TWELFTH NIGHT @ THE DELACORTE THEATRE (PUBLIC WORKS)

There is nothing I love more in this world than a good update on a classic. Now, as of late I have found myself trapped in many a discussion on the validity of a modern interpretation. But as I was taught and as I have known, I always come prepared to an argument with an arsenal of facts, site source material and the good ol’ gizmo (bam!)

Here’s a perfect example of a modern update of a Shakespearean classic that happened this past weekend right in the heart of our city, Central Park. The Public Theatre’s Public Works Program put up a SMASHING production of Twelfth Night at the Delacorte and let me tell you, not one toe was left untapped, not one soul left unenraptured by the brilliant coming togethers of the average Joe and Tony Award winning stars.

We know the story (or we’ve seen She’s the Man…) but here, Kwame Kwei-Armah and Shaina Taub do something so special with the text; a modern/classic fusion so flavorful, rich and comforting, all the while keeping its roots which perfectly mirrors their Illyria, New Orleans.

And I get it. Some updates are super forced and out of left field (There’s a production of Antony and Cleopatra back in Chichester that haunts me to this very day) but to declare “If music be the food of love, play on” and not think of New Orleans in all its music, art and sex appeal, there’s simply no hope in ever changing your minds. Frillies and plumes to you all!

Nikki M. James shines as Viola, mastering the language with coolness and ease. Jose Llana is a perfect Orsino, oozing incredulous amounts of love and angst, all in a man-bun, no less! Nanya-Akuki Goodrich’s Olivia was so spirited and jovial, a refreshing change to a character we know to wail on.

Audiences fell in love with Sir Toby Belch, Mr. Jacob Ming-Trent, a Public Theatre (and Entertainment Hour!) favorite as well as Andrew Kober’s side splitting Malvolio.  Every single audience member in that sold out house was with these captivating performers one hundred percent, laughing at every nuance, radio silent at every touching moment.

 

One of the community groups that took part in this production was the New York Deaf Theatre. They served the role as the unspoken words inside Viola’s head when she wants to tell Orsino that she’s a woman and she loves him.  Feste, played by Ms. Taub herself , sings “Is this not Love?” while the group dances and signs around Viola and Orsino. Certainly an absolutely gorgeous inclusion that I will never be able to forget.

I urge you all to support the Bard in all its forms and veneers wherever it pops up! Because God knows I won’t shut up about it.

Review: Brittany Goodwin

Photos: Sarah Krulwich

Cymbeline @ The Delacorte Theatre w/ Public Theatre

Despite varied reviews on The Public Theatre’s Cymbeline, we were blown away by the whimsy, ingenuity and overall fun of the production. Cymbeline, a play most directors don’t touch with a ten foot pole, was thoughtfully executed capturing the true melodramatic nature of the text and circumstance. Embodied by a fine ensemble of actors and directed brilliantly by  Daniel Sullivan, Cymbeline will tickle your funnybone and touch your heart with its music, aesthetic and of course, message.

While the title refers to King Cymbeline, the real stars of the show are Princess Imogen and Posthumus, who are marvelously brought to life by Tony-nominated (and American Horror Story alum) Lily Rabe and Hamish Linklater. These two simply soar and inject passionate energy every moment they are on stage. Rabe provides a feisty spirit to a character who could veer too prim and proper, all the while still maintaining her innocence that Imogen is noted for having. Linklater is one of several actors who double their roles, as he takes on both Imogen’s lover Posthumus and her betrothed lover/stepbrother Cloten. He effortlessly balances both characters by making them distinctly different (and with the aid of a silly wig reminiscent of Moe a la the 3 Stooges), while also exposing the similarities and differences between the two. This combination provides an intriguing antithesis of each of their relationships with the princess. Linklater is absolutely hysterical as the Queen’s dimwitted son, punching all of the correct moments to elicit laughs, while also sweet, strong, and heroic as Posthumus. His morning woo-ing song left the audience in stitches for a long while!

Raul Esparza is a deliciously evil Iachimo, decked out in a gangster-esque suit at the poker table in Italy. He exudes a despicable and cunning air as he wagers with Posthumus that he can seduce his virtuous and loyal Imogen. Esparza, who has a wide range of credits in theatre, film, and television, is able to show off his extraordinary singing skills thanks to music provided by Tom Kitt (Next to Normal). 

This adaptation of Cymbeline is driven by its modern folk rock score which kept your feet tapping the entire duration of the play. Mimi Lieber choreographs bright and bonnie dances that mirror the lighthearted nature of this melodrama. Overall, Sullivan has  assembled and directed an amazing team of actors and coached them brilliantly to bring to light one of Shakespeare’s “problem pieces”. It was certainly melodramatic, all the while seeing two sides to every story from the way he doubled the characters. The play is about forgiveness and trust and we certainly saw that culminate through all the journeys reaching their end at the conclusion of the play.

