THEATER REVIEW: CSC’s Movable Shakespeare’s RICHARD III

“No beast so fierce but knows some touch of pity. But I know none, and therefore am no beast.”
― William Shakespeare, Richard III

There is no shortage of villains in the oeuvre of the writer known as William Shakespeare. From the machinations of Hamlet’s Uncle-cum-Father who puts Hamlet ‘too much in the Sun’, to the deviousness of Othello’s ‘trusted’ Iago, to the bloody, eye-plucking Cornwall in King Lear, but none are so ever quotable, and perhaps as eminently watchable as Richard III, who is of such expanse in his villainy that he is the star of his own self-titled play, rather than just a player in another character’s tale.

And this comes to life in florid detail in the Chesapeake Shakespeare Company’s unique production of RICHARD III. Directed by Ian Gallanar, one of the CSC’s founders, RICHARD III is presented in a ‘movable’ style that puts the audience, truly in the heart of the action and makes them mute(and not so mute) chorus to this tale of treachery and tragedy.

Taking place in the ‘haunted’ ruins at the Patapsco Female Institute Historic Park in Ellicott City, Maryland, beneath the stars and the eyes of God, it is truly a presentation to remember. Particularly on a good, clear fall night (which we were blessed to see it on) with the wind picking up just a little, and showering Richard III with leaves, almost on queue, as he woos a man’s widow over his corpse. Ay, it’s a great thing, when the heavens provide your special effects.

And the whole play went thus, as a crowd of over 100, moved from picturesque room or steps or courtyard, moved from scene to scene, and watched actors of talent and temper… a tale unfold.

And before getting into the actors, a bit more on the setting.

Ellicott City is a 30 square mile area, more loose community than incorporated sub-division, that traces its history back to its founding as a Flour Mill back in 1772 by Quaker Brothers named Ellicott. Nestled in the Baltimore-Washington bosom, the area is rumored to, like Rome, be built on seven hills.

So this is no concrete jungle or ‘great white way’ for your theatrical experience, it is a beautiful and languid tree-lined drive, followed by a pretty spooky uphill walk to make the (typically) 8pm showing, that takes place in the Grecian tinged ruins of the Patapsco Female Institute.

So that is the stage, not New York, or Charlotte, or DC or LA, but the woodlands of Ellicott City; and the PFI Historic Park is a stage worth traveling to see.

Now for those who prance upon that stage.

While there are many strengths to an outdoor production, there are also obvious weaknesses. There are minor moments of congestion and confusion inherent in herding a hundred people to and fro, and that very act of going in and out of the ‘reality’ of the play, perhaps can limit how engrossed the viewer can get into the play.

However I think the immediacy of being ‘in’ the play, and viewing that closely the actors and interacting in their space, compensates for any loss of concentrated immersion in the piece.

However one other weakness of an outdoor production, is the sound. Without the acoustics and sound system of a real theater the actors have to project to be heard, particularly should the weather pick up. Some actors were better at doing this than others. Some actors needed to project better. And some actors were stellar.

The word stellar has to be kept close to the name Vince Eisenson who stars as the titular Richard the IIIrd. He has, as expected, to carry much of the play, much of the language, much of the energy. It is a ponderous role to undertake, and Eisenson manages not just to suffer the weight of the role, but to carry it as if he was born to it.

Part of this may have to do with his youth, but more than that Eisenson’s Richard is a far more vibrant and lively Richard, no less tortured than other actors who have portrayed the character, but there is a sophistication there, a deft touch to his portrayal, that eschews mustache twirling, that makes the character’s ability to charm and deceive, more believable here.

Also of note is the performance of Associate Director Scott Allan Small, as he makes the role of Buckingham, that I think can often come off as no more than a yes man, into one of the formidable figures of the play. He particularly just shines in the scene where he mixes with the audience as he ‘attempts’ to get Richard to accept the crown.

