"Hamlet" and "Rosencrantz and Guildenstern are Dead" by The Acting Company at the Guthrie Theater

I think it's safe to say that William Shakespeare's Hamlet is one of the best, most popular, and most produced plays in the world. Tom Stoppard's 1966 play Rosencrantz and Guildenstern are Dead, made into a movie in 1990, offers us an alternate view of the story from the point of view of two minor characters who, yes, end up dead at the end of the play. The Acting Company, a touring Shakespeare company with close ties to the Guthrie, is currently presenting both plays in repertory. It's a brilliant idea, and since I'm a fan of The Acting Company and I love the idea of repertory (two or more plays with the same cast) I jumped at the chance to see both plays in quick succession - Friday night Rosencrantz and Guildenstern are Dead, followed by a Saturday matinee of Hamlet. The former is absolutely hilarious and wildly entertaining, and it gave me a double pleasure in viewing the latter - the great drama and well-known language of Hamlet as well as the "secret" knowledge of what may be going on behind the scenes with poor Rosencrantz and Guildenstern.

Hamlet

the fight scene in Hamlet

I'm sure you're all familiar with the tale of the Danish prince whose kingly father was murdered by his uncle Claudius, who then married his mother. It's no wonder he's in a bit of a funk. And that's putting it mildly; basically the play chronicles his descent into madness (or is it sanity?). Hamlet is visited by his father's ghost, who tells him that his death is no accident, so Hamlet plots to kill his uncle/father/ king with the help of his friends and a troupe of players. Let's just say it doesn't go well. It really is a beautiful play, full of drama with a bit of humor as well, with well-drawn complex characters. It's such an important and popular play that many of its lines have worked their way into our pop culture lexicon, including "the play's the thing," "the lady doth protest too much, methinks," "neither a borrower nor a lender be," "to thine own self be true," "brevity is the soul of wit," and my favorite, "the rest is silence." This is a great production, dynamic and compelling with a nice balance of light humorous moments and intense drama. And what a cast! I'll talk about them a bit later.

Hamlet chats with Rosencrantz and Guildenstern

Rosencrantz and Guildenstern are Dead
These two minor characters appear only briefly in Hamlet. They're old friends of Hamlet that his mother and uncle send for to help him out of his funk. Basically they're used, both by Shakespeare as a way to move the plot forward, and by Claudius to get to Hamlet and then send him away to England, which is the end of them. Stoppard's reimagining of the story sees them mostly sitting around waiting for their interactions with the world of Hamlet. They have many conversations about topics like death, fate, memory, and probability (the play opens with a long scene of flipping coins, which improbably land on heads 90 times in a row), and play silly games like questions (quickly hurling questions at each other until someone breaks and makes a statement). The main action of Hamlet occasionally interrupts their conversation, as they run into the troupe of players, receive their instructions from Claudius, and talk to Hamlet - a scene that's fast-forwarded as the actors mime words and move quickly while a garbled track of sped-up talking plays. We even see Hamlet's famous "to be or not to be" speech, but we don't hear it as the focus is on Rosencrantz and Guildenstern. They seem to exist only within the world of the play; they have difficulty remembering their life before and seem to know that this is the end for them. It's really clever writing by Mr. Stoppard to create this story and these characters in and around the world of one of the greatest plays ever written; he really does add to greatness.

The thrill of seeing these two plays back to back by the same company is that the same actors play the same characters in both plays, so it really does seem like you're see flip sides of the same coin. The star of the shows is John Skelley as Hamlet. An Acting Company alum who's also frequently seen at the Guthrie (see last summer's gorgeously intense Long Day's Journey Into Night, for example), John is one of my favorite actors to watch because he's such a natural and present actor. This is no exception; his Hamlet is charming and funny at one moment, and crazy intense the next. In Rosencrantz and Guildenstern, he's able to play it a little looser and more comedically; he has less to do but is able to have more fun with it, almost as if he's playing two versions of the same iconic character.

