Twelfth Night

I questioned the wisdom of the Davis Shakespeare Ensemble scheduling its new production 'Twelfth Night' at the UCD Arboretum's gazebo, fearing the audience would freeze outdoors on these cold winter nights.

But the company has encased the gazebo in tarps, installed heaters and the resulting intimacy of the 'theater' was so warm, I even removed my jacket before the end of the evening.

The company's very first production, last summer's 'Romeo and Juliet' had only four members in the cast. They have now expanded to 11 actors and three musicians.

'Romeo and Juliet' had no sets and only the most minimal of costumes. This production has, while not exactly a 'set,' at least a hint of one and a couple of more complicated costumes.

And so the quality of the Davis Shakespeare Ensemble is growing, and the strong performances exhibited across all roles in 'Romeo and Juliet' continue in this joyous new production of one of Shakespeare's funniest comedies, which relies on gender-bending, mistaken identities, and love at first sight - over and over again. The production is again under the direction of Rob Salas, who has acquitted himself well.

The heroine of 'Twelfth Night' is Viola (Gia Battista), a shipwreck survivor mourning her brother Sebastian (Matthew Canty), whom she believes was lost at sea.

For some reason - which is not made clear - sight-unseen, she decides she loves Duke Orsino (Will Klundt). To get closer to him, Viola pulls her hair back, puts on men's clothing, declares she's a eunuch named Cesario and becomes the Duke's servant, in the hope of winning his love.

But Orsino is in love with the fair Olivia (Alison Sundstrom), also mourning a dead brother and father and rejecting all thoughts of love for seven years.

Orsino sends Viola/Cesario to woo her for him. Complications arise when Olivia decides instantly that Cesario is the man of her dreams and forgets all about her self-imposed period of mourning.

This sets up the scenario where Orsino loves Olivia, Olivia loves Cesario/Viola, and Viola loves Orsino.

And then there is the perpetually besotted Sir Andrew Aguecheek (Brendan Ward), also in love with Olivia, who seems to spend a lot of time drinking with his buddy, Olivia's uncle, Sir Toby Belch (Robert Williamson) and the fool Feste (Esteban Gonzalez), who plot to play tricks on Olivia's steward Malvolio (Kristopher Ide).

Battista is a cute Viola (who could pass as a rather feminine boy) and, thanks to costumer Caitlin Cisek, she bears enough of a resemblance to her brother Sebastian (albeit a great height difference) that the confusion between the two at the end of the play is kinda-sorta plausible.

Sundstrom plays the sex-deprived Olivia to the hilt, and is very funny swooning over Cesario. She was a delight to watch when she sees what she perceives as two Cesarios, first shock and then delight as she contemplates the possibility of two lovers.

Stephanie Hankinson gives a solid performance as the earthy Maria, who conspires with the men against Malvolio and who herself is attracted to Sir Toby. She has a hearty, robust laugh and dominates any scene in which she appears.

As for the Malvolio of Kristopher Ide, it is just delicious. It is so much fun to watch his ramrod prim and proper demeanor melt as he believes Olivia loves him and he becomes willing to make a fool of himself to please her.

Gonzalez is a commanding Feste, taking liberties as the clown, and singing all of the original rock/blues/folk music written for the production by Richard Chowenhill. His is a very physical interpretation and he is literally all over the stage - including the rafters - in his performance.

Gabriel Rosa is Olivia's servant Valentine, and Mark Curtis Ferrando is Antonio, the captain of the ship and Sebastian's friend.

'Twelfth Night' continues through Jan. 23 at the Arboretum Gazebo and is a delightful way to pass an evening.

Taming of the Shrew

There may be gender disagreements about whether William Shakespeare’s most controversial play, “The Taming of the Shrew” is a comedy or a tragedy. Speaking for the feminine side, I tend to favor the latter option!

In this mysogenistic look at the battle of the sexes, one woman is sold off by her father to the highest bidder while her sister is forced into a troubled marriage where her husband deprives her of food and drink in order to break her spirit. There are plenty of lines on women knowing their place. Kate’s long, final speech protesting obedience to her husband is a notorious example.

Productions of this play often set the action in times other than Elizabethan and may twist plot elements so that in the end Katherine has the upper hand and we see that all of her subservience is her own way of manipulating her husband.

In the Woodland Opera House production, director Rodger McDonald has taken a more traditional approach, setting the play back in Elizabethan times (though a brief sequence at the beginning shows a company of actors preparing for the start of the play, which lets us know that the time is really today and the actors are actually doing a play, which may soften the ultimate conclusion)

It’s a sumptuous looking show, with cleverly designed sets, which turned and rotated to represent several different locations, designed by the multi-talented Jeff Kean (who also happens to play role of Petrucchio).

Laurie Everly-Klassen, the “Designing Haberdasher,” has created a beautiful assortment of period costumes.

Bevin Bell-Hall, in her Opera House debut gives a wonderful performance as Katherine. She has a fiery temper and a lot of physical stuff to, which she does beautifully.

Kean’s Petrucchio stands up to Kate with a steel resolve and detached emotions. He sets out to woo her, marry her and then tame her. He cares nothing for the warnings about her disposition. All he wants is the large dowery that accompanies the marriage. There were probably a lot of women in the audience who wanted to kick him in the shins, which only proves the effectiveness of his characterization.

Jeff Nauer is Kate’s domineering father, Baptista, who refuses to allow his youngest daughter, the blonde, flirtatious Bianca (Analise Langford-Clark) to marry until a groom is found for her bad-tempered older sister. Langford-Clark plays the sweet little lady role to the hilt, flirting with her many suitors and giving a hint to a spark within her too, though much more deeply hidden than it is in Kate.

The young rich Lucentio (Brent Randolph) finds himself smitten with Bianca. He trades places with his servant, Tranio (Dan Sattel), and disguises himself as a poor teacher to gain an excuse to be in Bianca’s company, while Tranio, posing as Lucentio attempts to convince Baptista to let him marry his younger daughter. Randolph is a tall, gentle Lucentio, who swoons in the company of Bianca and easily wins her love.

Sattel is outstanding as Tranio, full of energy and a focal point whenever he was on stage.

As Bianca’s older would-be suitors, Steve Mackay as Hortensio and David Buse as Gremio are wonderfully silly, though Buse seems a bit over the top at times.

Bobby Grainger as Petruchio’s manservant Grumio is an outstanding physical comedian, very funny and, with Sattel, give some of the best second banana performances in this production.

Others in the cast include Shanna Lyn Dickerson as the widow who ultimately marries Gremio, Genevieve Whitman as “Biondella” (a female version of the traditional Biondello, manservant to Lucentio), Michael Smuda as Vincentio, Andy Hyun as Curtis, Philip Pittman as Tailor, and Dan Beard as Pendant.

If you can set aside the obvious problems with Shakespeare’s thinking about the relationships between men and women, this is a fun production, though husbands will be well advised that it’s best not to try Petrucchio’s game plan at home!

Midsummer Night's Dream

On the off chance that you might be tempted to leave the UC Davis Arboretum's Wyatt Deck before the final bow from the cast members of Studio 301's wonderful production of 'A Midsummer Night's Dream,' don't do it ... or you'll miss one of the most delightful parts of the show.

And I won't spoil the surprise by telling you why.

Studio 301 is the only student-run theater group on the UCD campus that is dedicated to producing full-length plays.

This year's production is Shakespeare's charming fantasy, and choosing the Wyatt Deck - across the street from Wyatt Pavilion, smack dab in the middle of the redwood grove - as a venue was inspired. Who needs sets, when your audience already is surrounded by redwood trees?

In fact, the show's sole 'set' is two boxes on which characters sit at various times.

As the play opens, fairies climb onto the stage from the Arboretum below. Peaseblossom (Kellie Peake), Mustardseed (Ashley Bargenquast) and Cobweb (Fumni Alabi) emit somewhat annoying bird-like chirps and cackles as they communicate with each other throughout the show, but their interpretations are captivating.

The play tells several stories, each of which occurs during a single summer night in a magical forest outside Athens, where fairies play pranks on lovesick mortals, earnest youths endure comical romantic confusion, and some 'mechanics' attempt to rehearse a play in secret.

