Schiller Park – Reel Time With Richard Ades

Offbeat ‘Tempest’ cuts scenes, reassigns genders and adds politics

Prospera (Susan Wismar, left) tells daughter Miranda (Hannah Roth) how they arrived at a mysterious island in Actors’ Theatre’s production of *The Tempest*. (Photos by Richard Ades)

By Richard Ades

The Tempest is thought to be Shakespeare’s last play, which has led to the theory that its protagonist, Prospero, is a stand-in for the Bard himself. When the aging sorcerer gives up his magic at the end, it’s interpreted as symbolic of the playwright’s decision to stop favoring us with the literary magic that flowed from his pen.

Less favorably, some have viewed The Tempest as a reflection of Britain’s centuries of colonialism. This criticism stems from Prospero’s domination of Ariel and Caliban, inhabitants of the island he fled to after being cheated out of his rightful position as duke of Milan.

In the “director’s statement” for the current Actors’ Theatre production, David Harewood makes it clear he’s inspired by the latter interpretation, though he’s broadened the focus to touch on our own society’s faults. Sample critique: “A profit-driven justice system routinely robs men and boys younger than Caliban of their dignity, their lives, or both…”

Harewood’s determination to bend the text to address such political concerns helps to explain why what’s going on in Schiller Park seems unfamiliar even to those who’ve seen The Tempest multiple times. Harewood even goes so far as to deep-six the happy ending by reinterpreting the final speech.

There are other reasons the work seems unfamiliar, including the fact that scenes have been cut, one character has been eliminated and others have been given gender reassignments. To wit: Prospero is now Prospera (Susan Wismar), usurping brother Antonio is now usurping sister Antonia (Kasey Meininger), and royal councilor Gonzalo is now the sword-wielding Gonzala (Wilma Hatton).

The changes work particularly well in the case of Prospera, as Wismar makes her a forceful presence even when she’s being a devoted mom to naïve daughter Miranda (Hannah Roth). The only jarring aspect of Wismar’s performance is that she’s meaner than the sorcerer normally is, especially when she’s torturing the monstrous Caliban (Christopher “Casanova” Jones). The apparent reason: to underscore her identity as a colonizing presence on the island.

Trying to survive a storm conjured up by Prospera are (from left) King Alonso (Michael Neff); Gonzala (Wilma Hatton) and Antonia (Kasey Meininger).

The other changes also work well except that they add occasional confusion about the identities of various characters and their relationships with others. But the confusion mainly arises from other factors, including sound effects that drown out much of the dialogue during the storm Prospera conjures up to bring King Alonso (Michael Neff) and his entourage to the island in an attempt to right old wrongs. As a result, many viewers will struggle to figure out who’s who when Alonso and others reappear on the shore.

About the only shipwreck survivor whose identity is clear from the start is the one the others fear has drowned: Ferdinand (Tom Murdock), the king’s son, who soon justifies Prospera’s hopes by awakening the libido of the long-sheltered Miranda. (Note: Ferdinand and several other roles have been recast since the printed program was compiled.)

Another alteration from the original is the division of the spirit Ariel into three individuals, played by the sweet-singing Dakota Thorn and Shanelle Marie and the balletically lithe Christina Yoho. This is an interesting experiment whose only drawback is that the three can be hard to understand when they speak in unison, especially since they, like Jones’s Caliban, display Jamaican accents.

Ariel times three, played by (from left) Dakota Thorn, Shanelle Marie and Christina Yoho

How, you might ask, did Jamaicans end up on an island off the coast of Italy? And why does one of them (Caliban) make an entrance while singing an American spiritual? Such questions are overshadowed after the comically drunk Stefano (Tony Ludovico) and the clownish Trincula (Heather Gorby) show up, as both speak with an Appalachian twang. Their repartee is funny, but the unexpected accent is a jarring distraction.

Though nearly everyone from Wismar on down performs well, and though some of the innovations are interesting, the overall impression is that political posturing has taken much of the fun out of what should have been a magical night at the theater.

You’ve heard of “director’s cuts” that rob films of their popular appeal? This is a like a director’s cut of The Tempest.

Actors’ Theatre will present The Tempest through Sept. 3 at the Schiller Park amphitheater, 1069 Jaeger St., Columbus. Show times are 8 p.m. Thursday-Sunday. Running time: 1 hour, 55 minutes (including intermission). Tickets are pay what you will. Bring a blanket or lawn chair; reservations for seats or keepsake blankets are available for $20. 614-444-6888 or theactorstheatre.org.

Romance takes back seat to social satire in charming Austen adaptation

Mr. Darcy (Justin King) busies himself writing a letter while the woman he pines after, Elizabeth Bennet (Elizabeth Harelik, in yellow dress), visits her sister Jane (Beth Josephsen) in Actors’ Theatre’s production of *Pride & Prejudice*. (Photos by Richard Ades)

By Richard Ades

In his printed “Director’s Statement,” Mark Mann complains that some of us—and by “us,” I mean men—tend to dismiss Pride & Prejudice as a “chick flick.”

