Dear friends and readers,
I went for a third year to a We Happy Few production: 3 years ago they managed to present a remarkable take on Hamlet in 90 minutes; last year a sophisticated modern-feeling Webster’s Duchess of Malfi. I can’t say that this year’s The Winter’s Tale is memorable for a uniquely perceptive view of the play. The play’s two parts (as cut), joyfully lightly transgressive comedy (Act 4 in Shakespeare) sandwiched between wild (Acts 1 & 2) tragedy and redemptive (Act 5) fairy tale does not leave a lot of room for psychological nuance (see Morgan Halvorsen’s review). Hannah Todd’s director’s notes in the pamphlet that serves a ticket and program showed she only came up with the idea this play is faery tale material we are supposed to believe in. An opportunity lost.
Still, they held the audience’s attention — it was a small area, they were very close to us, and they cleverly handed people sitting in the first seats props to make us all part of play. I held a tambourine for a while. The actors all had strong moments, but Nathan Bennett as Leontes, Raven Bonniwell as Hermione, Katy Carkuff as Paulina, Kerry McGee as Autolyclus (trying hard to be amoral but since she was also Perdita, not quite distinguishing the role clearly), and Kiernan McGowen Antigonus, with William Vaughn as Clown and Florizel provided the most effective ones.
What was most striking was how six people jumped in and out of at least 18 different roles, but while in each maintained strongly projected full-blooded acting. They also had such minimal costumes, the same scarves and capes were whisked about doing duty for several garments in tandem. Laughter came easier, and the actors played for laughs where they could; it therefore seemed more spontaneous than pity, which we were not given much time for. If you were listening to what Leontes and Polixenes threatened to do to others at the turn of a coin, and remembered that monarchs could torture, kill, starve, and make a life excruciating if they pleased and sometimes did so in Shakespeare’s period, there was more to the content than manipulative metamorphorsis. There is real terror in Shakespeare’s words, real anguish and now and again this came out, especially I think from Raven Bonniwell as Hermione.
Since I’ve been reading and listening to Hilary Mantel’s Wolf Hall, I was again struck by the parallels between Henry and Leontes and Hermione and both Catherine of Aragon and Anne Boleyn, especially his sexual anxiety and distrust towards the latter precisely because she held him off (humiliatingly) and then showed she knew sexual acts that he could not believe a virgin would figure out herself. Shakespeare’s Henry VIII is a bold portrait of the tyrant Tudor in old age and nowadays I’m thinking that instead of placing WT with the dramatic romances from Greek stories, chronicles, and poetry (Pericles, Cymbeline, The Tempest), we ought to see it done as a pair with Henry VIII the second half. Have the same actor play Leontes and Henry, the same Hermione and Catherine.
Unfortunately, there is only one performance left but (sadly) unlike the previous two years, it seemed half the seats were empty. In the previous years, there was not one empty seat both times. I felt the actors felt this lack of people, especially given how hard they were working to make too few props and costumes go very far. So if you read this tonight and live in the DC area, consider this one. Unlike too many of this year’s events, it is located in a place in the city close to a Metro stop so you really can get there by public transportation and on foot! There was no hope of my reaching Gallaudet College I now know. I would have seen the Guillotine Theater do an adaptation of Middleton’s Second Maiden’s Tragedy as Cold as Death, but (like It’s What We Do A Play about the Occupation), it appears to have been under-rehearsed.
The move of the festival to real fringe areas of DC, with venues where there is no nearby Metro stop or frequent bus, and more scattered hurts the festival feel that a center with people selling tickets, socializing, late night cabarets gives. Maybe for those going to the cabarets and musical events on Florida Avenue (in the Brookland area of DC) the experience is as good
Two of the plays I went to and a third and fourth I couldn’t manage but was told about as awkwardly performed by a friend (Shakespeare’s The Life of King John, done as goofy comedy) seemed more minimally staged and costumed than previous years. In early years the venues were in condemned spaces with no air-conditioning; I hope I am wrong but this year has seemed more strapped for funds than the previous couple.
So for me ends my second year of going to the Fringe Festival on my own. I enjoyed this play and Ellouise Schoettler’s The Hello Girls.