
"To see him act, is like reading Shakespeare by flashes of lightning."
-- Samuel Taylor Coleridge on Edmund Kean
Chalk it up to a bad case of
treppenwitz, but the opinions that one might form about a particular show might not be fully formed for quite some time. Such is the case with
Twelfth Night and Your Servant. How a show such as that one could leave an audience member so expressionless - whether it can be attributed to the timelessness of Shakespeare, the ingenuity of Mrs. Amy Hayes, or the denseness of this particular audience member - he does not know. What he does know is that, upon seeing the Depauw University production of
Tartuffe last week, all those unformed ideas floating about latently in his head took on a conrete form. He suddenly knew why certain scenes or performances in
Twelfth Night stood out so vividly in his mind. He was struck with a sense of what was missing - not necessarily as a means of deficiency, but what elements were emphasized at the expense of the rest. In other words, the elements of style.
In many respects, the two shows are quite alike, thought this is not awfully surprising, considering the time period in which the two plays were written and the prolificity of such character types. It is a rare case, however, to see two casts recreate their stereotypes almost back-to-back. Laura Durham is still the unwitting object of aristocratic desire, Alex Thompson is still bumbling absurdity personified, Kevin Bunge is once again the imposing symbol of law and order, (the facetiousness of his character having no substantial effect) and Emily Terrell is still the cynical dispenser of wit (her change in gender having no substantial effect either - to no surprise). Almost eerily similar is the type of role essayed by Jared Norman in the title role. Despite being the titular character, Tartuffe enters very late into the playing, and his stage time seems to be almost equal to that of Malvolio's. But Norman's Tartuffe, just as did his Malvolio, seems to get his revenge come curtain call time. And why not? With his piercing gaze, Roman features, and his fatally disarming tone of voice, Mr. Norman could make a career out of playing hypocrites who are too enticing for their own good.
The one major departure is Martin Hughes as Cleante, the voice of morality in the show. The part might seem superfluous, but the character has the essential role of the voice of reason - the individual of sanity in a world of insanity. In this sense, Cleante may be seen to have affinity with Feste, in that both have traditionally conveyed the voice of the author's conscience. That Mr. Hughes can go from the righteous fool mocking a pretentious world to the
cuor gentil perpetually baffled by his environment, and in doing so retain the ability to engage and entertain, marks him as an actor of many facets.
But to go now beyond the performances is to demarcate the styles of two different directors - Amy Hayes and Susan Anthony. It is here that their respective philosophies of direction become most apparent. With Mrs. Hayes we really need go no further than the actors. For them, they are it. They are the show. It is no real misconception to perform a piece like
Twelfth Night after the style of McKellen's
Macbeth. The Tragedy and the Comedy may be as different as Night and Day, but the human spirit is just as mercurial and intruiging in either. Her productions focus primarily on the architecture of the human personality. One did not need to see a horticultural masterpiece onstage to be gripped with the wonders of the forest in her production of
A Midsummer Night's Dream. She is a dyed-in-the-wool Epicurean. She asks of her actors and actresses great emotional stamina, for they provide the stage decoration. They must sing. They must laugh. And above all else, they must dance. Each production done by Amy Hayes doesn't so much as conclude as it culminates in a rave.
This can make for highly entertaining theater, but at the same time it can make for highly erratic theater. There is no doubting that Mrs. Hayes has the enviable ability to summon spectacular performances. But actors have their good days as well as their bad ones. In productions where the acting is the
summum bonum, the audience is quite often at the mercy of the particular temperament of the acting troupe. Hence, her productions tend to have an irregularity to them. They are, to quote Mr. Coleridge, like reading Shakespeare by flashes of lightning. Mrs. Hayes's plays have great overwhelming moments of pathos and hilarity, but they aren't consistent. They are more passionate.*
Susan Anthony is, in respects, much more complex. It would be easy to categorize her as traditional in her outlook, and while this might have an element of truth in it, it would be unfair to leave it at that. For her part, Ms. Anthony would appear to be just as demanding as Mrs. Hayes. What she demands, however, is not so much energy as precision. The attention to detail she essayed in her Lady Bracknell is also manifest in her doings as director. The actors under Ms. Anthony need not bear so much the brunt of an emotional roller-coaster as hitting their marks as they were trained to do so. Also, it is not so much a demanding of actors as it is of her entire crew. The sets, costumes, and makeup of Ms. Anthony's plays, far from being mere accoutrements of the players, have their own unique character.
Tartuffe, qua set, is a masterful elaboration of the three-door scheme of traditional French drama. This is no surprise from the lady who concocted the nasty trapdoor of
Sweeny Todd or the allegorical table spread of
Top Girls. In short, her productions are aesthetically a feast. ** It might be argued that no great emphasis on the human drama tends to alienate, but the reality is that the thespic discipline of Ms. Anthony makes a show that brings in all possible elements, sentient or non-sentient, and utilizes them without any preference to one at the expense of the other. She knows how to bring elements of a show together synthetically. Her style is more organic.
In case a sense of partisanship be detected, perhaps in this conclusion it would be appropriate to state the merits of each style. The passionate performances are those so overwhelming in moments that any other sins of bad taste or boredom might be forgiven. Organic performances, while not entertaining to the degree that the audience member convulses on the floor with laughter, nevertheless has a fully edifying evening of entertainment and can leave the theater feeling pleasantly amused. The difference is that of a display of fireworks and sitting by the fireplace on a frosty evening. This author had the pleasure of doing the latter on a chilly Autumn evening, and could hardly think of anything more physiologically fitting.
* The Author would like to amend this paragraph by stating that, having had the opportunity to act under Mrs. Hayes, he has by no means been immune to this incongruity of performance. On the contrary, he has had more than his share of missteps during the show's run. Honestly, there are few who have been able to maintain the consistent level of dynamism demanded by Mrs. Hayes. Only one comes to mind.
** There is also the fine attention to the element of sound in Ms. Anthony's shows. It is interesting that one of the major shocks of
Natural Selection was the conclusion, and its positively jolting use of enhanced white noise. If Mrs. Hayes were to attempt such an effect in one of her shows, most likely it would an actor enacting the same sort of massive BEEP! One cannot help but wonder if she would employ a certain theater director in that "role."