Director Steph Hankinson has updated her play to the forests of Appalachia in the 1910s. David Lutheran and Katie Walton, as Thesius (the Duke of Athens) and Hippolyta (Queen of the Amazons, betrothed to Thesius), direct the evening's events, with their request to Philostrate (Chrisy Moore) to arrange entertainment for their upcoming nuptials.

These three actors assume two roles each, with Lutheran and Walton also playing Oberon and Titania, the king and queen of the fairies, and Moore also appearing as Puck. Moore is a particularly mischievous Puck, and wears an ingenious costume designed by Elizabeth Burciaga - who deserved better credit in the program, which merely lists her bio among those of the performers - which permits her to slip easily from one character to the other.

Plans are interrupted by the arrival of Mr. Egeus (Kris Ide), a nobleman requesting help in forcing his daughter, Hermia (Katelyn Hempstead), to marry Demetrius (Brendan Ward), the husband of his choosing; Hermia, alas, is in love with Lysander (Michael Lutheran).

To further complicate things, Hermia's friend Helena (Cody Messick) is in love with Demetrius. All this sets the stage for twists and turns that develop over the course of the story.

Hermia and Lysander flee Athens and head into the woods, intending to be married at the home of his aunt. They're followed by Demetrius, determined to win Hermia's hand, and Helena, determined to win the hand of Demetrius.

The mechanics are rehearsing in the woods, under the direction of Quince: a delightful interpretation by Alison Stevenson. Her four actors include Nick Bottom (Daniel Guttenberg), the weaver, who plays Pyramus in the troupe's production of 'Pyramus and Thisbe,' and who later is turned into a donkey by Puck.

Guttenberg is outstanding as Bottom, who is full of advice and self- confidence, but makes silly mistakes and misuses language. Instead of the traditional donkey's head, he merely sports donkey ears, which makes him a mere oddity rather than the bizarre half-man/half donkey one expects.

Heidi Kendrick is Flute, a young man who argues against appearing as the very feminine Thisbe. Kevin Ganger is Starveling, a stereotypical backwoodsman who'd rather whittle than perform; Kristina Stasi is Snout, the tinker, who also plays the Wall.

This group of mechanics is right out of 'O Brother, Where Art Thou,' with their stumbling backwoods manners. The scene at the Wall is decidedly unique ... and I'll leave it at that!

This 'Midsummer Night's Dream' is a delicious piece of merriment: a nice diversion on a warm summer's evening. Take the night off and go romping with a bunch of fairies in this actual and magical forest.

The Winter's Tale

Monarchs and Gypsies and bears ... oh my!

'The Winter's Tale,' continuing through Sunday at the Mondavi Center's Studio Theatre, is a less familiar Shakespeare work. But this production, under the deft hand of director Patricia Miller, makes one wonder why it isn't done more often.

I hadn't seen the play before, and therefore had none of the expectations that might have accompanied another production of, say, 'Hamlet' or 'Macbeth.' This was, as a result, a delightful voyage of discovery. The journey starts with a visual bang and continues until the final beautifully lit, tender reunion of the king and his long dead wife.

Jorge Luis Morejon makes an immediate impact as 'Time,' aided greatly by Wenting Gao's striking costume, as this mystical character sets the scene for the story.

'The Winter's Tale' concerns King Leontes (Brett Duggan) of Sicilia, who becomes irrationally jealous of the innocent affection between his wife, Hermione (Allison Minick), and his best friend, Polixenes (Kevin Ganger), the king of Bohemia. We never quite figure out what has caused this seemingly sudden jealousy, but Leontes is convinced that the child Hermione carries was conceived by Polixenes.

Duggan gives a powerful, polished performance as a man who has tyrannical rages against his wife and her friend, Paulina (Amy Louise Cole), who attempts to reason with him. His anguish over Hermione's perceived betrayal is palpable; his tirades are frightening. His anguish - 16 years later, when he eventually realizes that no betrayal took place - is just as wrenching, as he finally comprehends how he has ruined his own life.

Minick gives a moving performance as Hermione, at first perplexed at her husband's accusations of infidelity, then pleading for reason from this man she so clearly loves. Her magical return - years later, in the form of a statue come to life - is strikingly beautiful.

When Hermione gives birth to a daughter, Perdita, her best friend Paulina brings the child to the king, certain that the sight of her will soften his heart.

Amy Cole gives an impassioned performance as Paulina, the catalyst for all the magic that happens throughout the play. Her scene with Leontes, as she tries to make him accept his daughter, is particularly moving.

Kris Ide is endearing as Antigonus, Paulina's husband, a conflicted lord who is unwaveringly loyal to his king, but also unable to stand up to his wife. Antigonus is dispatched by Leontes to 'dispose of' the child.

Christina Moore is wonderful as Mamillius, the young son of Leontes and Hermione. Moore is so convincing as a young boy that I had to check her bio, to verify she truly is an adult actress.

In a gender reversal, Steph Hankinson plays Camila - Camilo, a male role, in the original - who is sent by Leontes to murder Polixenes, but instead warns the king and flees the kingdom with him.

The action in Act 2 takes place 16 years later, in Bohemia, where the young princess Perdita (Gia Battista) has grown up, having been adopted by a shepherd (Heidi Kendrick) who found the abandoned infant. Perdita is in love with Florizel (Chris Jee), the son of Polixenes.

Kendrick does a credible job as the old shepherd, but never quite loses the appearance of a woman pretending to be a man. The shepherd and his son, Clown (Mark Curtis Ferrando), bring a bit of humor to the play, although some of their dialogue is difficult to understand.

Daniel A. Guttenberg is larger than life as the rogue Autolycus, who travels the country selling his wares and picking pockets. He, too, lightens the play's mood, and does it well.

Instead of choosing a more traditional Elizabethan sound for this production's music, Miller worked with composer Daryl Henline on original themes with a Balkan sound. The result could not be more perfect for the gypsy celebration.

Josh Steadman does a beautiful job with the scenic design, creating two entirely different worlds: a posh 1930s look for Leontes' court, and the more rustic Balkan community of Bohemia.

Gao's costumes are elegant for Act 1, and they beautifully depict the life of shepherds and gypsies in Act 2.

Jacob W. Nelson's lighting design creates the appropriate mood and is particularly good in the statue scene, where the 'statue' of Hermione seems to glow.

Exit, Pursued by a Bear

'To me, the theme of the play is time, and learning lessons from time,' said director Patricia Miller, of her upcoming production of Shakespeare's 'The Winter's Tale.'

The play opens Friday and continues through Feb. 22 at the UC Davis Mondavi Center's Studio Theatre. Tickets...

This rarely performed Shakespeare work explores two parallel worlds: the elegance of a café society destroyed by a paranoid king's jealousy, and the fertile chaos of a Balkan Romani gypsy community. 'The Winter's Tale' has the emotional depth of 'King Lear' - often considered its inspiration - and the raw comedy of the rude mechanicals in 'A Midsummer Night's Dream.' It weaves a magical transformation from death to life.

'There's a redemption of family at the end,' Miller added, 'and a way that time heals things that's very mature.'

Time is not only at the core of this work, but also an integral aspect of the people involved in the production.

Miller is juggling several balls herself. She's a master of fine arts student, taking doctorate classes, teaching acting classes and directing a five-act play ... all at the same time. She's also a single parent with a 7-year-old daughter, which necessitates her commuting to and from San Francisco as often as possible.

Cuban-American actor Jorge Morejon, who plays the role of 'Time' in this production, is a doctoral candidate in his second year at UC Davis.

'I have to find a balance between the demands of my program,' he said, 'which is lots of reading and writing, and being involved in stage work, which is what I love. Patricia was kind enough to let me do the role of Time, which is small enough for me to maintain my work as a Ph.D. student, but still allows me to be on stage, which is important for me.'

Brett Duggan, tackling the role of King Leontes, is a professional actor and stand-up comedian who has played all the big comedy clubs in New York, Boston and San Francisco. He's a master of fine arts student who came to UC Davis because he'd be able to study and teach ... but all this also requires considerable juggling of time.

'I lived in Sacramento for a few years, and originally thought I would commute,' Duggan said, 'but just decided it was too intense, having had the experience of rehearsing until 11 p.m. I teach a class here at 8 a.m., so that wasn't going to work. I completely changed my life: I moved two blocks from campus.

