As You Like It- Orlando Shakespeare
As we liked it.......
Last night we saw Rosalind and Orlando, Celia and Oliver in one of Shakespeare's (arguably) great works-As You Like It. Well, we sort of liked it. You see, the bar is set high at Orlando Shakes, Jim Helsinger has continually delivered and we have come to rely on our favorite actors and antics to enliven the bards works.
This time OS brought forth a new director, new leading actors and a new feel. Director Dan Mccleary set our stage in ancient Persia (or Babylonia, Mesopotamia you take your pick). The show just didn't quite hit the mark. Gone was the hilarity and cheese that made their last show, Comedy of Errors so jaw-breakingly funny. Perhaps a portent of future things to come at Orlando Shakes, if so they have a learning curve to conquer.
Some positives, the set was beautifully simplistic and the transition to the Forest of Arden was creatively seamless. The use of veils and chains (as trees) made for a mystical, mercurial quality. The musical interludes were nice and delivered on key and the opening harem dancing was unique. Two actors in particular are clearly poised to take the place of Eric Hissom and Tim Williams. Brad Deplanche and Eric Zivot commanded all of your attention and worked the audience with mastery. Playing Touchstone and Jacques respectively, they slipped comfortably into the role of classical clown and antagonist. Eric in particular, brings a calmness and strength to his performances. He has this ability to grab your attention, hold it, keep you relaxed at the same time force you to the edge of your seat. He is nothing less than electrifying.
Unfortunately, Eric and Brad's superior performances were obviously out of place in a cast of new actors trying to fit into some of the bards most challenging comedic roles. First, I must say that I could never do what any of these actors did. The lines they managed to remember and deliver always impresses me. Despite the review I am about to write, they deserve all the credit in the world and should continue to refine their skills. Every one of them has potential.
I must start with Rosalind. Said to be the bards greatest female role, I believe that Dan poorly cast the role with actress Polly Lee. Everyone in my party (all seasoned Shakespeare lovers) felt that Polly strained for most of her lines. She always seemed to be forcing or yelling to be heard. She lacked the ability to vary her tone and octave level. She had the ability to speak quickly, but didn't contrast with the slower paces. This gave the impression that she was spasmodic and nervous. I believe a more seasoned director would have focused some of her lines to be delivered in a more calm and methodical manner. I think Polly should work with Eric Zivot so she can learn whatever it is he does. Polly's best line "sell now for you are not for all markets" managed to get laughs, to her credit, it was clearly delivered with the right inflection.
Susannah Millonzi played the role of Celia, an important role because of the characters proximity to Rosalind. Susannah has definite potential. Whereas she started off monotone and a bit spasmodic with Polly, she managed to ease into her role as the play moved to the second and third acts. Susannah seems to have an innate ability to make you watch her, I expect to see great things from her as she starts to strengthen her skills-perhaps a future Mindy Anders.
Tyler Hollinger played Orlando. Another critical role, Tyler also had some potential and certainly the hotness factor. His opening scene with Oliver was overacted and too emotional. However, when he played opposite some of the other actors, especially Eric and Carl (Duke Sr.) he eased right into his lines and his voice quality improved with slower calmer tones and varying speeds.
Notable mention to Chantry Banks, Carl Wallnau, Meaghan Fenner and Erika Wilhite (Le Beau, Duke Sr, Phebe and Audrey) with some promising performances.
At intermission time, Karen made some comments that we could have skipped this show. We all clearly missed the extreme comedy and lightness of the best of OS comedy. Post-intermission, the show really got going, and Karen commented that it was like watching two different plays. Clearly an important lesson for Director Dan M. It's so important to get the audience in the first half or they won't come back in.
All in all, OS is still the best Shakes Orlando has to offer by far. For those of us jonesing for more than 3 bard plays a year, we'll take what we can get. However, this performance is not gonna win over any new fans. Not one I would recommend for the newbie. I hope Macbeth is more promising.
