Twelfth Night (Will Geer’s Theatricum Botanicum 2019 Production) Theatre Review

Twelfth Night production photo by Ian Flanders

There is something wonderful about Twelfth Night, something inherently enjoyable about this play. There is a light, breezy quality to it, and no matter what troubles occur, we are never really worried about the fate of any character, not even Antonio when he is captured. And seeing a daytime performance of this play at Will Geer’s Theatricum Botanicum in particular is a treat, for it is an outdoor venue in a beautiful natural setting, where actors make occasional entrances from the surrounding woods. There is also a musical quality to the play, even outside its several songs, and it is this element that the current production of Twelfth Night stresses, with characters singing many of the lines.

When the play opens, there is a mourning party off slightly in the woods, singing a dirge. It is to them that Valentine is sent on behalf of Orsino, an added moment that is referred to in the text but not usually shown. Orsino (Max Lawrence) then sings the famous first line of the play, “If music be the food of love, play on!” He is taking part in the song, rather than just enjoying it. Viola and the Captain enter from behind the audience, and the bulk of their scene together is performed on the roof of the structure back there, placing the audience firmly in Illyria, since they are looking over us when speaking the scene’s first lines, a nice touch. Willow Geer has a delightful and endearing energy as Viola right from the start, and her playful delivery of the line “He was a bachelor then” indicates that she is already interested in Orsino, or at least curious about him. Viola sings the line, “For I can sing,/And speak to him in many sorts of music,” which works well and highlights for the audience the fact that music is a strong current running through the play. It makes sense, too, that Toby (Christopher W. Jones) would have a song on his tongue, showing his somewhat carefree lifestyle. He sings his lines about drinking to his niece. And for Sir Andrew Aguecheek’s part, he is really excited to demonstrate his dancing skills, such as they are, a funny moment.

Orsino and his men are in uniforms of blue, white and red. This production, by the way, takes place in the early 1800s. When Viola enters disguised as Cesario, she wears a similar but not identical outfit to the men. No wig or hat is employed for her disguise, but rather her hair is pulled back in a ponytail, which is interesting, for it really is just the clothes that make her a man. It is almost as if she hopes Orsino will see right through her disguise, that she wishes to be wooed by him. And Willow Geer makes it work really well. It is also interesting to me that different characters sing for different reasons. Obviously, bursting into song is a conceit and in Orsino’s case, it is a bit of putting on airs, of playing the part of being in love with Olivia (for of course we all know he will soon be in love with Viola). Thus, he sings his line, “O, then unfold the passion of my love,” with the other men working as his backup singers.

Feste (Time Winters) is dressed in a fool’s cap, and even has jingling bells. He is an instantly lovable character in this production. The oddest bit of casting is Melora Marshall as Malvolio. A female Malvolio changes things quite a bit, particularly as the character then becomes gay, something that wouldn’t be a problem in a modern setting, but something that doesn’t quite work when set in the early 1800s. After all, Toby, Maria and the others accept her sexuality as a given, never making mention of it. It becomes more than just crossing a boundary of class for Malvolio, as she tries to rise above her station; it’s a whole other boundary being crossed, which would have been much more serious at that time than now. Malvolio is dressed in black, like her mistress Olivia; the other gentlewomen are dressed in lighter colors. This shows immediately that Malvolio is working to be close to Olivia and to be firmly in her favor. When Viola enters disguised as Cesario, all of the women (including Malvolio) don black veils, leading to her question about which is the lady of the house. Christine Breihan is wonderful as Olivia in this scene. I love that she pauses before asking “Is’t not well done?” It is as if she is waiting for a compliment, perhaps used to getting them. And she is adorable in her excitement after Viola exits.