'I got rid of my car and ride around on a bike.'

*******

'The kids work so hard,' Miller said. 'They work much harder than regular actors. The two MFAs are up teaching at 8 a.m., and the others are taking classes. Sometimes a full complement all day long, and they come in to me at 6 p.m.

'But (Polish director Jerzy) Grotowski used to make people run around for days without sleep, before they were allowed to work, so grad school is like a similar program. We're just doing Grotowski. That's what I keep telling myself.'

'But we love this,' Morejon added. 'This is the time to do it, if you think about it. We have energy, and we're full of dreams, enthusiasm, optimism and love.'

This is an ideal cast for Miller, who directed last season's 'Nights at the Circus.' All the actors from that play - those who didn't graduate last year - auditioned for 'The Winter's Tale.'

'It's been a dream to have one consistent ensemble of people to work with,' Miller said, 'because they sort of understand my methods ... which are a little unusual.'

Queried about that choice of words, she explained that she's interested in physical theater, as much as text.

'I have long roots, and training in Britain in text-based theater, where you just start with the text and then work out some psychological reason behind that. You have to get involved in the language. My second level of experience was to work in physical theater modes; I try to incorporate a lot of gesture work, and a lot of energetic work with the actors.

'At the same time, we have to maintain the fact that there is this great text, and the audience expects to understand the story through the text.'

Amy Cole, playing Paulina, understands Miller's methods quite well. They met in San Francisco several years ago, at a Marie Overlie workshop. Overlie developed 'The Viewpoint System,' which teaches an awareness of space and how best to utilize it in performance.

Cole enjoys this opportunity to perform The Bard. Although she directs scaled-down productions of Shakespeare for children in the summer, and has utilized Shakespearean scenes for her own auditions, this is her first full Shakespeare production in more than 10 years.

And Paulina is a plum role.

'She's a catalyst for all the miracles and magic that happen at the end of the play, and throughout the play; the part is amazing. I love exploring Paulina, and I love the magic that happens in this particular Shakespeare play.'

It's a whole new world for Mark Curtis Ferrando, who plays 'Clown.'

'I haven't done Shakespeare before, so it's a totally new experience. Since Shakespeare is new to me, taking it line by line - punctuation mark by punctuation mark - is different.

'But it's a good experience.'

*******

Miller is excited to be directing 'The Winter's Tale,' because she expects audiences to arrive at the theater with no preconceived expectations, as they might with 'Hamlet,' 'Macbeth' or other better-known works. 'The Winter's Tale' was one of Shakespeare's later plays, and - as with other late plays such as 'The Tempest' and 'Pericles' - this one also involves a father's loss of a daughter, and trying to regain that relationship.

'The play really parallels Shakespeare's own experience,' Miller said, 'because he lost a child; he returned for his older daughter's wedding. He was very alienated from the family, because he was down in London working at the Globe and other places. Some theories, picked up from the English department, suggest that it's really him working out redemption, rebirth and reconnection with family.'

Miller borrows liberally from her own life experiences. She was born in Philadelphia and raised in England, where she received her training; she also spent a lot of time in the former Yugoslavia. She has had teachers in Poland and Croatia, along with American Stanislavski technique teachers.

She spent a lot of time with Balkan musicians and worked with the Voice of Roma, a Sebastopol organization devoted to increasing knowledge of gypsy culture.

'I'm very involved in the lineage of the teachers who have taught me. You bring them all into the room with you.'

Her diverse experience leaves her eminently qualified to create the two worlds that she envisions for this production: the court of Leontes, modeled after the British monarchy in the 1930s, around the time of the abdication of Edward; and 1950s Bohemia, in a Balkan gypsy community that is quite colorful and musical.

Miller was very specific about the music she wanted.

'Often, with music in a Shakespearean production, people just go to the Elizabethan, which is beautiful. I love Elizabethan music, but the audience just has a quiet little sleep, because people expect to see Morris dancers.'

She therefore went in a completely different direction: San Francisco musician Daryl Henline is composing the original music for this play.

'He's the only 'outsider' being dropped into this production,' Miller said.

A Balkan gypsy celebration demands music with a lot of polyrhythm, but the instrumentation will be fairly minimal; the people in the cast who are musicians are more in the genre of classical pianists, and things like that.

'We're trying to incorporate people learning the accordion. We're obviously using percussion from the set, so it might be a clicking of sticks, as opposed to an actual instrument. And a skin drum, of course; you must have a skin drum. And a lot of polyphonic singing, some of which is indicated in the text, and some of which I've added for the community celebration.'

*******

Miller's cast obviously likes working with her.

'She's fun. She's a hoot,' Ferrando laughed. 'She can be a little crazy sometimes, but in a good way, usually, for the actors.' He finds himself doing a lot of research for arcane references. 'They're references she grew up with, but I never noticed. I never was attuned to Laurel and Hardy, for example. I'm too young for that, so I have to go back and look at those videos.'

'She has tons of ideas,' Duggan said. 'It's exciting; it's a lot of fun; it's challenging. Yes, there will be a point where it'll feel like 'Oh my God, what's going on!' ... but the final product always is really strong.'

As I watched Miller direct her cast in an intense scene between Paulina and Leontes, it was almost like observing a conductor working with an orchestra. She approaches the text almost as if it were a musical number, tapping out the beat on a table as the actors speak.

I asked Cole about that.

'There's a lot about the timing in Shakespeare,' she said, 'because it's verse, and how the lines connect up. That scene, in particular, has a lot of lines in iambic pentameter: I'll finish, and Leontes completes the rest of my line, and I'll do the same for him. So it really is important; it's written that way. I cut him off as soon as he speaks, which adds tension.

'It's a constant churning, so you don't want to let it drop. That's the case in most plays, but especially in Shakespeare, because of how he wrote the verse. This is one of his later plays, so the verse is very complicated. He's deliberate with everything.'

While Miller is conscious of the Shakespeare fans, she's more interested in winning over the 'green' audience: playing to the guy in the third row, who is busy texting his girlfriend.

'It's actually this huge gift, as a director, to read reviews from the unspoiled fresh eyes of a 19-year-old undergraduate, who's forced to do it because he thought it would be the easy option ... because he didn't get in the English class, and doesn't like writing. I love winning over the scientists; it keeps me on my toes.

'It's all about this audience.'

Macbeth

Many things can be praised about the Acme Theatre Company's production of "Macbeth," which continues through Friday at the Veterans' Memorial Theater.

Unfortunately, the ticketing system is not one of them. Customers were lined up out to the street prior to Saturday evening's performance, causing the curtain to be held at least 15 minutes. A separate line for "will call" might cut the congestion a bit.

Once inside the theater, though, I found little about which to complain.

Patrons are seated on the stage, rather than in the audience; this significantly reduces the number of seats, and thus results in a sold-out house and a more intimate setting for the play.

The stark set design is by John Ramos, based on a concept by Hannah May and Danielle Wogulis. It's a simple gray set, with painted darker gray tree branches on the floor, and matching blocks that are moved around to indicate various settings. A pipe ladder arrangement hangs on either side of the stage; this is used by the three witches, who remain on stage throughout most of the play.

The total effect is perfect, and well complemented by Hope Raymond's costume design, also in a gray theme. The red accents for Macbeth and Lady Macbeth — down to Lady Macbeth's ruby slippers — are a perfect indicator of the bloody story to follow.

(It's fairly safe to say that none of the characters in this Shakespeare tragedy "lives happily ever after.")

Kate McFarland's dramatic lighting design adds much to the atmosphere.

Director Emily Henderson guides a first-rate cast, starting with John Ramos, who is outstanding in the title role. He's strong and takes command of the stage, yet his descent into madness — as his power-hungry killing spree begins to weigh heavily on his soul — is quite effective.

His relationship with his wife (Delany Pelz) is passionate and believable. Pelz's diminutive stature and sweet face might cause one to doubt her ability to portray the cold-hearted Lady Macbeth, but this character can be as heartlessly cruel toward her enemies as she can be lustily passionate with her husband.

