snakes, seagulls
& groucho’s cigar
T H E R E ’ S S O M E T H I N G F O R E V E R Y O N E AT T H I S Y E A R ’ S O S F
Words by Anna Grace • Photos by Jenny Graham
A
chilles in camoufl age, teens
swigging poison and reptiles
seducing pharmaceutical in-
terns — yep, the 2012 season
at the Oregon Shakespeare Fes-
tival is up and running. Plan-
ning a trip to the idyllic town
of Ashland? Consider the following, and
then grab your tickets.
For tickets, times and further information
about the Oregon Shakespeare Festival, call
541-482-2111 or visit osfashland.org
Troilus and Cressida
A slow, twangy version of “The Roof Is On Fire” plays as soldiers loll on
crumbling Assyrian monuments or newly erected scaffolding. Mired for
years in a pointless war, the men have succumbed to infi ghting, jealousy
and drugs. Over the besieged walls, a metallic-blond Helen parties with
privileged Trojans, while soldiers attempt to beat back boredom.
Director Rob Melrose has set
Shakespeare’s story of the Trojan
War in modern-day Iraq, and no
background explanation on either
the story or setting is necessary to
make it work.
Troilus and Cressida is one of
Shakespeare’s minor plays. It’s
been more than ten years since
OSF mounted a production of this
troublesome script, and everyone
involved seems determined to
make this one work. The cast is
strong across the boards. Raffi
Barsoumian and Tala Ashe are
beautifully clear and compelling in
the title roles. Bernard White plays
the noble Hector with humility
and honesty. Elijah Alexander,
Brooke Parks, Barzin Akhavan,
Jeffrey King and many, many
others give fascinating and human
performances in their classical
roles.
It’s not Shakespeare’s tightest
piece of work. While there are
some great scenes, there are as
many meandering monologues and a clattering collection of characters.
A number of plots fl ow simultaneously and occasionally stagnate in
baffl ing eddies. But Melrose’s careful staging and quick pacing keeps the
production clipping.
Bottom line: This fascinating interpretation will help you complete
your cannon.
Romeo and Juliet
The ancient grudge is set in the vanishing world of the landed Californios, as American rule upends the
power structure in the late 1840s. A simple playing space of brown and red illuminates the earthy passion
of the play. Spiced up with a few easily understandable Spanish phrases, the meat of Romeo and Juliet
remains unchanged.
Particularly adept at conveying the tenuous privilege of the Spanish-Mexican gentry were Elijah
Alexander and Vilma Silva as Don and Doña Capulet. Daniel José Molina was a delightfully energetic and
passionate Romeo.
This production is youthful, and almost relentless in its inclusion and illumination of lewd talk. No
phallic joke went un-mimed; no sexual reference was allowed to sneak by. Isabell Monk O’Connor nails the
nurse’s bawdy banter. Jason Rojas’ Mercutio mocks Romeo with simpering, limp-wristed affectations that
met with mixed reactions.
Bottom line: An interesting retelling of a familiar tale.
Animal Crackers
If you were to take a bad joke, throw an impossible situation on
top of it, then add a silly song and dance routine along with a string
of puns, you might have a small scoop of the Comedia soup that is
Animal Crackers, a script that only the Marx Brothers could pull off.
Unless maybe you put the insane script into the hands of a
talented director along with some of OSF’s hard-working actors. A
beast of timing and movement to master, the Marx Brothers had
honed their bankable banter and physical shtick for 20 years before
the 1930 fi lm Animal Crackers; OSF director Allison Narver and her
crew had weeks.
Mark Bedard is masterful in Groucho’s role of Captain Spaulding.
John Tufts and Brent Hinkley are similarly strong as Chico “Emanuel
Ravellii” and Harpo “The Professor.”
Providing some dramatic relief to all the zany comedy is a thin plot
line, smoothly rolled out by Jeremy Peter Johnson, Mandie Jenson
and others. Jonathan Haugen rocks the costume quick-change as
both Hives the Butler and Chandler, the newly rich fi nancier. As Mrs.
Rittenhouse, K.T. Vogt keeps a straight face and serves as a straight
woman to all the jokes whizzing around her.
Whether marveling at how many props Hinkley could pull out
of his coat or trying to fi gure out if a stream of lines were being
improved or, harder yet, scripted and made to look like improv, my
respect for these actors went through the roof.
Bottom line: If you like the Marx Bros., you’re in for a treat, and
even if you don’t, the pure comic genius of the cast is well worth
your time.
14 APRIL 5, 2012
EUGENE WEEKLY
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