July 16, 2018 § Leave a Comment
Pericles is generally held to be minor Shakespeare. It was not included in the First Folio, has no reliable text, and was (according to almost all reputable scholars, who credit co-author George Wilkins) only partially written by the Bard. You never read it in school, and you only rarely get to see it. That is a pity, because – with some competent dramaturgy – it works wonderfully well in the theatre. Exhibit A is a delightfully emotional/entertaining production at Marin Shakespeare directed by Lesley Schisgall Currier and starring Dameion Brown in the title role.
Darkest before the Dawn
Pericles is one of the late plays, collectively labeled the Romances, which are generically tragi-comedies. (The others are The Tempest, The Winter’s Tale and Cymbeline.) These plays veer into the darkest of tragic places including the dissolution of the protagonist’s sanity and the apparent deaths of all he holds dear before reversing course and miraculously ending happily. If you get the tone wrong, they can seem manipulative and melodramatic, but if you get it right – and Marin Shakes gets it exactly right – they are indescribably moving. Currier finds the perfect balance of humor, sentiment and mythos to unleash the play’s power.
The play is too stuffed with incident to even attempt a plot summary, but this abundance of adventure, misfortune and eventual resolution is part of what makes it so alluring in the theatre. The action barely takes time to pause as Pericles’ epic journey races from one incident to the next, over decades and continents.
The production uses a speaking ensemble of 10, many doubling and tripling roles in virtuosic turns. There is a not a weak link to be found, but Kathryn Smith-McGlynn is especially radiant as Thaisa and brilliantly hysterical as her polar opposite, the Bawd.
Elena Wright perfectly sets the tone of the night as a petulant daughter to Antiochus, and is later stunningly commanding as the doctor, Cerimon.
It is hard to image any actor finding greater range in roles than the exceptional Rod Gnapp does with the heroic and noble retainer Helicanus contrasted with the relentlessly randy jack-of-all-trades in the brothel, Boult.
The entire production is moved briskly along by Diane Wasnak in the role of the narrator, Gower. This is a difficult, and often thankless, role, but she handled it with such clarity and precision that I looked forward to her every appearance.
At the heart of the production is the relationship between Pericles and the daughter he gave up in infancy and believes to have died in her teens before they could be reunited. The daughter, Marina, is beautifully played by Eliza Boivin. Brown is powerfully emotional all night long, but at his best in the extraordinary scene he shares with her near the end of the play.
Brown is a phenomenon all his own. A former inmate at Salano State Prison, he was discovered and trained by director Currier in their Shakespeare-in-prisons program. Upon his release, he made his professional debut as Othello for Marin Shakespeare, winning a number of best actor awards in the Bay Area. Knowing this history, it is hard not to see the emotional depth in his performance as a man who believes he has lost everything only to find redemption and second chances after decades of misfortune. If you love Shakespeare, you’d be crazy to miss this performance, even if it had no other virtues than the realization of this beautiful scene. Of course, it does have other virtues, and lots of them!
This company is not spectacle oriented but Jackson Currier’s set design is suggestive of the cosmic scale of the epic play. Merissa Mann, the costume designer, has the unenviable task of costuming this play that requires literally hundreds of costumes. Those most central to the production are wonderfully executed but, unfortunately, in the production’s only real downside, many of the costumes for minor characters and extras seem chosen for their ability to be changed quickly and neither look good nor fit. Joel Eis’ props, by contrast are comically perfect.
Pericles – July 14 – August 5, 2018, By William Shakespeare / Directed by Lesley Schisgall Currier
Forest Meadows Amphitheatre at Dominican University of California, 890 Belle Avenue, San Rafael, CA 94901
Performances at 8 pm Thursdays, Fridays, Saturdays and Sundays; and 4 pm Sundays. See website (www.marinshakespeare.org) for specific repertory performance schedule.
September 4, 2016 § Leave a Comment
That Dameion Brown turns in an impressive performance in his professional debut, and in the challenging role of Othello at Marin Shakespeare Company no less, is almost beside the point. His performance is less important than what he represents as he makes history. Brown, you see, is only a year out of prison after 23 years behind bars. His training is a result of Marin Shakes’ Arts-in-Corrections program under the direction of Managing Director Leslie Currier. His only previous experience was as Macduff in Macbeth in a production at Solano State Prison.
If you knew none of that, and watched Robert Currier’s production without any context, the surface appearance was that of a fairly ordinary production of Shakespeare’s tragedy. Marin’s approach to conceptualizing and design has usually been conventional, and always a little “rough” in Peter Brook’s appreciative sense. This production is no exception. It is set in period, with fairly low-budget set and costumes; interpretively uncontroversial.
Knowing Brown’s story, however, one cannot help but view this production through the filter of one’s knowledge of our dysfunctional criminal justice system, its disproportionate effect on men-of-color, and the growing frustration (at least in liberal enclaves like the Bay Area) that unjust scapegoating has become so systemic that it may be a bigger problem than the problems corrections supposedly correct.
By making the brave decision to cast Brown, and to highlight his incarceration record rather than downplay it, the production instantly brings us into dialogue with Shakespeare in an almost visceral way. Nothing special needs to be adjusted to make clear the “othering” of Othello, the casual dismissal of everything good about him, while social prejudice insidiously makes all plots against him easily accomplished. Brown’s presence is statement enough.
It also reminds us of why drama can be so central to social discourse. Brown is, after all, an example of rehabilitation. Example shows us some paths forward that are not about locking young men-of-color up and throwing away the key. “Law and order,” so much a topic of this year’s election season, suddenly seems to be a less automatic pairing.
I liked this production, without finding it revelatory about the text. (For contrast, here is a review of a production of Othello by the Arabian Shakespeare Company from 2014 of a production that I did find illuminating. By the way, ASC company has a forthcoming Macbeth that I am itching to see already.) What I think Marin does especially well, however, is have a sense of the current moment that – like a Rorschach inkblot – pulls the submerged ideas out where they can be examined. Last summer their Richard III was positively Trumpian without resorting to any obvious imitation or parody. This Othello is just as current and unnervingly relevant. That is the result of deepest values of the company, like the long-term commitment to Arts-in-Correction and the successfully empowering Brown to see his own possibility, not to pasted-on references that make it temporarily topical. They do not so much uncover new aspects of Shakespeare’s plays as simply lay them bare, in the right context and at the right time.
That is not to say that there was not was much to admire in numerous performances, in addition to Brown’s. Company stalwart Cassidy Brown, cast almost ridiculously against his usual comic type, is a fine Iago and a heroically supportive stage partner. Luisa Frasconi, despite being dressed in Renaissance costume, brings an attitudinally contemporary edge to Desdemona that fits well with the play’s context. Elena Wright, usually a leading lady, is powerful as Emilia. Currier’s staging was clean, efficient, and communicative.
When all is said and done, however, I think that most of the audience seemed less focused on what they were seeing onstage than what they were seeing in themselves. Isn’t that what theatre is supposed to help us do?
Marin Shakespeare Company
Forest Meadows Amphitheatre at Dominican University of California
890 Belle Avenue, San Rafael, CA 94901
Aug. 26 to Sept. 25, 2016
(seen Sept. 2, 2016)
$10 to $35
Admission at the door is $35 general; $32 senior; and $10 youth (25 and under). Preview performances are $12 per person. “Pay Your Age” is offered to audience members between the ages of 26 and 34 when purchasing tickets at the Box Office on the day of any performance, with valid identification. Marin Shakespeare Company also offers those 65 and over half-price tickets at Senior Matinees and those ages 18 and under admitted free at Family Matinee performances.
http://marinshakespeare.org/tickets/ or 415-499-4488