In a gender-bending switch from the traditional, the three witches are played by Geoffrey Albrecht, Torin Lusebrink and David Conard. These "witches" are more evil sprites, dressed all in gray, with flowing capes and body painting to match the set. Lusebrink added something to make his tongue and lips ruby red, which makes the lizard-like movements of the former that much more evil.

It's a different look at the witches, and sometimes goes a bit overboard, but it's definitely unique and memorable. (A little more dry ice in the witches' pot is recommended.)

Others in the cast are equally memorable. Sean Olivares is quite good as Banquo, although his later return as Mentieth is a bit disconcerting, since nothing is done to change his appearance following his "death."

Likewise, a bit of a different look would help Alex Kravitz's dual roles of Duncan and the Porter.

Kate McFarland is a noble Macduff, and Vivian Breckenridge is strong and self-assured as she strides the stage as Malcolm. Hope Raymond is a beautiful Lady Macduff, very earnest in her expressions of concern for her husband and child.

David Chandler is listed as fight choreographer, and the play does feature some excellent sword fighting. Unfortunately, older children in the audience found it funny, and their giggling distracted the rest of us from the actual plot. But the cast gets high marks not only for the execution of the sword fighting, but also for the application of blood streaks on bodies while on stage, unobserved by the audience.

Acme has another winner with its production of this Shakespeare classic.

But do allow plenty of time to get through the ticket line, even if your tickets are confirmed.

Twelfth Night

There is a phrase used in the arts, that sometimes the appreciation of an art form requires “suspension of disbelief.” That is, the audience agrees to suspend judgement in exchange for a promise of entertainment. In theater, there is smoke and mirrors, makeup, costumes and magic. We believe a 40 year old balding tenor is actually a 20 year old hunk; we believe the blonde, blue-eyed girl is really a native of a south sea island; we believe the skinny guy can really lift that huge set of weights.

It is recommended that people leave their disbelief at the Buckhorn before going across the street to see the Winters Community Theater production of William Shakespeare’s comedy, “Twelfth Night,” continuing through August 16 in the amphitheater behind the Winters Community Center, under the direction of Howard Hupe.

Janette Dahn and Dominic Orlando play twins, Viola and Sebastian, shipwrecked off the island of the shores of Illyria. Neither knows the other has survived. Viola decides to dress in her brother’s clothes and pass herself off as a young page named Cesario, under which guise she enters the service of Duke Orsino (Trent Beeby). She finds herself attracted to her new boss.

Orsino is in love with Lady Olivia (JoAnn May), grieving the death of her father and brothers. Orsino sends Cesario with messages of love to Olivia, who wants nothing to do with Orsino, but finds herself attracted to the young page.

After a lot of back and forth, intrigue and conniving, Viola and Sebastian are reunited and the citizens are shocked -- I tell you shocked – to realize that there are two of them, when they look identical

And herein lies the suspension of disbelief because not only are the twins different genders, but Sebastian is head and shoulders taller than his twin sister, a little matter the woman he has just married seems not to have noticed!

But we suspend disbelief in exchange for promise of entertainment, and entertainment there is in this rollicking production. Though fighting the sound of motorcycles riding back and forth across the bridge into Winters and wind that blew the on-stage trees over several times, the cast continued on gamely and turned in an evening worth the drive out to Winters.

The production is edited and lasts just two hours (including a 20 minute intermission) from start to finish. “We say the beautiful poetry, but we cut some of the extraneous scenes to make it run well,” says Germaine Hupe, who also acts as narrator and plays Maria, Olivia’s gentlewoman. “Gentlewoman” is an apt description of Hupe, who is gracious and “gentle,” whether she’s setting the scene, tending to Olivia, or plotting a fiendish trick on Malvolio (Michael Barbour), Olivia’s pompous head steward.

Trent Beeby is Orsino, the Duke of Illyria, and gives a solid performance.

But perhaps the night belongs to Larry Justice, as Sir Toby Belch, Olivia’s uncle, whose drunken revels are legendary. Justice is over the top and very funny, as is his foil, Sir Andrew Aguecheek (Philip Pittman), who puts up with a lot in the hope of an opportunity to woo the fair Olivia.

Dahn turns in a fine performance as Viola, completely believable in her male garb and in her feelings for Orsino.

JoAnn May is a controlled, regal Olivia, finding her grieving heart reawakened by her growing feelings for the young Cesario.

Barbour is less malevolent as Malvolio than pompously righteous, and later downright silly as he plays into the hands of the crew determined to bring him down a peg or two.

Kirsten Myers is particularly enjoyable as Feste, Olivia’s jester. She displays a lovely singing voice and her laughter as she plots with Maria, Toby and Andrew to make a fool of Malvolio is infectious

Director Howard Hupe shows up in two brief roles, as a Sea Captain in the opening scene, helping settle Viola onto the island, and later as the priest who marries Sebastian and Olivia. Though Hupe is generally in the director’s chair, even in these two small roles, his acting talent is apparent.

Others in the cast include Maureen Hallett as Orsino’s valet and, later, a police officer, Stephen Catanio as Antonio, a friend of Sebastian, Colleen Hallett as Olivia’s servant, and Tom Neely as a police officer.

The setting is lovely for this summer’s evening comedy, with a stage nestled along the banks of Putah Creek, and a nice terraced seating area (though patrons might be more comfortable if they bring chairs). At $5 per ticket, it’s definitely an affordable way to spend the evening. All children under 12 are admitted free, if they come with a responsible adult.

Measure for Measure

What are the appropriate boundaries of governmental power, and how can citizens fight back when such limits are overstepped?

If you have the ability to help a fellow citizen, but doing so compromises your moral or religious beliefs, are you obligated to act?

How far should outdated laws be prosecuted before inhibiting the free expression of the people?

If I were to ask such questions, you might think I was preparing a letter to a newspaper's op-ed page.

And therein lies the proof that Shakespeare's works can be as current and topical as they are timeless, for these issues are faced by the characters in the UC Davis theater and dance department production of 'Measure for Measure.'

While many of this play's elements - notably bedroom mix-ups and stock comedic characters - have caused it to be listed as a comedy, 'Measure for Measure' has very little 'comedic' about it (and this production has very few laughs), and thus it has been called one of the bard's 'problem plays.'

The plot centers on Angelo (Jesse Merz), empowered by the Duke of Vienna (Timothy Orr) to rule the citizenry in his absence, with the assistance of Escalus (Sarah Cohen). While all believe the Duke is taking a brief sabbatical, he actually uses this opportunity to disguise himself as a friar, and then wander about the city and personally observe the extent of its moral decay.

Angelo, who today would be classified as an extreme fundamentalist, decides to use his temporary powers to enforce an archaic law against fornication; he begins shutting down bawdy houses and putting fornicators to death. One of these fornicators is Claudio (Daniel Reano-Koven), a young man who has impregnated his fiancee.

Claudio's sister, Isabella (Gia Battista), a novice in a convent, is made aware of her brother's plight; she comes to plead for his life.

On seeing Isabella, Angelo - like so many modern-day zealots with feet of clay - falls in immediate lust with her, and attempts to blackmail her into his bed. The choice is her virtue or Claudio's life, Angelo tells her, knowing that even if she were to report him, nobody would believe her.

But the Duke is made aware of the plot, and he hatches a scheme of his own to save Isabella's virtue and reveal Angelo's duplicity.

A parallel comic storyline follows the banter among a 'flamboyant bachelor,' Lucio (Kevin Ganger); the brothel owner, Mistress Overdone (Cody Messick); and her employee, Pompey (Stephanie Hankinson).

Eventually, the good get their reward, and the bad their just desserts: All's well that ends well.

Director Randy Symank has mounted a strong production. The play is set in modern dress: so modern that the sex workers - Maryanne Reveles, Tracy Kutt, Karen Askeland and Kelly Fleischmann - wear tight, skimpy black dresses and wigs of electric fuschia, blue, green and copper.

The performances are excellent across the board, with Orr and Battista rising above the rest. Orr gives the Duke a likable, accessible demeanor; Battista brings a glowing 'goodness' to her character. Her passionate argument with Angelo is particularly moving.

