Rebellion and Redemption offer uniquely entertaining theatre

A Breath of Kings Rebellion

Richard 11 and Henry 1V, Part 1

A Breath of Kings Redemption

Henry IV Part 2 and Henry V

Stratford Festival 2016

Tom Patterson Theatre

Written by William Shakespeare

Conceived and adapted by Graham Abbey

Directed by Mitchell Cushman and Weyni Mengesha

Approximate running time: Three hours for each production (with two intervals of 20 minutes each)

June 22-September 24

Toll-free: 1.800.567.1600
519.273.1600

orders@stratfordfestival.ca

groups@stratfordfestival.ca

specialorders@stratfordfestival.ca  

Reviewed by Geoff Dale

STRATFORD – With Macbeth a critical and popular success Graham Abbey has treated audiences to another exhilarating Shakespearean experience with his powerful, thought-provoking A Breath of Kings Rebellion and Breath of Kings Redemption.

With Rebellion he incorporates the major elements of Richard 11 and Henry IV, Part One. Meanwhile, Redemption ambitiously presents the key aspects of Henry IV, Part Two and Henry V. The resulting two three-hour productions utilize the considerable skills of 20+ actors tackling 70+ roles – a truly daunting task.

Graham Abbey is pictured as King Henry 1V in A Breath of Kings Rebellion. (David Hou Photography)

At the risk of sounding a tad coy, A Breath of Kings, both parts, are breathtaking for the most part. Admittedly the required editing and cutting of portions of the original text does translate into some loss of scenes and even character developments. Yet despite this, what is showcased is an exquisite, sometimes sweeping narrative that highlights the finest stage talents to be found anywhere. Continuity never suffers.

In addition to Abbey’s vision is the bonus of the skillful team of co-directors Mitchell Cushman and Weyni Mengesha, whose staging abilities are highlighted magnificently in the Tom Patterson Theatre’s audience- friendly in-the-round scenario.

As in past efforts Tom Rooney demonstrates yet again why he is acknowledged as both a dramatic and comic actor with unmatched skills. His Richard 11, not the standard view, is a deep inner exploration of a tormented regal authority, beset with the woes of uniting and/or dividing his moments of enlightened rule with self-obsessed indulgence.

Returning in Redemption he lightens the proceedings with his wondrous portrayal of foolish buddy of Falstaff’s Justice Shallow while providing yet another more serious role – dressed in the tattered garb of the deceased Richard – the narratively essential Chorus.

Geraint Wyn Davies offers up a first-rate acting class, stealing scene after scene with his over-the-top comic buffoon Sir John Falstaff and latterly with his awe-inspiring presentation of the stalwart Welsh officer Captain Fluellen.

Araya Mengesha as King Henry V with members of the company in A Breath of Kings Redemption.

 (David Hou Photography)

Araya Mengesha is solid as the youthful undisciplined prince Hal who grows steadily into the more regal Henry V who exceeds expectations as the newly crowned serious-minded king.

While the productions call on the full company to tackle a seemingly exhaustive variety of roles, special note should be made of the contributions of six gifted female actors who take on both male and female roles, a novel but highly successful gender neutral approach to the two plays.

Irene Poole is a standout on all counts but particularly shines as the King’s loyal supporter Sir Walter Blunt. Carly Street, tackling multiple characters with ease, is a rousing delight as the militant ready-for-action at any costs Scottish Earl of Douglas and Kate Henning is a delightful Mistress Quickly, the welcoming hostess of the Boor’s Head.

Remarkably Abbey hasn’t worn himself too thin with his writing, directorial and conceptual duties, strutting about as a finely etched Henry Bolingbroke, King Henry 1V – a remarkable achievement for the talented actor, proving that one can indeed wear many diverse theatrical hats with great aplomb.

Other highlights including stirring battles staged and choreographed by John Stead; the cold steel duel between Hal and Hotspur; the stunning costuming by Yannik Larivee; the mesmerizing oft-times bleak and dark lighting courtesy of Kimberly Purtell and Anita Dehbonehie’s eye-catching set design.

The good news is neither purists nor theatre novices should feel obligated to furiously re-read the aforementioned Shakespearean’s works to appreciate Abbey’s efforts. Nor is there really any overriding necessity to seek out those missing scenes, characters and/or plots and subplots – few as they may be.

The verdict – six hours of enticing, often enthralling and dare we utter it yet again breathtaking theatre highlighting the versatility of innovative actor/director Abbey. Complemented by Stratford’s fine acting and technical companies the two productions richly deserve **** out of four stars. 

Mother Courage and Her Children: The Festival's Sleeper Hit

Mother Courage and Her Children
Stratford Festival
By Bertolt Brecht
Directed by Martha Henry
May 30-September 21
Festival Theatre
Approximate running time: 2 hours, 41 minutes (with one 15 interval)
1.800.567.1600
519.273.1600

If the mere mention of the name Bertolt Brecht or the phrase anti-war conjures up visions of a sombre night at the Festival, be not afraid of venturing into the Tom Patterson Theatre for a look of Martha Henry’s surprisingly buoyant and beautifully realized Mother Courage and Her Children.

While still very much true to the playwright’s intent – fired by his intense hatred of the German Nazi regime of his time, from which he found exile in several European countries – the work under director Henry re-discovers and exploits a great deal of its innate humour from a variety of sources – roaming minstrels, a touch of pre-performance mingling a la the Swinging Sixties with audience members and heart-felt, humanistic performances from the acting company.

