Henry V at the Stratford Shakespeare Festival

A couple of years ago, after several unsatisfactory experiences in a row, Emsworth vowed to attend no more Shakespeare productions directed by Stratford Festival Artistic Director Des McAnuff.  But when Henry V was announced for the 2012 season, an exception seemed to be called for.  How much of a muddle could McAnuff make of it?  The setting of Henry V is fixed firmly in England and France in 1415; what were the chances Mr. McAnuff would set it in a fascist country in 1930?  And if McAnuff ran amok with glitter and spectacle, as was inevitable, would it ruin a play like Henry V?  I didn’t see how it could, and went ahead to order an excellent pair of third-row tickets.

Aaron Krohn as King Henry V. The Stratford show does not use actual horses.

But poor acting will sink any play.  True, Mr. McAnuff didn’t mess with the setting of the play.  And visually it’s a success, from the elaborate period costumes to pageantry of the chorus parts to the cannon to the enormous British flag. The brawl in the tavern between the hot-tempered Pistol and Nim went off nicely, and the battle scenes were lively and cleverly choreographed. But none of this made up for the fact that King Henry is poorly cast and that long parts of the play are simply tedious.

One can say this of Aaron Krohn: with his compact figure, square jaw, and steely eyes, he looks very much the part of the 28-year-old king. He can be heard pretty well, and he has all his lines memorized.

But in all other respects his performance falls well short. The part of Henry V calls for an enormous range of expression, from the early moment when the king shows his steel by showing no mercy to traitors, to his ironic and meditative dialogues with his soldiers on the eve of battle, to the famous “band of brothers” speech, to his shocking order that the French prisoners be killed, to the wooing of the Princess Catherine. Mr. Krohn is a man of one voice — it matches his steely eyes — and he uses it on every occasion.

A good actor accompanies his lines with appropriate gestures; the Stratford Festival’s best actors convey as much with looks and body language as with words. But Mr. Krohn looks into the distance, and his arms fall limply at his side.

McAnuff

How much a director can be blamed for poor acting from a play’s lead actor, I cannot say, but nevertheless all of the worst acting performances we have seen at Stratford have been in plays directed by Mr. McAnuff.  Mr. Krohn’s expressionless speech on the eve of the Battle of Agincourt would not have inspired a pack of wolves to attack a stray lamb.

Did Mr. McAnuff, who seems to prefer doing things different in Shakespeare merely for the sake of being unconventional, tell his lead actor not to deliver a rousing speech, simply because that’s what other actors usually do?  In Act V, Scene 2, the Duke of Burgundy, a minor character, is given some of the best poetry in Henry V, lines that illuminate the playwright’s mature reflections on war and peace. Burgundy’s speech uses horticulture as an extended metaphor for a French nation in which peace and the blessings of peace have not been allowed to thrive:

And as our vineyards, fallows, meads and hedges,
Defective in their natures, grow to wildness,
Even so our houses and ourselves and children
Have lost, or do not learn for want of time,
The sciences that should become our country;
But grow like savages,–as soldiers will
That nothing do but meditate on blood,–
To swearing and stern looks, diffused attire
And every thing that seems unnatural.

Did Mr. McAnuff fail to notice that Xuan Fraser, as Burgundy, showed no evidence of understanding his lines? As Burgundy droned on, the Stratford audience zoned out. Did Mr. McAnuff fail to notice that the wooing scene between King Henry and Princess Catherine (Bethany Jillard), toward the end of the play, was dying a slow death, and that Mr. Krohn and Ms. Jillard seemed to be caught in a dialogue loop from which they could not escape?

It’s not all bad.  The tavern scenes, with Bardolph (Randy Hughson), Pistol (Tom Rooney), Nim, (Christopher Prentice), and the Hostess (Lucy Peacock) are lively and well-acted; Mr. Rooney is a treasure.  The scene in which Bardolph has been arrested for stealing a chalice from a chapel is rendered with feeling and suspense: will they really hang the reprobate?  I especially enjoyed Juan Chioran as Montjoy, the French king’s herald, and Ben Carlson as Fluellen, the Welsh captain in King Henry’s army.

And McAnuff, no doubt correctly guessing that a good part of the play’s audience would not understand French, gave interest to the episode in the palace between Princess Catherine and her lady-in-waiting, Alice (Deborah Hay) by having the dialogue (all in French, as the playwright wrote it) take place during Catherine’s bath.  Any doubt as to whether the actress was actually bathing in the altogether was removed when the Princess stood, her back and backside to the audience, to be dried off.

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We preview the Stratford Shakespeare Festival’s 2012 season

The Stratford Shakespeare Festival (Stratford, Ontario) will be celebrating its 60th season by cutting its Shakespeare offerings down to three plays, plus a version of Macbeth using characters from The Simpsons. Overall, it’s a disappointing 2012 playbill. Still, in order of interest, these are the shows that interest us the most:

1. Shakespeare’s Much Ado About Nothing (at the Festival Theater)

Much Ado About Nothing figures to be the best Shakespeare of the season. Ben Carlson, one of the finest classical actors we’ve seen anywhere, will play Benedict, and his wife Deborah Hay will appear as Beatrice. Since he’s been at Stratford, Mr. Carlson’s been as good as they get as Hamlet, Brutus, Leontes, Touchstone, and Alceste (in last season’s The Misanthrope). The question is whether Ms. Hay can match him in Shakespeare. At the Shaw Festival she stood out as a comic actress, but she was also terrific three years in a more nuanced role in Terence Rattigan’s After the Dance (see this Emsworth post).

If you haven’t noticed, Shakespeare’s five most popular comedies are in a rotation of sorts at the Stratford Festival; it’s comforting to know that it won’t be long before you can see one of your favorites. We’ve had

The Taming of the Shrew (2003)
A Midsummer Night’s Dream (2004)
As You Like It (2005)
Twelfth Night (2006)
Much Ado About Nothing (2006)

The Taming of the Shrew (2008)
A Midsummer Night’s Dream (2009)
As You Like It (2010)
Twelfth Night (2011)

It was therefore predictable that Much Ado About Nothing, which is indeed a favorite of ours, would be on the marquee in 2012. It will be directed by former Shaw Festival Artistic Director Christopher Newton, who has said the play will be set in Brazil.