On a lesser note, someone decided to add music to the production, for reasons I cannot fathom. Isaac Blackstock is credited with 'electric music composition,' and Rich Gaarde as music director and arranger, with vocals performed by Allison Minick and Isaac Blackstock. While nothing is wrong with the music, it feels gratuitous and out of place; it also adds nothing but extra minutes to the overall production.

I didn't mind the dancing so much - choreography by Hope Mirlis - but the 'Let's take a break here, and sing lyrics that aren't Shakespeare's words, which the audience can't understand anyway' parts easily could have been dropped.

'Measure for Measure' points a finger at hypocrisy, corruption and human frailty: sadly, all themes that seem much too applicable to today's political climate, and which make this Shakespeare classic all the more appropriate for a university production.

Othello

Revenge! Passion! Lust! Greed!...and Love.

Shakespeare’s great tragedy “Othello” has it all, and the Sacramento Theater Company’s sparkling new production, under director Peggy Shannon serves it well, from the magnificent set designed by Marion Williams, to the powerful performances delivered by the members of the cast.

While the play centers around Othello (Marc Antonio Pritchett), the noble Moor and general in the defense forces, who has just eloped with the lovely Desdemona (Michele Hillen), Act 1 really belongs to Iago (Matt K. Miller), a 17th century Karl Rove who manipulates all action, convinces people to do terrible things and traps them in an intricate web of lies, while all the while feigning innocence and friendship with Othello himself.

Iago is angry because he feels he has been passed over for promotion in favor of young Cassio (Brett Williams) and so he sets in motion an elaborate plot to convince Othello that his young bride has been unfaithful, which ultimately results in the demise of just about everybody.

Miller’s Iago is more mischievous than villainous as he plots to bring down Othello. There is always a smirk on his face and a twinkle hidden somewhere in his eye even while he is doing the most dastardly deeds or expressing his hatred of Othello. It is easy to see why everyone believes him and is taken in by his manipulation. He’s a likeable bad guy.

Iago’s character resonates strongly in this day and age, where jumping to conclusions and acting on those misguided conclusion can have lasting negative effects.

Pritchett is subdued, almost an afterthought, in the first act. His Othello seems to be little more than a prop off of which Iago plays. His love of Desdemona is obvious, though gentle, without any foreshadowing of the rage he will develop in Act 2 at the suspicion that his wife has been dallying with another man.

He comes into his own, however, in Act 2, fulfilling the promise of passions only hinted at in Act 1. He displays genuine anguish at the thought of his wife’s unfaithfulness, and deep remorse following her murder. Pritchett doesn’t exactly take command of the stage so that you center on him, but he has flashes of smoldering intensity.

Desdemona is exquisitely played by Michele Hillen, who gives her a sweet and innocent persona. She exudes a gentle love for Othello. In this production, theirs is a quiet love, not a sizzling passionate love, and she feels true confusion at his later accusations of her infidelity with Cassio (Brett Williams).

Williams is the perfect hero, tall and handsome, intense, and exuding sexuality. His principles crumble when Iago gets him drunk, which results in Othello stripping him of his rank.

Marie Bain turns in a memorable performance as Iago’s wife Amelia, who unwittingly gets drawn into the plot to bring down Othello, yet displays a feisty personality unafraid to stand up to either her husband or to Othello himself.

Brian Rivera is the hapless Roderigo, in love with Desdemona and fooled into thinking Iago is helping him press his suit, while all the while being drawn into Iago’s plot to destroy Othello. Rivera gives his character an endearing gullibility which gives him deep pockets for Iago’s greed.

The atmosphere is aided by the lush costumes of Todd Roehrman and the somber lighting design of Arthur Rotch. Michele Hillen doubled as dance choreographer for the belly dancers, and Marc Antonio Pritchett also choreographed the fight scenes.

While not, perhaps, an “Othello for the ages,” this is a very accessible Othello which will keep one enthralled from start to finish.

Taming of the Shrew

“Rip-roaring” and “rootin’ tootin’” are not usually adjectives one hears to describe a Shakespearean production, but that certainly fits the Sacramento Theater Company’s latest production of “The Taming of the Shrew,” under the direction of Peggy Shannon.

This tight, energetic, sprightly paced production is set in the Old West, with lots of boots, cowboy hats, whoops, hollers, and impeccable “Wild West accents.” And actually, therein lies its problem. The combination of rapid fire dialog and broad John Wayne western accents assume that the audience is already well-versed in the story and the dialog.

“It’s fun, but I can’t really understand most of what they say,” I overheard someone laughing at intermission.

It is a shame that so many marvelous lines get lost on those unfamiliar with the text, no matter how much they are enjoying the production as a whole. In spots some may have longed for supertitles. I saw children in the opening night audience. They were obviously enjoying the on-stage hijinks, but I really wondered how much “Shakespeare” they were getting.

That said, for those already familiar with the story and the dialog, this snappy production is a delight.

There are those who question the political correctness of performing this comedy in this day and age, since it seems so blatantly mysogenistic, the message being that harmony will only occur when wives accept the domination of their husbands. But there are various shades of interpretation that can be presented without compromising either the original script--or the sensibilities of feminists. Director Shannon has achieved this delicate balance.

At the helm of this production are two of STC’s most familiar faces. Saffron Henke is the feisty Katherina is a gun-toting tomboy who will take no guff from anyone. Matt K. Miller is her fortune-hunting suitor, Petruchio, who vows to tame this hellcat. The two actors have always had great on stage chemistry together and it is at its best here.

Philip Charles Sneed (who also does the pre-show lecture) is Katherina’s domineering father, Baptista, who refuses to allow his youngest daughter, the blonde, flirtatious Bianca (Michele Hillen) to marry until a groom is found for her bad-tempered older sister. Hillen plays the sweet little lady role to the hilt (think of a somewhat less endowed Dolly Parton).

While Petruchio has his hands full with his “Kate,” the young rich Lucentio (Kurt Johnson) finds himself smitten with Bianca. He trades places with his servant, Tranio (Michael Stevenson), and disguises himself as a poor teacher to gain an excuse to be in Bianca’s company, while Tranio, posing as Lucentio attempts to convince Baptista to let him marry his younger daughter. Johnson and Stevenson make a great pair and play off each other beautifully, and Johnson gentle, romantic lover for Bianca.

As Bianca’s older would-be suitors, Mark Standriff as Hortensio and Allen Pontes as Gremio are wonderfully silly. Kyle Hayden as Petruchio’s manservant Grumio is outstanding.

Marion Williams has created the Wild West in the sparest possible manner, using a bare stage with platforms, a couple of swinging barroom doors on the sides of the stage, and hanging interchangeable signs overhead to indicate change in location, setting all against a wide open sky with colorful clouds as one might find in a Montana sunset. It proves that with a good cast, you don’t need a fancy set to put you in the location.

Shannon makes the most use of the entire stage, frequently sending her actors out into the audience to exit out the back of the theater, which adds yet another element to the energy.

Petruchio puts Kate through the tortures of the damned, first being late for the wedding, arriving in a ridiculous outfit, forcing the bride to leave before the wedding feast, depriving her of food or sleep for several days. Ultimately his new bride will admit that the sun is really the moon...or is it the moon which is really the sun. She agrees that an old man is really a beautiful young woman, and she gives a long speech about the need for wives to obey their husband in all things.

However, at the hands of the talented Henke, is Kate really subjugating herself to her husband, or does that sly gleam in her eye indicate that she has just found a better way to keep peace and manipulate her husband? I’m betting on the latter.

For those who intend to see this delightful production, I would suggest you brush up your Shakespeare, if you are unfamiliar with the script, in order to get the most out of the production, but do go to see it. It will be time well spent.

The Scottish Play

From its very first performance, several strange events have plagued Shakespeare's famous yet short play, Macbeth, a play that was supposedly written to please King James. It is said that practitioners of the black magic ritual depicted in Act 2 took exception to the exposure of their witchcraft and cast a spell on the play. There are instances of terrible consequences (or coincidences) which have befallen those connected with the play and it has become bad luck to even say the word “macbeth” in a theater, unless it is part of the script. There are complicated rituals involved with removing the curse should one forget and utter the word. Superstition is so strong that for many theater people, it is known simply as “The Scottish play,” to avoid saying the cursed word.

