Much Ado About Nothing

a kate west review

by William Shakespeare

directed by Ben Donenberg

songs by Lyle Lovett (Dave Frischberg, Brian Joseph, Wendy Waldman,

Sara & Sean Watkins)

presented by The Shakespeare Center of Los Angeles

at the Kirk Douglas Theatre/Center Theatre Group

9820 Washington Blvd, Culver City 90232

contact 213-972-7231 or 213-628-2772

running December 1-19, 2010

You don't think normally of Lyle Lovett when you think of Shakespeare (at least most of us don't). But you can see works by both this month in Culver City at the Kirk Douglas Theatre. This Center Theatre Group's production of "Much Ado About Nothing" also features Tom Irwin ("My So-Called Life") and Helen Hunt ("Mad About You"). The saucy tale takes place in a California vineyard, lustily brought to colorful life by Set Designer Douglas Rogers. Love and misunderstandings ensue, set to the tune of Lovett's laid back musicianship and Brian Joseph's musical direction.

The essential story is of Benedick (Irwin) and Beatrice (Hunt), two would-be lovers who initially hate each other (sound familiar, Hollywood?) You can guess the rest. In the meantime, cousin Hero (Grace Gummer) has to prove her virtue, in spite of the evil Don John (Stephen Root, "Newsradio"), Boracio (Chris Butler) and her distrusting finance Claudio (Ramon De Ocampo). Hero's father Leonato (Dakin Matthews) owns the vineyard with his brother Antonio (Jared Sakren) and likes to oversee his family's love life in addition to cultivating grapes. Don Pedro (Geoffrey Lower) is back from fighting with the rest of his crew and is ready to help meddle.

Lyle Lovett and his merry band (Lyle playing minstrel Balthasar at least on closing night) wander in and out of the drama, strumming and singing lyrics to match the mood and plot. Set against a sunny villa (with the occasional dramatic lightning storm), the music is cheery and fun and helps propel the story. Lovett does his best with the text, but really, it's more of a delight to be in his presence and witness the joy he has in performing.

As for the acting, it is top-notch professional for the most part, aside from Helen Hunt's signature low-energy mannerisms as Beatrice. The "naturalness" she is touted for on screen doesn't really work on stage, especially in the expressive world of Shakespeare, so it is challenging to have sympathy for her lovelorn bacherlorette. On the other hand, Dakin Matthews is superb as Leonato, a consummate classic actor, making the Bard accessible to all and able to transform from giddy to desolate with a single deft turn of phrase. Tom Irwin does well as a jovial Benedick, if a bit older than normally portrayed (but still kinda sexy). David Ogden Stiers ("M*A*S*H") also delights as the hilariously befuddled watchman Dogberry. Everyone else is fine and the action is finely tuned by director Ben Donenberg. Julie Arenal's choreography looks nice, but it is sometimes hard to know who to focus on during some of the more winding dance numbers.

It is a frothy, light fare, interspersed with hints of darker cruelty. The music helps the lighter side, not so much the dark, but in the end, we all want a happy ending so that works out alright. As in many of Shakespeare's comedies, the cruelty bits are not really redeemed, but rather accepted as a necessary balance to happier times. Not necessarily fair (or modern), but there you have it. If it makes you feel better, check out the Gallo wine during intermission to get into the spirit of things.

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Will Power

a kate west review












Shakespeare Festival/LA
Will Power to Youth
A Midsummer Night's Dream
at 1238 W. First Street, Los Angeles 90026
running August 26 - 29
Contact (213) 481-2273
or www.shakespearefestivalla.org

It is very nice to know that amidst governmental cutbacks and arts funding setbacks, there is still a place that brings youth together in the spirit of Shakespearean teamwork. Shakespeare Festival/LA's wonderful program Will Power to Youth presents "A Midsummer Night's Dream" downtown, not blocks away from the mighty Disney Hall and Music Center. They may not have the budget of those bigger theaters, but boy do they have heart.

Several teams of young teens and adult mentors collaborated on a 1970's version of "Dream" which entertains while tugging at the heartstrings and ultimately reiterates the importance of encouraging youth in the arts. Not only did they all memorize Shakespeare, but they also added some retro rock 'n roll and a few unique modern touches. In eloquent monologues, they talk about what their own dreams could be, what they might give an orphan child to survive reality's harshness and what they want from their future. All this pathos runs under two hours and as an added bonus, we get to watch some delightfully funky dance numbers.

