The quality of Merchant

"Another gem of the show is Alysa King’s portrayal of Portia, a rich heiress with a genuine and sassy confidence."

BY CHLOE CAMPION CONTRIBUTOR, THE JOURNAL

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Ryan LaPlante, Erik Smith and Austin Schaefer in Vagabond’s production of The Merchant (Supplied)

Vagabond Theatre Company’s final production this season, The Merchant of Venice uses archetypical characters to drive its message home

Recent controversy over Vagabond Theatre’s latest production carries a pang of irony.

Posters advertising the show with an image evoking a Nazi party flag were deemed anti-Semitic by some campus groups and posters were removed from campus after complaints, starting the show off on unsure footing in some ways. Yet in others, the issue underscored the essence of director Nathaniel Fried’s direction with this Shakespearian comedy.

Working with a play as anti-Semitic as The Merchant of Venice is challenging. Intolerance, clearly, must be addressed carefully. Its persistence in society crawls under our skin and tears at our nerves when any warning signs to its presence surfaces. Do we turn away from it and praise benevolence instead? Can we use humour to heal wounds from its wrath? Vagabond’s bold confrontation of The Merchant of Venice’s anti-Semitic nature racks at these tensions. It forces contemplation on intolerance’s reality, roots and effects.

The rumours about this production are true. Shylock not only adorns a fake nose, but devilish horns and Dracula fangs—just in case the audience didn’t catch that there’s almost nothing sympathetic about his character.

In a strong performance by Ryan LaPlante, Shylock is domineering with a dash of humour in his cold calculation. His ridiculous characterization asks the audience to try on 16th-century-tinted glasses and understand the sentiment of the time. As Fried puts it, his portrayal aims to “expose the roots of modern anti-Semitism.” It’s a directorial choice that is sure to spark some conversations.

Another gem of the show is Alysa King’s portrayal of Portia, a rich heiress with a genuine and sassy confidence.

Matt McFetridge also stands out in his deliverance of Gratiano. He’s both cheeky and eloquent as the loyal friend of Antonio and Bassanio.

Comedic additions occasionally distract from the main action of the play, but it’s sharply serious at others. The two suitors who fail to court Portia toll side-kicks whose chiming choruses are very amusing. One is an over-sexed alpha male and the other the epitome of effeminacy.

In their variations of masculinity, the suitors are as abhorrently stereotypical as Shylock. They strengthen the theme of judgment within the play by showing a lighter side to the issue.

Set and blocking are used very effectively. Only a chair and table are used to alter the space of the theatre. The actors heighten drama by utilizing their space creatively. Costumes subtly mix past with present dress to blur the distinction between the two. This simplicity of the design and choreography add to the intimate atmosphere within Theological Hall’s Rotunda Theatre.

The Merchant of Venice is Vagabond’s third and final production this year. It was preceded by renditions of Romeo and Juliet and Richard III.

This production’s confrontational address of intolerance caps off a run of success in their mission; by bringing Shakespeare into contemporary times with cultural references, costumes and relevant social issues the company offers accessible Shakespeare to the Kingston community.

Overall, chemistry between the characters falls short at times but the production’s overall intention is clear. The Merchant of Venice’s anti-Semitic undertones are strongly embraced. In doing so, the production allows both separation and comparison between Shakespeare’s times and ours. It jarringly confronts the deep roots of intolerance and raises questions about its presence today.

http://queensjournal.ca/story/2010-03-12/arts/quality-merchant/

Vagabond Theatre shaking up Shakespeare

"This cast also features several sterling performances. Alysa King is the most passionate and emotional actor on stage so she is properly cast as Romeo, the one who falls in love hopelessly the moment she first sees Juliet."

By Greg Burliuk, Kingston Whig-Standard

The beauty of Shakespeare is that because the language is so powerful and beautiful, ambitious directors can do almost anything with it. It's so common to change locations and periods of the play that it's uncommon to stage it in traditional fashion.