2. Shakespeare’s Cymbeline (at the Tom Patterson Theater)

We’ve tried and failed several times to read Cymbeline, but it’s always seemed too hard to follow. So we’re hoping this show will bring to life a Shakespeare play that hasn’t worked for us in print. Stratford productions have done this for us before — we’re thinking especially of Troilus and Cressida (2003) and Two Gentleman of Verona (2010).

We don’t claim to understand Cymbeline‘s plot, which is the complicated story of a young woman who marries against her father’s will. Geraint Wyn Davies will play the title role, and Cara Ricketts will play his daughter Imogen. Despite its uncomfortable seats, the Tom Patterson Theatre is still our favorite place to see Shakespeare.

3. 42nd Street (at the Festival Theater)

We were startled to realize that 42nd Street was not from the golden age of Broadway musicals. We’d seen the ’30s movie and assumed wrongly that it was based on a musical play. In fact, 42nd Street wasn’t staged until 1980; it won the Tony as best musical play in 1981.

The story of 42nd Street is a show about a show, with cliches that were endlessly recycled in old movie musicals; a chorus girl, Peggy Sawyer, is canned for messing up, but is rehired to take the place of an injured star. Interestingly, the Stratford Festival has yet to announce who will play Peggy Sawyer. [1-23-12 update: it’s been announced that Jennifer Rider-Shaw, a young singer who was part of the company in Jesus Christ Superstar last year, has been given the part.] But long-time Stratford favorite Cynthia Dale will be returning to play Dorothy Brock, the injured leading lady whom Peggy Sawyer replaces. Gary Griffin, who directed the phenomenal West Side Story at Stratford three years ago, will be in charge.

The show uses one of Emsworth’s all-time top-ten favorite pop songs, “I Only Have Eyes for You.” This tune was not in the 1933 movie, but was instead written by the same songwriting team of Harry Warren and Al Dubin for another show, Dames, a year later. Other songs in 42nd Street include “Lullabye of Broadway” (which wasn’t in the 1933 movie either) and “You’re Getting to Be A Habit With Me.” June 2012 update: “I Only Have Eyes for You” wasn’t used in the show after all! But the show as a whole was dazzling entertainment.

4. Electra (by Sophocles, at the Tom Patterson Theater)

Another shot at classical Greek tragedy! We have shamefully little experience either seeing or reading the ancient Greek poets. Three years ago at Stratford we did see a play by Euripedes, The Trojan Women, which like Electra was written about 400 years before the birth of Christ, but we didn’t know what to make of it and didn’t feel confident enough to blog about it. We still find it mind-boggling to think that these dramas have been preserved for 2500 years.

In a way, Electra is a sequel to The Trojan Women. In the latter play, the Greek king Agamemnon and his men have burned Troy and carried off their women. In Electra, the Greeks are back home after the Trojan wars, but Agamemnon and his new Trojan concubine Cassandra have been murdered by his wife Clytemnestra (as predicted by Cassandra in The Trojan Women). Agamemnon’s daughter Electra is unhappy about the murder of her father, and she and her twin brother Orestes set about to revenge their father by slaying their mother. Good times!

In the plays of Shakespeare, Bernard Shaw, and Arthur Miller — that is, in modern theater — the characters have more or less realistic conversations with one another. There was none of that in The Trojan Women, which consisted mostly of protracted laments by angry women, plus speeches by the gods. There probably won’t be any snappy repartee in Electra either. But it’s a different genre; we’ve gathered that ancient Greek tragedy is as different from modern theater as modern theater is from opera.

5. The Matchmaker (by Thornton Wilder, at the Festival Theatre)

Bernard Shaw and Tennessee Williams wrote novels too, but nobody reads them. Thornton Wilder is on the short list of writers who have been as successful writing stories and novels as they have writing plays. In fact, we just read and enjoyed Wilder’s late novel The Eighth Day this fall.

Everyone knows and loves Wilder’s Our Town, but The Matchmaker, which we enjoyed about ten years ago at the Shaw Festival, is every bit as entertaining, and funnier. This is the play on which the musical Hello, Dolly! was based. The wonderful Seana McKenna will play the matchmaker, Dolly Levi.

6. Henry V (by William Shakespeare, at the Festival Theatre)

Emsworth ungraciously announced a year ago that he did not intend to buy any more tickets for Shakespeare plays directed by Stratford Artistic Director Des McAnuff. Faithful to that vow, we boycotted the McAnuff-directed Twelfth Night last summer, even though it’s one of our very favorite Shakespeare plays (see this list), and even though it was apparently popular with Stratford audiences. We were told by reliable friends that we did well to skip it. We don’t doubt that Mr. McAnuff sincerely loves Shakespeare, but he clearly doesn’t have faith that a Shakespeare play can stand on its own without gimmicks like the sixties-style rock songs that (report has it) repeatedly interrupted the story of Twelfth Night last summer.

But what could Mr. McAnuff possibly do to ruin Henry V? It’s a play about a historical English king, set unambiguously in a definite time and place in history. So surely he won’t re-imagine it as a fascist fable (as he did with As You Like It a couple of years ago) or set it in Africa (as he did with the Scottish play, Macbeth, a year before that). Fortunately, our vows are not as inviolable as Lear’s, which he “durst never” break (King Lear, Act I, Scene 1). We’ve never seen Henry V on stage, and we badly want to.

It’s disappointing that Ben Carlson wasn’t cast as Henry V. Mr. Carlson is of suitable age for the role now, but he won’t be the next time the Stratford Festival mounts Henry V, in another ten years or so. The part has been given instead to Aaron Krohn; Mr. Carlson will be relegated to the minor role of of the Welshman, Fluellen. Lucy Peacock will adorn the role of the Hostess; we’ll be glad to see Tom Rooney as Pistol.

