Bard Bytes
Actor's Theatre of Phoenix' "The Complete Works of William 
Shakespeare (Abridged)" at Herberger Theater
** (out of *****)
Mark S.P. Turvin
(w) 965-1021  (h) 894-5443
I can be reached for comment via e-mail at: mspt@asu.edu

	In 1987, three California actors decided to pull off one of 
the most difficult feats ever; they were going to perform all 39 
plays by William Shakespeare in one evening. To call their work an 
abridgment is similar to calling the Grand Canyon a hole in the 
ground. To pull-off such a stunt, they performed their own kind of 
an intellectual "Cliff Notes" using many different styles, and 
performing all of the various parts by themselves. Into one ten 
minute sequence, they managed to condense all 18 comedies into one 
play. They also presented "The Tragedy of Titus Andronicus" as a 
cooking show, a rap version of "Othello," and performed "Hamlet, 
not once, but four different times, with one of those times done 
backwards. The physical, farcical and hilarious show that these 
three actors wrote has since been performed around the world, 
often by the original cast. It seemed a natural for Actor's 
Theatre of Phoenix to take on this very funny show, judging from 
some of its past successes with similar comedies and farces. 
Unfortunately, though, there is no sure thing in theatre.
	In an attempt to make the show a bit more topical, some of 
the punchlines and many sight gags and jests were "updated" to 
current references, some seemingly ripped from the headlines of 
yesterdays newspaper. In doing so, though, some jokes in bad 
taste, others of unimpressive quality were added by an unbilled 
source, though one suspects director Jeff Steitzer and the cast of 
Gerald Burgess, Jon Gentry and Scott Hopkins. The result is a 
mixed bag of misfired jokes, uninspired performances, and the kind 
of sluggish pacing one would expect from a retirement home's 
presentation of "Hamlet." 
	ATP's workhorse, Gerald Burgess, seems ill-at-ease in his 
physical role, and appeared forced as he tried to drive the show 
along with about half of his usual charisma. Ironically, though, 
his performance was the best of the three. ATP newcomer Scott 
Hopkins had some genuinely funny moments, though many of the lines 
that came from his performance rung hollow, sounding too over-
rehearsed and lacking the necessary impromptu feeling that this 
script requires. Even worse, the normally strong Jon Gentry 
performed his crucial role of all the women's parts with the 
energy of a wet match, and when he was loud enough to be heard, he 
was unbelievable enough to make the audience wish that he'd be 
even quieter still. 
	Admittedly, the performance was a Sunday matinee, but even 
with this in mind, there's still no excuse that people paying this 
much for a highly touted and anticipated production should have to 
slowly come to the realization that the best bit was the opening 
"Romeo and Juliet" sequence. The entire second act of the play, 
during which "Hamlet" is performed four times, had the potential 
of salvaging the show, but it seemed the actors had already given 
up on that afternoon's performance.
	Director Jeff Steitzer is not without blame, either. In 
addition to his questionable (though possibly necessary) editing 
of the script, he didn't seem able to elicit a believable 
performance from even one of these three talented actors. 
	Even more depressing was the unimpressive scenic design by 
Gage Williams, which brought back once more the pendulum effect 
first established with ATP's "All in the Timing," except with a 
giant rendition of the Bard's head as the bob. Little else on 
stage warranted comment. A bit better was Paul Black's lighting 
design. While there was nothing of note to mention in its defense, 
there were no major disappointments, either. Susan Johnson-Hood's 
costumes and Chris Clark's wigs were appropriately period, but 
went against the original productions near-to-none costume and wig 
theme which allowed the actors to work without the confines of 
quick-changes. It almost seemed once again as though ATP wanted to 
justify the higher ticket prices with unnecessary costumes and 
wigs. 
	I had really been looking forward to this production. It was 
my first time seeing this play, and after all of the wonderful 
things I'd heard and read about it, I thought that this would be 
the ideal situation for experiencing this play in Phoenix. My 
disappointment is doubled with the realization that this play may 
never again be performed in Phoenix. For a potential audience 
member, is the threat of not seeing this sensational work more 
important than this productions sub-par conditions? Ultimately, 
I'd have to say that it might be better to wait and hope that a 
better production comes along.

Production Details:
"The Complete Works of William Shakespeare (Abridged)" by Jess 
Winfield, Adam Long and Daniel Singer
Actor's Theatre of Phoenix
Herberger Theatre, Phoenix
253-6701
January 24th-February 9th

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