[NEohioPAL] Review of "The Two Gentlemen of Verona" at GLTF

[Bob Abelman]

GLTF's 'Two Gentlemen' exceeds lower expectations

 

Bob Abelman

News-Herald, Chagrin Valley Times, Solon Times, Geauga Times Courier

Member, International Association of Theatre Critics 

 

This review will appear in the News-Herald 4/15/11

 

The Two Gentlemen of Verona is considered by many to be second-tier Shakespeare.

 

This early work contains dialogue less memorable, characters less developed and romantic comedy less refined than the playwright's more renowned works.  In fact, it is in this play that many of Shakespeare's recognizable formulas and time-honored conventions are tried on for size.  

 

There are the two kindred spirits (valiant Valentine and fickle Proteus) who are separated only to be reunited.  There's the strong-willed woman (Julia, who is in love with Proteus) who disguises herself as a man, revealing the power of appearance over reality and the humor found in gender-bending mistaken identity.  The foolish behavior of those in love (both Valentine and Proteus are smitten by Silvia, the Duke's daughter) is explored. The lovable behavior of fools (Speed and Launce, servants of Valentine and Proteus) is espoused.  

 

As a lesser play, there is the tendency for modern era theater troupes to bolster the Bard's comedy with clever staging, a more contemporary timeframe and a more exotic location.  In recent years, companies have presented The Two Gentlemen of Verona as a spaghetti western, a screwball comedy, a beach blanket bash and a TV sitcom, among other even more extreme forms and formats.  

 

The Great Lakes Theater Festival has never shied from giving the canon a makeover.  Its A Midsummer Night's Dream was set in rock 'n' roll infused 1960's London.  The Comedy of Errors was transported from the city of Ephesus to a sensuous Rio de Janeiro in the midst of a Carnaval celebration. Its recent production of Macbeth was inspired by classic Japanese styles and sensibilities.

 

With The Two Gentlemen of Verona, one would expect that GLTF director Charles Fee would have a field day and-despite his best intentions and a proven track record- be tempted to go too far.  

 

Fear not.  Although the play's time and temperament have been trifled with, the restaging of this play is surprisingly subtle and very effective.  Rather than compensating for the play's frailties, this GLTG production serves to accentuate the play's strengths by utilizing its own.  

 

The setting by Russell Metheny and costuming by Star Moxley are contemporary, although no specific time is specified.  The set is clean and simple-a central balcony with bridges with streetlamps on both sides that lead to it-on a platform stage.  The stage is adorned with minimalistic trees that drop from the heavens for outdoor scenes and window frames that fall into place for indoor scenes.  

 

Between scenes, veteran performers Sara Bruner and Jodi Dominick wander in and out to deliver brief musical segues accompanied by a visible but very unobtrusive band.  The song segments consist of airy harmonies with meaningful lyrics by indie-pop artists ("I have taken a wrong turn" by Ingrid Michaelson; "It breaks my heart" by Regina Spektor) that foreshadow what's to come and serve to slow down the highly energized dialogue written by a youthful Shakespeare.  The singing is gorgeous.

 

Key rolls are well anchored by other veteran performers, including Aled Davies as the Duke, father to Silvia; Dudley Swetland as Antonio, father to Proteus; M.A. Taylor as Speed; and David Anthony Smith as Launce.  Taylor and Smith are magnificent fools who fully understand the comedic and narrative functions they serve and take full advantage of every moment on stage.  No words are wasted.  Every gesture conjures a classic jester.  

 

A talented foursome of GLTF newcomers-Neil Brookshire as Valentine, Paul Hurley as Proteus, Nika Ericson as Silvia and Lee Stark as Julia-play the young lovers.

 

The acid test for their performances comes in the final scene of the play, when the novice playwright finds it necessary to quickly collapse, condense and conclude the various twists and turns he worked so hard to create.  To deliver this with clarity, charm and without the sense that the hall is rented and time is up is no easy feat.  These four are superb.  

 

This production of The Two Gentlemen of Verona exceeds the lower expectations inspired by the work and meets the high expectations earned by the GLTF.

 

The Two Gentlemen of Verona continues through April 23 at PlayhouseSquare's Hanna Theatre in downtown Cleveland.  For tickets, which range from $15 to $70, call 216-241-6000 or visit www.greatlakestheater.org.

 
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