Does life imitate art or is it the other way around?
As Charlie Fee, Idaho Shakespeare Festival’s producing artistic director, began pulling together his company’s 42nd season, women became even more of a force nationally, speaking out about sexual harassment and causing a changing dynamic in Hollywood, politics, corporations and beyond.
The two paradigms converged and Fee ended up with five plays for the 2018 season, each with a dynamic female at the center of its story: “Misery,” “Macbeth,” “Mamma Mia,” “Pride and Prejudice” and “Beehive.”
As things fell into place, “I was like, my God, this is a season of incredible women,” Fee says. “They’re all really, really powerful women — all of them. I find that really delightful and it feels right. I’m glad we’re not doing a season of women victims. These are powerhouse women who are dominating the stage and their lives and the world around them.”
As things unfolded, one show influenced another. It started with “Mamma Mia,” well-known as the ABBA musical, with four strong female characters.
“We had been waiting on the rights for a few years,” Fee says. “I just thought it would be total blast, especially in an outdoor space.”
Set at the center of the season, it must play in repertory with the next production, which traditionally has been a Shakespearean piece. Last season it was “A Midsummer Night’s Dream,” and many of the Shakespearean plays with prominent female casts have already been performed in recent years.
Fee had been talking with Joe Hanreddy, who directed last season’s “Midsummer,” about his adaptations of Jane Austen novels. They landed on “Pride and Prejudice,” and the two productions clicked.
“They’re both about experiences of women in love, in relationships but from wildly different places, and ‘Pride and Prejudice’ has a completely different feeling than anything else we’re producing,” Fee says. “Audiences love them and are dying to see them, really.”
Adapted in 2009, Hanreddy’s “Pride and Prejudice” has been produced at regional theaters across the country, including the Oregon and Utah Shakespeare festivals.
“At the beginning of the season, I knew I was going to do ‘Macbeth’ because of where we are in the flow of the plays,” Fee said. “And last year when I walked into the theater and saw the ‘Hamlet’ set on stage, I thought it would be a perfect space for — many plays — but certainly, ‘Macbeth.’”
He was casting about for a murder mystery when he found “Misery,” William Goldman’s adaptation of the Stephen King novel.
“It has these two phenomenal roles, including this amazing character of Annie Wilkes,” he says – a part made famous by Kathy Bates in the movie version. “So we land ‘Misery’ and ‘Macbeth’ — and it’s also the ‘M’ season — and ‘Mamma Mia,’ and at the same time we were working on ‘Beehive,’ which will be fun and is the right size for the September show.”
“Macbeth” will enjoy a short run in Boise before heading to the Tahoe festival, where it will run in repertory with “Beehive.”
Fee programs the seasons for ISF, Cleveland’s Great Lakes Theater and the Lake Tahoe Shakespeare Festival, and is always working about two years out planning for what the shows might be and how they will travel between the three cities. The current formula has two plays being created in Cleveland, two in Boise and then they swap. A fifth show gets created in Boise and plays Tahoe in repertory with an ISF Shakespeare production.
“Misery,” May 25 through June 23
William Goldman’s adaption of Stephen King’s best-selling novel will lead off the season. In it, a successful romance novelist finds himself at the mercy of his No. 1 fan, who rescues him from a car accident and brings him back to her secluded home. When she finds out he kills off her favorite character in his upcoming book, the author must try to outwit his sociopathic caregiver. Kathleen Prikl Tague will star in “Misery” next year.
“Macbeth,” June 1 through June 23
Fee sets William Shakespeare’s epic tragedy on the Globe stage set that he christened with last season’s “Hamlet.” The production in this intimate Elizabethan setting became one of the hottest tickets of the season. Now, it’s a play that blends magic, madness, politics and the best and worse human qualities into a tale of corruption, murder and heroism. In it the once gallant Macbeth and his wife succumb to their greed and ambition to try and take the crown at any cost.
“Mamma Mia!” June 29 through Aug. 31
Victoria Bussert directs this feel-good musical based on the hits of 1970s supergroup ABBA. It’s set in the Greek Islands at a wedding of the daughter of the former lead singer in a successful rock trio. The daughter wants to find out who her father is — and it turns out her mom never knew. So she adds her mother’s three ex-boyfriends to the guest list, with funny and tender consequences.