The actual story begins with two pairs of lovers who find happiness despite all the obstacles they face. Lysander (Cesar Vargas) and Hermia (Natalie Sosa) love each other, but Hermia's father Egeus (Marco Castaneda) and the royal powers will not allow them to marry. Instead, Hermia is supposed to marry Demetrius (Manuel Mora) but Helena (Michelle Parra) is the one who truly loves him. They all run off into the enchanted forest where they run into fairies and magic. Oberon (Chris Mendoza) and Titania (Alex Geronilla) live there as the Fairy King and Queen and do their best to wreak mischief on their mortal visitors. Lastly are the Players, or Mechanicals, a group of laborers grimly determined to present the tragic tale of Pyramus and Thisby (inspiration for "Romeo and Juliet" no doubt) at the Duke Theseus' (Joseph Patino) wedding to Hippolyta (Claudia Diaz). While in rehearsal, they end up in the enchanted forest as well.

The talent varies, as some of the kids are setting foot onstage for the very first time. With that in mind however, and considering everyone's varied background, plus the fact that this may very well be their first exposure to the arts, it is a very impressive end result indeed. Some standouts include John Geronilla as the energetic fairy spirit Puck and Jorge Martinez as Philostrate, the Master of Revels. And Jordan Vasconez and Alex Gonzales can't help but have the time of their lives reenacting the sillier version of Pryamus and Thisby. Every single actor and dancer is one hundred percent committed however, and it is more than obvious they are all having unbelievable fun up there. Morgan Williams and Kimiko Broder helped the cast choreograph some fun routines, including magically swirling parasols and hip moves worthy of any popular reality t.v. show.

Director Elizabeth Rainey is to be commended for piecing together so many different ideas, to the delighted surprise of all the parents in the audience. All the staff worked incredibly hard (see complete production list below) and deserves accolades for such a fun show. The sincerity and earnestness emanating from this project is quite touching and we should all implore the Theater Gods to keep bringing back interested children and help guide them to exciting creative futures.

Director
Elizabeth Rainey

Founding Artistic Director

Ben Donenberg

Director of Youth & Education
& Associate Artistic Director

Chris Anthony

Jeremy Ancalade, Director of Operations
Regina Cabrera, Director of Communications
Sam Greenstone, Director of Advancement
Marina Oliva, Youth & Education Associate
Ivan Robles, Facility Manager
Marcela Robles, Youth Coordinator
Ana Valdez, Development Administrator

CAST

Hippolyta (Costume Team)

Claudia Diaz

Theseus (Writing Team)

Joseph Patino

Philostrate (Sound Team)

Jorge Martinez

Egeus (Writing Team)

Marco Castaneda

Lysander (Acting Team)

Cesar Vargas

Demetrius

Manuel Mora

Herma (Scenic Team)

Natalie Sosa

Helena (Writing Team)

Michelle Parra

Peter Quince (Sound Team)

Shaun Reoliquio

Snug (Sound Team)

Min Song

Nick Bottom (Acting Team)

Jordan Vasconez

Frances Flute (Costume Team)

Alex Gonzales

Tom Snout (Scenic Team)

Ricardo Arenas

Robin Starveling (Movement Team)

Jason Mendoza

Oberon (Acting Team)

Chris Mendoza

Titania (Movement Team)

Alex Geronilla

Mustardseed (Costume Team)

Juan Castillo

Puck (Acting Team)

John Geronilla

Peasblossom (Scenic Team)

Magdalena Rafael

Teardrop (Writing Team)

Kevin Cruz

Moth (Movement Team)

Kevin Castillo

Thistle (Sound Team)

Allan Mancia

Starlight (Costume Team)

Gema Gomez

Firefly (Sound Team)

Luis Mateo

Movement Team

Cleavon Tatum

PRODUCTION STAFF

Fellow

Kimiko Broder

Facilitation Director

Rani DeLeon

Costume Mentor

Hanalani Lee

Lighting Designer

Jose Lopez

Scenic Mentor

Akeime Metterlehner

Playwright

Judeth Oden Choi

Stage Manager, Graphic Designer

Marina Oliva

Music Mentor, Facilitator

Ivan Robles

Youth Coordinator

Marcela Robles

Acting Mentor, Facilitator

Jon Royal

Movement Mentor

Morgan Williams

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Shakespeare Unscripted

(Brian Lohmann and Tracy Burns)

a kate west review
directed by Brian Lohmann & Dan O’Connor
at Theatre of Arts, 1625 Las Palmas, Hollywood 90028
contact (323) 401-6162 or www.improtheatre.com
running June 26 – August 1, 2009


“Shakespeare Unscripted” is the latest improvisational feat by Impro Theatre, the same company that brought you "Jane Austen Unscripted". Consisting of an ensemble of professionals improvisers, the company presents impromptou Shakespearean-style scenes for your viewing pleasure. Taking a suggestion from the audience, they create an entire play, complete with murder, intrigue and worthy puns.