Romeo and Juliet has proven itself particularly adaptable in this regard. There have been both old and young star-crossed lovers. And the play has been set in apartheid Africa, and the Arab-Israeli conflict, not to mention warring New York gangs in the Broadway musical West Side Story.

Kingston's newest theatre company, Vagabond Theatre, has gone one step further. Their production could have been called Romea and Juliet since it is the story of a romance between two young women.

It's an interesting idea. After all, this is a play about forbidden love, forbidden because the two are from families that are warring against each other. Why not extend the notion of taboo a little further by having it a same-sex romance.

If you're going to do that, however, you have to be fully committed. It's not enough just to change all the pronouns referring to Romeo from masculine to feminine. I think director Nathaniel Fried should have found more ways to show that this love is forbidden. Perhaps one of the characters who knows about it like The Nurse or the Friar could somehow show their disapproval.

Making Romeo a female means that there can be more teary grief shown when the body of Juliet is discovered. It also makes Romeo's frequent habit of getting into fatal fights a little strange, although none of her relatives or opponents seem to think so. Romeo's duel with Tybalt is handled well, because the latter is really beating up on Romeo, until she finds a dagger to kill him. In fact, the fight scenes are some of the best moments in the play.

The director has also chosen to set the play in preppie land as many of the men wear sweaters and ties and the women crisp skirts. He also isn't afraid to sex things up, as the character of Mercutio in particular seems to be always grabbing crotches or breasts.

Vagabond is a Queen's student group whose admirable mandate is to present Shakespearean plays. That's a pretty tall task considering making Shakespearean verse palatable to modern ears takes a lot of work. This group does a pretty good job of portraying the emotions behind the words, even if the occasional actor can't help themselves and sets off at a gallop that makes their speeches hard to fathom.

This cast also features several sterling performances. Alysa King is the most passionate and emotional actor on stage so she is properly cast as Romeo, the one who falls in love hopelessly the moment she first sees Juliet. As Juliet, Chance Kellner is less forceful or sure of her lines, but does a nice job of capturing the youth and innocence of Juliet.

More impressive however are some of the supporting cast members. Stealing the show as Mercutio is the company's coartistic director (along with Fried) Ryan LaPlante, who when we first meet him, is heading to a masquerade ball dressed as The Joker from Batman fame and channels the late Heath Ledger with the same kind of outrageousness. LaPlante's Mercutio is a libertine with a quick temper and is mesmerizing every time he's on stage.

I also enjoyed Erik Smith as the dictatorial Capulet, who drives his daughter Juliet into drastic action; and Brett Payette as Nurse, she of the sharp tongue and mischievious nature.

The stage is empty but for the odd chair or bed that is taken on and off the stage, plus a beautiful abstract backdrop.

On its website, Vagabond promises two more plays this season, the next one being Richard III. There's still work to be done, but the company is off to a rousing start.

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Romeo and Juliet

A play by William Shakespeare Director:Nathaniel Fried

Stage Manager:Rebecca Whaley A Vagabond Theatre Production now playing at the Wellington Street Theatre until Nov. 7 with performances from Tuesday to Saturday at 8 p. m. and matinees Saturday and Sunday at 2 p. m. Cast

Romeo Alysa King Juliet Chance Kellner Mercutio Ryan LaPlante Nurse Brett Payette Tybalt Reece Chico Presley Capulet Erik Smith Rating:* * * out of five

http://www.thewhig.com/2009/10/31/vagabond-theatre-shaking-up-shakespeare

New take on Romeo and Juliet

"Chance Kellner as Juliet and Alysa King as Romeo are particularly strong in the famous roles."

BY JAKE EDMISTON ASSISTANT SPORTS EDITOR, THE JOURNAL

Vagabond’s adaptation of Romeo and Juliet uses minimalist costume and set designs to focus attention on the actors and stylistic choices specific to the production. (Lauren Miles)

With two women in the title roles, Vagabond’s adaptation of Romeo and Juliet will undoubtedly leave audience members asking questions

If you’re expecting gory fight scenes with blood squirting into the audience, you’ll be disappointed with Vagabond’s production of the William Shakespeare classic, Romeo and Juliet. Directed by Nathanial Fried, the company’s lack of big-budget features doesn’t mean it’s not worth seeing. There’s no elaborate set or costume design. There’s no orchestra pit—but there’s charm.