7. A Word or Two (readings/recitations by Christopher Plummer, at the Avon Theater)

A year ago we expressed the hope that Christopher Plummer would return to Stratford in 2012 to play the Duke in Measure for Measure. Mr. Plummer is indeed coming back to Stratford, but to give a solo program of readings and recitations. It’ll run for only a month, from late July to late August.

No doubt these readings will be memorable. But we are seriously put off by the fact that tickets for this one-man show will be about 30 percent more expensive than tickets for, say, Henry V, which will have castles full of courtiers and battlefields full of armies.

8. The Pirates of Penzance (operetta by Gilbert & Sullivan, at the Avon Theatre)

Wonderful tunes, clever lyrics. The Pirates of Penzance is the farcical story of a young man whose nurse accidentally apprentices him to a band of pirates, to whom he is bound until his 21st birthday. But Frederic was born on February 29, so unfortunately he won’t hit 21 for a while. It’s all very entertaining, but we’ve come to think of Gilbert & Sullivan as community theater material and aren’t likely to add this show to our bundle of tickets.

9. You’re a Good Man, Charlie Brown (musical play based on Charles M. Schulz’s Peanuts, at the Avon Theatre)

Surely they jest.

10. MacHomer at the Studio Theatre)

Homer Simpson and family do Macbeth. Here’s more evidence that the management at the Stratford Shakespeare Festival doesn’t have faith in its core product. This show will play only during May, while the schools are still in session and English teachers are still bringing their students to Stratford. After all, why should the kids have to suffer through Much Ado About Nothing? Give ’em something they’ll understand! And something that’ll make ’em laugh!

Other shows: Hirsch (by Alon Nashman and Paul Thompson, in the Studio Theatre); The Best Brothers (by Daniel MacIvor, in the Studio Theatre); Wanderlust (by Morris Panych, in the Tom Patterson Theatre)

The play called Hirsch is about John Hirsch, who was Artistic Director of the Stratford Festival for five years about 30 years ago. We’re not uninterested in the history of the Stratford Festival (see this post), but this seems a stretch.

The Best Brothers is a world premiere by a Canadian playwright, described as the story of a couple of brothers coming to grips with the death of their mother.

Wanderlust is a new musical play written by the Canadian playwright and director Morris Panych. It’s advertised as based on the poems of Canadian poet Robert W. Service. Like Jack London, Service wrote a good deal about the gold rush in Alaska and the Yukon in the early 20th century, and that’s what this story is about. Tom Rooney will take the role of the poet.

The Misanthrope at the Stratford Shakespeare Festival

Sara Topham as Célimène and Ben Carlson as Alceste

(August 2011) Looking around the nearly full Festival Theater just before the play was to begin, we wondered how many folks had bought their tickets for The Misanthrope especially to see Stratford Festival icon Brian Bedford direct and act. Could a seventeenth-century French playwright really have such an impressive fan base? Mr. Bedford was unfortunately a scratch, unable to direct because his The Importance of Being Earnest was still running on Broadway, then unable to perform because of medical issues.

We wouldn’t say that Mr. Bedford wasn’t missed, but this offering of Molière’s 350-year-old comedy was just fine without him.  Molière’s own productions couldn’t have been much more entertaining.  What struck Emsworth was that some in the audience were tickled by certain lines, and some by others.  From the beginning of the play to its end, pockets of half-suppressed laughter were continually erupting in random parts of the theater.

The cast of The Misanthrope

The play is a satire on the society of Molière’s time (although the set and the costumes suggest the mid-1700s, a hundred years after Molière).  The play’s hero, Alceste (Ben Carlson) has lost his patience with his friends because they flatter an acquaintance to his face, then savage him behind his back. “How else are people to behave?” his friend Philinte wonders. Alceste’s sanctimonious reply:

I’d have them be sincere, and never part
With any word that isn’t from the heart.

Alceste declares misanthropically that he wants to go off to live in the wilderness where he’ll be alone and won’t have to endure the hypocrisy anymore.

We see the sort of thing that riles Alceste early in the play when one of his friends, Oronte (Peter Hutt, in the supporting role Brian Bedford would have played), asks Alceste for an “honest” critique of a dreadful love sonnet that he has penned.  Knowing that Oronte merely wants to be flattered, Alceste demurs, but when Oronte insists, Alceste pulls no punches.  This scene alone is worth the price of admission; Ben Carlson is masterful and outrageously funny.

The set for The Misanthrope represented a Parisian salon with panel paintings in the style of François Boucher (1703-1770). This Boucher is from a set of salon paintings in the Frick Collection (New York City) entitled The Four Seasons (Spring)

The play is set in the heavily patronized Paris salon of Célimène (Sara Topham), a young widow with whom Alceste is in love.  Alceste is unfortunately handicapped as a lover by his inability to keep from scolding Célimène for her flirtatiousness and for her biting character sketches of absent acquaintances.  Not to be missed are the verbal fireworks between Célimène and her moralistic “friend” and rival Arsinoé (the indispensable Kelli Fox). Célimène goads her older rival:

When all one’s charms are gone, it is, I’m sure,
Good strategy to be devout and pure.

By the second half of the play, we realized that what initially seemed a fairly simple storyline (much talk, seemingly little action) was in fact multi-layered and complex; this is a very cleverly plotted play. Will Célimène’s romance with Alceste be undone by her two-faced behavior, and if so, who will be mated with whom? The outcome is in doubt to the end.

The catfight between Célimène and Arsinoé, and the social milieu of malicious gossip, brought to mind scenes in Clare Boothe Luce’s The Women, which we saw at the Shaw Festival last summer.  Luce’s 1936 play surely owes much to The Misanthrope.

One notices right away that the dialogue of The Misanthrope is in rhymed verse. Director David Grindley chose Richard Wilbur’s acclaimed 60-year-old translation, which still sounds fresh. What skill it must take not merely to translate rhymed French poetry into English, but to translate it into rhymed English poetry! It took us a few minutes to adjust to the verse; once you catch the first several rhymes, you start to listen for them, but soon you realize that you’re missing the meaning by concentrating on the wrong thing.