Technically, what’s going on in Schiller Park isn’t any kind of flick because it’s live theater, but we take his point. Jane Austen’s original novel was more interested in critiquing society than in giving her readers a soggy love story. And that comes through in Jon Jory’s stage adaptation and in Mann’s production of that adaptation.

Set in early 19th century England, the tale revolves around the Bennet household, which consists of a father (David Jon Krohn), a mother (Danielle Mann) and their five daughters. Because Mr. Bennet is not allowed to leave his estate to a female heir, Mrs. Bennet is determined to secure their daughters’ fortunes by finding them well-off husbands. Hence, she’s excited when the wealthy Mr. Bingley (Trenton Weaver) moves into the neighborhood.

Mrs. Bennet’s hope is buoyed when this financially worthy gentleman seems taken with her eldest daughter, Jane (Beth Josephsen). However, things go less smoothly when Bingley’s even wealthier friend Mr. Darcy (Justin King) meets second-oldest daughter Elizabeth (Elizabeth Harelik). Darcy seems fascinated by the outspoken young woman, but he’s so haughty and untactful that he immediately puts her off.

Mr. Bingley (Trenton Weaver, left) and Mr. Darcy (Justin King) are both attracted to Bennet sisters, but the former does a better job of showing it.

That sets up a romantic dance as nuanced and delicate as the period-appropriate choreography Meghan Western provides for the play’s party scenes.

Elizabeth’s opinion of Darcy sinks lower and lower, especially after she meets his estranged childhood friend, Wickham (JT Walker III). As for Darcy, he finds Elizabeth increasingly attractive, but he’s so stiff and socially inept that she doesn’t have an inkling of his true feelings. Meanwhile, others conspire to keep the two apart, including the smitten Miss Bingley (Natalia White) and the regal Lady Catherine (Cate Blair Wilhelm).

Andrew Weibel’s pastel scenery and Pam Bloom’s costumes help to define a formal era when even Elizabeth’s long-married parents still address each other as “Mr. Bennet” and “Mrs. Bennet.”

Director Mann occasionally allows his cast to farce things up for comedic effect. This is particularly true of Douglas Gustafson’s Mr. Collins, whose high-pitched cackle make it immediately clear that his suit to make Elizabeth his wife will be rejected with extreme prejudice. But the production’s real charm stems from subtle portrayals—such as Walker’s Wickham—that prevent us from predicting just how it will arrive at a suitably happy ending.

Most of all, its charm stems from Harelik’s heroic but gullible Elizabeth and King’s excruciating awkward Darcy. We suspect the two are destined to be together, but the actors turn them into such an odd couple that it’s hard to believe they’re ever going to get there.

Actors’ Theatre will present Pride & Prejudice through July 16 at the Schiller Park amphitheater, 1069 Jaeger St., Columbus. Show times are 8 p.m. Thursday-Sunday. Running time: 2 hours, 20 minutes (including intermission). Tickets are pay what you will; bring a blanket or lawn chair. Reservations for seats or keepsake blankets are available for $20. 614-444-6888 or theactorstheatre.org.

Wilde comedy pits blackmailer against a ‘dandy’ hero

Mrs. Chevely (Beth Josephsen) blackmails Sir Robert Chiltern (Ross Shirley) into supporting a scam in Oscar Wilde’s An Ideal Husband. (photos by Richard Ades) — Mrs. Chevely (Beth Josephsen) blackmails Sir Robert Chiltern (Ross Shirley) into supporting a scam in Oscar Wilde’s *An Ideal Husband*. (photos by Richard Ades)

By Richard Ades

Wilde in the Park hasn’t been nearly popular as Shakespeare in the Park, but Actors’ Theatre’s production of An Ideal Husband shows it can be done.

I had my doubts at first. Set in London in 1895, the play opens with a party scene during which a stageful of upper-crust Brits trade some of Oscar Wilde’s wittiest comments about society, the sexes and sundry other topics. But on the muggy night I attended, they had to compete for viewers’ attention with noisy insects and other commotions from both inside and outside Schiller Park. Added to the fast pace of the repartee, that meant few of the satirical jokes got much reaction from the overheated audience.

Luckily, the situation improved once the plot kicked into gear. Even the insects quieted down, as if they were eager to learn what would happen next.

The gears begin to mesh when the nefarious Mrs. Chevely (Beth Josephsen) offers a shady proposition to the party’s host, Sir Robert Chiltern (Ross Shirley). Revealing that she knows a damaging secret about Chiltern, a rising member of the House of Commons, Chevely threatens to spill the beans unless he throws his support behind a scam involving the construction of a canal in Argentina.

Chiltern reluctantly agrees, fearing a scandal would wreck both his career and his marriage. However, his sudden about-face on the bogus canal raises the suspicions of his wife (Sonda Staley), a former classmate of Chevely who knows all too well what kind of mischief she’s capable of. Lady Chiltern asks for help from the couple’s close friend, Lord Goring (Amari Ingram), who has his own reasons for distrusting Chevely.

Lord Goring (Amari Ingram, left) hears a startling confession from his friend Sir Robert Chiltern (Ross Shirley).