The debut play from the recently-founded student-run Vagabond Theatre Company takes risks and daring directorial choices instead of hiding behind the text of a typical Shakespeare interpretation. It makes a simple twist of the classic that sends you out of the Wellington Street Theatre asking questions rather than raving about the choreography.

In their adaptation, Romeo and Juliet are both played by women. And that’s not the only change. There are plenty of other directorial choices that go against a tradition adaptation.

There’s oral sex and there’s a pirate.

The piece uses a meagre set with a single backdrop, that combined with scarce use of props, forces the audience to focus very intensely on the acting. The cast, composed entirely of Queen’s students, presents a solid overall performance. Chance Kellner as Juliet and Alysa King as Romeo are particularly strong in the famous roles. Vagabond co-founder Ryan LaPlante’s haunting performance as Mercutio alone makes the play deserving of an audience.

The intimate atmosphere of the Wellington Street Theatre, a former church, is the right canvas for a play that would be out of place in a larger theatre. It’s too organic for that. The rejuvenation of the old church into a theatre space mirrors the renovations the play undertakes.

The pastel-coloured costuming choices are reminiscent of country-club attire and mimic the bare-bones aesthetic of the overall concept.

At times, it’s hard to understand the reasoning behind Romeo’s gender change. A change to the script makes it clear the character is indeed to be interpreted as female as Romeo is referred to as ‘she’ rather than ‘he.’ Gender-blind casting is not in effect, which would make it seem as though there are specific reasons why Romeo is now a female. However, these reasons aren’t always clear. When it comes down to it, the two star-crossed lovers are still kept apart because of family feuds rather than social constraints.

Other choices also seem confusing.

Mercutio is dressed as The Joker, from the latest instalment of Christopher Nolan’s Batman. The connection between The Joker and Mercutio was hard to make, but LaPlante’s performance was booming and energized nonetheless. Whether the directorial aims of Vagabond’s other co-founder Nathanial Fried are achieved is irrelevant. The direction is still successful because it’s stimulating. Regardless if some conclude the commentary on modern social structure to be non-existent and the risks the play takes to be in vain, the choices still evoke thought.

It’s a refreshing alternative to blockbusterism. Without explosions or actors suspended by wires, the cast of Romeo and Juliet still created two worthwhile hours.

The company is founded by two students. Its cast is students. There’s something rewarding about experiencing a learning process that has the potential of progressing to something genius.

Fried will host a director’s talk after every show to answer questions from the audience.

Romeo and Juliet is one of three installments by Vagabond and its cast. This month’s production will be followed by Richard III in late January and the Merchant of Venice in mid-march.

The ability of two fourth year Queen’s drama students to raise a theatre company from grass is a statement. Vagabond’s Romeo and Juliet is the first sentence.

Romeo and Juliet runs from today to Nov. 7 at The Wellington Street Theatre, with matinees tomorrow, Sunday and Nov. 7 at 2 p.m. All other performances begin at 8 p.m. Tickets are $15 general admission and $12 for students and seniors and are available from Destinations and at the door.

http://queensjournal.ca/story/2009-10-30/arts/new-take-romeo-and-juliet/

Shakespeare's very gory story

"Stealing the play every time they're on stage as the incestuous siblings are Alysa King and Matt Stewart, who slither and slide across the stage"

By Greg Burliuk, Kingston Whig-Standard

Titus Andronicusis said to be William Shakespeare's earliest tragedy, so it reveals a young man experimenting with his craft.

It's also one of The Bard's least-performed plays. It's so over-the-top gory that a Shakespearean critic once wrote that it should be played for laughs and directed by Mel Brooks, whose films likeBlazing SaddlesandYoung Frankenstein were loaded with yuks.

