Review: LePetomane Theatre Company's "Twelfth Night"

Shakespeare's Globe Theatre was built (literally) from the bones of the first building known to have been constructed for the sole purpose of performing plays. That building, constructed by James Burbage and his brother-in-lay, was called The Theatre; the term "theatre" relating to the trestle-built stages erected in the courtyards of English inns where plays were performed by vagabond actors.

Commedia dell'Arte
Stock Characters

The construction of a permanent stage allowed Shakespeare and his contemporaries to create more complex productions filled with all the latest technologies of the day. Technological innovations such as trap doors and a rudimentary "fly" system that moved actors and scenery quickly on and off the stage. The actors themselves, one expects, brought with them to this new venue all the traditions of the traveling player going back through the stock characterizations of Commedie dell'Arte to the Zanies of the Roman theatre.

These are the traditions carried forward by Gregory Maupin and the members of LePetomane Theatre Company in their marvelous production of Shakespeare's Twelfth Night, which opened last night at the Rudyard Kipling (422 W. Oak St.). The production runs through May 22 (see the calendar at Arts-Louisville.com for dates and times).

With the luxury of a resident company supported at various times by the Lord Chamberlain, King James I and Queen Elizabeth I, Shakespeare wrote at least 15 necessary characters into Twelfth Night. This presents a challenge for modern professional companies like Le Petomane, few of which have the resources to mount a production of these proportions. The solutions employed by the troupe of six are among the many reasons you should not miss this production. Using a set of thirteen masks manufactured by the multi-talented Gregory Maupin, and a series of stuffed animals, slippers and a steamer trunk, the players create the play in real time, almost as though they were making it up on the spot.

According to the program this production was directed and designed in ensemble. This is surprising only in that the point of presented is so cohesive that it suggests a single point of view. Like singers each member of the ensemble brings their own unique voice that, when blended in perfect pitch, creates a series of over and undertones that amplifies the individual notes. The whole is a rare and beautiful performance that I urge you not to miss.

Highlights of the evening are too numerous to list here, but look for outstanding performances throughout. Gregory Maupin's Feste/Fabian provides a musical through note that centers the production; Kyle Ware's lovesick Orsinio contrasted with the self love of his Malvolio are nothing short of brilliant; As the protaganist Viola and her brother Sebastian Abagail Bailey Maupin's characterizations are beautifully subtle giving heart to what could have become broad comedy; Kristie Rolape who plays both the haughty and manipulative beauty Olivia and the buffoon Sir Andrew Aguecheek is nothing short of amazing; the same can be said of Heather Burns who gives us the saucy lady-in-waiting Maria and the complex pirate Antonio. Tony Dingman's portrayal of the drunken reprobate Sir Toby Belch and numerous secondary characters who take the stage as bears, moose, and pigs are hilarious.

Finally, another well-deserved thank you to Ken Pyle who has enhanced this community over and over again through his encouragement of small theatre companies, bands, jugglers and whatnots over the years. Be sure to lift a glass or have a meal while you're there to enjoy Le Petomane.

Review: The Savage Rose Classical Theatre Company production of Shakespeare's "All's Well That Ends Well"

Kelly Moore, J. Barrett Cooper, and Mike Slaton star in Savage Rose Classical Theatre Company's production of Shakespeare's All's Well That Ends Well. Through March 19 at Walden Theatre, 1123 Payne Street. Tickets are $15. Performances: March 9--12, 14, 16--18 at 7:30 p.m. and March 19 at 2:00 p.m. and 7:30 p.m.

Now that Showtime has wrapped The Tudors maybe they would be interested in. . .The Elizabethans! My idea for the first episode is sort of I Love Lucy at the Globe Theatre. Beautiful scheming women, an undeserving recalcitrant man who gets the girl instead of the drubbing he has worked so hard to earn. As usual Shakespeare has anticipated me by more than 500 years with his problematic All's Well That Ends Well, which itself is based on one of Boccaccio's short stories in his mid-fourteenth century collection The Decameron.
The Savage Rose production of Shakespeare's play opened last night on the Nancy Niles Sexton stage of Walden Theatre. In keeping with the authenticity artistic director J. Barrett Cooper is seeking for his company the scenery was suggestive and flexible, the props few, the costumes beautiful and characteristic. It is evident that Cooper focused his attention primarily on his actors' interpretation of the language. This successful strategy convincingly transported the audience from the small black box theatre to the French countryside, the court in Paris and Florentine battlefields.
Originally conceived, I believe, as a comedy All's Well That Ends Well has been labeled a "problem play." The difficulty lies primarily in the character of Count Bertram, played here by Mike Slaton, and the slavish devotion of Helena, the orphaned daughter of the family doctor portrayed by Kelly Moore. Bertram is the definition of a cad and an extremely unsympathetic protagonist. Helena, on the other hand is so wise and beautiful it is difficult to understand what she sees in the nobleman, noble in name only. Both Slaton and Moore have made good choices for their characters to overcome these challenges and with a little more risk on their parts as actors could deliver outstanding performances. J. Barrett Cooper who plays both the King of France and Interpreter sets the bar for the company both as an actor and director. A physical actor Cooper's best often comes out in his facial expressions and body language; he is a master of subtle embellishment that enhances the poetry of Shakespeare's lines but never impinges.
Six years after introducing Falstaff to the world in Henry IV, part 1 Shakespeare gives us Parolles, a follower of Bertram. Like his predecessor Parolles is a knave and a coward, but lacks the genuine love for his ward that makes us, in turn, love him. Neill Robertson, fighting a distractingly bad hair piece on opening night, gives us a comic villain an audience can love to hate. Robertson's comic timing, business, and turn of phrase are remarkable and well-worth the price of admission, which could be seen as a sinister compliment considering the tickets are so inexpensive. Parolles's sparring matches with the old lord Lafew, well-played by Andrew Epstein, are among the funniest moments of the evening. I could have wished that Parolles's changed circumstances at the end were more evident in his attire, but this is probably a budgetary consideration rather than an artistic one.
If there was a disappointment to the evening it would be in Laurene Scalf's handling of the Countess of Roussillion, Bertram's mother. This is one of the greatest female characters in all of Shakespeare offering an actor a virtuosic opportunity to explore. Scalf gives a yeomanly performance hinting at a greater interpretation than she produced opening night.

I don't give ratings, but I will say that J. Barrett Cooper and company have created a wonderful evening of theatre that should not be missed.

All's Well That Ends Well runs through March 19. Tickets for most performances are $15 and may be purchased at the door (cash/checks). For more about this production and the Savage Rose Classical Theatre Company go to www.savagerosetheatre.com.

This is the final production of the company's second full season and I look forward to announcing their third at www.Arts-Louisville.com which will debut on or before April 10. Check this space for more about Savage Rose and the Play Reading Series Words, Words, Words that premieres April 3 with Rostand's Cyrano de Bergerac.