A Midsummer Night’s Dream (Open Fist Theatre Company 2022 Production) Theatre Review

Shakespeare is always relevant, and his plays can work equally well when set in different times. Open Fist Theatre Company’s new production of A Midsummer Night’s Dream at Atwater Village Theatre moves the action to the deep south in the mid-1800s, during the time of slavery. As you might expect, this version of the Dream has a more serious tone at times than most productions, as it addresses a serious topic. But the text remains in place, and so there are plenty of laughs. In fact, this production contains one of the funniest sequences involving the four lovers that I’ve ever seen. That itself becomes interesting, because it reminds us that plantation owners still went about their own lives, often heedless of the damage they were causing. And the distinction between the world of the whites and the world of the blacks at this time is apparent from the moment the audience enters the theatre, for the stage is essentially divided into two sections. Upstage center is part of a white column, creating the sense of one of those plantation mansions. To the left of that column, from the audience’s perspective, is the interior of the home, with a drink cart, wood hutch, trunk, a bear skin rug, and a hunting trophy mounted on the wall. To the right of that column, again from the audience’s perspective, is the exterior of a wooden shed, along with some crates and a barrel. Downstage of those is part of a tree with rope hanging from it. The difference between the two places is extreme, and yet most of the action takes place in the middle of it all, blurring the lines, for their lives of course did intersect.

As the performance begins, the characters are introduced through choreographed movement, which also works to set up the differences between the groups of people. Then Theseus (Bryan Bertone) is seated, being shaved by a slave. Hippolyta (Heather Mitchell) seems already a part of the plantation, so we lose some of the sense of her being a warrior who was wooed with Theseus’ sword, though those lines are still spoken. Theseus is dressed in a white suit and holds a cigar, and for a moment I am reminded of Boss Hogg. When Egeus (Alexander Wells) enters, he carries a gun, and pushes Hermia in front of him. Hermia (Sandra Kate Burck) falls to the floor, where she remains in tears until Lysander (Dylan Wittrock) gently offers her his hand. It is a nice touch that Lysander, and not Demetrius (Devon Armstrong), is quick to aid her, establishing immediately which is the better pairing. Lysander boldly shows his pistol after delivering his line about Demetrius possessing Hermia’s father’s love. Then Egeus escalates things by threatening Lysander with his gun, until Theseus puts a stop to it, which then gives more weight to his “private schooling for you both” line. Interestingly, while this action is occurring, farther upstage, just beyond the column and white picket fence, black people go about their work, picking cotton, completely ignored and likewise ignoring what is happening with the white folks within. Though we don’t get the sense of Hippolyta as a warrior, she does exit on her own, showing she doesn’t need Theseus, which is nice.

Hermia appears truly worried, her eyes wet with tears, when she speaks with Lysander. She is then surprised at Lysander’s plan, and gives it some thought before suddenly showing elation, a wonderful moment. When Helena (Ann Marie Wilding) enters behind them, she is reading a book and is unnoticed by the two lovers. When they begin to kiss, she turns around to leave, and it is then that they see her. Hermia is absolutely great when describing Demetrius’ actions and her own to Helena. This is a strong cast, but Sandra Kate Burck is particularly good.

The Mechanicals are black, with the one exception of Peter Quince (Debba Rofheart), who wishes to help them and has a special soft spot for Bottom. When Bottom (Michael A. Shepperd) asks if his character is “a lover or a tyrant,” it is clear he wants to the answer to be tyrant, and is momentarily disappointed when told he’ll be playing a lover. And we wonder then if he wishes for just once to be a man with power, even if only on the stage. Bottom is hilarious when trying to also get the part of Thisby. Because two of the Mechanicals are women, it is confusing why one of the men would be given the part of Thisby while one of the women is given the part of Pyramus’s father (and eventually plays Wall). Why wouldn’t they be handed the opposite roles? Snug (Azeem Vecchio) is endearing when expecting to be handed a scroll but receiving none. The line “That would hang us, every mother’s son,” spoken by them all, carries a tremendous amount of weight in this production, because we know that danger is real.

The magical characters of the play are likewise all black, with actors playing the Mechanicals also taking on roles as the fairies. Puck’s introduction is beautifully choreographed, with magic present right from the start. The changeling boy in this production is an infant, Titania (Ash Saunders) carrying him in her arms when she enters. The magical characters have plain, poor clothes, mostly in shades of beige and brown, certainly not the usual costuming. Titania shows her power over Puck (Monazia Smith), freezing him in place. Then Oberon (Phillip C. Curry) casts his own magic over Titania, which works only briefly before Titania speaks of the changeling boy’s mother. While Oberon and Titania may currently be at odds with one another, there is a wonderful moment when Titania holds out her hand to Oberon, offering the line “And see our moonlight revels, go with us” gently and lovingly. And it is in that moment that we see the heart of their relationship. She waits until she is leaving before freeing Puck. Then Oberon turns toward where Titania had exited, directing his “or woman madly dote” at her, or at her absence, another nice touch. There is an excellent moment when Oberon gets the flower from Puck, producing it in his hand before Puck can even hand it to him. Interestingly, the fairies’ song is not sung by Titania’s fairies. The first verse is sung by Puck, while Oberon then takes the verse about spiders before putting the magic flower on Titania.