“Pride and Prejudice,” Aug. 3 through Sept. 2
Joseph Hanreddy directs his own adaptation of one of Jane Austen’s most beloved novels. Sparks fly when spirited Elizabeth Bennet meets single, rich and proud Mr. Darcy. But there are impediments — his snobbish sister, her pushy mother, class and the social mores of the day and their own pride and perceptions of one another. Mr. Darcy reluctantly finds himself falling in love with a woman beneath his class.
“Beehive: The ’60s Musical,” Sept. 7-30
Bussert also directsthe exuberant, toe-tapping, jukebox musical celebration of the women singers, musicians and the “girl groups” who helped to define a musical era. It features 40 classic chart-toppers, including “Downtown,” “To Sir With Love,” “It’s My Party,” “Where the Boys Are,” “Respect” and more, all performed with Aqua Net-glistening coiffures.
Director Tyne Rafaeli dissected intention moment by moment during rehearsal for Idaho Shakespeare Festival’s “Love’s Labor’s Lost,” a romantic comedy that opens Saturday, June 4. Even after the production played at ISF’s sister company, Great Lakes Theater in Cleveland, there are more depths to plumb as she and her cast translate the piece from a controlled indoor space to the amphitheater.
“It’s going to be curious to me how this lands during tech (rehearsal) because we’re in such a light space,” she tells actors David Anthony Smith and Robyn Kerr, while working a scene between Don Armado and his servant Moth. “I just need to track your relationship more clearly because the environment isn’t doing it for us.”
Rafaeli is an inventive and highly collaborative director who rarely stays seated during rehearsals. She moves around the stage creating a kinetic connection to her actors.
“It’s my process meeting the actor’s process,” Rafaeli says. “I direct the play, and they direct their roles. Inside of that dynamic can be terrifying because there are so many unknowns, but we also can reach heights we never anticipated.”
She surprised the company by coming in on their first day of rehearsal in Cleveland, saying “I don’t know what this play is about, so we’re going to figure it out together,” says actor M.A. Taylor, who plays Nathaniel, one of the clowns in this comedy. “It’s been so much fun and an amazing process.”
“Love’s Labor’s” is considered a problematic play because its hard to grasp what it is really about. On the surface it’s a topical satire about the ruling classes of Shakespeare’s time, which can be arcane to today’s audiences. On another level it is an interesting play about gender, she says. In the play the men vow to spurn women and to inflict a violent sentence upon them if they approach. Of course when the women do arrive the men are willing to do what it takes to win them.
“The more you spend time with Shakespeare you realize his plays are about the most universal human experiences,” Rafaeli says. “What I discovered is a community that are all trying to better themselves as human beings, albeit sometimes misdirected. As soon as I cracked that layer of it — and all of the gender stuff and satire is still inside — but it deepened into a more universal experience about people trying to be better human beings and that true wisdom comes from pursuing your heart, not just your head. That’s an important conversation to have in 2016.”
Rafaeli comes to ISF through a connection with Bartlett Sher, once a resident director at the Boise company and now a regular on Broadway. She’s served as his associate director on the Tony-winning revival of “The King and I” and the current Tony-nominated revival of “Fiddler on the Roof.” She also has a long list of regional theater credits to her name.
Her trajectory to theater is unusual. She grew up in London where her parents — an American mother and Israeli father — were filmmakers. With strong physical abilities, as a child Rafaeli became a gymnast headed for the Olympics, until an injury at 14. To fill the gap in her life, her parents sent her to the theater program at Interlochen Summer Arts Camp in Michigan where she caught the bug. Her next years were spent seeing shows, co-founding a storefront theater company in London, and attending the Guildhall School of Music and Drama.
“Soon into my training I had a light-bulb moment,” she says. “ I thought, ‘They’re teaching me to execute, and I’m interested in conception.’” And that turned everything around.
To ISF she brings her strong physical sense to her work that incorporates music and movement into the action.
