Anne Boleyn at The Gamm

By Richard Pacheco

           

            The Gamm Theater presents a vivid and entrancing production of the U.S. Premiere of British playwright Howard Brenton’s ”Anne Boleyn.” This play shimmers with political intrigue and deception. In this play, the ends to justify the means. The Gamm last presented one of Brenton’s plays, “Paul” in 2011. This play is an often funny take on Henry VIII’s uppity and politically manipulative wife, Anne Boleyn.

            While some might find this romp in Tudor history long winded and difficult at a two hour plus production, it is usually full of political intrigue and some funny moments. Those who love English history or are aficionados of various British programs like “The Tudors” will be entranced.

            Playwright Brenton is little known here in America.  In his homeland of England he is known for his satirical, provocative and often scathing indictments of sacred cows. This play presents Anne Boelyn as a conniving, religious minded and determined woman. She is often uppity and not very likeable. In the play he speculates that Boleyn gains further fire to end Henry VIII’s marriage to Catherine of Aragon. Her imagined meetings with Protestant leader William Tyndale add fuel to the fire. It inevitably leads to the separation of England from the Catholic Pope and the Church of England becoming a Protestant church. The play also adds James I, the only son of Mary Queen of Scots, into the mix as he speculates and looks back on Anne’s life.

            It is a strong cast which propels this play forward. There is a rich sense of time and politics that is impressive and appealing.

Madeleine Lambert shines in her Gamm Theatre debut as Anne. She is energetic, acerbic, taut and tart in her attitude and language. Anne knows what she wants and is willing to go to any extreme to achieve it. Anne boldly teases Henry, but does not allow him any sex for years. Anne wants to be queen, not mere mistress. It is a winning performance of a not always very likable character. Anne has dark motivations and a condescending attitude towards others. Yet Ms. Lambert also manages to show another, more playful side that is more entrancing and endearing.

Steve Kidd is a delight as Henry VIII. Kidd convincingly conveys the king’s dilemma. He is caught in his quest for a male heir. Should he succumb to his lust for Anne in the hopes of a male heir? Or should he maintain his loyalty towards his wife Catherine? It leaves him in an ethical dilemma. Henry wriggles and squirms in a true test of conscience in the face of overwhelming lust. Henry is robust and self assured as king, less so as a man in the face of a resolute and stubborn Anne who resists his sexual advances,

Jim O’Brien is smooth and poised as Thomas Cromwell. Cromwell is a superlative politician always lurking behind the scene, ready to changes horses in mid stream if it suits his purpose best. Cromwell is a superlative political manipulator always eager to advance his own position at anyone else’s expense.

Tom Gleadow is balanced and effective as Cardinal Wolsey. Wolsey is more politician than true cleric and connives with relentless efficiency. In the other roles he plays, he is balanced and on target.

Joe Short who is Tyndale and James I cohort, George Villiers is efficient and bright in the roles. He handles Tyndale with a religious fervor and cold personal distance that is effective. He handles the George role with flair and some foppishness as befits the character.

One of the great delights in this production is artistic director Tony Estrella as the eccentric and flamboyant James I. He has an excellent Scottish accent. He delivers and wild and wooly comic performance that is pure delight.  James I is a ribald and eccentric king willful and self indulgent. It is a real gem of a performance, both vivid and fun.

Sam Babbit is wonderful as Robert Cecil, an advisor to James I. Cecil is an experienced man who knows his way around politics and how to make the most of any situation.  He tolerates the often madcap behavior of his king with patience and common sense.

The rest of the large cast is effective and efficient. There is much texture and background details to this play. It springs vividly to life. It reveals the darker side of politics and the degree to which some will go to accomplish their political goals ignoring the growing casualties along the way.

Director Rachel Walshe handles it all with a keen eye and firm hand. She keeps the pacing up, even though the nature of the play can sometimes be slow. She moves her cast with finesse and elegance without losing track of emotional impact.

Jessica Hill’s set is simple and effective.  David T. Howard costume designs are elegant and faithful to the period.