Ben Carlson as Alceste

Rhymed verse makes demands on performers as well. Some of them — notably Ben Carlson, Peter Hutt, and especially Kelli Fox, handle Molière’s/Wilbur’s poetry effortlessly, letting the rhymes peek out and take you by surprise, instead of pounding you over the head with them.  It’s the same technique that they’d use for delivering Shakespeare, where an actor needs ever so gently to convey the rhythm of the blank verse, without indulging in overt pauses at the end of the lines.

Not all the actors fare so well, especially Sara Topham, whose unsubtle, sing-song delivery of Célimène’s lines reminded me a little of an eighth-grader reciting Longfellow. Trent Pardy’s Acaste (another suitor for Célimène’s attentions) was little better.  Truth be told, we’re not sold on Sara Topham, although her star seems to be high at Stratford these days.  She looks very well, but she still hasn’t learned how to vary her delivery or to project her voice without straining; by the end of our show it wasn’t pretty.

Alceste was the second on-stage misanthrope we’d encountered within a month; there’s another at the Shaw Festival this summer in My Fair Lady. Neither Henry Higgins (the central character in My Fair Lady, based on Shaw’s Pygmalion) nor Molière’s Alceste is willing to make himself agreeable to others. Alceste justifies himself on the ground that he alone is honest and sincere; Henry Higgins does not bother to justify himself at all.

We preview the Stratford Festival’s 2011 season

In 2010 fanfares still reminded theater-goers at the Festival Theater in Stratford that a show was about to begin

It was a decent 2010 season at the Stratford Shakespeare Festival, though not a great one.  As chronicled in this blog, we saw only one truly memorable show (a marvelously acted The Winter’s Tale) and only two that we could rate as solidly entertaining (Kiss Me, Kate and Two Gentlemen From Verona).  Three were disappointing in various respects (The Tempest, Peter Pan, and Dangerous Liaisons), and As You Like It) was an outright stinker. We know they hardly ever do this — but The Winter’s Tale was so good that we can only hope that the management will consider reviving the production in 2012.  We’d see it again in a heartbeat.

We had fun pointing out how political correctness sucked some of the joy out of Peter Pan (see this post), and we wouldn’t have missed Christopher Plummer as Prospero (see this one).  Mr. Plummer isn’t scheduled to be back at Stratford in 2011.  But if he returns in 2012 we’d love to see him as the Duke in Measure for Measure.  We were reading the play recently and could hear, in our mind’s ear, Mr. Plummer’s rich baritone delivering the Duke’s lines. Update (12-13-10): We saw that Mr. Plummer told a Toronto drama critic recently that last summer’s Prospero would be his last Shakespeare role, because there weren’t any more age-appropriate roles he hadn’t done. We hope he changes his mind.

There will still be four Shakespeare plays on the 2011 playbill, but we figure to be skipping a couple of them.  Here’s what we like best on the 2011 menu, which also includes the rock musical Jesus Christ Superstar and and the classic musical Camelot.  In order of interest, more or less:

Moliere

Molière’s The Misanthrope (at the Festival Theater)

We’ve been interested in French drama since our college course in French literature, but unfortunately we’ve never seen much of it.  So Molière’s The Misanthrope is a top priority for us as we order tickets this week, especially with Brian Bedford directing and acting.  Update: Bedford won’t be directing the play after all, because his The Importance of Being Earnest, which originated at Stratford in 2009, is still running on Broadway, but he will still be acting in The Misanthrope.  David Grindley is now announced as the director.

By reputation Bedford is the world’s foremost English-speaking interpreter of Molière, but we’ve seen him only in other roles till now.  He’ll be 76 years old during the 2011 season; his character in The Misanthrope (Oronte) is at least half his age.  But we saw Bedford pull off the same sort of thing a few years ago when he played the lead in Private Lives.  Ben Carlson, who was brilliant as Leontes in The Winter’s Tale in 2010, will play Alceste.  Kelli Fox, another favorite of ours, is shuttling back to Stratford from the Shaw Festival to fill a supporting role.  This 1666 play is a satire of French high society.

Update 2 (7-8-11): We just saw that Mr. Bedford won’t be appearing in The Misanthrope either because of a medical issue. That’s disappointing. The estimable Peter Hutt will take his place. We’ve enjoyed Hutt’s work over the years at both the Stratford Festival and the Shaw Festival.

Hey!  When is the Stratford Festival going to offer a play by Victor Hugo?  We’d jump at the chance to see Ruy Blas or Hernani.

Tim Rice and Andrew Lloyd Webber’s Jesus Christ Superstar (at the Avon Theater)

We heard a fair amount of casual grousing in Stratford last summer about how the Festival was going to the dogs with shows like Evita – not simply musicals (bad enough!) but rock operas!  Personally, we don’t have a problem with rock musicals per se, though a lot of them, including Evita, don’t amount to much.  They’ll run out of worthy rock musicals a lot quicker than they’ll run out of classic American musicals.

the classic album cover

Jesus Christ Superstar is another story.  We’ve loved this rock musical account of the last days of Jesus’ life (told from the perspective of Judas, our Lord’s betrayer) since our high school years, when the two-disc LP first came out and the buzz started.  We listened to it incessantly and played and sang the tunes over and over – “I Don’t Know How to Love Him, “Everything’s Alright,” “Superstar,” and the Tchaikovsky-esque “Gethsemane (I Only Want to Say).”  This music hasn’t gotten stale over the last 40 years. 

But this will be our first chance to hear it/see it live.  Paul Nolan and Chilina Kennedy, the stars of 2009’s remarkable West Side Story in Stratford, will sing the parts of Jesus and Mary Magdalene; Josh Young, whom we don’t know, will channel Judas.  Des McAnuff will be directing.  We expect good things.

Richard III (by William Shakespeare, at the Tom Patterson Theater)

In this Richard III, the lead role will be played by Seana McKenna. As a general rule, we’re not keen on “non-traditional” casting, but we fully expect Richard III to be the best Shakespeare in Stratford next summer. It’s the loosely historical story of how the hunchback Richard, Duke of Gloucester, schemes and murders his way onto the throne of England.  We learned recently that there are still people in Great Britain who insist vehemently that this play is a gross libel on Richard and that he wasn’t the monster of Shakespeare’s play.