In effect, Goring is called on to save the day, but we’re given little reason to think he’s up to the task. A “dandy”—which seems to be something like a fop but with fewer effeminate mannerisms—Goring is fixated on his appearance and clothes and restricts his conversation to the most trivial of concerns. Is such a person capable of saving Sir Robert from the conniving Mrs. Chevely? The answer to that question is left unanswered until the intrigue-filled second act.

A comedy like An Ideal Husband—a witty period piece with a dandified hero—could well have tempted its cast to farce things up. Instead, director Philip J. Hickman keeps portrayals sufficiently grounded that we actually care what happens.

Josephsen is blithely calculating as Mrs. Chevely, while Shirley and Staley earn our sympathy as the flawed Lord Chiltern and his upright wife. Ingram is mostly solid as Goring, though some of his lines could be delivered with more conviction. (Maybe he was distracted by a headset mike that occasionally malfunctioned on the night I attended.)

In an important secondary role, Robyn Rae Stype is amusing as Chiltern’s sister Mabel, who trades flirtatious quips with Goring. Funniest of all is Troy Anthony Harris as Goring’s dad, the Earl of Caversham, who never misses an opportunity to tell his frivolous son what a disappointment he is.

Supporting roles are nicely played by Joyce Leahy, Camille Bullock, AJ Copp and Ben Sostrom. All of the players are elegantly attired by Dayton Willison, whose costume designs are unobtrusively framed by Andrew Weibel’s white-on-white set.

Besides its absorbing plot, An Ideal Husband is an interesting portrait of the sexual roles and attitudes in the late 19th century. Lady Chiltern is clearly an early feminist, but some of her female friends are more than content to leave politics and other intellectual pursuits to the men.

Meanwhile, Wilde’s story of an ambitious politician who can’t resist the temptation of an underhanded deal remains, sadly, as timely as ever.

Actors’ Theatre will present An Ideal Husband through Sept. 4 at the Schiller Park amphitheater, 1069 Jaeger St., Columbus. Show times are 8 p.m. Thursday-Sunday. Running time: 2 hours, 30 minutes (including intermission). Tickets are pay what you will (donations requested). Bring a blanket or lawn chair. 614-444-6888 or theactorstheatre.org

Like ‘Othello,’ but with yuks and yokels

By Richard Ades

Actors’ Theatre’s production of The Winter’s Tale is, at first glance, an impressive achievement. Directed by Micah Logsdon, it creates a crowd-pleasing evening out of a play that presents thespians with a couple of difficulties.

First difficulty: After introducing an unjust charge of marital infidelity much like the one depicted in Othello (which led off the troupe’s summer season), Shakespeare then all but abandons this tragic plot as he plies us with one comic scene after another.

Second difficulty: Shakespeare eventually returns to the original tragedy by setting up a scene that promises to heal old wounds while revealing mistaken identities. But he then allows this “scene” to transpire offstage, so that we hear about it only through peripheral characters.

Facing these challenges head on, Logsdon’s production makes the most of the comic scenes by employing talents such as former Shadowbox Live performer JT Walker III. It also adds interest by relocating the action from Sicily and Bohemia to turn-of-the-last-century Sicilia, Ky., and Bohemia, N.C. This not only allows the cast to speak the Elizabethan dialogue with an Appalachian accent, but it allows a trio of “balladeers” to punctuate the action with aptly chosen backwoods tunes.

Here’s the plot in a nutshell:

King Leontes (Andy Falter) of Sicilia is hosting an extended visit from King Polixines (David Widder-Varhegyi) of Bohemia when he begins to suspect his childhood friend has been having an affair with Leontes’s now-pregnant wife, Hermione (Kathryn Miller). Becoming insanely jealous, he orders one of his lords, Camillio (Christina Yoho), to murder the visiting monarch.

Leontes orders Camillio (Christina Yoho, left) to kill his wife’s suspected lover, but Camillio has other ideas

When that doesn’t happen—the decent Camillio instead warns Polixines and flees with him to Bohemia—Leontes completely loses it. He throws his wife into prison despite her protestations of innocence, and after she gives birth to a daughter, he orders an underling to abandon the suspected bastard in the wilderness. Sadly, Leontes doesn’t realize Hermione is innocent until his actions have led not only to the infant’s supposed loss but to the deaths of both his wife and their adolescent son.

All of this happens in Act 1, and it’s mostly handled well in Logsdon’s production. Falter delivers too many of Leontes’s lines at a pissed-off yell, but he eventually joins other cast members in giving a more nuanced performance. Among the others, especially memorable are Miller as the wronged Hermione and Jennifer Feather Youngblood as her righteously angry defender, Paulina.

After intermission, however, the strains of dealing with the play’s challenges begin to show.

Set in Bohemia 16 years in the future, it introduces us to Polixines’s son, Florizel (a relatable Robert Philpott), and the country lass who’s won his heart, Perdita (a sweet but feisty Madelyn Loehr). In the end, it also returns to a now-contrite Leontes and supplies partial closure for the tragedy that unfolded in Act 1.