Stand-outs this particular evening included the outstandingly talented co-directors, Dan O'Connor and Brian Lohmann. The hilarious duo Michele Spears and Tracy Burns gave them a run for their money as well. Harkening back to previous insights and delighting in pointing out inconsistencies, the cast has a lot of fun improvising and are, for the most part, up to the challenging language. Some members are stronger than others, but overall, it proves an entertaining evening.

This is a company worth watching and learning from (they offer classes too). If Shakespeare isn't your thing, you might want to check out the even more impressive Jane Austen version, or even "Sondheim Unscripted".


Impro Theatre is: Tracy Burns, Brian Jones, Stephen Kearin, Brian Lohmann, Nick Massouh, Jo McGinley, Dan O'Connor, Paul Rogan, Michele Spears, Floyd Van Buskirk with guest artists Lauren Lewis, Jennifer Riege and Mollie Taxe. Read more!

A Midsummer in Barnsdall Park

A Midsummer Night's Dream
a kate west review
by William Shakespeare
directed by Melissa Chalsma
Independent Shakespeare Company
at Barnsdall Park
4800 Hollywood Blvd., Hollywood 90027
running through September 2
tix free, reservations needed
contact (818) 710-6306 or www.independentshakespeare.com
(Sean Pritchett as Puck)

Love is ultimately fulfilling, enriching, euphoric and even noble. It can also be confusing, neurotic, irrational and even mad at times. Shakespeare understood this better than anyone and showcased such contradictions in one of his most popular plays, "A Midsummer Night's Dream". The members of the Independent Shakespeare Company do a terrific job mounting "Dream" in their outdoor venue at Barnsdall Park. Director Melissa Chalsma (also Hippolyta/Titania) culls intense performances from her actors and offers us an entertaining and quite accessible show.

Love is the main story here, apparent from the start, when Hermia (Maude Bonnani) begs her father Egeus (Bobby Plasencia) to allow her to marry her true love, Lysander (Erik Matthew), instead of Demetrius (Ahmad Enani). The royal court, represented by Duke Theseus (Freddy Douglas), commands she obey her father, to the displeasure of his fiancé Hippolyta. One puzzling Shakespearean choice is that Demetrius is apparently of the same age, stature and general qualities as Lysander, so it seems an unnecessarily arbitrary decision to force Hermia to marry the former. It must just be one of those maddening obstacles standing in the way of youth's ardor. At any rate, Hermia will have none of it and runs off to elope with Lysander, pursued by Demetrius and Helena (Aisha Kabia), lamentably spurned by her love Demetrius.

Also prominent in this classic Athenian tale are the day laborers or Mechanicals, who are rehearsing a tragic tale of Pyramus and Thisby for the upcoming royal nuptials. Bernadette Sullivan is a confident Peter Quince, the leader of the troupe, trying vainly to whip them into respectable shape. Playing the lead is Nick Bottom (the delightfully versatile and talented Danny Campbell). The whole gang is a lot of fun, from the gentle Snug (Bobby Pasencia) who timidly portrays a lion, to Matt Hurley's girly Francis Flute, resigned to play the doomed Thisby. Thomas Ehas is a likeable elderly Robin Starveling and Amy Urbina is fine as Tom Snout and the fairy Cobweb.

Everyone ends up in the enchanted forest, which is full of mayhem and mischief, in the form of a whole host of magical sprites. Sean Pritchett is a wonderfully strong, virile and rambunctious Puck, fairy minion to Oberon (the gallant Freddy Douglas), King of the Fairies. He leaps and bounds tirelessly throughout the show, winking at the audience and wreaking glorious havoc among all the characters. For starters, he causes the two pairs of lovers to love all the wrong people and then puts a donkey head on Bottom. Melissa Chalsma is the dignified and haughty Queen Titania, tricked into loving the half-man, half-donkey, as punishment for crossing her King. Her fairy entourage is adorable, from Mary Guilliams as Peaseblossom to Jinsoo Choi's Mustardseed (also the flute player).