Ms. McKenna is at the peak of her powers; we loved her last summer in The Winter’s Tale.  As for Richard’s being played by a woman — well, Richard is not a very manly man; he seems interested in women mainly to humiliate them and to blight their lives. An sexually ambiguous Richard may be just the ticket.  The rest of the cast is strong: Martha Henry, Peter Donaldson, Martha Henry, Sean Arbuckle, and Yanna McIntosh.

The Merry Wives of Windsor (by William Shakespeare, at the Festival Theater)

This is a Shakespeare play we hadn’t even read until a year or so ago, figuring that it was only a minor work.  Maybe it is, but after seeing The Gentlemen of Verona transformed into a first-class piece of entertainment last summer, The Merry Wives of Windsor is one we’ll see. 

The cast will have several of the Stratford Festival’s best, including Tom Rooney, Tom McCamus, Janet Wright, and Lucy Peacock.  Geraint Wyn Davies will play Falstaff, the fat, lecherous knight who is trying to get into the sack with two married women at once, but who is blockheaded enough to send the same love letter to both. 

Camelot (by Alan Jay Lerner and Frederick Loewe, at the Festival Theatre)

The musical Camelot is based on one of our all-time favorite novels, T. H. White’s The Once and Future King, a whimsical retelling of the legends of Arthur, Gwenevere, Lancelot, and the rest of the gang at Camelot.  We’ve never thought Camelot had an especially memorable score, compared to shows like South Pacific or My Fair Lady, but three hours in Camelot can be special.  Geraint Wyn Davies will play the cuckolded king, Brent Carver the magician Merlin. 

John Steinbeck’s The Grapes of Wrath (at the Avon Theatre)

Emsworth has a long-standing prejudice against theatrical and cinematic adaptations of classic novels.  As readers, we form our own mental pictures of the scenes and characters of a novel.  Why let a play or a movie forever displace those images with someone else’s? 

Nevertheless, Frank Galati’s 1988 adaptation of Steinbeck’s 1939 novel won a Tony, the wife of our bosom loves Steinbeck’s book, and one of our favorite actors, Evan Buliung, will play Tom Joad.  (We have just remembered that the wife went happily to see the last Steinbeck adaptation at Stratford (Of Mice and Men) while we saw something else.)  It’s the story of the Joad family and their struggles to make it during the Great Depression. 

Titus Andronicus (by William Shakespeare, at the Tom Patterson Theatre)

We’ve read Titus Andronicus, and we’re just not inspired to see this convoluted story about the succession to the Roman throne, a mind-numbing tale of mayhem, rape, cannibalism, and murder.  We’re curious as to how they’ll accomplish the special effects – there’s some really nasty stuff to be staged.  But Titus Andronicus simply doesn’t strike us as a very good play.  The experts say good parts of it were written by someone other than the Bard. 

Not all Shakespeare plays are equally worthy.  If we see this show, the main reason will be that we’d like eventually to brag that we’ve seen the entire Shakespeare canon.  John Vickery will play the title role. 

The Homecoming (by Harold Pinter, at the Avon Theater)

You’d almost have to say that nastiness will be a running theme at Stratford in 2011. Titus Andronicus is all blood and carnage, Richard III is a story of sociopathic, bloody cruelty, Jesus Christ Superstar ends with a brutal whipping and a crucifixion, and Harold Pinter’s 1964 Tony-award-winning play may be the most disquieting of all.  The Homecoming is even more trying to the nerves than Who’s Afraid of Virginia Woolf, which came out around the same time. It’s about what happens in a lower-class North London family when the oldest son, Teddy, brings his slutty wife Ruth home to meet his father and brothers. 

The play is violent from its realistic beginning to its surreal end, mostly verbal violence.  These people use words to hurt.  We happened to see the 2008 revival in New York City and thought it was an extraordinary play, but still don’t feel braced enough to see it again. (Another Pinter play, we’d probably spring for.)  The Homecoming is not for the squeamish, any more than Titus Andronicus.  The Stratford’s cast includes Stephen Ouimette, Brian Dennehy, and Cara Ricketts.

Shakespeare’s Twelfth Night (at the Festival Theater)

Twelfth Night is one of our very favorite Shakespeare plays (in this post we made a list), and it would be our top priority for 2011 if it weren’t being directed by Stratford Festival Artistic Director Des McAnuff.  As we announced after seeing the McAnuff-directed As You Like It in September (see this post), we’re going to pass on Shakespeare plays directed by McAnuff for the foreseeable future.  No one can say we didn’t give them a fair trial: we also suffered through his Romeo and Juliet in 2008 and squirmed through his Macbeth in 2009.  Directing Shakespeare is simply not where McAnuff’s considerable talents lie.

They’ve done this play in Stratford a lot.  Since 1953 only A Midsummer Night’s Dream has been played there as often as Twelfth Night; this will be the eleventh production since 1953.  On average it comes up every five years, so if we miss this one . . . . It’s a shame, though, especially considering the talent in the 2011 cast, which includes Stephen Ouimette, Tom Rooney, Ben Carlson, and Brian Dennehy. 

The rest: Shakespeare’s Will (by Vern Thiessen, in the Studio Theatre); Hosanna (by Michael Tremblay, in the Studio Theatre); The Little Years (by John Mighton, also in the Studio Theatre)

The talented Seana McKenna will also be playing Anne Hathaway in Shakespeare’s Will, a one-woman play about how William Shakespeare’s wife felt about being left his second-best bed in his last will and testament, together with other reflections on what it was like to be the great poet’s wife.  Unfortunately, we’re hung up on the premise.  We doubt that Anne Hathaway’s husband actually wrote the plays and sonnets that have come down to us under his name (see this post).

But we’re intrigued by Hosanna, the play with which long-time Stratford Festival artistic director Richard Monette made his mark as an actor, and just might manage to see it.  There will be a cast of two: Hosanna, a transvestite, will be played by Gareth Potter, and Hosanna’s partner Cuirette will be played by Oliver Becker. 