Last night we saw Rosalind and Orlando, Celia and Oliver in one of Shakespeare's (arguably) great works-As You Like It. Well, we sort of liked it. You see, the bar is set high at Orlando Shakes, Jim Helsinger has continually delivered and we have come to rely on our favorite actors and antics to enliven the bards works.
This time OS brought forth a new director, new leading actors and a new feel. Director Dan Mccleary set our stage in ancient Persia (or Babylonia, Mesopotamia you take your pick). The show just didn't quite hit the mark. Gone was the hilarity and cheese that made their last show, Comedy of Errors so jaw-breakingly funny. Perhaps a portent of future things to come at Orlando Shakes, if so they have a learning curve to conquer.
Some positives, the set was beautifully simplistic and the transition to the Forest of Arden was creatively seamless. The use of veils and chains (as trees) made for a mystical, mercurial quality. The musical interludes were nice and delivered on key and the opening harem dancing was unique. Two actors in particular are clearly poised to take the place of Eric Hissom and Tim Williams. Brad Deplanche and Eric Zivot commanded all of your attention and worked the audience with mastery. Playing Touchstone and Jacques respectively, they slipped comfortably into the role of classical clown and antagonist. Eric in particular, brings a calmness and strength to his performances. He has this ability to grab your attention, hold it, keep you relaxed at the same time force you to the edge of your seat. He is nothing less than electrifying.
Unfortunately, Eric and Brad's superior performances were obviously out of place in a cast of new actors trying to fit into some of the bards most challenging comedic roles. First, I must say that I could never do what any of these actors did. The lines they managed to remember and deliver always impresses me. Despite the review I am about to write, they deserve all the credit in the world and should continue to refine their skills. Every one of them has potential.
I must start with Rosalind. Said to be the bards greatest female role, I believe that Dan poorly cast the role with actress Polly Lee. Everyone in my party (all seasoned Shakespeare lovers) felt that Polly strained for most of her lines. She always seemed to be forcing or yelling to be heard. She lacked the ability to vary her tone and octave level. She had the ability to speak quickly, but didn't contrast with the slower paces. This gave the impression that she was spasmodic and nervous. I believe a more seasoned director would have focused some of her lines to be delivered in a more calm and methodical manner. I think Polly should work with Eric Zivot so she can learn whatever it is he does. Polly's best line "sell now for you are not for all markets" managed to get laughs, to her credit, it was clearly delivered with the right inflection.
Susannah Millonzi played the role of Celia, an important role because of the characters proximity to Rosalind. Susannah has definite potential. Whereas she started off monotone and a bit spasmodic with Polly, she managed to ease into her role as the play moved to the second and third acts. Susannah seems to have an innate ability to make you watch her, I expect to see great things from her as she starts to strengthen her skills-perhaps a future Mindy Anders.
Tyler Hollinger played Orlando. Another critical role, Tyler also had some potential and certainly the hotness factor. His opening scene with Oliver was overacted and too emotional. However, when he played opposite some of the other actors, especially Eric and Carl (Duke Sr.) he eased right into his lines and his voice quality improved with slower calmer tones and varying speeds.
Notable mention to Chantry Banks, Carl Wallnau, Meaghan Fenner and Erika Wilhite (Le Beau, Duke Sr, Phebe and Audrey) with some promising performances.
At intermission time, Karen made some comments that we could have skipped this show. We all clearly missed the extreme comedy and lightness of the best of OS comedy. Post-intermission, the show really got going, and Karen commented that it was like watching two different plays. Clearly an important lesson for Director Dan M. It's so important to get the audience in the first half or they won't come back in.
All in all, OS is still the best Shakes Orlando has to offer by far. For those of us jonesing for more than 3 bard plays a year, we'll take what we can get. However, this performance is not gonna win over any new fans. Not one I would recommend for the newbie. I hope Macbeth is more promising.
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