Reviewed 9/30/05
Southwest
Shakespeare Company has been the benchmark of Shakespearean theatrical
presentations in the Valley of the Sun for several years. Where some dabble
and others try, Jared Sakren and his talented company simply
get it, and often close to perfection in the creation. Now the premiere company
has a space worthy of their high level of expectation in the Virginia
G. Piper Repertory Theatre at the brand spanking new Mesa
Arts Center. There are obviously still technical bugs and hitches
that need to be ironed out, especially the sound system, but the Piper’s
garden-themed modified thrust stage with Noh theatre-like ramps has already
proven to be a wonderful asset to the company. Between the comfortable seats,
the lack of airplanes and helicopters streaking overhead, the climate control,
and the extensive lighting system, the space is proving a welcome upgrade.
How about the product they are offering to open the season? This A
Midsummer Night’s Dream is proof that even though they
are the leader of classic theatre productions, they are still able to top
even their own impressive benchmarks.
The cast features a luminary, Bob Sorenseon as a pretentiously pompous Bottom. It also offers the stable of frighteningly talented regulars like Jenn Banda and Maren Maclean in the roles of Hermia and Helena, Kyle Sorrell and Jason Barth as suitors Demetrius and Lysander, Stafford Clark-Price and Andi Watson double cast as Theseus/Oberon and Hippolyta/Titania, and the jocular Cale Epps as Puck. Ultimately, though, the star of this show is Sakren, whose direction of classic theatre uses more realistic vocal presentations and indicative movement to turn Elizabethan English into a treat even Generations X and Y can enjoy.
Sorenson is the selling point, and he delivers a fun performance.
His Bottom starts off full of misplaced self-worth and bravado, huffing through
his initial assertions of acting prowess, and then turns into a Goofy-sounding
ass midway through. Sorenson’s laser-accurate comic timing is vividly on display.
Clark-Price and Watson are incendiary as both the battling lovers, the chemical
reactions between them tangible. Banda and Maclean are very, very funny. Banda’s
trademark voice is less the focus than her overt facial expressions and general
physicality, and Maclean forsakes subtlety for ribaldry to excellent effect.
Sorrell and Barth are not quite as evenly balanced. Both are a little more
withdrawn until their later chase scenes, and even after the comedy becomes
burlesque, they are overshadowed by their female counterparts. The strongest
part of their performances is their action behind the action, when their muted
arguments are hilarious commentary.
The biggest surprise of the evening is also its biggest regret: someone has reined in Epps’ Puck to a large degree. There are more nonchoices than choices in Epps’ work, possibly a mix of direction and acting. Whatever the case, this is a much more laid back, non-threatening Puck than I’ve seen, and it did little for me.
The ensemble is full of mirth and frivolity. Sandy Elias offers an insistent Egeus, making a lot of grand and memorable choices. The quintet behind Sorenson’s Bottom, Michael Bailey, Peter Good, Fernando Tesón, James Landua, and Franc Gaxiola are great support and feature their own moments to shine. The Fairies are all fun, prancing through Noël Irick’s masque-based choreography to Richard Jennings sub-continental Indian-influenced melodies.
The design element is surprisingly mixed. Patrick Walsh and Sakren’s scenic design handles the movement between court and wilderness well, and Paul Black’s lighting is the best I’ve seen from this company. I was surprised by the array of Lois K. Myers and Gail Wolfenden-Steib’s costumes. Some, such as the outfits for Clark-Price and Watson, are lovely and well crafted, while others, such as the gradually decaying outfits for the lovers and the fairy helmets featuring eyes that glowed in Battlestar Galactica Cylon Centurian patterns, were less impressive. It’s obvious that the new space gave enormously talented Stage Manager Ariel Werther fits, as missed cues and mic problems previously unnoticed in his managed shows occurred. I’m certain that as he and his crew warm to the space, these problems will disappear.
Speaking with Sakren after the show, I learned of Southwest Shakespeare’s future plans as necessitated by moving into their new 550-seat space. This troupe will be expanding into a LORT-D company, which means more contracts, bigger budgets, and higher expectations. In my mind, Southwest Shakespeare is already in the realm of companies like Actors Theatre and AJTC. I am confident that the East Valley’s classical company will continue to impress.