Helena steals a kiss from Demetrius during their chase. Both actors are fantastic here, particularly on the lines about “mischief.” When Lysander and Hermia enter, Lysander is carrying a map or written directions, which he glances at. Lysander and Hermia also kiss, that kiss being in contrast to the one between Helena and Demetrius. Puck’s delivery of “On the dank and dirty ground” is hilarious, the joy and excitement of finding them disappearing when noticing the dirty ground upon which they lie. Lysander springs awake and gets right on top of Helena. There is another wonderful moment when Lysander grabs his coat as he exits. That coat had been used by Hermia as a pillow, and he pulls it out from under her with nary a thought of her well-being. That is what then wakes her. Hermia is again excellent in this scene.

When Bottom next enters, he is at first frightened before gathering himself to deliver the line, “Are we all met?” It is a strong moment, again making apparent the danger they are in. Bottom is fantastic when coming up with the solution regarding the lion, giving a captivating and truthful performance. While it still seems odd to me that the woman playing Wall wouldn’t instead play Thisby, it does allow for a funny moment when Bottom says “Some man or other must present Wall,” stressing the word “other” and meaning “woman.” This scene is a total delight. As for the transformation, Bottom is given donkey ears and a nose. He is hilarious when he stands still for an extended moment after saying he will not stir from this place. Titania enters behind him when he sings, and she dances to his song, which is absolutely wonderful. She also laughs at his jokes, which surprises Bottom. Both Bottom and Titania deliver strong and nuanced performances. And Puck is a delight as he describes to Oberon how Titania fell in love with an ass. Puck gives a lively, energetic and excited performance that is a joy to watch. Titania’s bower is the set of the interior of the plantation home, and Bottom is seated where Theseus was at the beginning, which is interesting, particularly considering a later moment during the Mechanicals’ performance. He is even handed a drink from the drink cart.

As I mentioned earlier, the scene of confusion among the four lovers is as funny as I’ve ever seen it. They are in their sleeping clothes, and so Lysander and Demetrius are, at least in costume, now identical. Those two are hilarious as they try to pick a flower to present to Helena. They also engage in poses in the hopes of wooing her. All four actors are absolutely wonderful here. Puck takes a whip from the trunk and uses it to cause each of the lovers to sleep, not striking them, but the floor. The last of the lovers to enter is Hermia, and she crawls in, giving the impression that it would take very little magic to make her sleep. But interestingly the whip doesn’t work with her, and for a moment Puck considers using a large rock to knock her out. Puck then exits wearing the whip like a boa. The use of the whip in this fashion is interesting for a couple of reasons. First, when we think of whips and Shakespeare, we generally think of The Taming Of The Shrew, so it comes as a surprise here. But, more importantly, the whip signifies punishment of slaves, so for a black character to not only use it, but to endow it with magical qualities and then to wear it, is to – at least momentarily – remove from it its original power. So it is a compelling image. The lovers do not sleep together in pairs, but singly.

In this production, Philostrate is a slave in the home, played by Monazia Smith, who also plays Puck. It is a striking bit of casting, because it raises the question of whether Puck is the freer, nighttime version of a person who is not at all free during the day. To take it even further, at night she imagines herself a man, and so with even more power and freedom. How much of this is really a dream? Philostrate comes when beckoned by Theseus, but is careful not to make eye contact with him. But then when Philostrate delivers the line, “No, my noble lord,” it is like she forgets herself for a moment, forgets her place, and shouts the “No!” She then quickly averts her eyes again. During the Mechanicals’ performance, Theseus and Hippolyta are seated, with the four lovers just below them. Egeus stands behind, still holding his gun. Quince is hurt by the joking of Theseus and the others. The dumb show is included in this production. Bottom changes his mind about the color of his beard, coming out the second time with a different one, a really nice touch. And he changes his mind again a bit later. But the most remarkable moment during the Mechanicals’ performance comes when Bottom, without thinking, contradicts Theseus about what the Wall should do. Theseus and the lovers are shocked that Bottom has the audacity to not only speak to them, but to contradict Theseus. Theseus has generally had a genial air about him, but this might have crossed a line. For soon after this, when he says “and her passion ends the play,” the line is delivered as a command. And the Mechanicals are not asked to do the epilogue or the dance, and are left standing there, uncertain what to do, when Theseus tells the lovers to go to bed. It is another compelling stage image. Is the dream, for them, now over? But this production gives us one more startling image, when Bottom is shown to be able to see Oberon, Titania and Puck, and then stands with Puck at the very end, revealing something about Puck’s life and relationship to the whip used earlier.

This production of A Midsummer Night’s Dream was directed by James Fowler. It runs through August 13, 2022. Visit the company’s website, for the complete schedule. There is one fifteen-minute intermission, which comes toward the end of Act III Scene ii. The Atwater Village Theatre is located at 3269 Casitas Ave. in Los Angeles, California.

production photo by John Dimitri

production photo by Frank Ishman

A Midsummer Night’s Dream (Will Geer’s Theatricum Botanicum 2022 Production) Theatre Review

production photo by Ian Flanders

If you’re looking for an escape from the news and the frustrations of our world, why not run off into the woods with Hermia and Lysander and Helena and Demetrius and the Mechanicals, to the land of Oberon and Titania and Puck, a land where magic still exists, and all is put right by the end. Yes, it is the perfect time to revisit A Midsummer Night’s Dream, and at the Theatricum Botanicum you will actually be in the woods, for the theatre is in a beautiful outdoor setting where even in the bright light of day (if you happen to attend a matinee performance) magic is present. The company’s new production is a complete delight. It is directed by Melora Marshall, who also directed last year’s production. However, last year, she also played Titania, which she does not do this time around. In fact, it seems the entire cast is different from last year.

