.  Heidi Schreck also manages to find her way as Luciana.  Skip Suddeth brings us a Tony Soprano-style Duke.  The rest of the cast is serviceable if unremarkable, except for Emily Bergl's gasp-worthy pratfall as Adriana.

The pace is good.  The costumes colorful and sets work nicely.  There are plenty of laughs. It's a good night in Central Park.

Tickets are free, distributed the day of each show at the Delacorte box office in Central Park.  The Comedy of Errors runs through June 30.

Macbeth

The National Theater of Scotland's production of "Macbeth" at Ethel Barrymore Theatre, May 20, 2013

Alan Cumming returns to the Great White Way, reprising his one-man production of the Scottish Play following last summer's visit during the Lincoln Center Festival.

Under the direction of Once director John Tiffany and Andrew Goldberg, it's another riff on Marat/Sade with inmates putting on the play.  Mr. Cumming appears to have arrived after an undisclosed traumatic event, bloodied and confused.  His caretakers (Jenny Sterlin and Brendan Titley) tend his wounds, collect his clothes and tissue from a cheek swab and under his fingernails.  It's something of a next step compared to the 2008 Broadway revival with Patrick Stewart perhaps, but I'm equally unconvinced of this concept as well.

For a festival production, it makes a certain amount of sense, a bravura performance carried by a solo actor for a specific occasion.  It's a bit of a stretch to liken that to a limited run on Broadway, in my humble opinion.  Had this been a smash with audiences and critics, one could count on seeing it extend.  It is selling relatively well, but at a strong discount.

Nonetheless, the upside is that the tale is told in an intermissionless hour and 45 minutes.  Once the audience attunes to Mr. Cumming's variations in accent and transitions, the salient elements of the plot come through.  He bounds about the asylum basement ward, collecting conveniently placed flotsam and jetsam to assist: an upholstered wheelchair for the king's throne, a filthy and tattered baby doll as Malcolm, a ragged blanket for a uniform.  The caretakers fill in for minor characters on occasion. His multiple characterizations do find separation, but most merely float on the surface.  The end result is a shout of "watch me ACT!" Fans of Mr. Cumming will be enthralled.

Messrs Tiffany and Goldberg have employed some clever use of surveillance cameras and video screens, particularly to convey Macbeth's visions of Banquo's ghost. Fans of Mr. Cumming will be enthralled.

Macbeth runs through July 14.  Tickets available here.

Macbeth

"Macbeth" presented by Aquila Theatre at Gym at Judson, April 21, 2012

I first encountered Aquila when the company was in residence at the University of South Carolina.  Their approach to theatre was one of minimal production values but highly clever direction and staging.  Their production of The Iliad was eye-opening as they created the Argo using only a half dozen 6 foot poles. Aquila moved to New York in 1999 and has produced here regularly along with national tours and international performances. 

Their latest offering is the Bard's Scottish play, performed with a cast of nine on a bare stage at the spartan Gym at Judson.  Director Desiree Sanchez has the actors doubling and occasionally tripling roles, and for the most part, it works very well.  Working with Peter Meineck's elegant light plot, the stage is divided like a chess board.  Though Ms. Sanchez declines to overwork the concept of a chess match, she does exercise the squares of light to clearly define a sense of location.

Guy Oliver-Watts in the title role reflects his training, conveying a Macbeth of manic mood swings.  From time to time, his rubber-faced reactions undercut his intensity.  As his scheming bride, Rebecca Reaney plays the mood swings with a bit more success, immediately ambitious upon Macbeth's first success and quick to turn to darkness to achieve her aims.  Most successful in the cast was Peter F. Gardiner, primarily as Banquo, but giving nice turns in several other supporting roles.  Aaron McDaniel is a bit over-earnest as Malcolm, but with that head of gorgeous hair, it's an easy sin to forgive. Rachael Barrington stumbles in the male role of Rosse, but redeems herself as a bitter and frightened Lady Macduff.

It's a solid production, but lacks the clever and interesting staging I've seen from Aquila before.  Hopefully, they will get back to that with their next production.  Macbeth runs through May 6, 2012.  Get tickets here.

Hamlet

"Hamlet" presented by Donmar New York at the Broadhurst Theatre

(Photo by Johan Persson)

In its 66th appearance on the Great White Way, Shakespeare once again proves that good writing gets produced.

It doesn't hurt that the latest version stars Jude Law, directed by Tony Award winner Michael Grandage in a transfer from the Donmar Warehouse production in London earlier this year.

With a production design reminiscent of a Calvin Klein ad ("Discontentment...by Calvin Klein" - ok, I might have borrowed that analogy), this dark, dreary and brooding evening in contemporary dress does hold the audience's attention for its 3+ hour running time. I'll dispense with a plot summary and get directly to the performances.

Mr. Law's is a cynical and jaded prince, managing some shades (about four) as he wails and sobs through his manic portrayal. He acquits himself well overall, but comes across a bit self-indulgent from time to time in his direct address monologues. Gugu Mbatha- is a lovely, delicate and fragile Ophelia (though I missed the gossamer gown for her mad scene when she entered in a gray hoodie). Kevin McNally's Claudius was suitably scheming and devious. Geraldine James' Gertrude, tall and elegant, felt a little unsure of herself at times. Ron Cook's Gravedigger fared a bit better than his Polonius, who tossed away several of his laughs.

Mr. Grandage keeps the production moving relatively well, guiding with a thoughtful hand. Christopher Oram's sets saved a buck or two by keeping the upstage wall of the theatre black, left over from the previous tenants at the Broadhurst, Mary Stuart. His costumes I've already commented about. Neil Austin's moody lighting provided ample challenges for the actors to find a place for their faces to be seen.

This limited run closes December 6, 2009