One of the positives in the decision not to have three
outdoor plays running in repertory during the Old Globe’s summer season is
evident on the Lowell Davies Festival Stage as this year’s plays will bear
witness. Arnulfo Maldonado’s set design
gave background to an era update in a hospital housing war-wounded fighters in
Shakespeare’s “Macbeth”, least seen on the outdoor stage. With this change, set
designers have carte blanche with their creative juices rather than a
background that they would have to work around.
In stark contrast to the bloody mess created in “Macbeth”(that
was fitting for the play), John Lee Beatty’s charming and lush scenic gardens
with lavish landscape surrounding the stage, a very large nude/Cupid? looking over her shoulder at the child behind her and topped off with the visual of a long
stairway leading to a wrought iron gate outside, is truly an eye-popper. It
helps also to have Jason Lyons spot on lighting shining on the merriment of
the oh so obvious fiasco set out as the premise of another of Shakespeare’s
earlier and seldom produced comedies, “Love’s Labor’s Lost”.
Imagine three young men in their what, late teens, early 20’s
swearing an oath to study, fast and chastity for three years? That’s what the
King of Navarre (a fine Jamie Orsini), a scholar himself asked his three young
students to do. Foolish young men, they. They lined up to sign the pledge; the
reluctant Lord Berowne (Kieran Campion), among to first to break the vow Longaville
(Nathan Whitmer), and following close behind Dumaine (Amara James Aja).
Furthermore, “No woman should come
within a mile of the court”
 |
| Cast of Love's Labor's Lost |
But just as the signatures on the pledge begin to dry the
Princess of France (a charming Kristen Campion) and her ladies arrive in Navarre
wishing to speak with the King on the matter of Aquitaine. Because of the decree he and his students
signed, the women have to make camp outside the court in a tent set up by the
king leaving them vulnerable to the eyes and desires of the King and his young
students.
As we will learn, all fall madly in love with one or the
other women while trying to conceal it from the rest. The main plot revolves
around how they can get out of this mess, and find temporary happiness. Here’s
a spoiler. They disguise themselves as Russians dancers and prove themselves,
once again to be not only foolish, but pretty naïve as well.
 |
| Makha Mthembu, Patrick Kerr, Stephen Spinella and Jake Millgard |
Silly as their frolicking may be and more as background play
to set up his comic characters, Shakespeare has introduced us in this early
comedy to some of his most delightful and scene stealing clowns, a la commedia
del arte that made an evening more fun than it started out to be.
Whether for our amusement or possibly our reward for having
to sit through the boyish and boorish nonsense of watching four handsome,
virile and eligible young men wiggle out a deal they never should have made in
the first place, the sub plot with most of its merriment going to his clowns are
the best part of this production.
Credit goes to director Kathleen Marshal, (well known for her
directing and choreographing Broadway musicals) choreographs this one in perfect balance; part Shakespeare’s language, part terrific acting and part excellent execution of all
of the above make this one a winner.
Don Adriano de Armado (Triney
Sandoval) as
described by Shakespeare as a "fantastical Spaniard”, and well he might
be, and he also demands the most attention with his loud voice. Armado is the caricature of the courtly lover
who tattles about Costard (a beyond excellent Greg Hildreth) because he’s chasing
after the country gal Jaquenetta (Makha Mthembu), Armado’s wannabe squeeze.
Costard the clown sets all the nonsense into motion when he
accidentally switches love letters he’s asked to deliver to the respective love
interests of Armado and Berowne and all hell breaks loose.
 |
| Triney Sandoval and Greg Hildreth |
It doesn’t end here though. Schoolmaster
Holofernes (“Angels In America” Stephen Spinella) speaks in lists. (“This
is a gift that I have, simple, simple—a foolish extravagant spirit, full of
forms, figures, shapes, objects,
ideas, apprehensions,
motions, revolutions.”)
His sidekick the village cop Dull (Jake Millgard)
make interesting contrasts. Dull is well…Dull. Last but not least is curate Sir
Nathanial (perfect Patrick Kerr) a fan of Holofernes and is impressed by his
speech, Dull, not so much.
"All's Well That Ends Well" but not after the sad news that the Princess's father died prompting an early exit of the good maidens with some promises were almost made but who knows.
Michael Krass’s costumes are period perfect, lush and fitting
the character. Sten Severson’s sound design is perfect for the out door
setting. Original music by Taylor Peckham lends some softness.
Hats off to Marshall and her excellent cast enabling another
of Shakespeare’s silliness to bring some light and warmth into what might have been a longer evening than anticipated.
Its good fun for the summer's end.
See you at the theatre.
Dates: Through Sept. 18th
Organization: The Old Globe
Phone: 619-234-5623
Production Type: Comedy
Where: 1363 Old Globe Way, Balboa Park
Ticket Prices: Start at $20.00
Web: theoldglobe.org
Venue: Lowell Davies Festival Stage
Photos by Jim Cox
No comments:
Post a Comment
Note: Only a member of this blog may post a comment.