“When I’m feeling the need to unlock something, the two places I go for inspiration are dance and film,” she says.
The result is a production that blends elements from all performing worlds.
It is set in a Shakespearean fantastical land where time and space softly collide inside a library being infiltrated by nature. The setting gave license to draw on music by Brooklyn noise pop band Sleigh Bells to ancient Gregorian chants, plus references to Wes Anderson, Bottichelli and Pina Bausch.
“I wanted it to be fresh and accessible without dumbing it down. I wanted it to be moving and to feel relevant,” she says.
Boise fell in love with the Idaho Shakespeare Festival on a “Midsummer” evening in 1977 on a Downtown patio. The summer romance between this plucky, grass-roots theater startup and creative Western town has remained true through changing venues and artistic leadership, financial struggles and encroaching development.
Today, the festival is a vital part of the Treasure Valley’s economy and cultural tradition. A night at its world-class amphitheater is an essential part of summer for many Idahoans. Theatergoers stroll down winding paths, picnic on the riverside patio and take in the beautiful Foothills view along with the high-caliber plays and musicals.
Laura Welsh Berg, Erin Partin, Chris Klopatek, Heather Thiry and Christine Weber in “Love’s Labor’s Lost,” William Shakespeare’s classic romantic comedy about head versus heart. It opens Saturday, June 4. Ken BlazeGreat Lakes Theater
The festival and the city have grown up together, and now the company inhabits a national and local stage. Since taking the helm in 1992, Producing Artistic Director Charlie Fee and Managing Director Mark Hofflund have increased the company’s profile and production values by creating strategic alliances with Cleveland’s Great Lakes Theater and Nevada’s Lake Tahoe Shakespeare Festival, where Fee also oversees artistic decisions.
ISF 2016 season
There are a lot of moving pieces in making a season.
Here’s how it works: The seasons at Cleveland and Boise dovetail into each other September through September. Great Lakes originates two productions, ISF does the same and they swap. Boise stages a revival of a past production and a new show for Tahoe. This year it’s Fee’s bossa nova-infused “Comedy of Errors” and Victoria Bussert’s “Forever Plaid.” The latter will play Boise in September, and Cleveland in May 2017.
“And Then There Were None”: Murder mysteries have become increasingly popular at ISF since Drew Barr’s 2012 production of Agatha Christie’s “The Mousetrap.” The trend continues this season with the Christie classic: “And Then There Were None,” directed by Fee.
“Audiences just go crazy for Agatha Christie,” Fee says.
Fee turned to his core company for this ensemble piece based on Christie’s best-selling novel of the same title. In it, 10 people are lured to a remote island and then murdered one by one in revenge for a death each is accused of causing. Christie adapted it into a play during World War II and was convinced to give the theatrical version a happy ending that is different than the novel.
Fee’s production uses a newly adapted “alternate” ending that takes it back to Christie’s original plot. Friday, May 27, to Sunday, July 31.
“Love’s Labor’s Lost”: The second slot belongs to a comedy. This season he wanted to work with a new director, Tyne Rafaeli, whose career is heating up now. She’s been assisting former ISF resident director and Tony winner Bartlett Sher on his Broadway projects, such as the current “Fiddler on the Roof.”
Rafaeli took on Shakespeare’s “Love’s Labor’s Lost” with a snappy mix of music and theater genres to freshen Shakespeare’s story about four young men who eschew romance for study. That works great until 10 seconds later, when four beautiful women arrive at court. The production features eight young dynamic actors, a mix of familiar and new faces, and the company’s stalwart clowns. Friday, June 3, to Sunday, June 26.
“My Fair Lady”: Since the success of “A Funny Thing Happened on the Way to the Forum” in 2005, the center of the season has belonged to a musical. Fee and Bussert had been looking at “My Fair Lady” for a few years but couldn’t get the rights. Coincidentally, Sher had them tied up for an impending Broadway revival; however, his cast didn’t come together, so he released them and Fee pounced.
“It’s a classic book musical of the Golden Age and the kind of musical we haven’t done,” Fee says.
Alan Jay Lerner and Frederick Loewe based their musical on Shaw’s “Pygmalion,” a play about a linguist who bets that by teaching her to speak correctly, he can pass a Cockney flower girl off as a duchess.