As the play begins, Hippolyta (Taylor Jackson Ross) enters alone, and offers part of a song (without lyrics). It is a private moment, her voice raised to the skies, to the gods. It is also a moment of personal strength, interrupted by Theseus (Colin Guthrie) calling her name. It is an interesting introduction, and provides more context to Theseus’ speech about wooing her with his sword. It feels an uneven relationship in this moment, as we get a glimpse of what she may have lost. But don’t worry, this is a comedy. As I mentioned already, everything will be put right by the end. The Hermia/Lysander relationship in this production is a lesbian one, which of course does cause Egeus’ objections to this pairing to take on, whether intended or not, a homophobic quality. Does he want Hermia to marry Demetrius only because he wants his daughter to have a heterosexual relationship? We can’t be sure, but of course it crosses our minds, particularly when Egeus (Ted Elrick) delivers his line, “Demetrius is a worthy gentleman.” Hermia (Anais Morgan) still replies, “So is Lysander,” which perhaps gives us a little insight into their relationship’s dynamic. This production adds a larger musical component, with several lines and speeches sung. For example, Lysander (Fiona Dorn) sings, “The course of true love never did run smooth.” Hermia sings her next line as well, and the two engage in a duet. Hermia in particular, by the way, has a beautiful voice. Helena (Olivia Michael) enters a bit earlier than indicated in the text, so she overhears Lysander’s plan. But Helena is still excited for Hermia when Hermia announces that she and Lysander will fly this place. It’s an adorable moment that helps to establish the closeness of their friendship. Much later in the play the two share another special moment downstage center, even as Helena believes that Hermia is part of a plot to mock her, showing that their friendship could withstand even that situation.

The actors, as is always the case at this theatre, make great use of the space, with the Mechanicals making their entrances from various places. When Bottom (Jonathan Blandino) asks whether the character he is to play is a lover or tyrant, he begins to playfully fight with Quince (Emoria Weidner), which leads to Quince’s “A lover,” delivered urgently to get him to stop. The reaction of Starveling (Matthew Clair) to hearing his part is to be Thisby’s mother is wonderful; he is disappointed, but accepting, and in that brief moment, we get the sense that that is likely his reaction to much in life. As Quince hands out the scrolls containing each player’s part, there is another wonderful moment when Snug (Seth Weaver) holds out his hand, but receives no scroll, for he is to play the lion. There is a great energy among the Mechanicals. The fairies then enter from the woods stage left, and sing those famous lines that begin, “Over hill, over dale.” And Puck (Christopher Glenn Gilstrap) enters in dramatic fashion. His costume and makeup are excellent. I especially love the white spots on his shoulders and cheeks, helping to set him apart. And his proud reaction to the fairies recognizing him and recounting some of his exploits is perfect. Oberon (Tiffany Coty) and Titania (Heidi-Marie Ferren) are both dressed in shades of green, with elaborate headpieces. When Oberon mentions the changeling boy (or changeling child in this case), Puck beckons the child to him and takes her by the hand, to do his master a good turn, an excellent moment. But Titania’s power is too strong, and the fairies protect the child. Titania then sings the next speech, about the child’s mother, which makes her feelings for the child all the more powerful and clear. She speaks the last two lines of the speech, which then have added emphasis. Titania is excellent in this scene, and throughout the play. Oberon is also magnificent. I love how Oberon takes great joy when describing to us the possible creatures that Titania might see upon waking.

As with last year’s production of this play, magic plays a wider role than is sometimes the case. For example, Oberon uses magic on Helena to cause her to continue the chase of Demetrius (Steven T. Gordon). It’s interesting, for she seems for a moment to have given up the chase when she delivers her “We should be woo’d and were not made to woo” line. And later when Titania says “Out of this wood do not desire to go,” she uses magic to keep Bottom from leaving, a wonderful moment. There is a great sense of fun among the magical characters. Puck hoots from his perch above stage left, leading to Titania’s “clamorous owl” line. Then in the scene where Puck mistakes Lysander for Demetrius, Lysander has removed her skirt, revealing pants underneath (and using the rolled up skirt as a pillow). Also, she sleeps with her head facing downstage, away from Puck. And, let’s not forget, it’s supposed to be dark. Those elements make it believable that Puck could mistake a woman for a man. When Helena enters, she now has weeds sticking out from her clothing. She seats herself directly in front of Lysander to address the audience. When she leans back, she ends up resting on Lysander’s legs, leading to her line, “But who is here?” Helena’s look of confusion to the audience when Lysander responds with new interest in her is great. She is fantastic in this scene. I also love her expression later when Demetrius wakes to now dote on her. For just a moment she is happy, until Lysander takes her other hand, and she perceives it as a cruel joke at her expense.

