We went Wednesday afternoon (August 8, 2018) to see Julius Caesar at the Stratford Festival Theatre.
We knew, going in, that several of the principal male characters would be portrayed by women. We saw a gender-bending Midsummer Night’s Dream a couple of seasons ago and wondered in what direction this one would go. Curiously, the actor who plays Brutus in this production played Titania, Queen of the Fairies, in the other.
|Seana McKenna as Julius Caesar|
Each of the women playing a male role was played by a very fine actor and, even in costume and make-up, none could be mistaken for a man.
The most interesting consequence of this was in the scenes between Brutus, played by Jonathan Goad and and Irene Poole who was Cassius. The two men are very good friends. This friendliness might be taken to be something quite different between a man and a women although Shakespeare may have been subtly implying a different sort of relationship between the two men.
It is, otherwise, a typical Festival Theatre production with beautiful and approriate costumes, lighting and original music (save a Dowland song which was interpolated late in the show).
Seanna McKenna was a marvellous Julius Caesar, the centre of attention in all of her scenes. We found the pacing of the production suspect. The actors spoke the text more quickly than it could be easily understood. Jonathan Goad was a convincing Brutus but some of his lines were impossible to understand. Michelle Giroux, as Mark Antony was more intelligible but rushed through the funeral oration, surely one of the most famous speeches in Shakespeare’s canon. Yet, in a small part as Antony’s Servant, Amy Keating delivered her much of her speech lying prone on the stage but you could understand every word.
This show is a good, if not outstanding one, and worth the trip to Stratford.
On the other hand, We went Wednesday afternoon (August 15, 2018) to see Henry V at the Studio Theatre at the Shaw Festival.
Except it wasn’t Henry V like you’d see it at Stratford or in a school production for that matter. I probably shouldn’t have read a scathing review in The Spec last week which lowered my expectations. We had decided that if it was as dismal as the review claimed we were going to leave at the interval. As it happened, we stayed until the end.
The cast of 11, 4 women and 7 men play all the roles, some taken by different players at different times. The men are Canadian WW I soldiers in an underground trench system somewhere in France. They play much, but not all, of the first three acts of Henry V to amuse themselves, some reciting and some reading, while the war carries on around them. In the second act all but one of the soldiers are injured and recovering in bed in hospital and the four women are nurses. The nurses, who spend much of the act tending to the injured soldiers, join in with the play-acting and the cast finishes the play.
So it’s not really a dramatic presentation of Henry V at all, much more akin to a dramatic reading or a concert performance of an opera. Moreover, the text is isn’t all Shakespeare. Actors do occasionally speak in their real 1916 voices explaining, for example, that the King is in disguise or requesting a prop.
As one would expect of a professional company the actors are generally very good, the women perhaps better than the men. Natasha Mumba was a standout as were veteran actors Gray Powell and Patrick Gallican.
The problem is that there’s not much drama. There’s hardly any staging relating to Henry V. Any moving about relates more to the “real” situation in the trench or hospital. And you would have to know Henry V very well to be able to follow its plot because the acting does little to support that play-within-a-play.
So this production is an experiment that didn’t quite work. I wouldn’t recommend it unless you’re comped.