Blue Canoe Productions decided not to go the satirical route with its presentation of this Shakespearean play.

Instead, director Ryan LaPlante and his team have come up with a stylish, well-thought-out production that adds a couple of new wrinkles to the play.

It seems as if Shakespeare wrote this play determined to have a killing every two pages of the script.

Titus Andronicus is a Roman general who has just returned home after 10 years of fighting with the Goths. He has brought captives, including Tamora, Queen of the Goths. Despite her entreaties, Titus decides to sacrifice one of her sons in honour of the sons the general has lost in the wars.

This earns the undying enmity of Tamora who soon finds herself in power as the wife of the new Roman emperor Saturninus.

Tamora has lots of allies to help her out, including her Moorish lover, Aaron, and her children, Demetrius and Chiron. Their voyage of revenge litters the stage with bodies. When Titus finds out what they have done, his reprisal is equally as ruthless.

Director LaPlante has trimmed the script from 4 1 /2hours down to 2 1 /2 hours.

He's made Aaron the Moor an albino with tattoos covering his face and every visible part of his body, looking like a refugee from professional wrestling.

In Shakespeare's version, Tamora's two surviving children are rapacious guys, but LaPlante has turned them into an incestuous and very creepy brother and sister.

He's also made excellent use of the uniqueness of the Wellington Street Theatre.

How many theatres have you been in where the second level features the pipes of a pipe organ? That may not be feasible for most plays but it works perfectly here, especially in a couple of weird scenes with the incestuous brother and sister.

The set is a series of boxes, which are moved around accordingly, and one even serves as a pit for a key plot element. And I like his use of entrances and exits as parades to show the formality of life in Roman society.

To ratchet up the ominousness of the play is a continuous soundscape by David McWilliams, electronic music that sends a little shiver up your spine, just in case you lose track of the bodies periodically littering the stage.

The play has a large cast of 22, all of which throw themselves into their parts with vigour. However, sometimes that can mean rushing your lines, which isn't a good thing with Shakespeare.

Reece Presley plays Saturnius the emperor with ferocity, but at one point, he read a letter so fast I couldn't understand a word.

If there is a weak link to this production, it's that the actors, all of them Queen's students, need to keep working on how to say their lines to make them clearer to the audience.

At the same time I enjoyed a lot of the performances.

Tattoos aside, Nathaniel Fried is pretty scary as Aaron, and he is the one who makes the most sense of his lines. As Tamora, Sarah Bruckschwaiger is piteous, two-faced, nasty and always watchable. As Marcus, Titus' brother and the conscience of the play, Mark Rochford is highly empathetic.

As Titus, Robert Elliott is solid but needs to work on giving a more varied performance, especially when he pretends to go mad. Stealing the play every time they're on stage as the incestuous siblings are Alysa King and Matt Stewart, who slither and slide across the stage like a pair of horny snakes.

I'd love to see this team hook up another time with a more modern production because there's obviously a lot of talent here.

As it is, this production ofTitus Andronicusis highly watchable.T

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TITUS ANDRONICUS

A play by William Shakespeare Directed by Ryan LaPlante Produced by Michael Sheppard Set design by Steve Sullivan Sound design by Andrew McWilliams

Stage manager -Linzi Leclerc

A Blue Canoe Productions production now playing until Jan. 17 and the Wellington Street Theatre, 126 Wellington St., with performances from Tuesday to Saturday at 8 p. m. and matinees on Saturday and Sunday at 2 p. m.

CAST

Titus Andronicus -Robert Elliott Tamora -Sarah Bruckschwaiger Aaron -Nathaniel Fried Marcus -Mark Rochford Lucius -Austin Schaefer Lavinia -Rozena Crossman Chiron -Alysa King Mutius -Peter Nielsen

Rating: 3 1 /2 outof five

http://www.thewhig.com/2009/01/10/shakespeares-very-gory-story