The small, almost claustrophobic Studio Theatre will host a third play in 2011.  The Little Years was written by John Mighton, a Canadian playwright who also has a Ph. D. in mathematics.  The play, set in the 1950s, is about a teenage girl who’s interested in physics.

We observed a year ago that the 2010 playbill consisted of mostly contemporary works, other than the Shakespeare plays and Peter Pan.  This will be true in 2011 too: except for the Shakespeare plays and Molière’s The Misanthrope, every show on the schedule was written after 1960.

As You Like It at the Stratford Shakespeare Festival

Randy Hughson as Corin and Ben Carlson as Touchstone

Next year the Stratford Shakespeare Festival will be putting on Twelfth Night, which is practically our favorite Shakespeare play. But we’re going to skip it. Till further notice, we’re not paying to see Shakespeare plays directed by Des McAnuff. There will be other shows at Stratford in 2011.

Mr. McAnuff’s As You Like It has a lot in common with his Romeo and Juliet in 2008 (see this post) and his Macbeth in 2009 (see this post): actors who don’t seem to understand their lines, speeches that can’t be heard, a jarringly uneven tone, confusing visual images, and “modern” settings that don’t work. Like most mediocre Shakespeare productions, it has all too many “dead zones” – long minutes in which the actors seem merely to be reciting, rather than acting, their lines, causing the audience to glaze over, not really understanding what’s being said.

The main culprits at our show were Paul Nolan (Orlando), Andrea Runge (Rosalind), and, to our surprise, Brent Carver (Jacques). Two years ago, Mr. McAnuff made the mistake of casting a young musical theater performer with no classical acting chops as Juliet (see this post.) He did it again this year. Mr. Nolan was superb in 2009 in West Side Story, see this post), but here, as Orlando, unaided by a microphone, he rushed uncomprehendingly through his lines, stood woodenly around the stage, and failed to project his voice.

Andrea Runge, as Rosalind, was better heard, but her volume came at the price of expression. Ms. Runge’s method of delivering a given line of Shakespeare is to pick out one syllable at random and to attack it. Each of her phrases had exactly the same dynamic shape; her voice fell off at the end of each phrase in exactly the same way.

Brent Carver, surrealistically, as Jacques

We even had trouble hearing the experienced and capable Brent Carver, as Jacques (in this show pronounced “JACK-wes,” which we didn’t understand). Mr. Carver delivered his lines with inexplicable stops and starts, and his “All the world’s a stage” speech tailed off so dramatically that we simply didn’t hear what he said about the last of the seven ages of man:

. . . second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.

At our performance, the audience sat dully on its hands through much of the first part of this comedy, showing signs of life only when Ben Carlson (as the jester Touchstone) and Lucy Peacock (as Audrey, the ignorant, goat-tending object of his lust) came on stage. I had envisioned a clownish, fumbling Touchstone; Mr. Carlson’s cynical, urbane master of wordplay was a delight. Mr. Carlson, Ms. Peacock, and Brian Tree (as Adam) accounted for nearly all the entertainment value in this show. We regret the necessity of missing Mr. Carlson as Feste in next year’s Twelfth Night.

It’s a elementary responsibility of a director to ensure that his actors are heard. It’s also his job, we’d think, to ensure that a play strikes a consistent tone.  We grant, as Mr. McAnuff observes in the program notes for this show, that the first half of As You Like It, which features threats against the lives of Orlando and Rosalind, is darker than the second half. But Mr. McAnuff evidently felt that it needed to be much darker still. Ignoring both the text and the spirit of the play, he gratuitously injected two deaths (including a murder) into its first hour of this comedy.

The first death left us genuinely puzzled. At the end of Act II of the play (as the playwright wrote it), Orlando is welcomed to Arden by Duke Senior and his band of merry men, but insists that he cannot eat or rest until his exhausted old servant Adam (an endearing Brian Tree) gets some nourishment. Orlando carries his “venerable burden” in, they feed him, and after a song (“Blow, blow, thou winter wind”), Duke Senior welcomes the revived old man: “Good old man/Thou art right welcome as thy master is. Support him by the arm.”

But in this show, Mr. McAnuff has Adam expire during the song; they wrap up his corpse and carry him off. The playwright created the Forest of Arden as a place of refuge, reconciliation, and restoration. Why shouldn’t Arden have been a place of recovery and rest for Adam, as the playwright specified?

Minutes later, at the beginning of Act III, when the black-hearted Duke Frederick demands that Oliver track down his brother Orlando and bring him back dead or alive, Mr. McAnuff has the Duke show Oliver that he means business by pulling a gun and casually shooting one of his courtiers. Needless to say, the play’s text provides no warrant for this jarring bit of stage business. Why did Mr. McAnuff feel compelled to make Duke Frederick appear even more villainous than he already was — not merely a bully and an egoist, but a sociopath to boot? The stunt serves only to shock. Perhaps, in directing this scene, Mr. McAnuff was still trapped in the world of Macbeth, which he directed a year ago, in which random, paranoid murders were par for the course. Perhaps he was thinking about King Lear, in which the blinding of Gloucester and other scenes of brutal violence are brilliantly juxtaposed with scenes of tenderness and comic relief. But As You Like It is not that sort of play.

And Mr. McAnuff’s perverse decision to militarize this comedy ruined Emsworth’s favorite speech from As You Like It, Duke Senior’s ode to the pastoral life, which begins,

Now, my co-mates and brothers in exile,
Hath not old custom made this life more sweet
Than that of painted pomp?

Act II, Scene I. No doubt there are many ways to stage this scene; we had imagined Duke Senior and his brothers in exile sitting around a roaring campfire to keep off the chill autumn air, toasting one another with hijacked ale, singing songs, and telling bawdy jokes and stories. But Mr. McAnuff had Tom Rooney, as Duke Senior, shout out his lines, not to friends in a close, convivial circle, but to half a dozen armed comrades scattered among the audience in the large Festival Theater in the posture of lookouts and sharpshooters. Not surprisingly, the effect of the speech was lost.  Mr. Rooney was delivering his toast to friends who were barely within earshot, off in six different directions.

