1. Original Practices
As the Blackfriars Playhouse is indeed the world's only operating replica of Shakespeare's indoor performance space (the one in London isn't finished yet), it is dedicated to doing things "the way it was done back then". More often then not, it leads to some great moments that would otherwise be impossible for a regular theatre. While some things would be impossible to replicate without serious repercussions (such as taking away our seat cushions or using candles instead of electricity), the Blackfriars does its best. Some of these things include universal lighting (so the actors can see the audience, the audience can see the actors AND each other), cross gender casting (more often women playing men than men playing women). Blackfriars uses only acoustic instruments from the period, although the songs they play may be modern, as the early modern English heard songs of their time, not Olde Englishe songs. These are just some of the most notable original practices, here is a full list.
2. Pretty Pretty Playhouse
The space itself is incredible. While the seats at the American Shakespeare Center are notoriously uncomfortable, the glow of the lights, the solid wood construction, and the lovely acoustics are well work it. A tip: if you see a show, sit in row H, K, or the Lord's Chairs. The back support here is better... and this is from someone who has had to sit in this playhouse for 8 hours in one day. Don't get a gallant seat unless you've A) seen the show before and know what the actors might do to you and B) are completely confident you will not suffer a sneezing or coughing fit. The gallant seats are on stage and any behavior (e.g., leaving to go to the bathroom) will draw quite a bit of attention.
I'd rather not describe the details of the stage, but imagine this with cushions on the seats and the arch around the discovery space (middle entrance) to be painted to look like marble.
3. Actor's Renaissance Season
The current season at the Blackfriars Playhouse is the Actors Renaissance Season, where they take original practices to a whole new level. Actors have the choice of using sides (scripts with only their lines and their cues), there is no director (although the actors often help each other), and they are free to choose their own costumes. Most of all, all the plays are staged in only 3-11 days of rehearsal. During early performances, do not be surprised to find that they have an intern on book sitting in the corner, ready for the call of "prithee" instead of "line".
Philaster, or Love Lies a-Bleeding
I'd seen a performance of Philaster about a month ago, and enjoyed it thoroughly. It's hard for Blackfriars to mess up a play, so keep this in mind when I criticize them. I've been spoiled, so I tend to nitpick. I'll try to keep all my comments, however, to only the first act I saw last night.
A little plot. Philaster, the son of the usurped king and beloved by the people, falls in love with the usurper's daughter, Princess Arethusa. Philaster himself, played by Gregory Jon Phelps, seemed stereotypical, which I think is just the nature of the script. Young, fiery prince, ruled by his passions, in love with a princess. His mastery of the language, however, is excellent. I understood everything he said. Sarah Fallon seemed a little too old for the role of Arethusa, probably because the last thing I saw her perform was the old Queen Margaret from Richard III. While she was an amazing Margaret, I would have liked to see Brandi Rhome play Arethusa, although Rhome does an excellent job as the honorable Galatea.
Pharamond is the Spanish prince who Arethusa's father intends to marry her off to. I am not sure if Pharamond's think Spanish-like accent was in the script, and if it was, then I have no quarrel with it. If it wasn't, I would have liked to see Aiden O'Reilly, as Pharamond, use a less over-the-top version. While appropriate, it also often made him unintelligible. O'Reilly, in other roles, occasionally has a problem with diction, and giving himself an accent did him no favors. While his performance choice made what might be an obnoxious character quite funny, I was disappointed because the large black wig he wore sometimes obscured his face.
Bellario, Philaster's servant, was played by the VERY pregnant Miriam Donald. Donald, commonly cast as boys because of her slight stature and high voice, nailed the role, although I would like to have seen more emotion from her in certain scenes. However, the belly, I will admit, was distracting. I worried about the tiny woman with a belly half again her size prancing around on a stage where other actors held swords. While her devotion to her craft is inspiring, I'm not sure, as a director, I would have gambled my season on the idea that Donald would not go into premature labor, become sick, need best rest, etc. But if babies can hear what's going on outside the womb, this is going to be one eloquent kid. If he or she becomes the next Andrew Gurr, I will laugh my ass off.
The script says that Bellario is a "little boy". It also says that he is "about 18". This makes me question when the early modern English thought a boy became a man. To call an 18-year old these days a "little boy" might make him a bit peeved, to say the least. SPOILER ALERT: Bellario is actually a woman is disguise. The nature of cross-gender casting, and the nature of the pregnant female form, troubles the sense of male-female and our assumptions about theatre and this playhouse. Would a newcomer to the playhouse think that Bellario might be a girl before me, a seasoned theatregoer? Are we supposed to ignore the belly when we learn Bellario is female, or is she in disguise as "nonpregnant" in the same way that we accept her as a "boy", even though both her pregnant and female nature are blatantly obvious? It's a thought.
In the play, Arethusa pleads on behalf of the boy, who, unbeknownst to her, has been rumored to be sleeping with her. When the king commands her to send him away, she expresses her grief about in a way that reminded me very much of Desdemona pleading for Othello to accept Cassio in his good graces. In both cases the innocent woman is distraught, perhaps too much so, over the fate of a man who she has been suspected of sleeping with. Pleading-Suspicion scenes might make a good paper or thesis. Hmmm...
The inventiveness of this cast is really something to watch. Their mastery of early modern language and performance choices are a result of (for most of them) years of working together as a cast. If you ever get the chance to come down to Staunton, you must visit the Blackfriars. You will not regret it.
I'm seeing Dido, Queen of Carthage, tonight. I'll post tomorrow.
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