Hermia exits as Bottom enters, and the two frighten each other, a funny moment. Bottom is great as he momentarily takes over the company, while Quince stands apart a bit down right of the others. Quince sits with the audience while directing the rehearsal. I love Quince’s delivery of “You speak all your part at once, cues and all.” In that moment, it is like Quince is a teacher trying to organize a children’s play and we understand that frustration. Puck is also excellent here, and is absolutely delightful on the line “An actor too perhaps, if I see cause.” And when he transforms Bottom, a full donkey head is used. The fairies are confused when Titania refers to Bottom as “gentleman,” but of course still follow her instructions. There is an adorable moment when Hermia, carrying two bags, raises her arms, and Puck, from behind her, takes them. Hermia is so caught up in the moment that she doesn’t notice, but before she exits, Puck makes sure she has them back in her hands. While the entire cast is good, Christopher Glenn Gilstrap is outstanding as Puck. I love his delivery of “look how I go,” as Oberon is facing away toward Demetrius. Oberon, by the way, does not turn around to look how he goes. And when the four lovers are squabbling, Puck watches the action from above, as if from an opera box overlooking a delightful play, which of course it is. Oberon is also above, but not watching the drama with as much joy. Then, when trying to set things right, Puck at first leads Helena to Lysander’s sleeping form before realizing his mistake, another nice touch.

Bottom is great when he starts to speak of his dream to the audience. Jonathan Blandino is really someone to watch this summer, turning in excellent performances in both this production and The Merry Wives Of Windsor (where he plays he Ford). The four lovers take seats in front of the stage to watch the Mechanicals’ performance, while Theseus and Hippolyta remain above. When Bottom says “Ninny’s tomb,” Quince, behind him, clearly wishes to correct him, but lets it go, another wonderful touch. Bottom, of course, milks his death scene, but when he gets too close to where Theseus is, guards are prepared to stop him. When Flute (Milo Rechler) as Thisbe says, “Lovers, make moan,” he indicates the four lovers in front of him. The Mechanicals start a dance, which others soon join. Theseus and Hippolyta’s part of the dance has a warlike vibe, calling to mind once again the way their relationship began, but now you get the sense that they have established some equality between them. Ah yes, everything is put right.

This production of A Midsummer Night’s Dream runs in repertory through October 1st. Visit the theatre’s website for the full schedule. There is one fifteen-minute intermission, which comes at the end of Act III Scene i. Will Geer’s Theatricum Botanicum is located at 1419 N. Topanga Canyon Blvd. in Topanga, California.

Shakespeare References in The Diary Of Anais Nin Volume Three: 1939-1944

The Diary Of Anaïs Nin Volume Three: 1939-1944, which was edited by Gunther Stuhlmann, contains a couple of references to Hamlet. The first comes in a letter from Henry Miller, in which Henry writes, “If I chose to make California the wilderness instead of New York, there is a reason in my madness” (p. 204). That is a reference to Polonius’ line, “Though this be madness, yet there is method in ‘t.” Later in the book, Nin writes, “The middle one is the strongest, with her abstract labyrinth of black-and-red stripes; on her left walks an Ophelia in a trailing white dress of clouds and lace, dancing not walking” (p. 312).

The Diary Of Anaïs Nin Volume Three: 1939-1944 was published in 1969. The copy I read was one the library had discarded.

The Merry Wives Of Windsor (Will Geer’s Theatricum Botanicum 2022 Production) Theatre Review

production photo by Ian Flanders

The legend is that Queen Elizabeth requested that William Shakespeare write a play about Falstaff in love. Of course, a royal request is a command. And The Merry Wives Of Windsor was the result of that command. Now, we don’t know if that’s the way it happened or not, but one thing that is interesting about this is that Elizabeth obviously was a woman with a lot of power, but most women had little or no power at that time, and the play, though ostensibly about Falstaff, is really about two women who take some power over their own lives and homes, and do so with a sense of humor. The new production at Will Geer’s Theatricum Botanicum sets The Merry Wives Of Windsor in the 1950s, another time when women had little power, and moves the location to Windsor, Connecticut. As men returned to the workforce after the war, many women were pushed out of the jobs they’d held. Women were expected to return to their homes and take care of their husbands and children, and be happy with their lot. So the idea of setting the play in the 1950s works, at least in general, and this company has a good deal of fun with it, adding several musical moments throughout the performance.

Music is a key element from the moment the audience is admitted into the theatre, with hits from the 1950s playing over the speakers to set the mood. Songs such as “Be-Bop-A-Lula,” “The Great Pretender,” “Tennessee Waltz” and “You Send Me” play as the audience enters and is seated. Then, as the performance begins, the entire cast enters to the sound of “Rock Around The Clock,” dancing and generally enjoying themselves, a conga line leading most of them off as the play then begins in earnest, with Justice Shallow, Slender and Hugh Evans remaining on stage for the first scene. Justice Shallow (Tim Halligan) uses a cane, which at one point he brandishes like a sword. Ethan Haslam is rather adorable as the goofy, awkward Slender. When Falstaff (on this night played by Gerald C. Rivers) enters, the party enters with him. Even Mr. Page (Bill Haller) is friendly with him, engaging in a little dance with him as several people sing “If I Knew You Were Comin’ I’d’ve Baked A Cake.” So there is the sense that he is a rather harmless and fun-loving guy, at least among the men. He later sings “Enjoy Yourself (It’s Later Than You Think).” Falstaff and his gang are dressed in fatigues. Interestingly, the women enter with a song pleading with us to drink responsibly. It is a humorous song, with lines like “If you’re feeling sick, please take it to the neighbors’ yard.” Falstaff playfully joins them in their song. Music also plays a part at the Garter Inn, where there is an upright piano and a small drum kit. When Falstaff delivers his line that he means to make love to Ford’s wife, the musicians suddenly stop, bringing into greater focus how unwelcome and disquieting his plan is. In this production, there is a Hostess, rather than Host of the Garter, here played by Earnestine Phillips. Modern U.S. references are sprinkled throughout the performance. For example, Falstaff’s line “They shall be my East and West Indies” becomes “They shall be my Boardwalk and Park Place.” And his line about a woman losing “the handle of her fan” becomes instead the keys to her car.