We found even more objectionable the image of Arden as an armed, fearful camp of rebels. That’s the opposite of the playwright’s image. The men in the forest are happy and content; Duke Senior observes complacently to his friends, “Are not these woods/More free from peril than the envious court?”, and a few scenes later, when Orlando blunders into the camp with his sword drawn (Act II, Scene 7), ready to fight for food, he is welcomed with a joke from Jacques, a “welcome to our table,” and a rebuke from Duke Senior for coming into their peaceful place with a show of force.

A Magritte-like set

Then there was Mr. McAnuff’s head-scratching decision to “set” this Shakespeare comedy in the 1920s, based on his observation (in the program) that communism, anarchism and fascism were all repressive movements opposed to modern art. To be fair, we rather enjoyed the colorful, surrealistic images from which the set and the props were constructed. What we didn’t fathom was the director’s apparently sincere belief that there was some meaningful connection between the pre-modern, pre-ideological world of As You Like It and the Europe of the 1920s and 1930s, when fascism and communism challenged the humanism of the Renaissance and the Reformation. What had these worlds to do with one another?

We understand that every Shakespeare director feels driven to do “something new” with a familiar play. (We understand, even if we don’t like it.)  But they shouldn’t deceive themselves into thinking that “setting” a Shakespeare play in fascist pre-World War II Europe — what a stale, over-used concept, especially at Stratford! — will actually help audiences understand the play better.

It won’t.  As the wife of our bosom commented as we were driving away from Stratford, if this sort of approach confounds adults who are familiar with Shakespeare, how much more must it baffle children and youths who are experiencing Shakespeare for the first time?

In case the Shaw Festival should ask for requests . . .

How about a John Mortimer play at the Shaw Festival?

By now, Jackie Maxwell’s probably finished her list of Shaw Festival shows for 2011. But we’ve been thinking that we ought to be more proactive in letting Ms. Maxwell know what we’d like to see on stage in Niagara-on-the-Lake, Ontario next year, or maybe the year after, especially now that we’ve seen most of what we’re likely to see at the Shaw in 2010.

So herewith our helpful suggestions.  We’ve already vetted them for compliance with the Festival “mandate” (plays during George Bernard Shaw’s lifetime, or set during that period):

A Voyage Round My Father (John Mortimer)

The late writer, a great favorite of ours, would never have created Rumpole of the Bailey if not for his eccentric father, a blind barrister who specialized in divorce. This play — we’ve read it, want very much to see it performed — is a tension-packed fictionalized account of the mutually abusive and mordantly funny relationship between Mortimer and his dad. We can see Michael Ball and Steven Sutcliffe in the lead roles. The play’s our first choice.

Alice Sit-By-The Fire (J. M. Barrie)

For the last 20 years, the only plays besides Shaw’s that you’d have a betting chance of seeing at the Shaw Festival in any given year have been Noël Coward’s and Oscar Wilde’s. But we think James M. Barrie ought to be in the rotation too. Not that he’s been ignored altogether; in fact, the Shaw is doing Barrie’s one-act Half an Hour as its lunchtime show this season.  But the only full-length Barrie play besides Peter Pan that the Shaw has ever done was The Admirable Crichton, and that was before our time as Shaw patrons.

James M. Barrie

In his day Barrie had a long string of successful plays. We’ve read most of them, and they’re packed with lively, witty dialogue, vivid characters, clever plots, and bittersweet sentiment. They don’t seem at all dated or flat. We’d be thrilled with Mary Rose (a good choice for the slot usually reserved for a “mystery thriller” in a Shaw season playbill) or Quality Street. But our first choice would be Barrie’s 1905 comedy Alice Sit-By-the-Fire.

Like Peter Pan, Alice Sit-By-the-Fire is concerned with the impact of a powerful imagination on reality. In Peter Pan, the Darling children’s playworld becomes real as Neverland; in Alice Sit-By-the-Fire, a teenage girl’s imagination, inflamed by cheap theatrical melodramas, spins out of control as she transforms herself into a heroine who can save her too-youthful mother from a forbidden romance. We could see Diana Donnelly and Julie Martell in the mother and daughter roles.

The Iceman Cometh (Eugene O’Neill)

Ms. Maxwell has been cautiously introducing accustoming Shaw Festival audiences to Eugene O’Neill over the last several years, so with any luck The Iceman Cometh is already in her sights. She softened up patrons in 2004 with Ah! Wilderness, O’Neill’s wistful comedy about a teenage boy, his family, and the summer he became a man. Then she ratcheted up the misery in 2009 with A Moon for the Misbegotten, a play about the earthy and disagreeable Hogan family.

Eugene O'Neill

We think folks ought to be sufficiently braced now for O’Neill’s masterpiece about the down-and-outers and losers who hang out in Harry Hope’s grimy Greenwich Village bar. Ready or not, we want to see The Iceman Cometh, and we think Ms. Maxwell should lure Ben Carlson back to the Shaw Festival to play the salesman Hickey. It’s a play that cries out for the talents of a repertory company like the Shaw’s.

The Dresser (Ronald Harwood)

The golden age of British theater! We wish we could have been there in the decades before television when great classical actors like John Gielgud and Ralph Richardson played all over the British Isles. We know The Dresser only from the film version from the early 1980s, starring Albert Finney as a fading Shakespearean and Tom Courtenay as his long-time dresser.

The part of "Sir" was based on British actor Sir Donald Wolfit

This portrait of the delicate and complex relationship between “Sir” (the actor) and Norman (his dresser) is a perfect fit for the Shaw, which last year gave us slices of English vaudeville during the same time period (John Osborne’s The Entertainer and Coward’s Red Peppers). We see David Schurmann and Evan Buliung in the lead roles.

They even made a movie from Shaw's Androcles and the Lion

Androcles and the Lion (Bernard Shaw)

Why does Jackie Maxwell, year after year, like Christopher Newton before her, avoid Androcles and the Lion?  Why should a short list of plays one wants to see at the Shaw Festival need to include one of Shaw’s most celebrated plays? Surely it’s not too hard to stage; the Shaw has done it twice before, though not since 1984, before our time. 