The other stars of the shows are the brilliant comedy team of Grant Fletcher Prewitt and Ian Gould as the slow-thinking Rosencrantz and the fast-talking Guildenstern. They work so well together and have such an easy and fun chemistry, perhaps because this is the end of their 6+ month tour. They're like Abbot and Costello, and somehow their interactions are made funnier by the fact that one is short and one is tall, one slow and one quick. Even their brief appearances in Hamlet are played to maximum comedic effect, or maybe it's just because I already knew and loved them. They even get to bring their comedy relationship to the roles of the gravediggers in Hamlet. I was originally hoping to see Hamlet first followed by Rosencrantz and Guildenstern, but I'm glad I saw Rosencrantz and Guildenstern first because it allowed me to seek for and find the comedic moments from that play in the more serious one.

The three leads are well supported by a great cast, including Andy Nogasky as Polonius (quite the comedian himself in both plays), Angela Janas as the sweet Ophelia driven to madness, and Patrick Lane and Jacqueline Correa as the king and queen. I find it interesting that each show has a different director (John Rando for Rosencrantz and Guildenstern and The Acting Company's Artistic Director Ian Belknap for Hamlet), because there is some overlap of scenes. Obviously they worked together closely; sometimes scenes are played out very similarly in both shows, sometimes the same action but with a different tone, and sometimes quite differently. The technical personnel is the same as both shows play on the same set, comprised of classical arches and stairs (designed by Neil Patel), with the same gorgeous costumes by Candice Donnelly.

Sadly, The Acting Company is only in town for two weeks with these two great shows, through May 4. If you like classic Shakespeare, go see this fine production of Hamlet. If you like clever and fast comedy, go see Rosencrantz and Guildenstern are Dead. Or do yourself a favor and see both on the same day or back-to-back days for a deeper appreciation of both plays.

"As You Like It" by The Acting Company at the Guthrie Studio Theater

The Acting Company has been touring the country for 40 years, bringing Shakespeare and other classic works of theater to cities from Decorah Iowa to NYC. The Acting Company has close ties to the Guthrie Theater, where it stops every January, and features many U of M/Guthrie BFA graduates. This year they're presenting As You Like It (which I saw just last year in a delightful interpretation by Ten Thousand Things). In case you get Shakespeare's comedies confused like I do, with their similar plots of banishment, disguises, and mistaken identities, let me remind you that As You Like It is the one where Rosalind is the daughter of a banished Duke, who escapes into the forest disguised as a man, where she convinces young Orlando to woo her as if she were Rosalind. And everyone lives happily ever after. The talented young cast and the delightful staging bring this amusing story to life.

Highlights of the show include:

Joseph Midyett and Elizabeth Stahlmann
as Orlando and Rosalind 

• Joseph Midyett and Elizabeth Stahlmann are convincing and charismatic as the young lovers Orlando and Rosalind, as is Megan Bartle as Rosalind's devoted cousin Celia.
• I'm beginning to think this might be my favorite Shakespeare comedy, mostly because of the inclusion of music, which is interpreted differently in each production I've seen. Here, we are treated to the lovely voice of Noah Putterman as the lord's musician Amiens.
• A couple of diverse performances, both equally enthusiastic and charming, are turned in by Michael McDonald as a refined courtier and a poor shepherd hopelessly in love.

Chris Thorn as Jaques with masked creatures of the forest

• As the melancholy forest dweller Jaques, Chris Thorn (in long hair and a beard that makes him look like he's from the cast of Argo) very effectively delivers one of the most famous monologues in Shakespeare, the one that begins with "All the world's a stage, and all the men and women merely players," and then goes on to list the seven stages of man.
• I'm not sure what time period the costumes are supposed to be from, but they are interesting to look at. Celia's dress looks vaguely 40s-ish (and her adorable forest attire more like a Swiss miss), while Rosalind's wardrobe has a flapper-esque quality, and the men dressed in suits from sometime in the first half of the 19th century.
• Walking into the intimate studio theater, the stage is empty except for three standing phonographs and trees off to either side. At intermission, the stage is transformed into a magical forest. The phonographs are cleverly used to create sound effects and music, and the masks worn to represent animals in the forest are perfectly delightful.