The entire cast is strong, but certain actors stand out. Melora Marshall is particularly delightful as Mistress Quickly, clearly enjoying her own brand of flirtatiousness with Fenton (Charles Lin), while also knowing how to extract money from him. You get the sense that this is a woman with quite a bit of experience, a woman who has learned how to please herself, and likes being in the middle of things. And she is hilarious as she draws a maraca from her purse and goes into a song about Fenton. Another fantastic performance is delivered by Willow Geer as Mrs. Page. Interestingly, when she first begins to read Falstaff’s letter, she is excited by it, only becoming upset when she reads Falstaff’s name. If it had been written by someone else, would she have entertained what it suggested? She is hilarious as she looks at the two letters together, while Mrs. Ford (Emily Bridges) goes off about her own letter. And she gives a great reading of the line about Falstaff knowing something about her that she doesn’t know herself, reminding us of how she at first received the contents of the letter. Every moment she is on stage is a joy. And yet, there is another performance that might in fact be the best of the evening, and that is Jonathan Blandino as Mr. Ford, who, in contrast to Mr. Page, does not trust Falstaff, or even his own wife. We know he will be proved the fool, for we’ve already seen his wife’s reaction to the letter, been witness to her fidelity. It is even more interesting in this production, since Mrs. Page for a moment was excited by the contents of her letter. It is when disguised as Mr. Brook that Ford especially shines in this production. He is great when learning from Falstaff that Falstaff was present when Ford had searched for him. Ford is ready to kill Falstaff, and Falstaff is wonderfully oblivious as he tells his tale of being thrown into the river. Both actors are excellent in that scene.

Mrs. Ford and Mrs. Page are wonderful as they play their parts in the scheme against Falstaff. In this production, rather than a laundry basket, Falstaff gets into a wheelbarrow, which doesn’t make quite as much sense, particularly as dirty laundry is still piled on top of him. I don’t think taking the laundry out in a wheelbarrow was a thing in the 1950s. So wouldn’t that have caught the attention of the already-suspicious Ford? Plus, who keeps a wheelbarrow inside his house? Also, at times it is still referred to as a basket. The William Page lesson scene is included in this production, but with completely different jokes, and Julius Geer-Polin is absolutely adorable as young William. As with all productions at this venue, the actors make great use of the space. The scene where Dr. Caius (Cavin Mohrhardt) is ready for the duel begins in the woods just off stage left. Parson Hugh Evans (Alistair McKenzie) then also enters from the woods. And though a lot of songs have been added to this production, Evans actually has a song in this scene in the text. That song mentions “Melodious birds.” In this production he sings “Bye Bye Blackbird.” Fenton and Anne Page (Alexandra Kunin) enter from behind the audience. Fenton serenades her, and she responds in song as well, which then leads to their dialogue about getting her father’s love. And for the final scene, characters enter from different parts of the woods.

While most of the play works in the 1950s setting, that last plan for Falstaff’s humiliation doesn’t have quite the same power as it does in its original setting. At the time when the play was first produced, people tended to still believe in fairies and witches and so on. In the 1950s, it is less believable that Falstaff would fall for such tricks. In the text he is terrified. And the more frightened Falstaff is, the more the scene works. So when he goes back to his usual bluster, in this case claiming that at times he didn’t believe they were fairies, we are actually pleased, even relieved, that his humor is intact. Because we should feel for him at this point, as should the other characters, which then makes the moment when he is invited to dine and drink with the others all the stronger. But that hinges on Falstaff first being genuinely frightened by their trick and then feeling somewhat defeated. The costumes for this scene are playful rather than scary, and include an alien outfit and a Winnie The Pooh outfit. It is kind of wonderful that the parson is dressed as a devil, of course. The performance then concludes with a song by the company.

This production of The Merry Wives Of Windsor was directed by Ellen Geer. It runs in repertory through October 2nd. Visit the theatre’s web site for the full schedule. There is one intermission, coming at the end of Act III Scene i. Will Geer’s Theatricum Botanicum is located at 1419 N. Topanga Canyon Blvd. in Topanga, California.

