Toil, Trouble & Hurlyburly for Macbeth at Rockwood

Macbeth is one of William Shakespeare's great tragedies. There's murder, battles, psychosis and supernatural portents. Characters are malicious, avaricious and (in the case of the title character envisioning a dead Banquo), fictitious.
Founder of DE Shakespeare Festival and this production's director, Molly Cahill McGovern chose the straightforward path, trusting both the text and her actors to engage the audience in the allure of these wondrous words, the images they create in your mind and the drama of the conflict. This approach is successful.
Aisle Say had forgotten much of the luxuriant phrases from “Macbeth” which are part of our language today: “double, double, toil and trouble”, “nothing in his life became him like the leaving of it”,“screw your courage to the sticking place”,”what's done cannot be undone”, “tomorrow and tomorrow and tomorrow creeps in this petty pace, etc”.
It's an honor for an actor to be cast in a Shakespearean play. He learns far more from the experience than does the audience. It's not merely in the speaking of the words. That is not enough. Great Shakespearean actors are enraptured by the rhyme, the meter, the poetry and the basic human condition applying to all us that the words convey.
This was the issue Aisle Say had with the title character played by David Blatt. He never dropped a line. Yet rather than caressing the words he declaimed them. His portrayal of the character's devolution into madness was too abrupt; a progression into insanity would have been more believable.
Lady Macbeth (Allyson Sands Good) used the different octaves of her speaking voice to portray her wicked machinations. She projected a queenly, patrician demeanor. She was particularly effective in the scene where she attempts to wash Duncan's blood from her hands, “out damn spot”.
Banquo (Adam Altman) and Macduff (Erik Mathew) are fine actors. One could see in both the 'thinking' going on before they spoke. This aspect made the prose more believable. Mathew's reaction and soliloquy on the murder of his wife and children at the hands of the now psychopathic Macbeth was both sincere and dynamic.
It is picturesque to sit on a blanket or lawn chair at Rockwood. The backdrop of the Mansion is powerful. Some guests bring picnic baskets. At sunset, the lighting (the castle was lit in blood red) provides drama and focus and makes the audience feel part of the action.
This production is short by Shakespearean standards. Length sometimes creates problems with those not completely enamored of the words of The Bard. However, Aisle Say suggests the entire audience was engaged through the proceedings.
Delaware Shakespeare Festival has come a very long way in their span. They use actor apprentices who will remember their lines for the rest of their lives. They've been averaging 300 people on weekends; a very good sign that Will is alive and will continue to prosper in Delaware.
Tickets are quite reasonable and this is a wonderful way to introduce your children or grandchildren to Shakespeare.
Till July 31. DelShakes.org Online only.

DE Theatre Co needs to Entertain

It has been eternally hurtful to me that I have never been referred to by either friends or critics as a second coming of Rex Harrison. He of the supremely patrician and proper clipped British high baritone.
Sir Noel Coward stated that Harrison was the 'best light comedy actor in the world, except for me.” Come on.... I did comedy...at Brecks Mill, at Wilmington Drama League, at Candlelight Theatre. Alright, it's not London's East End, but I was aspiring.
My other cross to bear while I was performing was the review after opening weekend. For those baby boomers who remember, actors in the '70's and '80's had to suffer the vitriol of Otto Dekom, the Journal theatre/food/fine art columnist who loved women and took Mephistophelian delight in the literary evisceration of leading men. When I sang my melodic heart out, Dekom would call it recitative, that talk-singie thing that Harrison always did.
Okay, now back to the reason Sir Rex is part of this story. I insist I have many qualities reminiscent of this Academy Award and Tony Award winner. Consider the song from “My Fair Lady” entitled 'I'm An Ordinary Man'. (Many individuals, especially women, have called me ordinary. This again has proved hurtful to me, but I digress.)
With theatre though, I admit to being ordinary. When I attend theatre, I like to laugh. I like to be surprised. I like to be entertained.
Delaware Theater Company parted ways with their Artistic Director Anne Marie Cammarato after six years because not enough people were being entertained.