Rather than create a work that plays out during the Second World War, Brecht set the play in Europe during the Thirty Years’ War (1618-48), a bloody conflict initially waged by Catholic and Protestant states over purely religious interests.

Mother Courage (a beautifully honest portrayal by Seana McKenna) is a tireless canteen woman, pulling her cart throughout war-ravaged Europe, aided by her three children – E.B. Smith’s sturdy Ellif, Carmen Grant’s mute Kattrin and Antoine Yared’s bookish, timid and oddly-named Swiss Cheese.

It’s an odd way of making a living, particularly in light of the fact Mother Courage makes no distinction over which army she does business with, alternately changing flags on her creaky vehicle and ultimately making a profit from the horrors of the seemingly endless war. At least superficially, she appears unmoved by the conflict, choosing neither side over her business interests.

McKenna is simply magnificent in the role – at one moment an earthy hard-bitten no nonsense businesswomen out to make ends meet for herself and her brood but yet, particularly in the revealing second act, displaying flashes of recognizing, almost recoiling at the brutality she either experiences or learns from second- hand sources. Death becomes considerably more personal as the play moves forward.

Smith, Grant and Yared are solid and effective in their key roles – offering more than simple one-dimensional characterizations, in effect, with their mother, underscoring the humanity of Brecht’s work.

The first act, offering considerably more of a humorous backdrop, also features a tidy selection of musical entries, under the guidance of musical director Franklin Brasz and a delightful sprightly band of instrumentalists/vocalists that both lighten the mood and offer a clever complement to the playwright’s words.

Supporting characters like Geraint Wyn Davies’ incurably ‘randy’ cook and Ben Carlson’s oft time confused chaplain are top-notch, while the regal vocal stylings of Stephen Russell as the stern regimental clerk adding the perfunctory sense of the all-pervasive military dictating the lives of all who come under its control.

For Henry, this is a triumph over what could have conceivably turned very much into a one-note production with simple musical interludes. Such is not the case. The blend of drama, tragedy, with splashes of humour is superbly handled, with the second act, particularly the poignant closing moments, evolving into an uncompromising visual poem that is truly moving.

Unquestionably one of the greatest anti-war plays ever written; this production bristles with life even if only barely visible amidst the rising toll of death and social disintegration. Mother Courage and Her Children may well be and quite frankly deserves to be the sleeper hit of the Stratford Festival 2014 season.

5 stars

Photo. Fom left to right: Seana McKenna, Geraint Wyn Davies and Ben Carlson. Photography by Don Dixon with digital art by Krista Dodson.

This review also appeared online at Donald's Dish.

Sights and Sounds of Stratford Festival 2013

Sights and sounds of Stratford Festival 2013
Article and photos by Geoff Dale
The Beat theatre critic Geoff Dale was on hand with his camera to catch some of the Monday evening highlights. More productions will open in late June, July and August. Keep reading The Beat for reviews and commentary. - Editor

It was a glorious opening to the Stratford Festival 2013 with a wide array of local, national and international stars from stage and screen milling about, a wide array of beautiful flowers in bloom on display and music of every kind.
Under seasonably mild and sunny conditions, the event drew a good crowd of spectators, Festival insiders and participants, along with those curious folks simply interested in getting a bird’s eye view of the annual opening ceremonies.
The festivities began around 6 p.m. Monday, May 27 with the pipe and band corps signaling the start to this year festivities, followed by the arrival of special red carpet guests and the 7:30 p.m. opening night presentation of Romeo and Juliet.
Actors, musicians, directors and Festival dignitaries were seen chatting with members of the general public, being interviewed by various media outlet representatives and generally enjoying and participating in the moment.
Colm Feore, recently seen on TV’s The Borgias was on hand with his wife Donna, director and choreographer of Fiddler on the Roof.
With several works about to hit the screen, one of the busier actors around Graham Greene was there, as were stars from various productions including Romeo and Juliet and Fiddler on the Roof. 
The prolific American actor of the big screen, television and stage, Brian Dennehy, was also seen in various spots inside and outside of the Festival Theatre.
The two gifted stars of the dynamic production of Mary Stuart (http://www.thebeatmagazine.ca/index.php/theatre-reviews/1662-peacock-and-mckenna-shine-in-mary-stuart), Lucy Peacock and Seana McKenna were also making the rounds.

In addition to the traditional sounds of a pipes and drums band getting the proceedings underway, an intriguing duet from Kitchener, The Vaudevillian, kept things lively, playing a number of eclectic songs on the lower sidewalk below the Festival Theatre.

Ontario Premier Kathleen Wynne was also in attendance for the official ceremony.
The ceremony kicked off the 2013 season which was highlighted by the first week of seven debuts of: Romeo and Juliet, Fiddler on the Roof, Measure for Measure  , Mary Stuart, Tommy (which featured an appearance on opening night by Pete Townshend of The Who);  and the Saturday double feature of The Three Musketeers and Blithe Spirit .  This feature also appeared online at The Beat Magazine.

Photos: 1. Donna and Colm Feore were on hand for the event; The musical opening of the Stratford Festival 2013; Flowers were in bloom everywhere;The pipes and drums corps was led by a proud drum major; One of the stars of this year’s Festival is Matthew G Brown; Geraint Wyn Davies is pictured with Donna Feore; The two stars of Mary Stuart, from left Sean McKenna and Lucy Peacock; One of the highlights of opening night was the lively music of the Kitchener based duo – the Vaudevillian; Minstrels from Romeo and Juliet took in the sights and sounds.