Measure for Measure
Circle In The Square theatre students
excel in adding comedy to a dark Shakespeare play
Shakespeare’s comedies are known for being, well, not exactly
comedic – often rather dark, with touches of humor in the
dialogue if you know what you’re hearing. In modern comedy
performance, Shakespearean theatre is more easily digested and
enjoyed as comedy when inspiring a group like Improvised
Shakespeare (see review,
8/12/09).
The Circle in the Square Theatre School’s brief production of
“The Two Noble Kinsmen,” seen May 29 and running just through
May 31, succeeds in some respects in taking on the challenge of
playing up the comedy in Shakespeare’s play in a manner in
keeping with modern, and yes, American, sensibilities.
The play is a complex and long one (this production was at least
three hours plus intermission), and the first half felt a bit
scattered as far as connecting the various plots and sub-plots
and making the story and relationships clear. In short, the
kinsmen of the title, fellow Theban soldiers Palamon and Arcite,
captured by the enemy, fall for the princess Emilia when they
see her through their prison cell window. Through circumstances
of battle, and prison escapes, they end up in the court of
Theseus, the duke, and his queen, Hipployta, where they vie to
win Emilia, sister of Hippolyta. There is also the second story,
interwoven, of the jailer’s daughter, who is smitten with
Palamon.
The standout comedic scene in the first half of this production
is one where Palamon and Arcite, imprisoned, argue over who saw
Emilia first and who should get the first chance with her, or
have the right to woo her. Even as they’re restrained with their
arms handcuffed behind their heads, Sean Loftus as Palamon and
Johnny Viel as Arcite show a fine sense of the absurdity as
their squabble turns into them trying to kick at each other in
futility. The dark comedy of the way they played this could have
fit easily into either a Tarantino movie or a Monty Python
farce.
The second half of the production saw all the threads and plots
come together more readily and the dialogue become more
accessible to the audience, possibly through the actors’
delivery but also through little gestures, as shown by Cecilia
Senocak as Hippolyta, and Seth McNeill as Theseus. At times when
Theseus and advisors are debating and devising how to either
punish Palamon and Arcite (they are from the enemy camp, after
all) or whether to allow one to marry Emilia (who loves them
both and cannot choose), Senocak touches McNeill’s hands or fits
in a subtle expression of reaction to the proceedings, that adds
to clueing in the audience as to which direction the decision
could go.
Senocak scowls quite a bit in reaction to the grave events, but
her great concern for the momentous choice to be made comes
through and the audience feels her sympathy for her sister’s
dilemma. The duo of Senocak and McNeill also have their share of
dramatic fireworks, as in a scene where Theseus reprimands
Hippolyta for her opinion on how to proceed, striking out at
her.
It’s a delicate balance for any actors to emphasize the comedy
in a Shakespeare play, but the students of the Circle in the
Square school do accomplish this in some measures, with this
production. They execute the drama well, and carefully
calibrated the doses of comedy they added to the play.
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