The production features Jillian Kates, who gave a hauntingly luminous performance as Lily in “The Secret Garden,” as Eliza Doolittle and ISF artistic associate Tom Ford as Professor Henry Higgins. Friday, July 1, to Friday, Aug. 26.
“Twelfth Night”: The next spot belongs to one of Shakespeare’s heavy hitters, such as last season’s “King Lear.” Fee was looking for a play for director Barr and chose the gender-bending romantic comedy “Twelfth Night.”
“It’s probably one of his (Shakespeare’s) top five of all the plays in terms of writing,” Fee says.
Barr has created some of ISF’s most memorable shows, including last season’s magical and mysterious “The Tempest.”
Like “Tempest,” “Twelfth Night” involves a shipwreck. Nearly all hands are lost, except for twins Viola and Sebastian, played by Cassandra Bissell and Jonathan Christopher MacMillan, who land on separate parts of the shore of Illyria, each thinking the other dead. Viola disguises herself as a boy and goes into the service of a melancholy duke. What follows is a high-spirited comedy of mistaken identities, romantic twists and shenanigans, and hilarious pranks by some of the bard’s best-written clowns. Friday, Aug. 5, to Sunday, Aug. 28.
“Forever Plaid”: In September, Idaho Shakespeare Festival repertory season closes and a single-run show runs through the end of the month. This September show is Bussert’s production of “Forever Plaid,” the cult jukebox musical about the greatest boy band that never was.
A 1950s-’60s style four-part harmony boy group, The Plaids die instantly when their car collides with a bus load of Catholic schoolgirls on their way to see the Beatles’ U.S. debut on “The Ed Sullivan Show” in 1964.
Cut off just before their first big gig, they make a heavenly comeback because their desire to sing was so strong, and get a chance to sing some of the greatest hits of the golden era of doo-wop in a posthumous performance. Friday, Sept. 2, to Sunday, Sept. 25.
What else is up at ISF
▪ The big news this year is that the Folger Shakespeare Library in Washington, D.C., is sending one of Shakespeare’s First Folios, pictured, to Boise to mark the 400th anniversary of the bard’s death. The Folio is the first printed collection of his 36 plays. Nineteen of the Folger’s 82 folios are on tour, and drawing huge crowds.
In 2012, something magical happened. ISF received a grant from the Laura Moore Cunningham Foundation to fund an innovative idea from Education Director, Renee Vomocil. This idea, aptly named the Helena Project (for the All’s Well That Ends Well and A Midsummer Night’s Dream’s transformative character who holds unwavering hope) aimed to bring Shakespeare’s works to the children at the St. Luke’s Children’s Hospital School. These kids, while receiving treatment for chronic and life-threatening illnesses, are able to continue schooling in the hospital so that they may keep up with classmates and return to school once they are able. Teaching artists from the School of Theater work with students at the hospital to analyze, interpret, and perform Shakespeare’s works. This creative outlet is a healing, artistic way to teach young scholars about the Bard, while helping them find their own voice and inspiration, often times while under intense treatments.
The very year the program began, Renee was asked to present the curriculum to educators from across the country at the annual Folger Shakespeare Library conference for educators in Washington, D.C. The second year of the program, she was asked to speak at a national conference for hospital schools. This past spring saw a poignant, touching video produced, called “A Different Kind of Battle” (see below). This short film aims to spread the importance of theater and Shakespeare in the lives of hospital students.
Carla Hart, the head of the St. Luke’s Children’s Hospital School, is adamant that the Shakespeare program makes a difference. An 11 year-old girl named Grace attended each class and was recovering from a brain tumor. She had never had the opportunity to take a theater class. Grace wore an eye patch as part of her recovery, an accessory that further contributed to her shyness and hesitation to participate. Yet, as the course continued, and she donned exciting costume pieces, Grace lost herself in the characters and gradually came out of her shell, becoming one of the students with the best voice projection.
Shakespeare lived over 400 years ago and often wrote of love, good and evil, laughter, and deep conflict. For sick kids today, fighting their own battles, his voice resonates, gives hope, and enlightens.