The lovers are all entertaining and fun, although this particular Hermia is a slight problem. A native Italian, Maude Bonnani gives a valiantly energetic performance as Hermia, but is less sure with the actual text. While normally this would be less of a problem in a modern play, it is rather distracting in Shakespeare. Her scenes seem a bit slower paced than the rest. The two men, Erik Matthew as Lysander and Ahmad Enani as Demetrius, work well together, however and Aisha Kabia's Helena is fine.

Ultimately, the lovers are all properly reunited and everything is set to rights as they awaken the next morning as if from a dream. There is a triple wedding, of course, and the Mechanicals perform their hysterically inappropriate tragedy, much to the amusement of all. Oberon and Titania reconcile, as do their counterparts Theseus and Hippolyta. The double casting of Freddy Douglas (Theseus/Oberon) and Melissa Chalsma (Hippolyta/Titania) works well, by the way. As does Pritchett's Puck and Philostrate (assistant to Theseus).

Although there is no set, the costumes are all fantastic, from the Mechanicals charmingly simple woven garments to Puck's outrageously fun and furry red shorts. Costumer Rachel Ford Pritchett ingeniously outfits the actors in retro-modern garb, conveying an appropriate timelessness. The fairies are especially beautiful too and Titania's flowery bed is a cleverly decorated handcart. The actors provide the music, with flutes, guitar and makeshift drums, etc. Production-wise, it's a pretty simple affair, all the better to showcase the impressive strength of these professional thespians.

So if you're looking for a nice evening in the park, please support this company. They do Shakespeare right. Remember to bring a blanket, some picnic food, a jacket (it gets cold at night!) and maybe a low chair if you want to sit on the lawn, although there is limited seating available. And while the production is free, the gallant company members do rely on donations so make sure you drop a few quid their way.


A Midsummer Night's Dream (New Folger Library Shakespeare) Read more!

Midsummer Shakespeare in the Cemetery

A Midsummer Night's Dream
by William Shakespeare
a kate west review
directed by Chrisanne Blankenship
a Tall Blonde Productions and Hollywood Forever Production
at Hollywood Forever Cemetery
6000 Santa Monica Blvd., Hollywood, CA 90038
running August 10 - September 2, 2007, Fridays and Saturdays
contact http://shakespeareinthecemetery.com/; tix $20; free parking

One of Shakespeare's most popular plays, "A Midsummer Night's Dream" is a fantastical light summer faire, often done, and often a sure bet with audiences. Los Angeles' newest outdoor theatrical venue, Shakespeare in the Cemetery, does indeed offer a much more entertaining follow-up to its previous flawed production of "Hamlet". Originally set in Athens, Greece, in this version of "Midsummer" the players frolic New Orleans style, thanks to a jazzy soundtrack, Edgar Revilla's fun and flirty southern costuming and a set that looks like a cross between a Louisiana mansion and Athenian pillars.

The story primarily concerns two pairs of lovers who ultimately find happiness with each other in spite of all the obstacles they are constantly faced with, both real and supernatural. Lysander (Ryan Pfeiffer) and Hermia (Italome Ohikhuare) love each other but Hermia's father Egeus (Royce Thomas Johnson) and the royal powers that be will not allow them to marry. Instead, Hermia is supposed to marry Demetrius (Michael Perl) but Helena (Katharine Brandt) is apparently the one who truly loves him. They all run off into the enchanted forest where they run into fairies and midnight magic. Oberon (Sean Sellars) and Titania (Brianna Lee Johnson) live there as the Fairy King and Queen and do their best to wreak mischievous havoc on their mortal visitors. Representing yet a third type of class are the Players, or Mechanicals, a group of laborers determined to present the tragic tale of Pyramus and Thisby at the Duke Theseus' (T. J. Lowther) wedding to Hippolyta (Jenny Martin). While in furious rehearsal, they end up in the forest as well, and are likewise bewitched.

This particular production is set outdoors in an actual cemetery, among deceased celebrities, including the crypt of Douglas Fairbanks. As the audience enjoys pre-show picnic dinners, fairies creep out and try to steal food. (Careful, they will also move your lawn chairs to block your fellow patrons' view.) Our next fairy encounter is with Puck (Zoe Jarman), Oberon's powerful little minion, the official first spritelike appearance in the show. She spars with rival fairy Peaseblossom (Katherine Everett) and we learn of Puck's bad boy (girl) reputation. (Director Chrisanne Blankenship casts a girl in this role, a common modern choice, making Puck more impish, and less formidable.) Zoe Jarman is a cute and peppy Puck, zipping and dancing her way in and about the grassy set in deference to Oberon's will.