Malvolio has a whistle, which she blows often, as when chasing down Viola. She places Olivia’s ring on the ground rather than tossing it at her. Viola is excellent in that moment when she realizes that Olivia loves her, and she gives a great and funny delivery of “What will become of this?” That speech is one of her best, in a performance that is full of wonderful work. I’ve always been fond of Toby as a character, and Christopher W. Jones delivers a really good performance in the role. I particularly like his work in the scene when he asks Feste for a love song, especially the way he is affected by the song. I also enjoy the moment when he mimics Malvolio later in the scene, humorously duplicating her walk. But again, the plan concocted by Maria seems a little odd in light of Malvolio’s gender. Clearly, they are all aware of Malvolio’s sexuality, which in the early 1800s seems unlikely. And it also might come across a bit like they are poking fun at her because of her sexual orientation and not just because of her haughty airs. Don’t get me wrong: Melora Marshall’s performance as Malvolio is excellent. It is just that the character as a woman doesn’t quite work.

The character Fabian is cut, and Feste instead takes part in the gulling of Malvolio. He and the others hide behind branches that they hold, as they wait for Malvolio to find the letter. The gentlewomen also take part in the fun, or at least are there to witness it, they too using branches to conceal themselves. The letter, by the way, is on red paper and cut in the shape of a heart, which is cute. And this scene gives Malvolio a chance to sing, for she finally has joy. She sings the lines contained in the letter. Because Feste is present instead of Fabian, at the end of the scene he remains on stage, and Viola enters to begin Act III. Olivia now has cast off her mourning garb and is clad in a light purple dress for her meeting with Viola, showing she is ready and eager to move on. And again, because Fabian is cut, Feste takes his part in Act III Scene ii, saying lines that don’t really fit with his character. And later, it is strange to hear him say Fabian’s line “If this were play’d upon a stage now, I could condemn it as an improbably fiction.” When Maria enters, she takes great joy in telling the others of Malvolio’s state, and her joy is infectious. We in the audience are as eager to follow her as are Toby and the others. Malvolio comes dancing in from the woods off stage left, and again sings the lines about “greatness,” this time to Olivia.

There has long been some question regarding Antonio’s affection for Sebastian, and whether there is a sexual attraction there. Interestingly, this production dispenses with that question with one gesture by Antonio. After handing Sebastian his purse, he says “Haply your eye shall light upon some toy/You have desire to purchase.” On the word “toy,” Antonio creates the outline of a woman’s body. It is interesting that in a production that has made Malvolio a lesbian, it also makes Antonio clearly straight. It is also a bit strange that Antonio is essentially giving Sebastian money for a prostitute. The duel scene between Viola and Andrew is delightful. And even before that, I love that when Toby is reading Andrew’s written challenge to Viola (or, rather, to Cesario), Andrew joins in, having memorized what he’d written and being quite proud of it. Toby is excellent as he tells Viola of Andrew’s intentions. With Fabian cut, however, it is left to Feste to pretend to hold back Viola, which seems somewhat out of character. But the fight is hilarious, with each reluctant combatant covering his or her eyes. And the following moment between Sebastian and Andrew is great as well.

Feste’s delivery of the word “brains” in the line “Nay, I’ll never believe a madman till I see his brains” brings to mind the movie The Return Of The Living Dead. The final scene of the play moves at a brisk pace, with plenty of wonderful work from the cast. When Antonio says “adverse town,” he directs it out, as if at all of us in the audience, a nice touch, particularly as it reminds us of the beginning when Viola sees the audience as the town. Olivia has another excellent moment when delivering the line “Hast thou forgot thyself? Is it so long?” And her complete delight on the line “Most wonderful” is perfect. Andrew is wonderful when he runs in from the woods, and when delivering the line “You broke my head for nothing.” The entire company sings the final song rather than just Feste. Even Malvolio enters near the end of the song, albeit somewhat reluctantly. So the production ends with a celebration, leaving the audience with good cheer.

This production of Twelfth Night was directed by Ellen Geer, and runs through September 28th. Visit the Will Geer’s Theatricum Botanicum website for the complete schedule. There is one fifteen-minute intermission, which comes at the end of Act III Scene i. Including intermission, the performance runs approximately two and a half hours.

Shakespeare Reference in The Concrete Blonde

Michael Connelly’s detective novel The Concrete Blonde contains one Shakespeare reference. It is a Hamlet reference. After Bosch hears the verdict in his trial, he asks, “What about Chandler?” Belk, his lawyer, answers: “Well, there’s the rub, so to speak. The jury found for the plaintiff so we are going to have to pick up her tab” (p. 356). “There’s the rub” comes from Hamlet’s most famous soliloquy.