For the most part, though, Act 2 is so dominated by comic scenes that it seems to have little connection to the somber developments in Act 1. I would blame this entirely on Shakespeare’s plotting if I weren’t haunted by a wonderful production of The Winter’s Tale that I saw more than two decades ago in Schiller Park.

Brilliantly directed by Mark Mann, it managed to slog through Act 2’s comedy without losing sight of the play’s central theme: redemption. It all culminated in one of the most moving finales I’ve witnessed on any stage, ever.

Further complicating my reaction to the current show is a 2004 production of The Comedy of Errors that first introduced Columbus to the novelty of delivering Shakespeare’s dialogue with an Appalachian accent. Director Frank Barnhart and his cast not only proved that it can sound very natural, but they did it without turning the characters into backwoods stereotypes.

In contrast, peripheral characters in the current production sometimes come off as generic yokels, undercutting the play’s serious overall theme. And as for that final scene, it’s further undercut by a revelation that comes minutes too soon.

As I said, there’s much to enjoy in Logsdon’s production. Besides its achievements in acting and musicianship, perks include the lighting and sound effects with which it creates the storm that ends Act 1.

It’s what happens after the storm that disappoints me, weakening the Bard’s morality tale with a trip into Hee Haw country. The detour adds brand new problems to a script that already has more than its share.

Actors’ Theatre will present The Winter’s Tale through Aug. 7 at the Schiller Park amphitheater, 1069 Jaeger St., Columbus. Show times are 8 p.m. Thursday-Sunday. Running time: 2 hours, 35 minutes (including intermission). Admission is free, but donations are requested. Bring a blanket or lawn chair. 614-444-6888 or theactorstheatre.org.

Vengeful count transformed into vengeful countess

The unjustly imprisoned Amelie Dantes (McLane Nagy, left) develops an informative relationship with a fellow inmate (Catherine Cryan) in Actors’ Theatre’s world-premiere production of The Countess of Monte Cristo (photo by Richard Ades) — The unjustly imprisoned Amelie Dantes (McLane Nagy, left) develops an informative relationship with a fellow inmate (Catherine Cryan) in Actors’ Theatre’s world-premiere production of *The Countess of Monte Cristo* (photos by Richard Ades)

By Richard Ades

Actors’ Theatre seems to be focused on giving adults a good reason to come to Schiller Park this season. Judging from the huge crowd that gathered there last Saturday night, it seems to be succeeding.

The troupe launched the season with Shakespeare’s Othello, a tragedy in which the key murder was depicted in such painful detail that it could well have terrified impressionable youngsters. The current play has nothing that grim, but it does feature a complex plot and a large cast of characters that likely would confuse younger patrons.

Based on Alexandre Dumas’s The Count of Monte Cristo, The Countess of Monte Cristo is a world-premiere drama written by Philip J. Hickman and Jennifer Feather Youngblood and directed by Youngblood and Adam Simon. Recasting its protagonist as an early 19th century Frenchwoman named Amelie Dantes (McLane Nagy), it begins as she prepares for her upcoming marriage to Merced Herrera (James Harper).

Amelie’s happiness turns out to be short-lived. Thanks to the machinations of George Danglars (Benjamin Isaiah Black) and Fernanda Mondego (Kasey Leah Meininger)—who wants Merced for herself—Amelie is accused of possessing a treasonous letter that she actually knows nothing about. At first, it appears prosecuting attorney Gerard Villefort (Ken Erney) will right the wrong, but he changes his mind after realizing his own family will suffer if the contents of the letter become public.

Amelie ends up in prison, where she spends long, miserable years wondering just how she got there. It’s only after she meets a fellow inmate named the Abbess Faria (Catherine Cryan) that she finally figures out who put her there and why. It’s also thanks to the Abbess that Amelie eventually escapes and reinvents herself as the mysterious and vengeful countess of Monte Cristo.

Fernanda (Kasey Leah Meininger) convinces Merced (James Harper) to betray his fiancee, Amelie

All of this happens in the first act, which benefits from breezy storytelling and punchy portrayals by all concerned. Nagy is consistently watchable as Amelie, who makes a believable transition from a naïve fiancée to the fierce and resourceful countess. Memorable supporting roles are played by Meininger as the ruthlessly ambitious Fernanda; Harper as the weak-willed Merced; Cryan as the wise and kindly Abbess; and Derek Faraji as Ali, an enslaved doctor who is promised his freedom if he aids Amelie’s fight for justice.

Remember that I said the plot might confuse younger viewers? Truth is, I was confused myself after Amelie’s search for vengeance brought her into contact with the grown daughters of those who did her wrong. One problem is that we meet Alberta Herrera, Valentine Villefort and Eugenie Danglars (Mary Paige Rieffel, Myia Eren and Maggie Turek) totally apart from their parents, and it’s hard to keep it straight who’s related to whom.

Act 2 also suffers from talky scenes whose relationship to the plot isn’t always clear. Meanwhile, key developments take place offstage, making it even harder to follow the progression of Amelie’s quest for vengeance.

