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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (April 17, 2003)
BY SHARLEEN NELSON Enduring Love Local productions explore relationships, tragedy and honesty . L Fisherman’s Market Fantastic Seafood Entrées Entrées change weekly. Fresh U-Bake Sea food Fresh Crab Dinner $9.95 Good Inexpensive Wine Variety of Microbrews Orders to go: 484-CRAB 7th & Blair • Open 11-8 Mon.-Sun. Chao Pra Ya The Best Thai Cuisine • 26 Lunch Specials Only $5.95 • Huge Vegetarian Selections • Lunch & Dinner • Family Owned Dine In or & Operated. Take Out 580 Adams St., Eugene (across from Red Apple) • 344-1706 MON-FRI Lunch: 11am-3pm, Dinner: 4:30-9pm • SAT-SUN 12-9pm 30 APRIL 17, 2003 time. Alceste has become cynical of the mo- ord Leebrick Theatre’s production of tives of people — he despises their faux sin- The Tragedy of Romeo & Juliet cerity masquerading behind showy displays closely follows Shakespeare’s classic of flattery and courtesies, yet he faces a co- tale of star-crossed lovers and the all too nundrum. He is hopelessly in love with human elements of love and revenge, tragedy Célimène, a coquettish young widow who and comedy, but with some restructuring by exemplifies all that Alceste detests. the show’s director John Schmor. Shaving Célimène has a weakness for engaging in the script to 12 roles and 21 scenes, Schmor’s scandalous and spiteful gossip and is the adaptation stylishly integrates Shakespeare’s poetic verse with a mélange of contem- porary dialogue. The action takes place on an at- tractive, yet functional single set that, through the use of lighting and a few props such as paper lanterns or a bed drape, serves as the solemn interior of a church, Juliet’s bedroom and balcony, a party site, the streets of Verona, and in the final scene, a crypt. The theater’s horseshow seating invites the audience into the action, and the players make use of this arrangement to enter and exit from all sides. Quinn Mattfeld is al- together charming as The Tragedy of Romeo and Juliet, Lord Leebrick. lovesick young Romeo. Mattfeld shows superb object of desire of several men, including capability at handling an array of complex Alceste’s friend Oronte and a pair of frivo- emotions with convincing intensity — from lous marquis who flatter and indulge her. Yet the earnest and likeable suitor to the incon- Célimène’s charm outweighs her faults and solable lover. Likewise, Cassie Schwanke is Alceste is weak with love. What is more, fabulous as Juliet. Like Mattfeld, Schwanke Alceste discovers that telling the truth comes also easily balances comedy and drama. Her with a price. His honestly lands him in hot tearful scenes are not only heart-wrenchingly water for commenting on a simply dreadful credible, but Schmore’s script provides an- sonnet written by his friend Oronte. Because other dimension to her character that blends Alceste refuses to flatter him, Oronte pun- her sweet demeanor and playfulness with a ishes him with a lawsuit for telling the truth. strong, less victimized role. Christopher Hirsh is amusingly energetic Ian Hanley and Jasper Patterson are im- as the beleaguered Alceste. Hirsh emotes pressive as Romeo’s sidekicks Mercutio and with ultra dramatic flair and demonstrates his Benvolio, respectively. Together they make a expertise at physical comedy. Likewise, dynamic comedic team, but it’s Hanley who Andrew Beck puts in a strong performance as stands out. Looking like a cross between a Philinte, straight man to the absurd and often swashbuckling pirate and Jim Morrison, comically disgruntled Alceste. Leticia Hanley’s rambling homily about life and love Maskell is exceptional as the coy, yet razor are high points in this production. sharp Célimène. Mindy Nirenstein also does a first-rate job Gushing dreadful poetry and wearing the as Juliet’s nurse. The rest of this fine cast in- most outlandish hat, Ian Armstrong is picture cludes John Muellner as the Priest, Joshua perfect as Oronte; and Margie Kment is Vargas as Paris, Cameron Carlisle as Tybalt, charming and sweet as Eliante, Célimène’s Ron Hart as Father Capulet, Denise LaCroix good and reasonable cousin. as Lady Capulet, Greg Foote as Father Montague, Sharon Wetterling as lady Sarah Griner is terrific as Célimène’s foil Montague, and Marlowe Johnson as the altar Arsinoé. A high point in the play is a caustic boy. Cellist Matthew Wilkonson performs exchange of witty gibes between the two live music. women, complete with a scoring panel of Whether following the classic script or judges. Alexander Dupre and Elizabeth some other variation, Romeo and Juliet ex- Helman as Clitandre and Acaste, respec- emplify our expectations of youthful infatua- tively, are delightfully silly as Célimène’s tion — the first breathless kiss under starry fawning suitors. Rounding out the superb skies; the unexpected obstacles, and the real- cast is Edward Volkert as Du Bois, Alceste’s ization that while ours may not have ended in jittery manservant, Mindy A. Linder as tragedy, it was still painfully heartbreaking. Célimène’s personal assistant Basque, and The theme changes a bit down the road. Parisse Boothe as a messenger of the Farce, folly, and a timely examination of the Marshals of France. More than 100 people duplicity of society are the focus of Molière’s were involved in this lavish production — The Misanthrope, playing at the UO’s and it shows. From the elaborate and Robinson Theatre. finely detailed period costumes to the The play opens on Philinte and Alceste, grandiose set, The Misanthrope is a who are discussing the hypocrisy of their tour de force. ew