The cast of the UC Department of Theater and Dance’s current performance of the Scottish play must have been very diligent to limit their references to the title character to on-stage utterances, because there is nothing “bad luck” about this production, directed by MFA candidate Emily Davis, a production which ignores gender in the casting of the play (the majority of the roles are played by women) and concentrates instead on the best performances of its 15 person ensemble.

The Wyatt Pavilion does not lend itself easily to elaborate sets, but scenic designer Robert Broadfoot has worked miracles with twigs, giving one the sense of being in a forest. (He has designed a particularly interesting looking dining table and stools)

Costume Designer, Molly LeGoy, in conjunction with director Davis, has created an interesting look for the three witches. They appear at the start of the play, joined together to form a barren tree, their body suits show the bark of the tree, the branches are extensions of their fingers. Throughout the play, they break apart or come together, as the case warrants.

Art Grueneberger has added an interesting twist with “puppet elements” as part of the witches’ cauldron scene in Act 2.

Heading the cast are Paula Dawson as Macbeth and Ara Glenn-Johanson as Lady Macbeth (repeating a performance of the role she last did in the 5th grade).

Dawson has mastered the manly swagger, has a throaty voice, and she brings believability to the complexities of Macbeth’s personality, at the same time hungry for power, and wracked with guilt over what he does to obtain it. We watch Macbeth’s rapid transformation from an opportunist to someone who has destroyed himself and everything around him in his quest for power.

Glenn-Johanson is simply marvelous as Lady Macbeth, from the moment she reads her husband’s letter hinting at future greatness based on the prophesies of the three witches. She knows how to push her husband to grab the crown, and how to help him deal with what he must do to get it. “Leave the rest to me,” she tells her husband, taking charge of the plans for what must occur. We later watch her descent into madness as she comes to the realization that crime really doesn’t pay.

Travis Dukelow is a regal and likeable Duncan, who will meet a tragic end. Dukelow also appears in 3 other roles.

Sarah Cohen has an appropriate princely bearing as Malcolm, especially at the conclusion of the play when Malcolm assumes the crown following the death of Madbeth.

Jon Carlo Blumwald wields a mean sword, especially as he slays Macbeth.

All of the swordplay is quite realistic, thanks to the fight choreography of Gregory Hoffman, and the cast wield their huge, heavy swords expertly. The fight scenes make the most use of all of the stage and ramp areas of Wyatt Pavilion to good effect.

JT Reece offers comic relief as the Porter, clowning with members of the audience (even a dense reviewer who didn’t realize she was being asked to tie his shoe for him).

Andrea Guidry is particularly good as Lennox, and Franchesca Jimenez is a sensitive Banquo.

Shefali Nagrani has two small roles, as a gentlewoman and as Fleance and yet she makes an impact whenever she is on the stage.

This Macbeth is one worth checking out. It is a tale told in a manner which will appeal to both the die-hard Bard afficionados and yet not so stylized or esoteric that it becomes difficult for the neophyte to enjoy.

Much Ado about Nothing

It took director Dave Burmester 23 years to find the right cast to present William Shakespeare’s “Much Ado about Nothing.” It was well worth the wait.

Acme Theater company’s 23rd annual free Shakespeare in the Park opened Friday at the Davis Art Center Outdoor Pavillion. It was a delight from beginning to end. It’s a story of love, hate, betrayal and redemption. It features everything from witty repartee to brief tragedy to hilarious slapstick highjinks.

In keeping with Acme’s tradition of using non-traditional locales, this “Much Ado” was set in nineteenth century Bahia, which gave the opportunity for a few colorful Brazilian dance numbers, choreographed by Laura Yen and Mollie Hope.

“Much Ado about Nothing” is one of Shakespeare’s better known comedies tells the tale of two couples, Hero and Claudio, who fall in love at first sight and who must weather a test of that love; and Beatrice and Benedick, who have been foils for one another since childhood and need help realizing that their biting, sarcastic remarks to each other are really hiding a deeper romantic feeling.

In any young persons’ theater production, you expect to find outstanding performances and merely competent performances. However, with “Much Ado,” Burmester has found a consistently excellent cast, starting with Anthony Pinto, as Leonato, the Governor of Bahia and father to Hero. Pinto handled the transition from serious to comic very well.

Betsy Raymond as Pinto’s sister Antonia, has a small role, but makes the most of it, and is allowed to shine in an act 2 scene.

Genevieve Moreno as Hero and Scott Scholes as Claudio are a very sweet love-sick couple, whose romance is momentarily sidetracked by the nefarious Don John (Josh Toliver), bastard brother of Don Pedro, who despises Claudio and is determined to foil his union with Hero. Don John is only unlikable character in the play (though Toliver’s performance itself was again excellent).

Maddy Ryen sparkles as Beatrice, an intelligent, feisty woman with a quick wit, eager to trade barbs with Benedick, a lord of Ceara, played by Andrew Conard. Ryen and Conard have marvelous comic timing and good chemistry between them. Their scenes together sizzled.

Don Pedro, the Prince of Rio, was played by James Henderson, in another very strong performance.

Dara Yazdani was the highlight of the evening with his over-the-top Kramer-esque interpretation of the constable, Dogberry, wearing a helmet with an impossibly large feather. Yazdani is tall of stature, with a body that at times seemed to be made of silly putty. From the moment he marched on the stage, chanting “Left, right...left, right...left right” (while actually always marching Right, left...right, left...right, left), he was impossible to ignore.

Dogberry’s entourage, Verges (Fiona Lakeland), Virges (Laura Flanigan) and members of the watch: Ali Moreno, Julieanne Conard and Ernie Hernandez moved with the precision of Rockettes and were very funny.

Lesser roles included Tatiana Ray as Margaret and Randi Famula as Ursula, two of Hero’s “gentlewomen.” Eric Delacorte was Borachio and Jack Leuchars was Conrade--both followers of Don John, who convince Claudio that Hero has been unfaithful to him.

Nate Strickland was Friar Francis, who advises Hero to pretend to be dead in order to win back the hand of her beloved, Claudio. (This friar’s advice was more successful than that given to Juliet in a different Shakespeare play!)

Victoria Gimpelevich was a Sexton. Lisa Voelker was a Messenger. Randi Famula, Laura Flanigan and Tatiana Ray also doubled as dancers.

Set design by Eric Delacorte and David Burmester and set decoration by Karlee Finch created a sense of being in Brazil, while light and sound board operator Cristina Granada helped to complement the mood with Brazilian music. The “trees” for Leonato’s Orchard were great!

Costume design was by Randi Famula, whose costumes for Dogberry and the wedding attire for the women were particularly effective.

The Art Center is a delightful place for an open-air production (except for the occasional biker or rollerblader passing through the middle of the audience). Acme’s annual Shakespeare is its gift to Davis in thanks for the city’s support through the years. One could not ask for a more rewarding thank you, or a more delightful way to spend a pre-summer’s evening. There will be performances Sunday and Monday evenings at 8 p.m. Don’t miss the opportunity to see this little gem.

As You Like It

For twenty years now, Davis residents have been able to pack up their folding chairs on a warm spring evening and head to the Pence Gallery stage to watch the young actors of Acme Theatre Company present a well-rehearsed, polished, fully professional show. For free.

Shakespeare’s “As You Like It,” which opened on Friday night, is no exception. It would be hard to find a “weakest link.” While there are outstanding performances, the cast is uniformly excellent and it seems as if great care has been lavished on every aspect, from costuming to hair styles, to choreography, to the original music written (and performed) by Jessica Kitchens.

If there were to be any complaint it would be that the stage shares the air with train noises and the sound of the nearby air conditioner and cleanup at the garbage cans of Soga’s, which made it difficult to understand much of the dialog in Act 1, at least from the back of the arena, though the mics on the stage certain make a big difference over previous un-amplified years.

Director Dave Burmester, who likes to keep things fresh and new chose to set this production in 1803 in Alta, California, so the simple set reflected the adobe of a hacienda. The show opened (and closed) with the cast doing a flamenco or a tango, in the brightly colored costumes one might find at a Mexican fiesta. The choreography by Zoe Nutter and costumes loaned by the Davis Senior High School Ballet Folklorico (coordinated by costumer Emily Henderson) effectively created the proper mood from the start.