Shakespeare References in The Discovery Of Poetry

 

The Discovery Of Poetry is a textbook by Frances Mayes that I got in college, and finally decided to read. Shakespeare is mentioned many times throughout the book, sometimes with full sonnets quoted. The first mention comes in the introductory note to the reader: “Don’t think anyone expects Shakespearean results” (p. vi). That is related to a note on writing exercises. Frances Mayes includes some lines from Macbeth, first writing, “If you have read Shakespeare’s Macbeth, you probably remember the witches’ chant (Act IV, scene i)” (p. 7). The next page then contains the speech that begins, “Double, double toil and trouble” (p. 8). Frances next turns to Troilus And Cressida, introducing a few lines from that play by, “Shakespeare must have been thinking of concrete naming when he wrote” (p. 37). The quoted passage is from Act IV Scene v: “Fie, fie upon her!/There’s language in her eye, her cheek, her lip,/Nay her foot speaks; her wanton spirits look out/At every joint and motive of her body” (p. 37). Then, regarding phrases that have become too common in poetry, Mayes writes, “Some of the phrases on the list were brilliant when they were first used: ‘crimson tide,’ though now a hand-me-down, was new in Shakespeare’s Richard III” (p. 38). Mayes continues: “We may still have some difficulty learning to read early poems with vocabularies very different from our own. Shakespeare requires us to work a little harder in order to participate as readers” (p. 38). Regarding word choice, Mayes writes, “‘Words, words, words,’ Shakespeare wrote” (p. 46). That line is Hamlet’s answer to Polonius’s question, “What do you read, my lord?” Mayes also includes the song from the end of Twelfth Night (pages 56-57), Sonnet 73 (p. 58), and the song from the end of Love’s Labour’s Lost (p. 79). In introducing “Winter,” Mayes writes, “Because it is grounded in the senses, Shakespeare’s ‘Winter’ still seems immediate to contemporary readers” (p. 78).

Mayes then moves to Romeo And Juliet, writing: “When Shakespeare says, ‘Juliet is the sun,’ he transfers the sun’s qualities to Juliet. More is at stake than if he’d said, ‘Juliet is like the sun.’ Juliet’s life-giving powers, brightness, and all-importance are intensified by the direct link. There is only one sun in our solar system. Perhaps other women could be ‘like the sun,’ but only one can be the sun” (p. 96). Mayes again refers to that play: “Though metaphor works first on an intuitive level, it also works on a logical level. We can know exactly how ‘Juliet is the sun’” (p. 97). Mayes then returns to Twelfth Night: “If we remember Shakespeare’s ‘If music be the food of love, play on’ and similar treatments of the subject of love, we’re ready to read this as a poem of that type” (p. 98). In a section on metonymy, Mayes quotes a line from As You Like It: “…doublet and hose/ought to show itself courageous to petticoat” (p. 102). And then in a section on synecdoche, Mayes quotes lines from The First Part Of King Henry The Fourth: “Worcester, get thee gone for I do see/Danger and disobedience in thine eye” (p. 102). Then in a section on oxymoron, Mayes quotes Romeo And Juliet: “Mis-shapen chaos of well-seeming forms!/Feather of lead, bright smoke, cold fire, sick health!” (p. 104).

Frances Mayes includes the “To be or not to be” soliloquy from Hamlet (pages 155-156), the great “Tomorrow, and tomorrow, and tomorrow” speech from Macbeth (p. 165). She mentions Macbeth again, as well as King Lear, Troilus And Cressida and Richard II, when talking about repetition: “When dethroned King Lear fantasizes taking revenge on those who usurped him, he says, ‘Then Kill, Kill, Kill, Kill, Kill, Kill.’ With each repetition, the word becomes more intense, a little wilder and more sinister. When Macbeth says ‘Tomorrow, and tomorrow, and tomorrow/Creeps in this petty pace from day to day,/To the last syllable of recorded time/And all our yesterdays have lighted fools/The way to dusty death. Out, out, brief candle!’ the repetition of ‘tomorrow’ sounds more and more weary each time the word occurs. The two commas and two conjunctions stretch out the sound even more. The short monosyllables ‘out, out’ contrast with ‘tomorrow.’ Shakespeare made frequent use of the technique of repeating a single word, often with subtly different inflections depending on the context. ‘O Cressid! O false Cressid! false, false, false,’ from Troilus and Cressida, sounds childlike and petulant. In Richard II, the triple use of ‘little’ sounds smaller with each use: ‘And my large kingdom for a little grave,/A little, little grave, an obscure grave.’ That ‘large’ also begins with l heightens the contrast between the ‘large kingdom’ and the ‘little grave’” (pages 206-207). Of course, I object to Mayes’ use of the word “usurp” when referring to King Lear. He willingly gave up his throne. Mayes mentions Macbeth again a little later: “In Macbeth’s speech quoted earlier (page 206), notice that the repetition of ‘tomorrow’ is followed by ‘in this petty pace,’ ‘from day,’ ‘to day,’ ‘to the last syllable,’ ‘of recorded time’: five prepositional phrases. Unlike verbs, which keep the sentence moving, prepositional phrases are merely directional; they point our attention toward the action. The repetition of this pattern is, like the ‘tomorrows,’ slow and weary” (pages 214-215).