Also the scene where Buckingham draws the line at the slaying of children, and demands his due of Richard, I thought was just played beautifully between the two actors of Eisenson and Small. The physicality of how they played that role, with Buckingham played as the brick wall in that scene (like Marvel Comics’ Kingpin transplanted to Shakespeare), against Richard’s flowing water, that seeps into the brick… and breaks it all to pieces.

And the CSC performance is filled with such capable actors, among them Dave Gamble, Greg Burgess, and Jamie Jager in a passionate performance as Richmond. Another highlight scene is with Ron Heneghan delivering a very captivating performance as the imprisoned Clarence; it takes place in a fireplace dominated prison opposite equally entertaining performances by Bart Debicki as Brackenbury (the lieutenant of the tower) and the actors playing his assassins (Rebecca Dreyfuss and Jared Murray).

All in all, a thoroughly enjoyable and recommended production, by a theater company I do not think you would be wrong, in calling world class. And this is typified by the fact that the last few performances of their RICHARD III (ending the weekend of this writing) are all sold out.

But don’t mourn too much, if moved by this review to sample the Chesapeake Shakespeare Company in the future and will be visiting the East Coast, 2013 brings new CSC productions of Shakespeare’s classic plays, among them ANTONY AND CLEOPATRA and THE TAMING OF THE SHREW.

And If RICHARD III is a gauge, both shows will be much labored over in their construction, and much loved in their delivery.

Accolades go out to communications Director Sandra Maddox Barton for all her assistance, in making this review possible.

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DVD OF THE DAY : PASSING STRANGE Greatest Rock Opera EVER!?!

“I Wish we could talk about how the means will not prepare you for the ends.
how your epiphanies will become fair-weather friends.
how death will make you lower your defenses.
The only truth of youth is the grown up consequences”
—PASSING STRANGE

“I will see her again. Because life is a mistake, that only art can correct. I will see her again.”
—PASSING STRANGE

I just saw one of the most brilliant things ever.

Simply devastating.

PASSING STRANGE is a DVD that I picked up today. Directed by Spike Lee it’s a filmed play, that I had never heard of before, but has by all reports been a smash hit sensation on Broadway. I’ve passed on this DVD a couple times, mainly because 1/I’m not a fan of filmed plays and 2/Spike Lee has been on my bad side, ever since his awful mangling and failure that was MIRACLE AT ST. ANNA.

But today I decided to give the dvd PASSING STRANGE a try.

Man.

Man.

Stunning. Simply stunning.

Created by singer/songwriter Stew, PASSING STRANGE is a semi-autobiographical Rock Opera, that takes you on a journey of one man’s search… for the real; that becomes all our journeys and all our mistakes. Highlighted by a phenomenal cast, avant-garde and stunning script/design, and brilliant music and direction. It is the tale of coming of age, told unlike any I have seen before. A minimalist play/tale that spans LA to Amsterdam to Germany, and spans distances not measurable in miles, and times that can not be captured in years. PASSING STRANGE devastates With humor, hunger, poetry and pain. And Love. And Love.

And raw effing POWER and ENERGY.


“I’ll live in vans crammed with guitars.
I’ll sleep on floors and play in bars.
I’ll dance to my own Metronome
Till Chaos feels like Home!”

“You know what’s weird? When you wake up that morning and realize your entire adult life was based on a decision made by a teenager.”
—PASSING STRANGE

Words just do not do it justice.

I have got to see anything this playwright/troupe ends up doing in the future.

Brilliant.

Been a long time since I’ve been to a concert or a play, several months, long time since I’ve felt… moved. Art when it’s good, when it is really, really good; can change the contour of your soul and the breadth of your reality.

At 14 it would have changed my soul, and at 400 :), I find, much to my surprise, it still has the power… to change my soul. 🙂

It can make you reevaluate your status quo.

And make a change.

PASSING STRANGE is art.

And Spike Lee manages to capture, brilliantly, the last night, and by all reports one of the greatest nights of the play.

Highest Recommendation.