Burmester explains that “As You Like It” is a play about love: physical and intellectual love, sentimental and cynical love, love at first sight, love between friends, love between relatives, imagined love, and deep, lasting love. It is the roles we are often forced to play, either by circumstance or by societal pressure.

This joyous play concerns the lovely Rosalind's instant attraction to Orlando and their subsequent journey of love and confusion. Don Senior is living in exile in the forest while his sister, Dona Eleanora has usurped his dominions. Don Senior's daughter Rosalind is banished from Eleanora's court and travels to the forest in the company of her cousin Celia. Rosalind assumes a countryman's dress and takes the name Ganymede; Celia passes as Aliena, Ganymede's sister and they meet with Orlando who has joined the banished duke. Ganymede encourages Orlando to pretend to make love to her as though she were his Rosalind.

Eleanor van Hest’s Rosalind is a delight. She is a strong woman in total control of the stage. She and Catherine Curley, as her cousin Celia, light up the stage from their first entrance and they hold it firmly throughout the play.

Ben Pearl as Orlando was difficult to hear over the early night noises, but his performance was a solid one and he makes a dashing Orlando.

Emily Henderson plays both the haughty Dona Eleanora and the earthy sheperdess Corina with equal competence.

Chris Liaghat-Schmidt as the clown, Touchstone, who accompanies Rosalind and Celia into exile is delightfully droll and an outstanding performance of the evening, as is Zoe Nutter, in a gender-bending role of Jacques, the dour compatriot of Don Senior.

Jake Stoebel does double duty as Oliver, brother of Orlando, and Padre Diego, a drunken priest. Others in the cast playing dual rules include Steven Schmidt, who plays Carlos the wrestler in Act 1 and Don Senior in Act 2. The wrestling match between Carlos and Orlando was beautifully choreographed, and included a spectacular flip-over.

Alaina Boys was Senora La Bonita, in Act 1 and Audry, a country wench who catches the eye of Touchstone in Act 2. Nick Herbert was a courtier in Act 1, Luis, a compatriot of Don Senior and the delightfully lovestruck Silvius, who has lost his heart to Phoebe, played with wonderful humor by Caleigh Drane (who is also a courtier in Act 1). David Markman also carries three roles, as Dennis in Act 1 and both Juan, a compatriot of Don Senior, and Joaquin, another brother of Orlando, in Act 2. Dylan Myles-Primakoff is the servant Adam in Act 1 and William, a rustic, in Act 2.

Burmester has directed a lively production which keeps the audience entertained at all times, throwing in bits of swordplay, thanks to help by Simon Pitfield of the Davis Fencing Academy.

“As You Like It” is the perfect way to spend a spring evening. Bring your chairs or a blanket to sit on the lawn, bring the kids, bring a picnic and expect to spend a delightful evening.

Romeo and Juliet

Was there ever a more perennial theme than teens in love? The ultimate teen love story is Shakespeare’s Romeo and Juliet, the second Ghost Light Theatre production, opening at the Veterans Memorial Theater on Saturday, running through August 7.

Director Dave Burmester has set his play at some nebulous time in the future, a period many years after a cataclysmic event has decimated humanity and compromised what we currently consider civilization. The Verona of this future world has developed a dual power structure. Adults derive their power, as always, from money and influence. Young people resort to violent, though rarely deadly, conflict.

It appears that at all periods of time, there are tribal conflicts and the Capulets and the Montagues -- the Hatfields and McCoys of the Shakespearean world -- are still at odds with each other.

Bridging that enmity come the star-crossed lovers. Dara Yazdani is outstanding as Romeo, impetuous and intensely soulful, who falls in love at first sight and is driven to suicide at the thought of losing his love forever. He makes Romeo as up to date as any modern film filled with teenage angst.

Likewise, Genny Moreno as Juliet is as frivolous as any 13 year old girl, full of daydreams and ready to fling herself into the arms of her Romeo.

Josh Toliver gave a superb performance as the ill-fated Mercutio. He immediately set the scene as a hormone-driven teen with all the in-jokes and double-entendres in which young men engage.

The setting, looking like a back alley somewhere, with graffiti painted on corrugated metal walls, and boxes strewn about, lead to the logical comparison to West Side Story, especially when the rival gangs engage in hand-to-hand combat with very real looking fight choreography by Chris Oca.

As leader of the rival gang, Eric Delacorte as Tybalt is particularly effective in his fight scenes. He wields a mean stick.

Zoe Garcia as Lady Capulet had the sultry demeanor of a Catherine Zeta Jones, slinking around the stage in skin-tight black leather, showing only casual concern for her daughter.

More sympathetic toward the emotional life of Juliet is her Nurse, played competently by Bethany Bishop.

Davis Wurzler is Friar Laurence, the monk who performs the wedding ceremony for the two lovers and gives Juliet a potion to simulate death. Unfortunately, Wurzler tended to rush his lines too much and many of them were unintelligible.

Lighting design by James Henderson was excellent in setting the mood for each scene or spotlighting a particular grouping. Particularly impressive was the dance sequence (with choreography by Dana Snyder), lit in red tones, with bright white for Romeo and Juliet. Some of the actors had difficulty hitting their light spot on, so that bodies were illuminated but faces hidden.

This is a production which will have broad appeal, even to those who think they don’t like Shakespeare, and there is enough action on stage that it should be fun even for grammar school children.

Burmester gets an A+ for this one.

Two Gentlemen of Varona

It's a fairly safe bet that William Shakespeare never heard of Bob Hope, Bing Crosby or the "road shows" of the 40s, so I'm sure he would be quite surprised at Acme Theatre Company's interpretation of his "Two Gentlemen of Verona," playing this weekend at the Pence Gallery (Acme's last performance on the soon-to-be-eliminated Pence stage).

Director Dave Burmester who, in collaboration with his young cast, is famous for doing innovative things with Shakespearean plays. "It's the thing I've enjoyed about directing Shakespeare," he admits. "There are no stage directions It challenges you to be creative."

From the moment Arabian dancers come undulating onto the stage in this slap-sticky version of the play, it's obvious that this is not your mother's Shakespeare. It's a movie they are making, the second in a series of "Road" pictures, and each of the scenes is introduced by two director's assistants (Betsy Raymond and Genny Moreno) and ended by director Wyndham Bettencourt-McCarthy yelling "Cut!" (The ploy begins to get a little repetitious especially in very short scenes, despite the heroic efforts of Raymond and Moreno to keep each introduction different.)

Burmester has created a show which is broad and highly visual--a fortunate thing, given the perennial audio problems at the Pence, competing with traffic noise, train noises, and the sounds coming from the businesses nearby. The comedy comes across even when the lines are overpowered by environmental factors.

Burmester has also done his share of gender-bending. Faced with a company which is heavily female, he has found a way to shape the plot to incorporate female characters instead of male--the Duke of Milan, for example, becomes the Sultana of Damascus (Stephanie Rickards) --this is, after all, a "Road" picture! The servant Speed is portrayed as a saucy wench (Jill Winternitz).

The Hope-Crosby of the piece are Valentine (Andrew Conard) and Proteus (Martin Dubcovsky), the former off to see the world while the latter choses to remain at home to pursue his love, Julia (Shakti Howeth).

In a lovely scene which makes full use of the Pence stage, including a balcony, Julia confers with her maid Lucetta (Krystal White) to decide which of the available men she should fall in love with, though she really has already given her heart to Proteus.

Things get complicated when Proteus' mother Antonia (Laurel Cohen--another gender switch) sends her son to Damascus, where he falls in love with the Sultana's daughter Sylvia (Katie German), with whom Valentine is already in love.

There follow the twists and turns in the plot that one would expect, including a kidnapping by outlaws (led by chieftan, Eric Delacorte), a third suitor for the hand of Silvia (Thurio, James Henderson), a few more dance numbers (one with bass accompaniment by Spencer Russell) and in the end all's well that ends well--or is that another story line?

Adding comic relief throughout the piece is the indomitable Nick Herbert as Lance, the servant to Proteus and Jean Marsh as his dog, Crab.

Choreographer Krystal White gets special kudos for the fun dance numbers (with able assistance by sound board operator Spencer Russell).