Of course Frances Mayes mentions Shakespeare in the section on iambic pentameter: “Because blank verse is even more adaptable to speech than rhymed iambic pentameter, Shakespeare chose to write his plays in it, often alternating blank verse sections with prose” (p. 247). Mayes includes the famous “All the world’s a stage” speech from As You Like It (p. 248). She also includes some of the dialogue from the beginning of Act III Scene v of Romeo And Juliet, the lark and nightingale section (pages 274-275). Regarding sonnets, Mayes writes, “The three major types of sonnet are Shakespearean, Petrarchan, and Spenserian” (p. 335). Then: “The Shakespearean sonnet (also called the English sonnet) consists of three quatrains rhyming abab, cdcd, and efef followed by a concluding couplet rhyming gg. The action of the poem proceeds, then, like three quick spins and a sudden leap. The final rhyme, coming so close to its partner, closes the poem with finality; there is no doubting the end” (p. 335). Sonnet 98 is included (pages 335-336). Mayes then writes, “The Petrarchan is hard to sustain because the writer works with only four different rhymes instead of the six of the Shakespearean sonnet” (p. 336). Sonnet 116 is also included (pages 363-364), as is Sonnet 97 (p. 364). In the section on John Keats, Mayes writes, “No writer except Shakespeare uses imagery as sensuously as Keats” (p. 401). Mayes also quotes from Sonnet 138: “For example, Shakespeare wrote, ‘When my love swears that she is made of truth/I do believe her, though I know she lies’” (p. 477). Sonnet 130 is also included (p. 485). Mayes writes, “In Sonnet CXXX, Shakespeare makes fun of the conventional comparisons made in love poems” (p. 485). The book’s final mention of Shakespeare is a portion of a speech from Act V scene i of A Midsummer Night’s Dream: “The poet’s eye in a fine frenzy rolling,/Doth glance from heaven to earth, from earth to heaven;/And as imagination bodies forth/The forms of things unknown, the poet’s pen/Turns them to shapes, and gives to airy nothing/A local habitation and a name” (p. 547).

The Discovery Of Poetry was published in 1987.

Hamlet (Antaeus Theatre Company 2022 Production) Theatre Review

production photo by Frank Ishman

The Antaeus Theatre Company returns to in-person performances with a phenomenal new production of Hamlet, starring Ramón de Ocampo in the title role, and directed by Elizabeth Swain. This production features a relatively small, but incredibly talented cast, with many of the actors performing more than one role, including some cross-gender casting.

When the house opens, there is some atmospheric stage smoke, and the sound of thunder rumbling, which the audience feels beneath its feet at times, working to create a sense of foreboding. The set includes a series of metal bars or rods upstage, some of them crossing each other like swords or spears, adding to the sense of unease. It is an atmosphere that prepares the audience for the Ghost. In fact, it would be strange if a ghost didn’t appear in such an atmosphere. And so Bernardo’s startled and fearful delivery of “Who’s there?” is convincing and justified. There is also just a hint of playfulness in his reading, for he looks out at the audience on the line. The Ghost (Gregg T. Daniel) enters upstage of the metal bars, and at first seems to walk on air, for the ramp he is upon was not previously visible, an excellent effect. The Ghost has his long sword drawn, making it even more fearsome. Marcellus (Joel Swetow) starts to draw his sword when he asks if he should strike at it, but never fully takes it out, like he doesn’t really want to engage with the Ghost, a nice touch.

When the audience first sees Hamlet and Ophelia (Jeanne Syquia), Hamlet presents Ophelia with a necklace. It is an intimate moment, and they are about to kiss, when the entrance of Claudius and the others interrupts them. This is a wonderful additional bit of business that helps to establish their relationship. Often, an audience is left to wonder how strong Hamlet’s feelings are for Ophelia, and in this production it is clear from the beginning, which makes everything that follows much more powerful and moving. Also, in that moment, we actually see joy on Hamlet’s face, which disappears when Claudius (Gregg T. Daniel) says “our sometime sister, now our queen.” Hamlet, of course, is dressed all in black; Ophelia is in an attractive, more cheerful peach-colored dress. Further strengthening the connection between Hamlet and Ophelia is the moment when Claudius tells Hamlet he wishes him to stay in Denmark rather than return to school, for Hamlet then turns to Ophelia, and they share a look. So his staying seems more to do with her than obeying the wishes of the king or his mother.

In the first of his major soliloquies, Hamlet says “too too sullied flesh” following the Q2 reading rather than the Folio reading of “solid flesh.” Ramón de Ocampo (who was also outstanding as Angelo in the 2020 production of Measure For Measure) is fantastic here, and when he says “But two months dead,” the audience can see the tears in his eyes. And when he tells Horatio he is very glad to see him, the truth of his statement is evident in his voice. The presence of Horatio (Adam J. Smith) gives both him and the audience the sense that things might be all right. Adam J. Smith as Horatio gives an excellent performance. Laertes (Michael Kirby) has a pleasant, gentle countenance that makes him immediately likeable, which of course is important for those later moments when he wishes to lash out at both Claudius and Hamlet. Peter Van Norden gives one of the best and most believable performances of Polonius that I’ve seen. For that famous advice that he supplies Laertes, he reads from a book, reacting to the lines approvingly. He is then nearly angry when charging Ophelia not to speak to Hamlet. And Ophelia takes a moment before saying she’ll obey, seeming to consider his command first. And that too is wonderful, for the audience can see how much Hamlet means to her, and in relation, how much her father means to her, since she chooses to follow his command. All of these brief moments help to make her descent into madness believable.