Review: Idaho Shakespeare Festival opens a magical, hysterical production of ‘As You Like It’
Dana Oland: 377-6442, Twitter: @IDS_DanaOland
Sweet Arden, William Shakespeare’s enchanted forest, where troubles melt, love letters fall from trees and happy endings are ensured for all, comes to vibrant life in Idaho Shakespeare Festival’s production of As You Like It, which opened to a packed house Saturday night.
Director Edward Morgan makes his ISF debut with As You Like It, his charmingly beautiful reinvention of Shakespeare’s comedy that explores the playwright’s recurring theme of humanity’s intersection with nature. But rather than the fairy magic that alters behavior in his earlier A Midsummer Night’s Dream, it’s the very quality of it that transforms.
That makes the amphitheater’s encroaching trees, chirping birds and shifting natural light feel like a necessary part of Russell Metheny’s rotating set, which takes us from a harsh, early-20th-century factory to a golden daguerreotype-like image of the Adirondack Mountains that glows under Rick Martin’s lighting.
Here, the tyranny of the court is replaced by the oppression of machinery and punch clocks of the second Industrial Revolution, a setting that speaks to us, as we struggle against the tyranny of the ping of texts, email and social media.
Morgan ditched its Elizabethan tunes and inserted appealing American ditties sung by barbershop quartets, trios and a stellar song-and-dance man.
The story revolves around an exiled duke (Dougfred Miller) and his followers, who live a Utopian life in the forest, and a pair of wandering lovers: his daughter Rosalind (Betsy Mugavero), who also is banished, flees disguised as a boy to Arden to seek her father – and on a separate flight to escape the death plot of his brother (J. Todd Adams) – Orlando (Torsten Johnson), the man she loves.
She brings her cousin Celia (Christine Weber) and Touchstone (Dustin Tucker) along, and they meet a bevy of brilliantly funny characters, from melancholy Jaques (David Anthony Smith) to the mismatched Phoebe (Lori McNally) and Silvius (Juan Rivera Lebron).
Mugavero’s Rosalind bubbles with energy and wit as she schools Orlando on how best to woo her; Johnson’s Orlando is unabashedly earnest, and Weber’s Celia is luminous.
Tucker gives a blistering triple-threat performance as Touchstone, who is cast here as a vaudevillian extraordinaire.
As Jaques, Smith mines the deeper irony and humor in the text just with his phrasing and fluctuating tone. His “Seven Ages of Man” speech is worth the ticket price alone.
If you think Shakespeare’s plays are hard to understand, give this one a try. It might just bring you back to the Bard.
This show has a short run – just 12 more chances to see it before it’s off to open Lake Tahoe Shakespeare Festival’s season. It’s really a don’t miss.
Through the ISF Access Program, the magic of summer performances are brought to the Deaf and Hard-of–Hearing
By Cassie Mrozinski, ISF Development Associate
If you have experienced a night of theater at Idaho Shakespeare Festival’s Amphitheater by the river in Boise, you have probably heard many things. The quiet murmurs of an audience as a poignant or shocking moment is revealed on stage…a goose honking overhead during Juliet’s heart-wrenching monologue…the tortured voice of Anthony from Sweeney Todd as “Johanna” is sung clearly and perfectly. Our audience members are here because they crave an experience and most likely, because they love theater. But what if you couldn’t hear that monologue? That song? What if you, too, love live theater, musicals, and an atmosphere like the Amphitheater… but were deaf?
Signing Shakespeare, one aspect of the Festival’s Access Program, ensures that ISF fans who are Deaf and Hard-of-Hearing can enjoy performances every season. Holly Thomas-Mowery, a nationally-certified, seasoned American Sign Language interpreter, leads a talented team of six who spend weeks before each performance studying the script so that they can successfully and artfully interpret the show. Each of ISF’s five shows will have a dedicated interpreted performance with American Sign Language. Click here for full info on Signing Shakespeare and the Access Program.