The Concrete Blonde was published in 1994.

Shakespeare References in Pygmalion

Bernard Shaw’s play Pygmalion contains a few references to Shakespeare. Henry Higgins, early in the play when he still identified as “The Note Taker,” says to Eliza Doolittle, “Remember that you are a human being with a soul and the divine gift of articulate speech: that your native language is the language of Shakespear and Milton and The Bible” (p. 20). And, yes, that is how Shakespeare’s name is spelled in the text. Later Higgins says to Pickering, about Eliza, “This unfortunate animal has been locked up for nine years in school at our expense to teach her to speak and read the language of Shakespear and Milton” (P. 55). And still later, Higgins says to Pickering, “Lets take her to the Shakespear exhibition at Earls Court” (p. 71). And yes, “Let’s” is spelled without the apostrophe in the text.

Pygmalion was first published in 1916. The edition I read is the Penguin Books edition from 1973, which includes additional material from George Bernard Shaw from 1942.

Shakespeare References in Begin The Begin: R.E.M.’s Early Years

Yes, Shakespeare references continue to pop up in nearly every book I read. Robert Dean Lurie’s new book about the band R.E.M., Begin The Begin: R.E.M.’s Early Years, contains a few Shakespeare references. The first is a reference to Romeo And Juliet, and it comes when Lurie is mentioning other names the band considered before settling on R.E.M., names such as Slut Bank and Can Of Piss. Lurie writes, “Sometimes a rose by any other name really doesn’t smell as sweet” (p. 83). As most people seem to do, he is referring to the Q1 line of “By any other name” rather than the preferred Folio reading of “That which we call a rose/By any other word would smell as sweet.” The second reference is to Richard The Third, though really it’s Lawrence Durrell who makes the reference in The Black Book, which Lurie quotes here: “Even the ones like pale nipples, delicately freckled and melodious, are forgotten in this morning, where our one reality is the Levantine wind, musty with the smell of Arabia, stirring the bay into a muddy broth. This is the winter of our discontent” (p. 204). That last line refers to the first line of Richard The Third, “Now is the winter of our discontent.” The final reference is simply a mention of the band Trip Shakespeare (p. 228).

Begin The Begin: R.E.M.’s Early Years was published in May, 2019 through Verse Chorus Press.

Noises Off (A Noise Within’s 2019 Production) Theatre Review

Noises Off production photo by Craig Schwartz

A Noise Within’s production of Noises Off enjoyed a sold-out run last year, with audience members returning to see it two and three times. It was so popular that folks requested its return. Never one to disappoint an audience, A Noise Within has brought the production back for a limited run. So, if like me, you missed it last year, here is your chance to enjoy this absolutely delightful comedy, with the same cast and direction. I generally review only Shakespeare productions, but Noises Off contains a play within a play, and what could be more Shakespearean than that? It also contains references to both Hamlet and Richard The Third. It is a play that anyone who has ever been involved in theatre can appreciate. And for everyone else, well, there is a certain delight to be taken in watching things fall apart, don’t you find? Provided, of course, that things aren’t falling apart for us personally. And things certainly do fall apart for the characters in Noises Off.

The play is divided into three acts, and in each of those acts we see the same play from different perspectives. First, from the director’s perspective during the play’s final dress rehearsal (even if some of the actors believe it is the tech rehearsal), then from the actors’ perspective backstage, and finally from an audience’s perspective. It is an interesting effect, essentially not seeing the play from what would be our own perspective as audience members until we’d already seen it from everyone else’s perspective and become enamored of these characters. It’s good that we get a chance to see it multiple times because our own laughter sometimes drowns out certain lines and we need another chance to hear them. In fact, last night even before a single line was spoken, certain people in the audience were laughing, as if in anticipation of the lines. Clearly, they had seen the production before.