When one thinks of Shakespeare the likes of Romeo and Juliet or A Midsummer Night’s Dream usually come to mind. The late-romance of Cymbeline is not as well-known, and yet this production has gotten one of the most well-received reactions from an audience we have ever experienced. The laughs were long and constant and everyone rose to their feet in the concluding dance of an amazing evening. Head on over to the Delacorte and share the joy of love and language! 

Review By: Brittany Goodwin

Photos By: Michelle V. Agins

The Tempest @ The Delacorte Theater w/ The Publice Theater

Shakespeare in the Park’s production of The Tempest certainly took us by storm. It was imaginative and sensory, brought to life by fantastical masters of the language. The actors were superb and wonderfully showcased a large skill set, creating a fascinating environment provided by Michael Greif’s direction.

From moment one, the production captures your focus and places you into the shipwreck- no longer in Central Park, New York, New York. Being outdoors allows you to experience the elements as the characters are, and truly elevates the sensibility.

The scenic design by Riccardo Hernandez was beautifully simplistic, and offered a fresh change in locale as the play goes on, married to David Lander’s gorgeous lighting design. The Public withheld its amazing standards even in the outdoor elements. Emily Rebholz designed costumes that mirrored the surrealistic, timeless quality of the adaptation of the piece, thus further allowing the story to feel contemporary and relevant to our modern audience. Arthur Solari’s percussion underscored the action beautifully, giving the piece a heart beat. 

Sam Waterston leads the show as Prospero, the exiled ex-duke of Milan, in a brilliantly captivating manner. He embodies a man driven by both passion and logic, and the audience is able to see his pain and triumphs with every character he meets. The star vehicle, Jesse Tyler Fergusen as Trinculo, certainly does not disappoint. He injected comedy and whimsy into the scene, forcing the audience to be fixated on his hilarious reactions and commentary to the given circumstances. Other standout performances include Louis Cancelmi as Caliban, who tells his story not only verbally, but also giving a chilling and utterly compelling physicality to his tale. Chris Perfetti’s attention to the language and essence of a spirit was irresistible as Ariel.  His focus and movements were ethereal, enrapturing the audience’s eye as he moved across the stage. Ensemble troupe members were able to showcase their various talents, whether it be silk dancing, contortion, or glorious and haunting harmonies. Everyone’s talent and mastery of the Shakespearean language were demonstrated through the fact that it flowed effortlessly and felt like you were watching a modern tale.

The Public Theatre provides a unique thought-provoking free experience for the general public to enjoy and appreciate. The crowd rose to its feet at the conclusion of the show and voiced their endless appreciation for the actors’, designers’ and directors’ work. So pack up your picnic basket and head on down to the Delacorte Theatre in Central Park! May only an actual tempest deter you from running to see this production.

Review By: Brittany Goodwin
Photos By: Joan Marcus

Love's Labour's Lost: The Musical @ The Delcorte Theater

    
The Public Theater produces new plays, musicals, productions of Shakespeare, and other classics in its headquarters on Lafayette Street (the former Astor library, which opened as The Public Theater in 1967 with the world premiere of the musical Hair) and at the Delacorte Theater, its permanent summertime home of free Shakespeare in the Park each summer. This summer on Shakespeare in the Parks 51st Anniversary,  Public Theater brings the community Love's Labour's Lost: A New Musical written by the same team that brought to life Bloody Bloody Andrew Jackson.

Romance, revelry and enchanting music ignite in this contemporary yet lovingly faithful musical adaptation of Shakespeare's comedy. Smart, sexy, outrageous and irreverent, it's a madcap celebration of true love and coming of age. Adapted from the play by William Shakespeare. The King and his best buds decide at their five-year college reunion to swear off the joys of women. But when four cute, clever girls from their past show up, they’re forced to reconsider all of that nonsense! This new musicals take one of Shakespeare's funniest plays and turns it into a modern day musical set on a college campus at a 10 year reunion.

This cast is packed full of a young energetic cast. The boys, Daniel Breaker (Shrek), Colin Donnell (Anything Goes), Bryan Pinkham (Ghost: The Musical), Lucas Near-Verbrugghe (Bloody Bloody..), are love sick and adorable as they try to deny their love for the girls. This is shown as each guy gets his own show stealing number ultimately making complete fools of themselves, leaving the audience in stitches. The girls, Patti Murin (Lysistrata Jones), Maria Thayer, Kimiko Glenn, and Audrey Lynn Weston had a harder job of selling their performances because they each didn't get lucky enough to get their own show stopping number, luckily the four of them have indescribable  comedic timing and a was able to capture the audience with side spiting dialogue. Ensemble shout out goes to Jeff Hiller, he steals this show just as he did in Bloody Bloody Andrew Jackson, with his small side lines that have the audience crying in laughter. 

Love's Labour's Lost runs at the Delcorte theater until August 18, 2013. Tickets are free and the show is great, so don't miss out.