On June 11, we will be celebrating all components of the Access Program at the theater with a fascinating discussion panel. Participants will include Thomas-Mowery and Steven Snow (Executive Director of the Idaho Council for the Deaf and Hard-of-Hearing) who will discuss Signing Shakespeare; Carla Hart, Head of the St. Luke’s Children’s Hospital School, who will discuss the Helena Project, a theater residency taught by Festival artists at the Hospital School (Click here for an amazing video of the Helena Project); and Judie Mickelson, Event Coordinator at Good Samaritan Boise Village Retirement, who will speak to a complimentary ticket program for people with financial needs. In addition, the forum will feature several ISF actors who will discuss what bringing their work to all members of the community means to them. Please join us for this informative and captivating talk that will begin at 6:45 in the Dell, just outside of the amphitheater.
The culture and excitement of summer theater is an experience not to be missed. The ISF Access Program guarantees that no one has to.
Review: Idaho Shakespeare Festival opens with chills and thrills
The company’s 38th season launches with a production of the comedic Deathtrap.
BY DANA OLAND
June 2, 2014
Idaho Shakespeare Festival has learned a little something about murder mystery in the past few years, with its productions of “The Mousetrap” in 2012 and “The Woman in Black” in 2010. Most importantly, people love them – and they’re best performed in the dark.
The latter task was achieved through Rick Martin’s always brilliant lighting design and clever use of timing. The show starts a few minutes later than usual, intermission lasts a few minutes longer, and by the second act the theater is plunged into darkness so the effects of a new computerized lighting system can work its spine-tingling magic.
And the audience at Saturday night’s opening of “Deathtrap” just ate it up. There were gasps and moments of shocked awe provided by director Charlie Fee’s stylish production.
Stylish is hard to do when you’re set in the 1970s. But this production pulls it off with Russell Metheny’s set – which is part looming Connecticut colonial home, part medieval torture chamber – and Alex Jaeger’s flared pants and Florence Henderson-esque pant-suits. And, of course, Martin’s lighting.
Ira Levin’s comic thriller “Deathtrap” is a play within a play, about a play about a murder – follow? If you did, you might have a chance of holding on during the hairpin turns and plot twists that happen throughout.
The text is clever, self-referential and funny – if a bit dated. But some of the crucial plot points depend on that era’s technology – or lack thereof.
This production that originated at ISF’s sister company, Cleveland’s Great Lakes Theater, is well played by a tightly wound ensemble.
It all hinges on the idea that art imitates life, and vice versa – a duality that provides the engine for the play.
Tom Ford is Sidney Bruhl, a greedy and once successful playwright in desperate financial straits who is willing to do almost anything to produce a hit. Murder? Maybe.
Ford deftly navigates the gray areas in his character, hitting all the right notes between charming victim and menacing adversary.
Attractive ISF newcomer Nick Steen’s Clifford swings between a sweet aw-shucks charm and a cold-hearted deviousness.
Tracee Patterson makes her ISF debut as Myra Bruhl – Sidney’s wealthy, nervous wife – and has the horror scream down.
Lynn Allison provides a huge dose of comic relief with her Dutch psychic Helga Ten Dorp. Her character’s fiery red hair, eccentric clothing and Allison’s spot-on comic timing make you want to see more.
Lynn Robert Berg rounds out the cast as Bruhl’s attorney Porter Milgrim, the character who puts all the pieces together in the end.
Review: Hats Off to ‘Noises Off’ at Idaho Shakespeare
Boise Weekly, Published September 5, 2012
by Tara Morgan
The set for Idaho Shakespeare Festival’s Noises Off feels instantly familiar–like it was borrowed from an old British sitcom. A well-worn couch and a doily-covered recliner rest center stage, framed by seven wooden doors–three upstairs, four down–and a staircase that winds up stage right. A number of bad tapestries, awkward portraits and tchotchkes fill out the rest of the warmly dated space.
And that TV comedy feeling continues as Mrs. Clackett ambles out in the opening scene, wearing a crocheted blanket housecoat and fuzzy pink slippers, her hair in curlers. As she stumbles through her lines and fusses with a plate of sardines, director Lloyd Dallas’ voice booms from above, giving her stage direction.