When the play begins, a housekeeper enters and answers the telephone, letting the person on the other end know that the house’s owners are away in Spain. It isn’t until we hear a voice from within the audience call out, “You leave the sardines,” that we realize this woman isn’t a somewhat batty character, but a somewhat batty actor. Well, still a character from our perspective, but you know what I mean. Lloyd, the play’s director, remains in the audience for most of this first act, and so it is from his perspective that we view the proceedings, as he tries to push these actors through the final rehearsal. When one actor looks for his motivation for a certain bit of business, the director, exasperated, says, “Why does anyone do anything?” We feel his pain, particularly when he is seated among us.

For the second act, the set has been turned around, so now we are backstage. Visible are the costume racks and props table and stage manager’s station. The production has been up for a while, and there are new troubles, leading Lloyd at one point to say, “I think this show is beyond the help of a director.” By the way, the pace of this play is fast, particularly in this second act. Its momentum is tremendous. So much is happening all at once. And everything that is established in the first act pays off beautifully in the second and third acts. For the third act, the set is turned around once again so that we in the audience are now the audience for the play within the play. (By the way, the stagehands received applause when turning the set around during the short intermission. That gives you an idea of how much the crowd loves this production.)

There is a lot of physical humor, with the slamming of doors, and entrances and exits. And, after all, isn’t that what it’s all about? Doors and sardines, getting on, getting off. The play is a fun romp. Just the sort of thing one might need in order to, say, take one’s mind off the destruction of the environment or the end of democracy. And the entire cast is fantastic. I was especially excited to see Erika Soto as Poppy, the stage manager. I fell under her spell during her work with the Independent Shakespeare Company, and her Juliet is still the best I’ve ever seen on the stage. I recently saw Jeremy Rabb give a wonderful performance as Roderigo in Othello, and here he a total delight as Frederick. But probably the best performance is given by Kasey Mahaffy as Garry. I thought he did an excellent job as Rosencrantz in last year’s production of Rosencrantz And Guildenstern Are Dead, but here he is an undeniable comedic force, a whirlwind of hilarity, and an absolute joy to watch. But as I said, the entire cast is wonderful.

This production of Noises Off runs only through June 9th, so get your tickets soon. We can all use a laugh these days, and this production provides plenty of them. A Noise Within is located at 3352 E. Foothill Blvd. in Pasadena, California.

Shakespeare Reference in Doctor Who: The Thirteenth Doctor

I walked to my local gaming store the other day to buy more dice (I always want more dice), and as it was Free Comic Book Day, I picked up a comic book too. It is issue 00 of Doctor Who: The Thirteenth Doctor, and it contains a Shakespeare reference. The Doctor says “Something wicked this way comes.” Her next line is “Ray Bradbury, lovely man.” That seems to imply that the Doctor believes the line originated with Ray Bradbury. It did not. The line “Something wicked this way comes” is from Act IV Scene i of Macbeth: “By the pricking of my thumbs,/Something wicked this way comes.”

Doctor Who: The Thirteenth Doctor is published by Titan Comics. This issue was written by Jody Houser, with most of the art done by Giorgia Sposito. The colorist was Tracy Bailey.

Shakespeare References in Going Down: Lip Service From Great Writers

Going Down: Lip Service From Great Writers is a collection of short pieces from various authors on the subject of oral sex. Two of the pieces in this book contain Shakespeare references, and actually both references are to Hamlet. The first comes from Jadis by Ken Chowder: “On impulse Egg yanked a piece of Spanish moss from a passing tree and twirled it around Tory’s head. ‘A makeshift crown,’ he proclaimed. ‘A laurel wreath. A garland for poor drowned Ophelia’” (p. 83). By the way, I’m fairly certain it was Egg and not the tree that was doing the passing. Trees on the go! The second Hamlet reference comes from Teleny, a book attributed largely to Oscar Wilde: “‘Was it because the Almighty had fixed His canon against self-slaughter?’” (p. 102). In Act I Scene ii, Hamlet says, “Or that the Everlasting had not fixed/His canon ‘gainst self-slaughter!” Going Down: Lip Service From Great writers was published in 1998 by Chronicle Books.