The revels of Libby Appel’s 12th and final season as artistic director of the Oregon Shakespeare Festival are ending, and incoming artistic director Bill Rauch has been in residence to begin the transition. So the opportunity to see Appel’s last Shakespeare play (The Tempest) and Rauch’s first, at least as A.D. designate, (Romeo and Juliet) seems one of those gifts to journalistic cliché—the changing of the guard.
The younger Rauch arrives with a reputation for originality, so it’s not odd that his direction of Romeo and Juliet would be noted for its innovations, and some reviews of that temper led me to expect some radical dislocation that violates the text, as has become all too common elsewhere. But that’s not what I saw.
He does dress the elder Capulets and Montagues in Elizabethan costumes, while the younger wear prep school uniforms and carry Ipods. But that turned out to be a minor bit of flavoring, lending emphasis to a “generation gap” interpretation that basically updates the approach Franco Zeffirelli took in his 1968 film, and is even less radical than Baz Lurhmann’s 1996 film. Other major character interpretations seem familiar from W.H. Auden’s famous 1946 lectures.
Which is not to say Rauch didn’t do some daring and interesting things, such as the scenes in which Romeo and Juliet separately and passionately bemoan Romeo’s banishment. He plays them simultaneously, creating a powerful counterpoint. But it seemed to me that the greatest virtues of the production were more typical of OSF than different, especially that the whole play is performed. The early scenes that set up the politics of the feud, and Romeo’s infatuation with the unseen Rosaline that leads him to attend the party where he first meets Juliet, are all crucial to understanding the logic and the passions of this play, yet many productions reduce or drop them.
The performances are of the usual high quality, especially Dan Donohue as Mercutio, and Rauch seems to have quickly learned how to use the advantages and work around the disadvantages of the outdoor Elizabethan stage. It’s a venue that suggests to me the combination of a grand old London theatre and a small baseball stadium. Seeing Shakespeare surrounded by such a large audience (1,190 at full capacity) under the night sky provides unique moments, but the acoustic environment is less favorable to the human voice than the indoor Bowmer Theatre. Yet the huge playing area, which extends beyond, below and especially above the stage (to another two or three soaring levels) provide great opportunities—and perhaps demands—for spectacle.
The veteran Libby Appel really knows how to use that space in The Tempest, with acrobatic spirits dancing and dangling in space. (Deborah Dryden's costumes are also spectacular.) Appel sees Prospero as overcoming his hate and desire for vengeance, and liberating himself through forgiveness, guided by the luminous love of his daughter Miranda (Nell Geisslinger) and the empathetic magic of Ariel, played with such an unaffected contemporary style and yet with a timeless innocence by Nancy Rodriguez that she becomes the animating spirit of the production. Her desire for freedom evokes such sympathy that the theme of various enslavements emerges (emphasized for some of us that night because we saw several in this play’s cast in Gem of the Ocean just a few hours before).
The Tempest was Shakespeare’s last work as a playwright before he retired from the theatre, and now it is Libby Appel’s. As a parting gift she gave us a season to remember. Romeo and Juliet ends on October 5, The Tempest on October 6, but the plays indoors—including Gem of the Ocean, On the Razzle, Distracted and As You Like It continue to the end of that month. Plays that I didn't get a chance to see are Tracy's Tiger (Oct. 28), Tartuffe (Oct. 27) and The Taming of the Shrew (Oct. 7.) And never let it be forgot, this season's The Cherry Orchard, directed by Libby Appel.
No comments:
Post a Comment