When Caius Martius (Brent Charles) enters (not yet known as Coriolanus), there is a certain air of someone who is completely unwilling to tolerate any nonsense, and of someone without fear. The citizens might still be volatile, but he steps straight up to them on "What would you have, you curs" without hesitation or worry, seemingly ready to battle anyone at any time, and so perhaps more volatile than the citizenry. It's an intriguing character, someone who is clearly arrogant and disdainful of anyone he considers beneath him (which, let's face it, is nearly everyone), but that doesn't make him wrong. And his distaste for the game of politics, for the inherently dishonest theatrical element of it, is certainly admirable. Brent Charles does a brilliant job of embodying the spirit of the character, his virtues and faults (what fits into which category greatly depends on the audience's point of view). He was wonderful as Berowne in last year's production of Love's Labour's Lost, and delivers another phenomenal performance here. And, interestingly and tellingly, Caius Martius has taken the raised platform before the end of the scene.
Company co-founder Melissa Chalsma, who was a delight as the Princess of France in Love's Labour's Lost, is spectacular here as Volumnia. When she speaks of her son, her voice is filled with passion and pride. Justine Faith is wonderful as Virgilia, wife to Coriolanus. Volumnia, upon saying "I see him stamp thus," loudly stamps her foot upon the stage, which clearly unnerves Virgilia. When Valeria (Carene Rose Mekertichyan) enters, she speaks downstage (at least to the majority of the audience, the plebians), while Volumnia and Virgilia are on the raised platform section of the stage, which is interesting, as far as the power dynamic goes. Virgilia, listening, finally breaks vocally, which leads to her "A crack madam," offered as a sort of explanation. A really nice moment. Justine Faith is particularly good in this scene. When Valeria mentions "news of your husband," Volumnia is just as interested as Virgilia, if not more. And in a later scene when she receives news of Coriolanus, Melissa Chalsma is both funny and captivating. Her delivery of "his wife another" is funny, as Virgilia is standing right next to her, but Volumnia does not address her. She is completely caught up in her cherished image of her son, and obviously believes herself to be the most important woman in his life. She raises her hand in pride and excitement bordering on ecstasy when she exclaims that he has been wounded, which is hilarious. She basically wants to lead the populace in cheering for her son, so it is interesting that when he arrives to great cheers, he immediately says, "No more of this," And he means it. And it seems that Volumnia is correct in believing herself the most important woman in Coriolanus' life, for on his line "Your hand, and yours," it is his mother's hand he takes first, and then Virgilia's. And later it is wonderful when Volumnia counts Virgilia as an ally.
Also delivering particularly excellent performances in this production are Bernardo De Paula and Daniel DeYoung as the two Tribunes. They are supposed to represent the people, but of course have their own ambitions, their own designs on power, and so end up manipulating the people. That, of course, should sound familiar. On Sicinius' "Doubt not the commoners," he indicates the audience on their blankets. And we the commoners must accept our own blame in the decisions of our representatives, for it is here, in part because of their wonderful performances, that we can't help but fall for Sicinius and Brutus. We like them. It is interesting that when Coriolanus takes his position on the raised platform, the two tribunes are actually just off the stage with the audience. They are with us, and we can't help but be with them, even as we recognize how they are manipulating us. What does that say about us in our modern predicament? They are also cowardly. They are especially funny during the "no further" lines to Coriolanus. Coriolanus is also wonderful in that scene, particularly on his "Triton of the minnows," taking great delight in his words there. The tribunes gleefully wave goodbye to Coriolanus when he is banished, and then shake hands with some folks in the audience, ever the politicians.
The battle between Coriolanus and Aufidius is handled really well, with the combatants using the bucklers as weapons in addition to the swords. And though the play remains a period piece, the production does make interesting use of modern instrumental rock music to punch up key moments, such as the battle. In the moment when Aufidius gets the upper hand, he takes the raised platform part of the stage. Patrick Batiste never fails to deliver an enjoyable and nuanced performance. He is particularly good during that "Five times, Martius,/I have fought with thee" scene. It is a fascinating relationship between the two men, especially when they meet again after Corionalus' banishment. Their initial exchange then is exciting. Coriolanus is more measured here, then raises his voice when he vows himself willing to fight against his own country. There is a fantastic moment when Aufidius embraces Coriolanus and has the opportunity to literally stab him in the back with his own dagger, and then sheaths it. Perhaps it was due to it being Pride Night when I attended, but some of Aufidius' speech was greeted with unexpected cheers, even before the "fisting each other's throat" line. Aufidius' questioning expression at the end of the scene is funny. But Patrick Batiste is even more fascinating as Aufidius when his soldiers begin to support Coriolanus. His delivery of "Do they still fly to the Roman?" says it all.
Just as important, if not more so, is the relationship between Coriolanus and Volumnia. For it is that relationship that eventually offers an end to the trouble. It is interesting that this great political drama comes down to the most basic of human relationships, of parent to her offspring. When Volumnia urges Coriolanus to tell the people what they want to hear, she takes the raised platform, assuming a position of power, and assuming her advice should be taken. She is more invested in his advancement than he is, which is perhaps the way with all mothers, perhaps all parents, for she does seem to be both father and mother to Coriolanus. And when she tells him, "I am in this," we know that to be true, the way overbearing parents put great stake in their children's success at certain activities. Volumnia is extraordinary on "The valiantness was mine." And when she succeeds in convincing Coriolanus to go to the marketplace, he puts a little dance in his step on "Look, I am going," showing that he's putting on an act. Performing for his mother? Brent Charles is riveting when he is named a traitor, the last thing he'd expect to be called. As the people react, he is shocked. We see he is not in control, that he can't fathom the people's reactions. In that momentary loss of control, he is spellbinding, and it seems that anything might happen then. He does a great job with the "You common cry of curs" speech. And Volumnia is fantastic on the "Anger's my meat" speech. The entire production is excellent. This is, surprisingly, the first time the Independent Shakespeare Company has done Coriolanus, the last of Shakespeare's great tragedies.
This production of Coriolanus runs through July 26th. Visit the Independent Shakespeare Company's website for the complete schedule. There is one intermission, which comes at the end of Act III Scene i. The perfomance is free, but donations are encouraged. There is also a booth with Coriolanus T-shirts and other items for sale. As I'm sure you're aware, the arts are in great need of support these days.
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