Sean Sellars, as her commanding master Oberon, focuses much of his energy on being heard in the difficult outdoor surroundings and he projects quite clearly. The role is also very physical, and he spends most of the play leaping from above, crouching covertly and tussling with his fellow actors, all of which he does with finesse. Less strong is Brianna Lee Johnson (co-producer), his Fairy Queen Titania. She does not portray much character development in the role and most of her scenes are rather uninspired. Also, she is in danger of falling out of her tightly corseted bodice. In dispute over a foundling child, the couple quarrel. Oberon bids Puck to do his worst, in vengeance on Titania's defiance, the result of which Titania falls under a love spell and fawns over a half-man, half-donkey, Bottom.

Eric Hunicutt is a likeable and funny Nick Bottom, the main actor of the Mechanicals, chosen as the heroic Pyramus. During one of the rehearsals, he runs off into the forest and returns with the head of a donkey, thanks to Puck's inevitable interference. Parvesh Cheena is also likeable as Peter Quince, the leader of the group, who tries vainly to maintain order and good acting among his players. The rest of the gang, with the exception of Blake Silver's amusing high-pitched Francis Flute as the doomed lover Thisby, is a bit weaker. Also double cast as Titania's fairy crew, Alexandra Adair is Snug and Rebecca Russ is Starvelling, rounding out the players. Bottom ends up happily as Titania's love slave for a time.

Puck's manic spellbinding extends to the young lovers running amuck deep in the forest. Hermia and Lysander elope and Helena tells Demetrius, in the hopes that he will reward her with a favored glance at least. Both men are in love with Hermia, but are hexed into thinking they are both in love with Helena. Katharine Brandt (also co-producer) is an appropriately charmingly awkward and despairing Helena, although with an inexplicable costume stripping, down to her corset. Her entertaining screeching exits work well as her screams continue on after she leaves. Italome Ohikhuare is less noteworthy as Hermia, unfortunately. In the first place, she does not project at all, so many of her lines are lost and secondly, she does not seem to be having as much fun as her fellow cast members so her Hermia does not stand out. The casting of an African-American actress in the role works fine, however. Both men, Ryan Pfeiffer as Lysander and Michael Perl as Demetrius, are fine and quite amusing in their attempts to knock each other's blocks off. The physicality of the four works well.

Eventually, Oberon and Puck set everything to rights and passionate balance is restored. Titania's spell is broken and she reconciles with Oberon and the four lovers are matched up with their destined partners. The Duke and soon-to-be Duchess find them in the forest the next morning, where everyone awakes as if from a strange dream. Was it all real? Shakespeare leaves that to us to ponder. Reality rewards them all with wedding nuptials and all the counterpart pairings end well. The Mechanicals are rewarded by putting on their terrible, but hysterical tragedy. The lesson must be that love makes people blind, foolish and confused, but in spite of this, everyone manages to find romantic joy. Shakespeare's chorus of fairies are constantly amused ("Lord, what fools these mortals be!") even though they themselves are subject to love's trickery.

Director Blankenship gives us an entertaining and festive "Dream", just right for a hot summer night. The jazzy theme is fine, although some choices (such as the fairies singing "Fever") don't fit as well. The production is not an overall statement of anything in particular, but pretty fun to watch. Both audience members and actors have a good time for the most part; it's diverting to see the cast merrily point out the helicopters that pass frequently above the park, for instance. There's no intermission, but that's hardly noticeable as it's a fast-paced and well-balanced show. If you're going, don't forget to bring food, blankets and sweaters - the cemetery gets cold and damp at night!

A Midsummer Night's Dream (New Folger Library Shakespeare) Read more!

Slings and Arrows

Slings and Arrows
a kate west favorite






For those of you who consider a good time is reciting Shakespeare to each other, consider renting the Canadian homage to the Bard, "Slings and Arrows". Actually, whether or not you're a passionate actor, if you've ever cringed through bad productions of Shakespeare, you will love the exploits of this Canadian troupe of classic actors. The creators really do understand Shakespeare. Now on DVD, this popular television series (which only had a three season run) is once again a hit with audiences.