The Ghost has his sword up again, but when he sees Hamlet, he lowers it, another nice touch. As the Ghost describes his own murder, he acts it out, as if pouring poison into young Hamlet’s ear. And Hamlet reacts in horror, and holds his hand against his ear, as if in pain, which is interesting, and makes the whole ghostly realm more frightening and real. Also really nice is that the Ghost speaks his “Leave her to heaven” line with obvious love, showing his human side is still part of him, and adding a touch of sadness to the horror of his state. The Ghost hands Hamlet his sword, basically passing onto him the means to do the deed he has commanded, which is exciting, but also effectively bestowing the kingdom upon him, which is what should have happened in the natural course of things. And interestingly, when Marcellus and Horatio re-enter, Hamlet hides the sword behind him, not revealing it until he asks them to swear upon his sword. Seeing the Ghost’s sword in Hamlet’s hand understandably startles them, in part because that basically proves to them that the Ghost is real. It’s an absolutely fantastic scene, and at the end of it, Hamlet hangs the sword on one of the metal bars upstage center, where it remains as a constant reminder of what Hamlet is charged with accomplishing, even as he delays.

Guildenstern is played by Sally Hughes, one of the male roles played by women in this production. Perhaps partly because of that casting, Rosencrantz (Lloyd Roberson II) and Guildenstern have more distinct personalities than is sometimes the case. When Voltemand (also played by Sally Hughes) delivers the line about giving quiet pass through the lands, Polonius gives an indication that Claudius should not allow it. But Claudius pays no attention to him, not even casting a glance his way as if to seek his opinion. In this production, Hamlet enters a little earlier than usual, and so hears Polonius voicing his idea of how to learn about Hamlet’s frame of mind, and so is aware of the plot from the beginning, which is interesting. At this point, Hamlet is barefoot, as part of his feigned madness. When the First Player (Joel Swetow) gives his speech, Hamlet and the other players develop a rhythm on the stage, sounding like a storm, interestingly making the audience recall the sounds in the theatre before the play began. Also interesting is the line about the player having tears in his eyes, for the audience might recall the tears visible in the eyes of the actor playing Hamlet earlier in this performance. Ramón de Ocampo does a great job with the “rogue and peasant slave” speech. As he cries out “O vengeance!” he has knelt just in front of his father’s sword, but facing away from it, toward the audience. Ophelia’s reaction to her father’s instructions regarding how she should present herself to Hamlet is wonderful. Her look shows clearly that she doesn’t think this is the best course, but will nevertheless follow his instructions. At the beginning of the “To be or not to be” speech, Hamlet has his dagger out, and addresses it. And on “remembrances,” Ophelia removes the jewelry that Hamlet gave her at the beginning. Because Hamlet is aware of the plot, he knows that Ophelia is lying when she answers that her father is at home. His look of despair is heartbreaking. She too is so troubled, that she can’t face him and turns away when she utters the lie (and so she misses his hurt expression). This scene is absolutely fantastic. And then after that, when Ophelia has crumbled to the ground, her strength gone, she reaches out to her father. But he turns to the king and exits with him, leaving her there. Ah, is it any surprise that she grows so distraught?

The players’ dumb-show is cut from this production. Polonius’ delivery of “Very like a whale” is hilarious, in that it is spoken honestly, as if he is actually noticing the shape of the cloud now rather than simply agreeing with whatever Hamlet says. Gertrude (Veralyn Jones) is clearly shocked on “As kill a king?” Perhaps she knows, deep down, in that moment some of the truth of it. Hamlet too seems momentarily surprised that he has given away that crucial bit of information. When the Ghost enters, he stands near his sword, which still hangs upstage. There follows an excellent moment when Claudius holds out his hand to Gertrude, and she hesitates, unsure what to do, whom to believe, before she does finally go with him. She is so good there, and that moment paves the way for a later moment when Claudius takes her by the arm and she shakes her arm free and this time does not go with him, instead exiting the opposite side of the stage. When Ophelia next appears, she is in a white dress, stained at the bottom, and is now barefoot, just like Hamlet. But whereas Hamlet’s madness was feigned, hers is genuine. Did Hamlet happen to get that detail correct in his own pretending, or did Ophelia pick up her cue from what she believed as true madness? It’s an intriguing detail. Ophelia is outstanding in this scene, not an easy one to do. I actually found myself fighting back tears. Regarding the flowers bit, Ophelia does not have actual flowers, but plucks invisible ones to hand out. Fortinbras (Sally Hughes) is all business, warlike and efficient, and when aiming the sword at Horatio, the audience gets the sense that he will not hesitate to use it. It is Fortinbras who finally removes the Ghost’s sword, indicating the transfer of power to him.

This production of Hamlet runs through June 20, 2022. Visit the company’s website for the complete schedule. There is one intermission, coming just before the end of Act III Scene ii. Interestingly, afterward, the play picks up with a line that comes just before the final line before the intermission. Antaeus Theatre Company performs at the Kiki & David Gindler Performing Arts Center, located at 110 East Broadway in Glendale, California.

Shakespeare Reference in The Wakeful Wanderer’s Guide To Disillusionment

The Wakeful Wanderer’s Guide To Disillusionment, the second book in the Wakeful Wanderer series, contains one Shakespeare reference. Jim Infantino writes, “The entirety of Leonard Moody’s Scranton Raiders, the Righteous Furies, had been eaten alive, as well, not a single member of that band of brothers spared” (p. 100). The phrase “band of brothers” comes from Henry V’s famous St. Crispin’s Day Speech, in which he says “We few, we happy few, we band of brothers.”

The Wakeful Wanderer’s Guide To Disillusionment was published in 2021.