Led by Esther Williamson (Viola) and Tonya Beckman (Olivia), the strong cast under the direction of Michelle Stupe spoke their lines flawlessly and without missing a beat in the sold-out show I saw Saturday.
Taffety Punk is arguably the best entertainment value in town. The company’s innovative, polished performances of Shakespeare consistently satisfy, and at $10 for a ticket, it’s a theatre-lover’s dream.
I got a particular kick out of Sir Toby Belch, whom Ian Armstrong played as a guitar-strumming rocker and 24-hour party guy singing many of his lines. His sidekick, Sir Andrew Aguecheek, in an excellent performance by Jared Mercier, was hilarious alongside the witty Maria, superbly played by Jennifer Hopkins.
Kimberly Gilbert delivered an interesting, thoughtful interpretation of Festes, the Fool, and once more demonstrated her fine musical talents. She has a wonderful voice. Dan Crane (Sebastian), Ricardo Frederick Evans (Duke Orsino), and Robert Leembruggen (Antonio) were also very good, making for a solid cast all around.
For me, however, Daniel Flint stole the show as the much abused Malvolio.
The scene in which Malvolio reads the letter Maria has written in Olivia’s hand, tricking him into thinking Olivia is in love with him, was one of the best Shakespeare scenes I’ve watched in recent years. Crane was very convincing as the duped suitor with laugh-out-loud results, his performance reminding me why Twelfth Night is the Bard’s funniest play.
This show is a two-thumbs up. It runs through February 23. I hope you can still get tickets!
“What I have done is yours, what I have to do is yours; being part in all I have, devoted yours,” Shakespeare wrote to Southampton in the dedication of Lucrece.
While Venus and Adonis tells an amusing story of seduction, Lucrece presents the grim tale of Lucrece’s rape by Sextus Tarquinius, the lust-driven son of the reigning Roman king, and her subsequent feelings of shame and self-blame that lead to suicide. Her death causes the ouster of the Tarquins from power in Rome, after which the “state government changed from kings to consuls.”
In a 1964 biography of Shakespeare, A.L. Rowse writes of Lucrece, “There is clearly a deepening experience behind this poem, a greater knowledge of the shadowy side of life, the exploration of sin and remorse, the full realization of consequences, as always with [Shakespeare].” David Bevington, in his 1997 introduction to the poem, says that “Shakespeare’s real interest is not in the characters themselves so much as in the social ramifications of their actions.”
Drawing parallels in the poem to the abduction of Helen and the Trojan War, Shakespeare’s Lucrece shows how outrageous behavior that’s unbecoming of nobility makes not only for personal tragedy, but also takes down the royal powers that be.
“[T]he piercing of the virgin’s veil or exposure of the queen as a whore – symbolized by the rape of Lucrece – could lead to the end of Elizabeth’s reign, even to the end of monarchy itself,” writes Beauclerk.
It’s a startling interpretation, but then again Shakespeare most often wrote about nobility, particularly the English nobility in his numerous history plays. A poem dedicated to a nobleman that attempts to symbolize Queen Elizabeth through the veil of verse seems an undertaking befitting of Shakespeare, an artist who liked to take risks. One shouldn’t forget the trouble his Richard II stirred when it was publicly performed — with the incendiary scene of the King’s deposition — on the eve of the Essex Rebellion against Queen Elizabeth.
I caught the opening show last night and recommend seeing this creative melding of Shakespeare and rock music. You’ll need to act quickly, there’s just five more performances.
Backed by original music performed by Marcus Kyd on guitar (Kyd also directed), Kimberly Gilbert on bass, and Dan Crane on drums, Tonya Beckman is an engaging narrator of Lucrece. Joel David Santner is compelling as the rapist Tarquin, and the physical struggle between him and Lucrece, played by Gilbert, is skillfully handled by the actors as they stay in synch with the part-dialogue, part-narration story-telling. Katie Murphy dances gracefully as “Lucrece’s shadow” under the choreography of Erin Mitchell.
Gilbert is outstanding as Lucrece. I found her singing quite moving (“In vain I rail at Opportunity/At Time, at Tarquin, and uncheerful Night”). Like the notes of her bass guitar, Gilbert’s words don’t miss a beat.
Taffety Punk is to be applauded for their bold yet faithful adaptation of Lucrece and infusing Shakespeare with new energy. I hope the company continues on their unique path.
William Shakespeare, rock thee on!
"When such a spacious mirror's set before him, he needs must see himself." Antony & Cleopatra (V, I)