Geoffrey Tennant (Paul Gross) becomes the Artistic Director of the fictional New Burbage when the previous AD Oliver Welles (Stephen Ouimette) dies unexpectedly. He then has to maintain order amidst gigantic actor egos, financial nightmares and his own pending breakdown. Not to mention dealing with pesky ghost of Oliver. One true-to-life scene is when (slightly) over-the-hill leading lady Ellen Fanshaw (Martha Burns) is audited and becomes infuriated with a bureaucracy she can't understand. She is an actress after all, and shouldn't have to deal with numbers, for God's Sake.

The glimpses of productions of "Hamlet", "Macbeth", "King Lear" and "Romeo and Juliet" are really inspirational, since this company is supposedly expert at Bard productions. It's a much-needed quality show, with all the comedic angst and subterfuge of a regular sitcom, just a little classier. And it's very nice to see good Shakespeare for a change. Don't miss it.

Series Directed by:
Peter Wellington (18 episodes, 2003-2006)

Series Writing Credits:
Susan Coyne (18 episodes, 2003-2006)
Tecca Crosby (18 episodes, 2003-2006)
Bob Martin (18 episodes, 2003-2006)
Mark McKinney (18 episodes, 2003-2006)
Sean Reycraft (6 episodes, 2006)

Series Cast:
Martha Burns ... Ellen Fanshaw
Paul Gross ... Geoffrey Tennant
Don McKellar ... Darren Nichols
Mark McKinney ... Richard Smith-Jones
Oliver Dennis ... Jerry
Susan Coyne ... Anna Conroy
Stephen Ouimette ... Oliver Welles
Graham Harley ... Cyril
Michael Polley ... Frank
Catherine Fitch ... Maria
Leon Pownall ... Brian
Sean Cullen ... Basil
Matt Fitzgerald ... Sloan
Rachel McAdams ... Kate McNab
Luke Kirby ... Jack Crew
Jennifer Irwin ... Holly Day
Sabrina Grdevich ... Claire Donner
Marcia Bennett ... May Silverstone
Rothaford Gray ... Nahum
Aaron Abrams ... Paul
Joanne Kelly ... Sarah
Janet Bailey ... Barabra
William Hutt ... Charles
David Alpay ... Patrick
Colm Feore ... Sanjay
Grace Lynn Kung ... Emily Lu
Geraint Wyn Davies ... Henry Breedlove
Melanie Merkosky ... Megan
Sarah Polley ... Sophie
Jonathan Crombie ... Lionel Train
Joanne Boland ... Margaret
Chris Leavins ... Andrew McTeague
Brendan Murray ... Horatio
John Stead ... John
Jefferson Brown ... Chris Norton
Bob Martin ... Terry
Damir Andrei ... Polonius
Jeff Berg ... Luke
Caroline Gillis ... Cheryl
Billy MacLellan ... Laertes
Martin Roach ... Horatio
Clyde Whitham ... Alan


The First Season:
Slings & Arrows - Season 1 Read more!

Hamlet - an unofficial review

Hamlet by William Shakespeare
a kate west review
directed by Brianna Lee Johnson
a Tall Blonde Productions and Hollywood Forever Production
at Hollywood Forever Cemetery, 6000 Santa Monica Blvd., Hollywood, CA 90038
running June 22 - July 29, 2007, most Fridays and Saturdays
contact http://shakespeareinthecemetery.com/; tix $20; free parking

Primarily the resting place of a host of late celebrities, the Hollywood Forever Cemetery also houses an outdoor summer film hot spot (http://www.cinespia.org). And now apparently it also offers up Shakespeare in the Park, or rather, in the Cemetery, the latest production being "Hamlet". "Hamlet", of course, is the famous Shakespearean play in which the late Danish King's son Hamlet spends five acts agonizing over how to avenge his father's death and rescue his mother from the clutches of her new husband, Hamlet's uncle, the cowardly villain responsible for murdering his father. For the two people who haven't seen or read about it, everyone ends up dead in the end and then the new order takes over and cleans up the town. And there are a lot of fun duels, scorned love and family angst in between.

