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
July 31, 2014 § Leave a Comment
Romeo and Juliet is generally interpreted as a tragedy of youthful impetuousness, but thanks to two exceptionally powerful performances from supporting players Marin Shakespeare Company’s current production is, instead, an unconventional reading of the play as a tale of adult betrayal.
On its surface, Lesley Schisgall Currier’s production is generally traditional, although with a few interesting moments of intentional anachronism thrown in. Jake Murphy (Romeo) is genuinely youthful, on a summer break from pursuing his undergraduate degree, and onstage he seems believably adolescent. Romeo is a notoriously difficult character to play successfully as most young actors have trouble catching both the lover and the fighter in him. Murphy is more believable as the latter, but the depth of his passion grows near the end of the play and his suicide, which he played with both fear and gravity, was harrowing.
Luisa Frasconi is cast against type as Juliet. Her forte is comedy. She is wonderful as Phebe in As You Like It, the other play in rep at Marin, and was winning in The Liar at Livermore Shakespeare Festival last summer. She does not overly indulge her comic impulses in this production, but her broad physicality and her “Betty Boop” voice occasionally work against our taking her seriously. Although interesting enough in most ways, if the production had depended on them alone for its impact, these leads would lack the tragic stature needed to carry the evening.
More than Just Support
But in intriguing ways, Currier’s production is not focused on them. The early moments of the play are built on the power of the always-dependable Scott Coopwood as the Chorus that delivers the opening sonnet, and then as the Prince of Verona. Teddy Spencer as Tybalt and Jackson Currier as Mercutio both find very sinister readings of their characters and propel the middle of the play forward.
The production really comes into its own with the appearance of Julian Lopez-Morillas as the young couple’s spiritual guide and confidant, Friar Lawrence. (Last summer Lopez-Morillas, as the leading character Hieronimo, brilliantly carried this company’s production of the rarely-produced Spanish Tragedy.) This Friar Lawrence was strongly conveyed because Lopez-Morillas speaks Shakespeare’s verse exceptionally well, but the character was also interpreted as bright, insightful, and genuinely concerned for the welfare of the young couple. There was no doubt that his intentions were pure – that is, until the last moment. When he might have saved Juliet’s life, he callously abandoned her in a desperate bid for his own safety. The betrayal was shocking.
The most brilliant turn of the evening was delivered by Debi Durst, the queen of San Francisco’s improv comedy scene, as the nurse. She delivered everything that her reputation would suggest: hilarious as a chatterbox that cannot be quieted in her first scene, the bawdy equal of the young men who later accost her in the street, and fussily silly when withholding information from Juliet about Romeo’s intentions to marry her and her coming wedding night.
She is so charming and funny that, even if you know the play well, you are unprepared for her reaction in the moment when Juliet seeks an ally against her tyrannical father (played by the company’s artistic director, Robert Currier.) In this central moment, Durst smoothly slides into the recommendation that Juliet quietly pretend her marriage to Romeo never existed and bigamously marry the wealthier Count Paris without so much as a backward glance. I’ve seen this moment played as consciously venal, and as completely opportunistic before, but Durst’s rendition clearly revealed the desperation with which she held onto her small position in a grand household as her only defense against a life of exponential loss. It was much more than the ability of a comedian to reveal the pain underneath the laughter: it seemed stunningly contemporary: in a bad economy down-and-out elders will sell out their protégés in an instant if it buys them even a little while longer on the trickle-down fringe.
Mostly Cloudy with Scattered Silliness
The combined impact of Lopez-Morillas and Durst was such that the play seemed to mean something insightfully different than the message it usually delivers. Instead of a warning about the rashness of youth, this performance seemed much more concerned with the danger of their gullibility about the “benevolence” of their elders. At least in this production, times are tough and an entire generation is abandoned to its own devices. Currier seems to suggest that far from a tragedy of fate, the loss of these two innocent teenagers was entirely preventable by trusted mentors who failed to step up to the plate.
This dark vision generally permeated the play, although Adam Roy (as the clown character, Peter) pushed hard in the opposite direction. On opening night he was clearly an audience favorite, as he had been as Touchstone in As You Like It. It is a performance I liked much less than those around me – worrying that he was frequently stealing focus and diluting the cynicism with which this production is infused – but it is only fair to say that I seemed pretty much alone in this assessment.
This is a company that places its emphasis on acting instead of spectacle. Jackson Currier is credited with the inoffensive set design, although only in the set decoration was it any different from the one used in As You Like It, credited to Joel Eis. Abra Berman’s black-and-white costumes were more aesthetically suggestive, achieving their impact in contrast to Romeo and Juliet’s blood red final apparel. Maxx Kurzunski’s lighting was little more than general illumination, and seemed to bear a curiously inverse relationship to the logical amount of light the scenes needed. (The gloomy crypt was the most brightly lit scene of the evening. Go figure.)
As You Like It
Marin Shakespeare Company
Directed by Lesley Schisgall Currier
Attended July 26, 2014, playing through Sept. 28
Tickets: $12-35 or “pay your age”