“How about the words, love, am I getting some of them right?” she asks. “Some of them have a very familiar ring,” he chides.
Clackett, played by the fictional Dotty (who, in turn, is played by ISF vet Lynn Allison), is in the final hours of rehearsal for a farce called Nothing On. Soon, her fellow cast members–a ragtag team of regional theater half-wits clad in vibrant ’70s leisure suits and mini dresses–come stumbling through the set’s doors, botching their lines and timing with equal dedication. As the clock ticks toward opening night, the Valium-popping Dallas (played by Richard Klautsch) gets more and more exasperated.
While the ISF cast makes this play-within-a-play concept look easy–switching between characters and accents fluidly, developing the narrative of the fictional play and the real play in unison–the production requires the technical precision of a ballet.
With every door that slams shut, another one opens. As Clackett leaves the stage momentarily, real estate agent Roger (played by the Ben Stiller-esque Christopher Williams) swings through the front door with a giggling blonde named Vicki (played with robotic vapidity by Betsy Mugavero). The second they duck into a bedroom for an afternoon tryst, the house’s tax-evading owners Phillip and Flavia (played by Shad Willingham and Kathryn Cherasaro) come barging on stage. And things continue in this manner for the remainder of the sexual innuendo-filled Nothing On.
And while there is plenty of slapstick comedy going on in the fictional play–with dresses disappearing and actors emerging in sheets to look like Arab sheikhs–the company’s rapidly intertwining personal relationships provide for even more hilarity. When we’re taken behind the curtain in Act Two, we learn that Dallas is sleeping with both Brooke (who plays Vicki) and the play’s stage manager, Poppy. Dottie is having a tryst with the jealous Garry (who plays Roger), who thinks she’s also seeing Frederick (who plays Phillip). These petty jealousies and ego bruisings play out mostly silently–and sometimes confusingly–backstage during a performance of the fictional play.
Though Noises Off can be a lot to follow visually–with characters swinging in and out of doors and squabbling in various corners of the set–it’s ultimately a fast-paced, finely timed farce that promises to only get better with time.
Review: Comedy and magic blend in Idaho Shakespeare Festival’s ‘Winter’s Tale’
Published: August 6, 2012
By DANA OLAND — firstname.lastname@example.org
Once upon a time there was a king afflicted by jealousy and madness, a family torn apart and a kingdom thrown into chaos — and so begins “The Winter’s Tale,” which opened at the Idaho Shakespeare Festival on Saturday.
Written late in his life, this is one of Shakespeare’s best and most complex plays, both in language and theme. He takes elements he worked on in other plays and weaves them together.
Jesse Berger’s production unfolds like a pop-up storybook full of magic and art.
From David Barber’s whimsical set, tinged with symbols of astrology and alchemy, to Sara Tosetti’s colorful 19th-century-esque costumes, it’s an enchanting night of theater.
Berger and his design team tell this story exceedingly well, with clarity and charm.
Kings Leontes (David Anthony Smith) and Polixenes (Lynn Robert Berg) rule Sicilia and Bohemia, respectively. And they are lifelong friends — “brothers,” they say. And just like Cain and Abel, their love for one another is tinged by suspicion and doubt.
In a moment of vulnerability at a winter solstice celebration, Leontes suspects that Polixenes has won the affection of Leontes’ pregnant wife, Hermione (Lise Bruneau). Leontes accuses her, immediately becomes a tyrant and devastates his family and subjects.
Smith turns in a wonderfully heartrending performance. His jealousy comes on as if a disease — a “tremor cordis,” he calls it.
His suspicion deepens and Smith physically diminishes, falling deeper into madness in Lear-like fashion. The more he accuses her, the bigger toll it takes.
Berg, an actor who’s been with this company since he was a college student, continues to mature into powerful and commanding roles. His Polixenes is such a role.
Bruneau is a compelling and wise Hermione, and brings a lovely sense of grace to the role. Richard Klautsch is delightful as the stalwart Camillo.
Laurie Birmingham, who was marvelous as Juliet’s nurse in “Romeo and Juliet” earlier in the season, is a revelation as Paulina, a courtier who comes to Hermione’s defense. She’s a no-nonsense, don’t-mess-with-me best friend.