Sarah Fickling’s costume designs are handsome and sometimes glamorous, especially the gowns the countess wears before she, for reasons that aren’t quite clear, begins donning masculine clothes. Sound-wise, one or two characters’ mikes seemed under-amplified at the performance I attended, but otherwise the dialogue comes across remarkably clearly for an outdoor production.

Like most new works, The Countess of Monte Cristo has room for improvement—specifically, improvement that would make it easier to keep characters and plot developments straight. Still, playwrights Hickman and Youngblood deserve credit for what they’ve accomplished. Feminizing the Dumas classic was a daunting task, but they’ve done it in a way that allows them to explore gender issues without undercutting the original’s intriguing tale.

Actors’ Theatre will present The Countess of Monte Cristo through July 17 at the Schiller Park amphitheater, 1069 Jaeger St., Columbus. Show times are 8 p.m. Thursday-Sunday. Running time: 2 hours, 30 minutes (including intermission). Admission is free, but donations are requested. Bring a blanket or lawn chair. 614-444-6888 or theactorstheatre.org.

Tale of jealous Moor presented with passion and power

Othello (Christopher C. Austin III) consults with his trusted lieutenant, Iago (Matthew Michael Moore), in Actors’ Theatre’s production of Othello (photo by Richard Ades) — Othello (Christopher C. Austin III, left) consults with “honest Iago” (Matthew Michael Moore) in Actors’ Theatre’s production of *Othello* (photos by Richard Ades)

By Richard Ades

A stirring production of Othello offers evidence that Central Ohio’s Shakespeare-in-the-park troupe remains in good hands.

This is the first season Actors’ Theatre has put together under the leadership of Philip J. Hickman, who was elevated to artistic director following the untimely death of John S. Kuhn early last year. The lineup is promising and challenging, with an Oscar Wilde comedy and a new adaptation of an Alexandre Dumas potboiler in addition to two of the Bard’s strongest works. And if the first production is any guide, that lineup will be brought to the stage with consummate skill.

Directed by Matt Hermes, the troupe’s production of Othello is brisk and passionate. At a key moment, it’s also horrifying—to the extent that parents might want to leave their most impressionable children at home.

Unusually for a Shakespearean tragedy, Othello keeps its focus almost exclusively on its three central characters: Othello, a Moorish military hero who has recently fallen in love and married; Desdemona, the young Venetian woman who has become his wife; and Iago, an ensign who is determined to get revenge after Othello passed him over for promotion. All three are given compelling portrayals in the Schiller Park production.

Desdemona (Lindsey Fisher) finds her new husband (Christopher C. Austin III) is becoming increasingly suspicious

As Othello, Christopher C. Austin III is the image of militaristic dignity when he’s functioning as a commanding officer, but he’s so smitten by his new love that he can’t help showing his feelings whenever his bride is around. As Desdemona, Lindsey Fisher is guileless and genteel but just as smitten. The result is that PDAs abound whenever the newlyweds are in the same room.

As Iago, the play’s true protagonist, Matthew Michael Moore comes across as an evil puppeteer. He clearly looks down on those around him and coolly uses their loves, desires and prejudices to his advantage. Iago is one of Shakespeare’s most devious villains, and Moore plays him with subtlety and dark humor.

Updated here to the 1820s—a change that affects the costumes and weapons but otherwise has little impact—the tragedy centers on Iago’s campaign to awaken in Othello the “green-eyed monster” of jealousy. To do this, he invents reasons to suspect Desdemona has been unfaithful with Cassio (David Tull), the lieutenant who was promoted in Iago’s place.

Two people play willing or unwilling roles in the campaign: Roderigo, who lusts after Desdemona; and Emilia, Iago’s wife and Desdemona’s maid. David Widder-Varhegyi plays the former as a scamp and a gullible fool, while Susan Wismar plays the latter as a decent woman who is cowed into obeying her husband but is appalled when she realizes what he’s up to.

Andrew Weibel’s set seems more elaborate than usual for the outdoor troupe, even including a small fountain. Emily Jeu’s colorful costumes help to define the time and place.

The sound, designed by William Bragg (with Fia Friend operating the sound board), is as clear as I’ve ever heard it at the Schiller amphitheater. At last Friday’s performance, the only distortion occurred when Austin’s Othello shouted his most dramatic lines, overwhelming the amplification. A little restraint may be needed to avoid that problem in the future.

As one would expect in a Shakespearean tragedy, there are deaths. Two of them happen so quickly, and on such a crowded stage, that many viewers will miss them. On the other hand, one murder is the most protracted and horrific act of violence I can remember seeing at the Schiller amphitheater.

Is it excessive? Not at all. It’s merely the final evidence that Actors’ Theatre takes its role as Columbus’s Shakespeare-in-the-park troupe very seriously.

Actors’ Theatre will present Othello through June 19 at the Schiller Park amphitheater, 1069 Jaeger St., Columbus. Show times are 8 p.m. Thursday-Sunday. Running time: 2 hours, 40 minutes (including intermission). Tickets: pay what you will (bring a blanket or lawn chair); reserved seats or blankets are available for $20. 614-444-6888 or theactorstheatre.org.