In this production, Director Brianna Lee Johnson sets up the outdoor scene with some pre-show vignettes of Danish life in 1300 A.D. Various actors weave in and around the set, (complete with a stone pond), and although slightly annoying in its seeming aimlessness, it fits in more or less with the park atmosphere. The play finally opens (late) with the royal guards (Stephen Steelman, John Pick, etc.) establishing that the late King's ghost has been appearing mysteriously about Elsinore. After the play's initial build up, the subsequent appearance of the Ghost (Derek Long) is slightly disappointing, as the actor is a bit stiff, so to speak. In fact, the majority of the actors rush their lines, paying little heed to the subtle nuances of the Bard's poetic language.

A blond and earnest Dean Chekvala plays Hamlet, heir to the Denmark throne. He's not terrible, but suffers from the same superficiality as the rest of the cast, giving equal measure to each line and not delving into context. Also, it is often difficult to hear him, due to his tendency to rush. The plot unfolds fairly quickly; Hamlet swears vengeance on his uncle and tortures his long-suffering love, Ophelia (Sarah Utterback, of television's "Grey's Anatomy"). She also merely skims the surface of the role, indicating rather than portraying genuine emotion, especially in the "Get thee to a Nunnery" scene where Hamlet cruelly spurns her. Granted, that particular night, three raccoons came out of hiding and played in the pond, right in the front of the action, so the audience was distracted. Without animals, however, the actors still don't fully hold our attention.

Hamlet decides to begin acting mad, in order to confuse his family, begging the age old question of whether or not he's faking or actually becomes mad. The famous "To Be or Not To Be" speech supposedly conveys his unwillingness to take action and his frank reflections of death, but again, Chekvala rushes it, so it is virtually missed. The evil uncle, Claudius (York Griffith, also stiff), conspires with his new wife Gertrude (played with uninspiring shallowness by Katherine Brandt, also co-producer) to discover Hamlet's true character motivations. Things escalate until Hamlet is finally spurned to action, but kills the wrong man, murdering Polonious, his sweetheart's bumbling innocent old father.

To sum up briefly, Laertes (Zach Alden) returns from school abroad to avenge his sister's suicide and father's murder, Gertrude repents her hasty marriage much too late, Claudius is finally murdered, Gertrude poisoned and Laertes stabbed, after confessing the poison conspiracy to Hamlet, who naturally dies soon after.

Apparently her first foray into Bardland, the director really needed to push her actors more, especially since they expend so much energy projecting outdoors that all subtlety is lost. The sole actor who understands Shakespearean language at all is Sean Sellars, who plays Polonius, father to Ophelia and Laertes. His is a multi-dimensional, researched character, which provided much-needed, although brief comic relief. It is puzzling as to why Johnson cast a younger actor made up to look older, rather than just an older actor, however Sellars makes the part his own, and is a definite audience pleaser.

This must remain an unofficial review, however, since this reviewer did not stay past intermission. It may have very well turned into brilliance in the end, but it is highly doubtful. Although, there was a real pond for Ophelia to drown in and a real crypt for the actors to be backlit against. The actors did have a nice procession to it in the beginning. They had already demonstrated focusing action off to the side wall and elsewhere on the lawn. The Players who come in to act out Hamlet's pre-planned accusations, for instance, played against that wall, but then it was a bit difficult to look behind you and then back to the front of the stage. Everything seemed too far apart for comfort. But that was the least of the production's problems.



Hamlet (Folger Shakespeare Library)

Grey's Anatomy - The Complete First Season Read more!

The Tempest

The Tempest
a kate west review
By William Shakespeare
directed by Steven Shields
The Ark Theatre Company, 1647 S. la Cienega Blvd., Los Angeles 90035
April - June, 2004 Call (323) 969-1707

Watching the Ark Theatre Company's current production of "The Tempest" is like accidentally stumbling into an early rehearsal. There are no props, no set and minimal lights and costumes. In fact, there is barely any production at all. Actors warm up on stage before the show, the stage manager calls places, the fluorescent lights snap on and the play begins. Director Steven Shields seems to think this pseudo-minimalist approach is stylistically artistic; however it only succeeds in looking amateurish. Actors wear street clothes, a liquor bottle is really a bottle of Aquafina and a cord of wood is really a set of cardboard paper towel rolls. Even Prospero is without his symbolic staff.

The actual story by Mr. Shakespeare is that of Prospero, former Duke of Milan, who reigns over a faraway island with his daughter Miranda, having been usurped by his brother Antonio. Fortune shipwrecks a royal party on the island, which includes Alonso, King of Naples and Prospero's brother, the false Duke. Prospero's dominion over all the fantastical creatures of the island (including his personal helper Ariel and the monster Caliban) easily enables him to render his enemies helpless and subject to his will. Unexpectedly, Prince Ferdinand, among the shipwrecked crew, falls for Miranda and so partly because of her innocent love and partly because grudges do not help anyone, Prospero ultimately forgives everyone and gives up his powers, breaking his staff in two. Thus people often remark that this is Shakespeare's most mature play.