The second act takes us to Bohemia, a wildly colorful and exotic land filled with a patchwork of country styles all stitched together with Slavic style.
Kimbre Lancaster as the grown-up Perdita — Leontes banishes this daughter as an infant because he suspects she’s not his — and Miles Gaston Villanueva as Florizel, Polixenes’ son, are terrific as young lovers who must overcome their parents’ histories.
M.A. Taylor and Juan Rivera Lebron are hysterical as the Old Shepherd and his son.
And there are loads of fun character performances in the cast, including Lina Chambers, Veronica Von Tobel and Tom Ford as the musical rogue Autoyclus.
Getting to know one of the most familar faces on Boise’s stages By Deanna Darr
Published in Boise Weekly July 25, 2012
Stitch Marker has one of the most recognizable faces in Boise—but then he should, considering he’s in his 29th season with Idaho Shakespeare Festival.
Marker has played everyone from peasant to villain to king to comic relief and earned a place in the collective consciousness of area theater-goers in the process. He’s been part of the beloved summer festival since the very beginning and watched the valley’s theater scene transform over the decades from the vantage point of the stage.
What drew you to theater?
I was chronically shy … and I just sort of ended up in a drama class almost accidentally … and ended up in a play and I was terrified. I didn’t talk to people much on a one-on-one basis, let alone in front of a whole group of people. But this acting coach I had was just so wonderful. He really coached us about getting into a role, letting the role sort of take you over, and it was so liberating I couldn’t believe it. I think one of the first things I played was sort of a really assertive, aggressive, bullyish sort of a guy, and it felt great. It felt so liberating. I had permission to just let ‘er bust, and I was just hooked from that point on out.
How did you get involved with Idaho Shakespeare Festival?
When I started here at [Boise State] in 1970, there really wasn’t any kind of professional, or, I think, even semi-professional theater going on in Boise at that time. … I was just really fortunate to be in a class with a bunch of people who were really motivated theater people who were frustrated and wanted to get out on their own and do something exciting. So that core group of people started this theater we called Theater in a Trunk in a warehouse on 16th and Bannock. And out of that came the people who essentially started Idaho Shakespeare Festival. … Originally we were talking about doing Hair as a first production, but that was like a $10,000 royalty, blah, blah, and we were like, “Oh, real theater costs money? Well, we can’t do real theater then.” We just decided on Shakespeare because it was dead and free.
What do you remember about your first performance?
What I just loved–what knocked me out–was the original location for the Idaho Shakespeare Festival was at Ray’s Oasis, which is now Angell’s. … At that time, they didn’t have any of the trappings on the patio for the restaurant, so it was just bare space out there. Outside of acting on hard concrete, it was just perfect, just wonderful–lots of really cool entrances and exits and just the environment was really magnificent to do a big play. We’d have to block off the streets in downtown and people would get so pissed off at us. They’d run barricades and yell at us and call us names because, of course, we’re in tights. So we got a lot of verbal abuse that way. But when you weren’t in a scene, a lot of the time you were up on one of the streets … just averting traffic.
How would you say Boise’s theater scene has changed and where is it now?
I think Idaho Shakespeare Festival was a real pivot point for the direction of theater in the Treasure Valley. In the ’70s, it became apparent that “Yeah, there’s an audience here that’s willing to pay and support a professional theater,” and so that was really the biggest door opening. … Touring, that was a really huge thing that I thought the festival was really smart to take on–educational, school-outreach tours. So that was maybe my favorite job I’ve ever had.
Do people still recognize you from that?
It’s shocking, and they’re getting quite old themselves–“Really, you saw me in high school and you’re how old? 50?”
Why do you think the festival is so loved?
Just from the very first year, from the get-go, it was not just doing a play, it was an event. It was where you could go and have a picnic, eat and hang out on the lawn and drink, be as verbose as you wanted to be–be as sloppy drunk as you wanted to be.
What keeps you going back?
It’s the scariest fun anybody could ever have. I think it’s absolutely terrifying almost every time. You kind of get hooked on the fear. It’s such a gratifying feeling.