            They have extended the run through Feb. 24. Tickets are $36 and $45, depending on the day and time. For tickets, call the box office at 401-723-4266 or gammtheatre.org

.org

Crime and Punishment at Trinity Rep

By Richard Pacheco

           

            “Crime and Punishment” is a classic Russian novel brought vividly to life on stage with an adaptation by Trinity Repertory’s artistic director Curt Columbus in conjunction with Marilyn Campbell. When it was written ten years ago, it was originally supposed to be a large scale cast, now deftly paired down to three actors who play all necessary roles in a 90 minute production. This compelling tale looks at an ex-student, Raskolnikov who wants to succeed and be remembered, while filled with self doubt and rage. He struggles to create a theory, that extraordinary men are not bound by the rules and laws of the ordinary man. And therein lays his dilemma, for what appears fine in theory, ends up far less satisfying and with incredible consequences when attempted in real life.

            Raskolnikov’s heroic figure and role model and the man whom he connects with is Napoleon and he writes a paper in which the touts the ability of extraordinary men to go beyond the norm, not hampered by rules or laws which bind the ordinary man. For him, it ends up with the murder of a mean spirited pawn broker and by accident and circumstance, her pleasant, friendly half-sister. Can he escape the burden of guilt and the relentless pursuit of the police who are closing in even though someone else has confessed to the murder? In a gripping guilt he confesses to Sonia who tries to convince him to confess to the police, but he resists.

           Stephen Thorne is winning as the tormented Raskolnikov. He is convincing and articulate as the man burdened with his own evil deeds, yet in spite of himself trying to transcend  being ordinary. He plans to kill the pawnbroker and use her money to do good deeds to make up for his evil actions. He is sensitive and articulate, always honest and sincere.

            Dan Butler plays Profiry, the police detective and many others. As the detective he is sly and intelligent, a dogged pursuer of criminals. While he has no evidence of Raskolnikov’s guilt he grows increasingly convinced the ex-student is indeed the murderer. Mr. Butler is breathtaking as the detective in a polished and energetic performance that is revealing and persuasive. He also plays Sonia’s drunken father with skill and flair, at once energetic and convincing.

            Rachel Christopher is Sonia and other characters. As Sonia, she is the epitome of innocence dragged into prostitution to support her family. She has a conscience and shares Raskolnikov’s feelings of shame and humiliation. Her performance is deft and persuasive. As the greedy pawnbroker she is cruel and greedy, full of contempt for her customers and relentless in her quest for more money at any cost. As her sister she is warm and vulnerable. As Raskolnikov’s mother she is caring and direct.

            This play has considerable humor which emerges frequently at sometimes unexpected moments. Using only three actors, the fluid production shifts back and forth from one moment to the other, and one site to another. The clever set adds so much to the production with its video monitors and cameras set up throughout. The play eschews historical fidelity in favor of creating a stark even more oppressive setting with technology. The splendid cast creates a vivid and remarkable world.

            Director Brian Mertes keeps everything moving right along, at once dreamy and very effective. It is a mixture of stark and startling, always nightmare like and riveting with surprising touches of humor in broad doses throughout.

            Eugene Lee’s set design is a wonder, combining elements of historic decay with modern touches like the video monitors and cameras. It creates a fluid, ever-changing atmosphere where the action unfolds.

Olivera Gajic’s costume designs are effective and direct, simple and to the point.

The sound design by Broken Chord adds an distinctive element to the production. The lighting design by Dan Scully enhances the faraway, nightmarish mood.

This production soars with passion and mutability.  It constantly moves and shifts not only between locations, but characters with smoothness and vigor. It is intelligent and passionate. It sizzles and soars into gripping theater.

It will be presented at It will be presented at Trinity Repertory at the downstairs Lederer Theater Center until Feb. 24. For tickets, call the box office at 401-351-4242. Adult ticket prices for Crime and Punishment are $36-$70. Children’s tickets (age 2-14) start at $22. For information on group discounts for parties of 20 or more contact Group Sales at 401-351-4242 or online at online at: http://www.trinityrep.com