This will be Acme's last performance on the Pence stage and it's well worth a trip to enjoy the show. Bring a chair and warm clothes (even on a warm evening, the cold breezes took over by the second act).

Midsummer Night's Dream

The Department of Theatre and Dance's production of Shakeseare's "A Midsummer Night's Dream," which opened May 22 on the university's main stage, is loud and raucous and energetic. Even before the action officially begins, fairies appear, frolicking on the open stage. They give a hint of the fun and wimsey which will follow in Shakespeare's dreamlike venture into the world of magic.

The play tells several stories, each of which occurs during a single summer night in a magical forest outside Athens, in which fairies play pranks on lovesick mortals, earnest youths endure comical romantic confusion, and a group of mechanics attempts to rehearse a play in secret.

Directed by Peter Lichtenfels, Granada Artist-in-Residence (whose last outing at UCD was the controversial "Romeo and Juliet"), this production seems to be set in no specific time or location, as modern dress mixes with more traditional garb, but all somehow blending together to produce the fabric of the magical world in which all the characters interact.

Ammar Mahmood and Christine Lowery, as Thesius (the Duke of Athens) and Hippolita direct the events of the evening, with their request to Philostrate (Simon Zenon) to arrange entertainment for their upcoming nuptials.

Plans are interrupted by the arrival of Egeus (Kevin B. Lee), a nobleman asking for help in forcing his daughter Hermia (Cooky Nguyen) to marry Demetrius (Drew Hirshfield), the husband of his choosing, though she is in love with Lysander (Ryan Perkins-Gangnes). To further complicate things, Hermia's friend Helena (Shahnaz Shroff) is in love with Demetrius--setting the stage for all of the twists and turns which develop over the course of the story.

Nguyen was last seen in in a minor role in last year's undergraduate festival and stood out for making the most of a small bit. The promise she showed in that production has more than been fulfilled in "Midsummer Night's Dream." She is a delight to watch, as is Perkins-Gangnes, who also was notable for his small role in the undergraduate festival.

Hirshfield turns in another bravura performance as Demetrius.

Hermia and Lysander flee Athens into the woods, intending to be married at the home of his aunt. They are followed by Demetrius, determined to win his bride's hand, and Helena, determined to win Demetrius'.

D. Martyn Bookwalter has designed an abstract sort of forest, with cloth-covered wood frames, painted to give the hint of leaves. They provide a good hiding place for fairies or would-be suitors. A large moon hangs in the sky and moves about during the various scenes, presumably to indicate various time periods, though it is so subtle that it is difficult to pick up what each moon position means. However, the lighting design by Darrell F. Wynn makes for lovely moon reflections.

The mechanics are rehearsing in the woods, under the direction of Peter Quince, a delightful interpretation by Chris Allison. His four actors are Nick Bottom (Phillip Tarver), Francis Flute (Joel Rentner), Robin Starvelling (Erica Filanc) and Tom Snout (Chelsea Kashin). Tarver is outstanding as Bottom, who is full of advice and self-confidence but frequently makes silly mistakes and misuses language. The humor of his role is accentuated by sound designers Leslie Rae Smith and Y.C. Sumnicht, who see to it that he clanks when he walks.

Sound is not always entirely pleasing in this production, and some seems to be unnecessarily ear-splitting. There is, for example, a thunder and tempest caused by an argument between Oberon, the king of the fairies (Mischa Random Pollack) and his queen Titania (Linda Noveroske Rentner).

No production of "A Midsummer Night's Dream" would be effective without a solid Robin Goodfellow ("Puck"), Oberon's jester, a mischevious fairy who delights in playing pranks on mortals. Sam Tanng is just what the doctor ordered. He is lythe and impish and, clothed from head to toe in red (including body make up, it's difficult to take your eyes off of him when he is on stage.

"A Midsummer Night's Dream" is a delicious piece of merriment, and a nice diversion on a warm summer's evening. Take the night off and go romping in a magical forest with a bunch of fairies.

Taming of the Shrew

Overheard in the audience in the Pence Gallery amphitheater at the conclusion of Acme Theatre's opening night of William Shakespeare's "Taming of the Shrew" -- "that was great fun--and I _hate_ Shakespeare."

It's hard to find anything to hate, or even mildly dislike about this lively production of one of Shakespeare's best known comedies. Director Dave Burmester explains that he has always had difficulty with this politically incorrect (though not for Shakespeare's time) story of a woman's spirit being tamed so that she can learn to become a good wife.

To get around the inevitable raised eyebrows from a more enlightened era, Burmester has taken his characters in a different direction. As he puts it, "It was important to show that Kate was not the only character to undergo a major change. To say more here, however, might spoil some of the fun."

Fun it definitely is. Taking inspiration from William Ball's staging of this comedy at San Francisco's American Conservatory Theatre in 1975, Burmester has created a version of "Taming of the Shrew" which is right out of commedia dell'arte, with supporting players watching the action on stage from scaffolding, wearing traditional masks and providing sound effects for the action on stage with drum, slide-whistle, and other noise makers.

Imagine The Three Stooges do Shakespeare.

This is an extremely physical--and highly choreographed production. Pratfalls, fanny paddles, head bonks, and other comic rhythms of slapstick, each with the accompanying sound effect make for non-stop entertainment.

What makes this production work are the talented actors. There aren't enough adjectives for the outstanding performance by Chris Schmidt as Petruchio, a "gentleman of Verona," who has come to Padua to "wive and thrive." He's looking for a wife with a big dowry and is not put off by the rumors of the quick temper of Katherine. Schmidt's performance is electric.

Jill Winternitz as Katherine is equally outstanding. She fights, she yells, she pouts and in the end she gives in (or does she?).

Rebecca Rukeyeser plays Baptista, Katherine's mother (the role is generally that of Katherine's father, but the gender of the parent seems to matter little). Rukeyeser has the most expressive face and did some of the best mugging of the night. She also gives a good solid performance to the role.

Shakti Howeth is "the lovely Bianca," Kate's younger, more desirable sister, with the face of an angel and a gentle disposition to match. Bianca is sought after by all the men in Padua, but cannot marry until a match is found for her older sister.

Steven Schmidt and Nick Herbert are Lucentio and Tranio, respectively. Lucentio is in love with Bianca and seeks assistance from his servant Tranio in his plan to win her hand. Schmidt and Herbert are very funny in their roles.

As Petrucio's servant, Grumio, Jake Stoebel handles falling forwards or backwards like a pro.

Other strong performances are turned in by James Henderson (Gremio), Eric Delacorte (Hortensio), and Martin Dubcovsky (Biondello). In smaller multi roles are Caleigh Drane, Eric Brattain-Morrin, Katherine Moreno, Bryna Dunnells and Katie German.

Special kudos to choreographer Crystal White for her delightful dances and dancers Laurel Cohen, Jean Marsh, Caleigh Drane, Katherine Moreno, Katie German, and White herself who bring them to life delightfully.

As always, the performance at The Pence Gallery suffers from uncomfortable seating (it is suggested that audience members bring their own chairs) and occasional difficulty in hearing dialog when an actor rushes his or her lines, as well as the unstaged background noises, but these are conditions which the Acme faithful have come to expect and accept as part of the fun of this free outdoor performance.

"The Taming of the Shrew" marks Acme's 20th performance on the Pence stage, a tradition which was begun as a thank you to the community for its financial support of the fledgling company. But a shadow hangs over the future of this Davis tradition. Current plans for a rebuilt Pence Gallery appear to compromise the tiny core area open space. Pence Gallery officials are unable to say exactly what form a new amphitheater might take other than to say it will be different.

However, plans suggest that the park area would be much smaller, too small, seemingly, to house a stage big enough and a seating area extensive enough to accommodate a full-scale theatrical production, even one as small in scope as Acme's annual Shakespeare offering.

It would be a tremendous loss to a community which has enthusiastically supported and enjoyed the performances of Acme and other theatre companies over the years. It is hoped that some sort of compromise can be worked out so that the Pence can have its expansion and the community will still be able to enjoy these free summer entertainments.

This may be the last chance to see Acme at the Pence Gallery amphitheater. There are performances remaining on the 25th, 26th and 27th. If you've never seen Acme in action, don't miss this gem of a production.