I knew Will Shakespeare, and Mr. Moliere, you’re no Will Shakespeare

Appearing in Actors’ Theatre’s production of The Miser are (from left) Danny Turek as Cleante, Ted Amore as Harpagon and Elizabeth Harelik as Elise (photo by Nick Pershing)

By Richard Ades

Actors’ Theatre has gone through quite an evolution.

Shakespeare in the park has always been the troupe’s bread and butter, but recent years have seen the Bard’s stage time reduced. In his place, Actors’ has tried to attract families with swashbuckling adventures, some of them written especially for Schiller Park. Vintage comedies by other playwrights, such as the current production of Moliere’s The Miser, have also been tried.

It’s been an interesting experiment, and no doubt it’s paid off in some ways. For one, the kids who enjoy plays such as Treasure Island (2010) or Robin Hood (2012) may well return to the park when they’re older to watch more-challenging works.

But where does that leave those of us who already enjoy more-challenging works, especially those written by one William Shakespeare? We’ve had to get by with a single helping of the Bard per summer.

Adding insult to injury, that single helping is sometimes delivered in a high-concept production that overwhelms the original tale. This summer saw an unconvincing attempt to turn Richard III into an American gangster saga. And in 2013, the charming Twelfth Night was raucously updated to the 1980s, complete with pop-culture references to Miami Vice and Ghost Busters.

It’s almost as if Actors’ Theatre has decided it can’t sell Shakespeare without a gimmick.

But Shakespeare still works just fine on its own, as last year’s outstanding production of Hamlet proved. Sure, it had a gimmick of sorts, in the form of the untraditional casting of a teenage girl (Grace Bolander) in the title role. But the real “gimmick” was talent: Under the co-direction of Nick Baldasare and the late John S. Kuhn, every member of the cast found depths of nuanced meaning in each and every line.

That’s not to say there’s no value in giving stage time to other playwrights. It was certainly educational seeing the current production of The Miser. Namely, it taught me that Moliere is no Shakespeare.

To be fair, I might appreciate Moliere’s satire more if I could enjoy it in its original French. In Miles Malleson’s English adaption, unfortunately, it often comes off as heavy-handed and predictable.

Compounding the problem, some of the scenes are delivered in an exaggerated farcical style that underlines the comedy’s heavy-handedness. Especially guilty of this approach are Ted Amore as the stingy Harpagon and Danny Turek as his lovelorn son, though both are otherwise impressive.

Working under Pamela Hill’s brisk direction, most of the cast members are more restrained. They include Andy Falter as the brown-nosing Valere, David Harewood as the devious LaFleche and Michael Neff as the eager-to-please Master Jacques, along with all of the major female players: Elizabeth Harelik as Harpagon’s daughter, MB Griffith as matchmaker Frosine and Lexi Bright as a young woman caught in a romantic bind.

The show also benefits from Trent Bean’s colorful set, Emily Jeu’s imaginative costumes and sparkling clear sound designed by William Bragg and engineered by Catherine Rinella.

Yet, despite all of these strengths, the production is truly funny in only one scene toward the end, when a trio of actors offer deadpan deliveries of monologues accompanied by equally deadpan background music. Otherwise, the show is merely pleasant.

Pleasant entertainment is better than none at all, but I’d rather be challenged, touched and transported, as I am by a good production of Shakespeare. How about it, Actors’ Theatre? Is it time to return the Bard to top billing?

Actors’ Theatre will present The Miser through Sept. 6 at the Schiller Park amphitheater, 1069 Jaeger St., Columbus. Show times are 8 p.m. Thursday-Sunday. Running time: 2 hours, 10 minutes (including intermission). Tickets: Pay what you will. Bring a blanket or lawn chair. 614-444-6888 or theactorstheatre.org.

Will Richard III get into a turf battle with Tony Soprano?

Geoff Wilson (center) plays the conniving title character in Actors’ Theatre’s updated production of Richard III (Actors’ Theatre photo)

By Richard Ades

When I heard Actors’ Theatre was going to turn Richard III into a 1950s American crime saga, my first thought was: How are they going to explain the title character’s best-known line: “A horse, a horse, my kingdom for a horse!”

Are they going to pretend that 20th-century mobsters have traded their Cadillacs and Lincolns in for four-legged transportation?

As it turns out, the relocated Shakespearean drama runs into problems long before Richard utters the iconic lament. Thankfully, good acting helps to salvage the production, but not before viewers have spent much of the proceedings scratching their heads.

At first glance, it’s easy to see why director Jennifer Feather Youngblood decided to recast Richard and his followers as mobsters. In his attempt to satisfy his lust for power, he’s as ruthless and violent as any Mafia capo.

Unfortunately for Feather Youngblood and her cast, Shakespeare refuses to cooperate. His script is clearly about someone aspiring to be England’s king, not the head of some crime syndicate. The tale is so immersed in British history and geography that you quickly forget it’s been relocated to 20th-century America. It simply comes across as Shakespeare that’s being performed in relatively modern dress.

To make matters worse, viewers apparently aren’t the only ones who don’t buy the hop across the pond. Most of the cast doesn’t, either. Though a few of the smaller roles are played with Jersey accents, Geoff Wilson’s Richard and most of his cohorts and victims speak in standard Shakespearean English.