I think it's safe to say that after 40 years, with such alumni as Rainn Wilson and Kevin Kline, not to mention chairperson of the advisory board Angela Landsbury, The Acting Company is an institution of the American theater. They're at the Guthrie through February 3, and then will continue to tour the country with As You Like It and Of Mice and Men (which I wish they were doing here as well) through spring. This is my third year seeing them (see last year's Julius Caesar, and 2011's Romeo and Juliet and A Comedy of Errors), and they never disappoint.  Check them out at the Guthrie, and watch this video about the 40th anniversary of The Acting Company:

"Julius Caesar" by The Acting Company at the Guthrie

The Acting Company's production of Shakespeare's Julius Caesar* is an intense and beautifully acted drama, even if I didn't quite understand what the war was about or why (spoiler alert) everyone decided to stab themselves at the end.  I wasn't very familiar with the play (other than the well-known quotes "et tu, Brute," "beware the ides of March," and "friends, Romans, countrymen, lend me your ears!"), and it's a little too much war and politics for my taste.  (It brought to mind the magnificently epic HBO drama Rome, about some of the same historical figures, which I also remember loving except for all of the war and political drama.)  That being said, The Acting Company once again brings an energetic,  vibrant interpretation of Shakespeare to the Guthrie as one of the stops on their tour around the country.

Last year The Acting Company performed two Shakespeare plays in repertory - the hilarious slapstick comedy The Comedy of Errors and the classic romantic tragedy Romeo and Juliet.  Four actors from last year's troupe return this year (including Juliet herself, Kaliswa Brewster as Caeser's wife, et al), joined by some familiar faces as well as some new ones.  It's a great ensemble, led by Bjorn DuPaty as the powerful, charismatic, and doomed title character.  But despite the title, the star of the play is Brutus, the conflicted friend of Caesar who loves Rome more than he loves Caesar, and therefore conspires to kill him to save the people of Rome from his tyranny.  William Sturdivant (a graduate of the U of M/Guthrie training program who's appeared several times on the Guthrie stage) makes this conflicted character completely believable, embracing Caesar even as he delivers the final blow, following through with what he started until the situation becomes hopeless.  Zachary Fine gives a wonderful performance as Mark Antony, who grieves for Caesar and promises to avenge his death.  He gets to play a wide range of emotions - devastated, angry, compliant, defiant, persuasive - and reels the audience in every time.  Kathleen Wise, one of only three women in the cast, also gives a fine performance in a short scene as Brutus' wife and as several other characters.

This is a modern-day production of an ancient story.  Contemporary clothing (the men in sharp suits, the women in business attire or beautiful dresses), cell phones, and a block of video screens make the drama feel current.  Walking into the Dowling Studio at the Guthrie, cable news pundits are displayed on the video screens, and the play opens with a demonstration by cheering young people with signs.  It seems like a pretty high tech show to tour with, but it's a nice element that adds to the play.

The moral of the story (if there is one) - violence begets violence.  An arguably noble act leads to more destruction and war, the very thing they were trying to avoid.  That's an idea that is, unfortunately, timeless.  Julius Caesar plays at the Guthrie through the first week of February, and then continues on tour around the country, ending up in New York City in April.



*I received two free tickets to this play as part of "Blogger Night at the Guthrie."

"Romeo and Juliet" by The Acting Company at the Guthrie

The Acting Company, a touring company out of NYC that travels around the country presenting classical works of theater, has spent the month of January at the Guthrie Theater.  I saw them a few weeks ago doing Shakespeare's slapstick comedy The Comedy of Errors.  I enjoyed the talented young cast so much that I had to go back to see the other show they were doing in repertory - Romeo and Juliet.  It was fun to see familiar faces in totally new roles, and although this play had a completely different tone, they again did a wonderful job and worked well together.

Our Romeo (Alejandro Rodriguez) and Juliet (Kaliswa Brewster) had pretty minor roles in The Comedy of Errors so I wasn't sure what to expect from them.  I was impressed by both of them.  They look the part of the young lovers and were believable falling in love, which quickly turned to despair.  Alejandro went from the carefree and blissful youth to the man in anguish at losing his love, literally writhing on the ground and sobbing.  The plum part of Juliet's nurse was played by Elizabeth Stahlman with great humor and energy.  Sid Solomon played Romeo's kinsman Mercutio with much of the same mannerisms as he had in Comedy, which I probably would have enjoyed more had I not been reminded of his previous character.  But he also played the Prince, a role in which he was almost recognizable.  Elizabeth Grullon played the boy Peter, a fun change from her vampy role in Comedy.  The delightful Comedy clowns Stephen Pilkington and John Skelley played the smaller but still entertaining roles of Romeo's pals.