“I'm An Ordinary Theatre Go-er” (with apologies to Sir Rex)

Well after all, Ms. Cammarato, I'm an ordinary man,
Who desires nothing more than an ordinary laugh,
to burst out loud in great surprise, and be not considered as strangely daft...
An average man am I, of no eccentric whim,
Who works hard by day, seemingly on the brink,
When I go out, please DON'T make me think
Well... just an ordinary man...

Aisle Say, in different incarnations, has followed Delaware Theatre Company since its opening night over 3 decades ago at a converted firehouse on French Street in Wilmington. With all due respect to the talent and the passion over these many years, I always thought the programming was over the top on social consciousness. I felt that if I did not acquiesce to the theatrical pounding and preaching served up with the vast majority of their productions that maybe I was not a good person. Not knowing where to turn, I stayed away...as did many in the past years.
It's June. The theatre season opens in September. Cammarato chose all the shows for the next season and was to direct three of them. Aisle Say hopes her choices are reconsidered. We need DTC. It was the Lewis & Clark of the Riverfront. It has been an integral part of our cultural environment. It has changed peoples lives for the better. It has also put patrons, too many patrons, to sleep. Please, please.... ENTERTAIN US.

The Brandywiners and DE Shakespeare Co

The weather has been unkind to open air theater this week. We had the opportunity to attend both The Brandywiners' “Camelot” at Longwood and Delaware Shakespeare Company's “Twelfth Night" at Rockwood Mansion Park. On starry, starry summer nights their productions are treats for the senses and live theater, but each succumbed to inclement weather on their opening weekends.

The Broadway opening of Camelot was in 1960. After initially faltering at the box office, the show became a notable hit after it was publicized that the show's original cast album was favorite bedtime listening in the White House of President John F. Kennedy. Forever afterward, the name "Camelot" has been associated with the Kennedy administration.

The group with me at Longwood was particularly impressed with Ted Harting's King Arthur. While in real life Harting could be Erin Cates Smith's (Guenevere) father, the May-December differential was believable owing to the politics of arranged marriages between European royals. Perhaps dying his hair would have brought the two together a farthing more in stage years.

We empathized with Harting's strong portrayal of an insecure, self-doubting king thrust into the responsibility.

Smith's soprano voice and lilting, insouciant air as The Queen was perfect for a character who loves her king in spirit but loves his best friend in more earthy ways. That rift is discovered by the evil Mordred and rends all the good Arthur's Round Table to wrought.

Jeffrey Chapman as Lancelot was as strong vocally as any “Lance” that has trod the voluminous Longwood stage, but the chemistry between him and Guenevere was as unlimber as his jousting pole, used with dexterity versus less talented and less self-absorbed knights. Sir Pellinore (Tom Cates) was great comic relief and is emerging as one of the best character actors in the region.


With the mission to make “CAM-E-LOT...a more congenial spot” in terms of developing darkness, the decision for an 8:30 curtain was made. The first act was not over until 10:10; making for a long night.

Til August 1. Brandywiners.org or (800) 338-6965.

DELAWARE SHAKESPEARE COMPANY

Great credit must be extended to Molly Cahill Govern, artistic director of Delaware Shakespeare Festival. She and her society of passionate volunteers have had all the right moves since their 2003 premiere.

They persuaded NCC Exec Chris Coons to allow the group use of Rockwood Mansion as their venue and then bring along The Greenery as their caterers for picnicking; they stage a show orientation an hour before curtain to acclimate those lesser students of Shakespeare to the night's proceedings; they instituted a comedy pre-show (by Acting Apprentices) to warm us up and they even have Shakespeare-themed arts and crafts for children.

Aisle Say remembers my parents taking me to The Brandywiners when we sat on blankets, as guests do presently with DE Shakespeare.

Another sign of a growing reputation is the outreach to trained actors from around the region. The company has reached out to a number of Villanova U theater grads and the quality is exhibited on stage. Also, they have been accepted into the prestigious Philly area Barrymore Awards.

Govern said they their attendance last year reached 2,500, sure to be exceeded this year if Saturday night's crowd is any indication. Aisle Say suggests they connect with DE Theatre Co. Their product is comparable to that of the latter group.


'Til August 1. DelShakes.org or at the door. Curtain at 7:30 but come an hour early for the orientation. It will further your understanding.