Complementing the inconsistent accents is the production’s inconsistent tone. Most of the play’s many murders are handled with appropriate solemnity, but one is as darkly comedic as if it had been directed by Quentin Tarantino.

Most inconsistent—and jarring—of all is the recorded music that accompanies each scene change. It seems to have little to do with what’s happening around it.

For example, after Richard sends a pair of assassins to dispatch his trusting brother Clarence (David Ailing), the air is suddenly filled with the strains of Jerry Lee Lewis’s Great Balls of Fire. If you’re like me, this will leave you with two responses: (1) “Oh, that’s right, this is supposed to be 1950s America” and (2) “Huh?” It’s hard to fathom why the rockabilly hit is being used to introduce an act of outright villainy.

One gets the feeling that Feather Youngblood envisioned an interpretation of Richard III that was much more sardonic—and, obviously, more American—than it ended up being. The result is that it comes across as a production with multiple, clashing personalities.

As I said, good acting helps to make the show entertaining despite its problems, particularly in Act 2. As for Act 1, I should mention that I didn’t see it at its best, as the performance I saw was plagued with annoying sound problems prior to intermission. But the script itself is also a problem early on: Shakespeare bombards us with so many historical characters and intrigues that we struggle to keep them all straight.

By Act 2, thanks to Richard’s murderous machinations, many of these characters have disappeared. This leaves us free to enjoy the rousing arguments and battles of those who remain.

Throughout, Wilson’s Richard is a powerhouse, exuding evil from every pore of his twisted frame. The rest of the cast also is consistently strong, even though it speaks with inconsistent accents.

Three actors are particularly notable as a trio of wronged women: Vicky Welsh Bragg as former Queen Margaret, Beth Josephsen as current Queen Elizabeth and Christina Yoho as Lady Anne. Male characters who stand out from the crowd include Ailing’s Clarence, Alexander Chilton’s Buckingham, Philip J. Hickman’s King Edward IV and Robert Philpott’s heroic Richmond. In a prominent smaller role, Jason Speicher is memorable as the goon-like Ratcliffe.

Maybe it’s because I share his name, but I have to point out that not everyone believes the actual Richard III was as evil as the Bard portrays him. Nevertheless, he makes a great villain. Even though you almost need a degree in English history to understand his world—and even though Actors’ Theatre further complicates matters by pretending he’s an American gangster—it’s fun to watch him connive his way to the throne.

Especially since you know he’ll eventually have that problem with the horse.

Actors’ Theatre of Columbus will present Richard III through Aug. 2 at the Schiller Park amphitheater, 1069 Jaeger St., Columbus. Show times are 8 p.m. Thursday-Sunday. Running time: 2 hours, 35 minutes (including intermission). Tickets: pay what you will (donations accepted at intermission). Bring a blanket or lawn chair. 614-444-6888 or theactorstheatre.org.

Third time is hardly a charm for Shakespeare’s Falstaff

Appearing in The Merry Wives of Windsor are (from left): Elizabeth Harelick as Mistress Ford, Adam Simon as Sir John Falstaff and Michelle Weiser as Mistress Page (photo by Nick Pershing)

By Richard Ades

Fat and vain, cowardly and conniving, Sir John Falstaff is one of Shakespeare’s greatest comic inventions. But you have to catch him in one of the Bard’s Henry IV plays to see him at his best.

In The Merry Wives of Windsor—which some believe was written because Queen Elizabeth I wanted to see more of the entertaining scamp—he’s simply the butt of the joke. The result is a comedy that’s less fun than it would have been if he were as sly and resourceful as he is in Henry IV, Parts 1 and 2.

On the Schiller Park stage, director Beth Kattelman and her cast try their hardest to extract laughs from his misadventures, and sometimes they succeed. More often, though, they merely succeed in raising the volume with shouted lines and over-the-top acting.

The plot starts promisingly enough. While staying at an inn in Windsor, Falstaff (Adam Simon) realizes he can no longer afford his hard-partying lifestyle. He quickly comes up with the idea of improving his finances by romancing Mistresses Ford and Page (Elizabeth Harelick and Michelle Weiser), two local married ladies.

Unfortunately for Falstaff, the ladies are close friends who share everything—including the identical love notes he sent them. Insulted, they agree to concoct a romantic trap in order to teach him a lesson.

What happens next should be a delicious case of comeuppance, and it would be if Falstaff weren’t so darn gullible. Instead, he’s such an easy mark that the wives are able to fool him over and over. What starts out amusingly soon becomes predictable and repetitious. And it doesn’t help matters that the mostly admirable Harelick and Weiser go overboard on the faux melodramatics whenever they’re conning the lascivious knight.

An added complication provides a few chuckles. After Falstaff’s disgruntled former servants tell the wives’ husbands what their ex-boss is up to, the jealous Ford (Micah Logsdon) decides to investigate. Introducing himself as a man named Brook, he tells Falstaff he has long lusted after Mistress Ford but can’t persuade her to abandon her marital vows. He invites Falstaff to compromise her integrity in order to make her more open to his advances.