Whenever I see Romeo and Juliet I get frustrated by all the near misses and how differently things could have turned out.  Like maybe this time, the Friar's message will get through to Romeo so he'll know Juliet is not really dead.  Or Juliet will wake up just a few minutes sooner, before Romeo has a chance to drink the poison.  Or better yet, the Friar will suggest that Juliet sneak out of her house and run away with Romeo instead of the preposterous plot of faking her death.  But it never happens; everything goes wrong and the love story ends in tragedy.  That's what makes it so deliciously heartbreaking.

After this week the company moves on around the country with their two plays, until they end the season in NYC in April.  Check out their tour itinerary to see if they'll be at a location near you.

"The Comedy of Errors" by The Acting Company at the Guthrie

I didn't know Shakespeare wrote slapstick comedies.  But The Comedy of Errors certainly is that, at least as performed by The Acting Company at the Guthrie Theater.  Complete with pratfalls, silly noises, sight gags, bawdy jokes, and plenty of actual slaps, it's way more fun than Shakespeare should be.  The Acting Company is a touring company out of New York City that tours the country with classic theater, "offering opportunities to young performers to play classical roles in major productions."  Many of the cast members are graduates of the U of M/Guthrie training program.  They're spending the month of January at the Guthrie doing The Comedy of Errors and Romeo and Juliet in repertory.  I wasn't planning to see Romeo and Juliet, thinking one show would be enough, but I really enjoyed the bright, young, charismatic cast.  I'm curious to see them in different roles in a more serious play, so I just ordered my ticket for Romeo and Juliet.  They've got an unusual number of weekday matinees on the schedule, which I imagine means a lot of school groups are coming in - always a great thing.  Next destinations on the tour are Brainerd and Madison, followed by a few more Midwest stops before a return to the East Coast.

The Acting Company cast

The Comedy of Errors features typical Shakespearean mistaken identity confusion, times two.  Two sets of twins are separated at birth, one set the "master" and the other set hired (bought?) by their parents to be the "servants."  One of each ends up with each parent, who are separated, never to meet again.  Until 25 years later.  Somehow the twins ended up with the same name, so when Antipholus and Dromio arrive in Ephesus, they're instantly mistaken for the Antipholus and Dromio who live there, and can't understand why everyone knows them but they don't know anyone.  Even Antipholus' wife is fooled, and is not happy when her husband doesn't want to come home for dinner.  Meanwhile, the "real" Antipholus and Dromio are locked out of their own home (because they're already inside) and are exasperated when people start accusing them of things they haven't done.  At times the wrong servant approaches the wrong master with something entirely other than what he asked for.  Much hijinks and confusion ensue, until after 90 minutes the two pairs meet in a hilarious scene where, after a moment of confusion, all is set right.

The four actors playing the twins are all wonderful.  John Skelley, one of my new faves (The Importance of Being Earnest and The Two Gentleman of Verona at the Guthrie), plays one of the Dromeos along with Stephen Pilkington.  Both are very funny and good at taking a punch.  Our proud and put-upon Antipholuses are Jonathan C. Kaplan and Jason McDowell-Green.  The four have great chemistry with each other, and are obviously having a good time with this show.  An interesting thing is that a few of the actors speak with British accents, while most of them do not.  I assume it was each actors' choice, and somehow it works.  Other highlights in the cast include Sid Solomon as the smarmy jewelry salesman, Whitney Hudson as Atipholus' wife who can't understand why her husband is acting so strangely, and Elizabeth Stahlman as her loyal sister, who can't understand why her brother-in-law is confessing his love for her! 

This is my first time seeing The Acting Company, and I like them.  I like what they're doing.  I look forward to Romeo and Juliet in a few weeks, as well as seeing what they'll do next year.