Work has begun in earnest on the company's permanent stage in the park, which means that Love's Labour's Lost is being performed in that more intimate space farther up the hill (which is largely in the shade, by the way). It is performed in the round, the main platform straddling the dry creek and painted mostly green. A smaller, covered platform is located to the side, but the company makes great use of much of the space around these platforms as well as the platforms themselves, and there is some interaction with the audience. This is set up before the play begins, with members of the cast welcoming us to the Court of Navarre, and warning us that there are rules against "commingling with members of the opposite sex." And to show just what is meant, Costard and Jaquenetta (Diana Reyes) engage in a bit of hanky panky before being quickly interrupted and arrested, all done to piano accompaniment. Yes, this production adds a bit of a live score, with several instruments set up to one side of the main stage, a really nice touch that adds to the fun vibe.
The play begins with Ferdinand (Pierre Adeli, who was excellent as both Duke Frederick and Duke Senior in last year's As You Like It) imparting the rules for the course of study to be undertaken by himself and the three others - Berowne, Dumaine and Longaville. The swearing off the company of women being an important part. Dumaine (Patrick Batiste, who was wonderful as Ferdinand in 2021's The Tempest) and Longaville (Isaac Ybarra) have no hesitation in signing the document, but Berowne (Brent Charles) pauses. Part of the success of the play depends on the charisma of Berowne, and Brent Charles delivers a very cool Berowne, even sporting sunglasses early on, setting him apart from the others. And he's incredibly funny. He is someone the audience immediately connects with, which is important. And on his "meet some mistress fine," he picks out a woman in the audience to focus on. Much of the physical comedy is stylized, as when Ferdinand says "adieu" to Berowne, and all three directly turn their backs on Berowne. Much of the motion is choreographed in such a way as to give it a heightened sense of reality, as in a musical. When each receives his book, the men move to their various spots to read, Berowne choosing to join the audience, making it clear that he has different feelings about this endeavor, again setting him apart. He even puts the book over his face, which is interesting, because later all four will hold the books in front of their faces in vain attempts to keep from viewing the women.
Because the men have sworn off the company of women, the princess of France (Melissa Chalsma) and her ladies are not allowed inside the court, and instead are given lesser accommodations out of doors, which they are clearly not happy about. And a good deal of humor results, much of it in their expressions. Melissa Chalsma is particularly wonderful in that regard. Through costume, it is clear which woman will end up with which man. Berowne wears a red jacket, Dumaine a blue one, and Longaville a green one, and the women they will fall for incorporate the corresponding colors in their outfits, Katherine (Asha Noel Iyer) wearing a blue dress, Maria (Carene Rose Mekertichyan) in a green one. Rosaline (Jacqueline Misaye, who was fantastic as Rosalind in As You Like It) has a red wrap. This matching actually even extends to Armado and Jaquenetta, for the color of her shoe matches the feather in his hat. The costume designer is Garry Lennon.
This company has several actors who are particularly skilled at comedy. David Melville, as Costard, is one. His bit about the "remuneration" is especially hilarious. William Elsman, who plays Boyet, advisor to the Princess, is another. There is something funny even in the way he carries himself. And this season the company has added a new actor talented in this area, Bernado De Paula, who is making his ISC debut as Don Armado. Armado is delightful when professing his love, the only man here who is not reluctant to do so from the start. He holds his love's shoe on "which is baser," and for him that article is endowed with her charm. Jaquenetta for her part is a bold and straightforward woman who is well aware that she is desirable, and Diana Reyes does a great job in the role. Also quite funny is Daniel DeYoung as Holofernes, the schoolmaster. One of the production's funniest sequences is that of the "Muscovites," when the men come to the women in disguises that the women are able to see through without trouble (the men, when the women exchange jewelry, are not so adept at discovering the deception).
It's all about love, and we see how falling in love changes these characters. Especially wonderful is when the King enters dancing about, completely joyful in love. The world needs that kind of love, that kind of joy. Each of the men in turn enters, the others then hiding within the audience so as to not have their love discovered. They are hilarious when confronting each other. Berowne takes great joy in taunting the other three, until all realize that they suffer from the same great trouble. And then their tunes change. It is then that Berowne says, "From women's eyes this doctrine I derive:/They sparkle still the right Promethean fire;/They are the books, the arts, the academes/That show, contain and nourish all the world." And who can argue with that? It is interesting too, because it is ultimately the women who are in charge here. They decide the outcome of the play. Perhaps the best performances of the evening are by Melissa Chalsma as the Princess, and Jacqueline Misaye as Rosaline. The Princess' reply "No," to the question of dancing is hilarious, and then the moment when in the middle of chaos, she and the King begin a sweet dance is beautiful. I love how this play defies expectations. Comedies end with weddings and dances, but here there comes a sudden end to the joy, black mourning gowns halting the dance. And that is one of the performance's strongest moments, and one of its least expected.
This production of Love's Labour's Lost runs through July 27, 2025. Visit the Independent Shakespeare Company's website for the complete schedule. There is one intermission, which comes at the end of Act IV Scene ii. The performance is free, but donations are encouraged. There are also T-shirts, sweatshirts, and tote bags for sale, as well as food and drink. So there are plenty of ways to offer support. This is a time when the arts need all the support they can get.
No comments:
Post a Comment