The early scenes between Falstaff and the disguised Ford are nicely handled by Simon and Logsdon, but the latter eventually gives in to the production’s tendency toward over-emoting.

A romantic subplot involves the Pages’ daughter, Anne (a winsome Cecelia Bellomy), who is being courted by a trio of suitors. Here, some characters stand out thanks to inspired comic performances, including the idiotic Slender (Dayton Willison), the extravagantly French Dr. Caius (Daniel Turek) and Caius’s mischievous servant, Mistress Quickly (Jennifer Feather-Youngblood). Meanwhile, Jesse Massarro shows welcome restraint as third suitor Fenton, as does Nick Baldasare as Anne’s father.

Stefan Langer also fares well as Welsh clergyman Sir Hugh Evans. He doesn’t actually display the incoherent accent that others joke about, but it’s hard to blame him for that. Apparently the Welsh accent was pretty heavy in Shakespeare’s time, but nowadays it’s far more subtle.

Thus, the Welsh jokes fall as flat as pretty much everything else in this heavy-handed comedy.

Actors’ Theatre will present The Merry Wives of Windsor through Aug. 31 at the Schiller Park amphitheater, 1069 Jaeger St. Show times are 8 p.m. Thursday-Sunday. Running time: 2 hours, 30 minutes (including intermission). Admission is “pay what you will.” Bring a blanket or lawn chair. 614-444-6888 or theactorstheatre.org.

Columbus School for Girls grad excels as melancholy Dane

Grace Bollander, a graduating senior at Columbus School for Girls, plays the conflicted title character in Hamlet (photo by Nick Pershing) — Grace Bolander, a graduating senior at Columbus School for Girls, plays the conflicted title character in Hamlet (photo by Nick Pershing)

By Richard Ades

Can an 18-year-old high school student do justice to one of the greatest roles in the English language? When that student is Grace Bolander, yes, indeed.

Actors’ Theatre has pushed the envelope with its season-opening production of Hamlet, giving the title role to an actor who is not only a teenager but a female to boot. If you suspect the casting is simply an attention-getting gimmick, you obviously haven’t seen the show. Once you do, you’ll realize that Bolander was simply the best person for the part.

Over the years, I’ve witnessed various takes on the Danish prince, all attempting to explain a puzzling man who seems eager to avenge his father’s murder, yet keeps finding excuses to delay action. Bolander quickly puts her own stamp on the character, portraying him as tearfully emotional one moment and wickedly humorous the next.

She also ups the tempo at key moments, allowing the familiar words to tumble out in a dazzling torrent. Once or twice, the words come a little too fast, rushing the dialogue, but overall her performance is remarkable.

Despite Bolander’s star-making turn, the best thing about Actors’ Theatre’s production is that every performance is remarkable. Co-directed by Nick Baldasare and John S. Kuhn and set in the late Victorian era, this Hamlet interprets each character with clarity and conviction.

John Heisel is a combination of dull-witted malice and honest remorse as King Claudius, the uncle who allegedly stole his throne by murdering Hamlet’s father. As Gertrude, Hamlet’s mother and Claudius’s new bride, Janetta Davis exhibits both wifely support and—after her distraught son shows signs of mental instability—maternal concern.

Josh Katawick is a rock as Horatio, the one friend Hamlet trusts. John Quickley and Sarah Gehring portray Rosencrantz and Guildenstern as such superficial simps that it’s clear why they’re the friends Hamlet doesn’t trust.

As the aged Polonius, John Feather is humorously doddering and sanctimonious. As Ophelia, his daughter and the object of Hamlet’s affection, Rachel Gaunce projects sweetness and innocent virtue.

More solid work is turned in by John Connor as Laertes, Greg Hoffman as the ghost of Hamlet’s father, Jordan Estose as Osric/Messenger, John Beeler as Marcellus/Lucianus, Andy Falter as the Leading Player and Christina Yoho as the acrobatic Player Queen.

Providing able technical support are designers Trent Bean (set), Emily Jeu (costumes), Jarod Wilson (lighting) and William Bragg (sound). Jason Speicher choreographed the climactic fight scene.

In recent years, Actors’ Theatre has branched out from its traditional focus on Shakespeare in an attempt to broaden its audience. And when it did take on the Bard, it sometimes did so in a way that was designed to amuse non-Shakespeare fans: for example, by mixing puppets with live actors (good idea) or by adding jokey pop-culture references and slapstick (bad idea).

Despite its unconventional casting, the current production provides welcome evidence that Actors’ remains capable of doing Shakespeare straight and putting on a great show in the process.

Actors’ Theatre will present Hamlet through June 22 at the Schiller Park amphitheater, 1069 Jaeger St. Show times are 8 p.m. Thursday-Sunday. Running time: 2 hours, 15 minutes (including intermission). Admission: Pay what you will. Bring a blanket or lawn chair. 614-444-6888 or theactorstheatre.org.

Special event: A memorial for Columbus actor Carl Novak, who died unexpectedly last month, will be held at 2 p.m. Friday (May 30) at the Schiller Park amphitheater.