Now back to the current production. David Grammer is an uninspiring Prospero, which is unfortunate as his is the prominent voice of the pieces. Kourtney Kaas is an inexplicably acrobatic Ariel and actress Aomawa Baker plays the monster Caliban as a male, sans makeup. Even more confusing is that two traditionally male characters are turned into women: ingénue Jules Wilcox plays "Antonia," Prospero's sister, rather than brother Antonio and Dee Amerio Sudik plays "Gonzala," rather than Prospero's long-lost trusted friend, Councellor Gonzalo. The character changes seem as unmotivated as is the decision to forgo traditional lighting, sets, costumes and props and there are no real standout performances.

The cast alternates between actual characters and roving mischievous spirits. This is distracting, especially when the actors try to speak their lines over makeshift sound effects created by the actors using plastic bags and other random everyday items. The three main female sprites (Kourtney Kass, Mary Elizabeth Barrett and Anna Quirino) occasionally burst into song which comes across rather weak in the midst of bad acoustics. Ryan Johnston and Ross Gottstein as comic relief, Trinculo and Stephano respectively, do little to break up the relentlessly unprofessional atmosphere.

In order to justify the concept of listening to the Bard's words alone, without special dressing, the actors need to be outstanding and this cast simply does not fit the bill. With random scraps of costuming, one real light cue and a plain black platform serving as a bare set, this production lends nothing to the work and can easily be missed. You are better off staying at home with a good book rather than witnessing this sad translation of an a normally brilliant play.

Better:
The Tempest (Folger Shakespeare Library)

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Twelfth Night

“Twelfth Night”
a kate west review
by William Shakespeare
at A Noise Within
234 S. Brand Blvd. Glendale
March 19 – May 16 (818) 240-0910

One of William Shakespeare’s most popular and oft-performed works, “Twelfth Night,” is the story of Viola, who is separated from her twin brother Sebastian after a shipwreck, then disguises herself as the loyal male servant Cesario in order to serve the handsome Duke Orsino. We learn early on that Orsino is desperately in love with the beautiful Countess Olivia, who steadfastly and heartlessly opposes the match. Meanwhile, Viola (as Cesario) finds herself in the compromising position of wooing Olivia for her master and realizing she is in love with Orsino, while Olivia, mistaking Viola for a youthful, fine-looking man, falls for the deceptively charming Cesario (Viola).

Confused? No worries. All gets sorted out cleverly in the end in classic Shakespearean style. Viola is reunited with her long-lost twin brother Sebastian, Orsino finds out that Cesario is really Viola and lovingly asks for her hand, Olivia falls for the attractive Sebastian, the thoroughly unpleasant manservant Malvolio gets his comeuppance and the audience rejoices.

As far as this production goes, the versatile and gifted Julie Coffey is quite good as Viola, giving excellent line readings and aptly aiding director Kris Tabori in creating a truly audience-accessible production. J. Todd Adams as Orsino, Robertson Dean as Sir Toby Belch (Olivia’s uncle) and Tessa Thompson as Olivia are all equally strong. Cynthia Beckert is the subtle, yet mischievous maidservant Maria and Hamilton Camp does a nice turn as the comic relief, playing the ridiculous Sir Andrew Aguecheek, another hopeless suitor to Olivia. Alan Brooks plays a somber, yet delightfully twisted Malvolio and the rest of the cast is fairly strong, especially standout Mark Bramhall, as the sharply intelligent court fool, Feste, who serves as an impish go-between for many of the characters.

Set Designer Trefoni Michael Rizzi creates a generically peaceful Mediterranean-style set and the scenes flow together smoothly. Modern audiences must take all the obvious disguises with a grain of salt, but we are nonetheless entertained by the consummate skill of the Bard and the simplicity of the emotion in the story. It might be fun to see actual identical twins cast in a production of “Twelfth Night,” but barring that, A Noise Within does a fine job of justifying classic mistaken identity. This is a nicely entertaining and likeable production. The perfect light menu for such a hot summer.

Read it:
Twelfth Night (Folger Shakespeare Library) Read more!