Happy to help!

The Winter’s Tale at the Stratford Shakespeare Festival

Yanna McIntosh and Ben Carlson as Hermione and Leontes

This one’s really good, too good to miss. The Stratford Festival’s 2010 presentation of The Winter’s Tale is wonderful theater, full of warmth and humor, beautifully acted — and refreshingly free from distractions. It’s so intelligently and lovingly directed that we’re nearly convinced this supposedly “minor” Shakespeare play is in fact one of the Bard’s masterpieces.

Just from reading the play — and we had not seen it on stage until now — you might think The Winter’s Tale has a convoluted story, too many improbable turns, and too many characters. In this show, though, the tale unfolds naturally and the improbabilities are passed off with easy good humor.

It’s the story of Leontes, king of Sicilia (Ben Carlson), who becomes insanely jealous when his pregnant wife Hermione (Yanna McIntosh) has unexpected success in persuading his best-friend-for-life Polixenes, king of Bohemia (Dan Chameroy), to prolong a visit. Hermione is shattered by his accusations of infidelity and gives premature birth to a baby girl. Polixenes flees for his life.

In a memorable scene in which tension alternates with tenderness, Hermione’s fearless friend Paulina (Seana McKenna) brings the little girl to Leontes in order to bring him to his senses, but he rejects the baby as a bastard and orders Paulina’s husband Antigonus (Randy Hughson) to take the baby out into the wilds and abandon her. Too late to save Hermione, who (apparently) dies of grief, Leontes realizes his folly.

Cara Rickets and Ian Lake as Perdita (pronounced to our surprise with the accent on the first syllable) and Florizel

Meanwhile, in Bohemia, the abandoned baby, Perdita (Cara Rickets) survives, is found and adopted by a shepherd (Brian Tree), and grows up to become, seventeen years later, mistress of a sheep-shearing festival that is visited by Polixenes in disguise. Back in Sicilia, in a mesmerizing and melodramatic climax that left few dry eyes in our audience, things come right again.

We were already fond of The Winter’s Tale for its gorgeous poetry and memorable characters (especially Paulina and Autolycus). But the one thing that kept it off our list of favorite Shakespeare plays (see this post) is that we couldn’t figure out why its characters behave the way they do:

Why would such trifling evidence make a well-regarded king like Leontes suddenly conclude that his affectionate and pregnant wife Hermione was canoodling with Polixenes?

And if the tender-hearted Antigonus is brave enough to defy Leontes when he orders that Hermione’s newborn infant be burned, why does he then meekly agree instead to leave the baby to the mercies of the wolves and vultures?

And if Hermione is not really dead, why does she punish herself by keeping herself a prisoner for sixteen years, especially after Leontes has come to his senses and repented?

And is there any good explanation for the Jekyll-and-Hyde act Polixenes puts on at the sheep-shearing festival? What kind of heel would go in disguise to the festival, have a friendly talk with Perdita and her adopted father, then turn on them, accuse them of plotting to ensnare the prince, and threaten to hang them all?

It seems to Leontes that Hermione (Yanna McIntosh) has gotten too friendly with Polixenes (Dan Chameroy). Given the large cast, it was helpful of the designer to clothe the Sicilians in grays and the Bohemians in bright colors.

We always worry that a director, faced with plot problems like these, will contrive solutions and impose them on her audience. Would director Marti Maraden try, for example, to explain Leontes’s extreme jealousy by suggesting a same-sex attraction to Polixenes? (After all, Polixenes tells Hermione early in the play that when he and Leontes were boys, they were “pretty lordlings” who thought, like Peter Pan, “to be boy eternal” and who “knew not the doctrine of ill-doing.”)  Interpretations of classic plays involving sexual identity issues seem, sadly, to be in vogue these days.

But solutions like that are never satisfactory (nor did the playwright ever see Peter Pan). Fortunately, Ms. Maraden has wisely chosen to simply to tell the Bard’s story, with no attempts to hide or explain away its unlikely twists. The result couldn’t be better.

Ms. Maraden does not attempt, for example, the impossible task of suggesting how Hermione, who dies at the end of the second act, can be alive at the play’s end. And so when Seana McKenna (as Paulina) announces to Leontes that Hermione is dead, her passion and bitter anger convince us that it is so. And when, in the final scene, a living Hermione tells her daughter Perdita that she’d been hoping to see her someday, we are equally convinced of that.

Tom Rooney as Autolycus

There’s marvelous acting from the whole ensemble, even for such minor characters as Hermione’s jailer (Skye Brandon) and Emilia (Ginette Mohr). Not surprisingly, Tom Rooney is mesmerizing as the crowd-pleasing song-peddler and pickpocket Autolycus.

Seana McKenna

But the standout performances are from Ben Carlson, as Leontes, and Seana McKenna, who, as Paulina, sets a standard for “speaking truth to power” that no one is likely to match on stage or off. We hope never to be the target of such a savage, pitiless summary of our shortcomings as the one Paulina delivers to Leontes.

In this show we witness a battle for the heart of Leontes, fought by Paulina, Camillo (Sean Arbuckle), and other members of his court, who defend Hermione’s virtue with hard logic. In Mr. Carlson’s portrayal, Leontes stakes everything on his conviction that Hermione has cuckolded him. But on how firm a foundation is he standing? We see Leontes begin to doubt himself:

If I mistake
In those foundations which I build upon,
The centre is not big enough to bear
A schoolboy’s top.

Leontes is furious with Paulina for telling him that “the root of his opinion” is “rotten as ever oak or stone was sound,” and he blusters that his own convictions are enough for him:

I am satisfied and need no more
Than what I know

But Paulina is right; when he hears that Hermione is dead, Leontes realizes that he has been standing on air. The king’s internal struggle is what we all feel when we find ourselves believing something that can’t be reconciled with what we know. Like Leontes, we dare not acknowledge the possibility that we might not be standing on solid ground.

An 1836 imagining of Autolycus by British artist Charles Robert Leslie

With The Winter’s Tale you don’t hear “famous lines” every minute or two as you do with, say, Macbeth. But there are marvelous flights of rhetoric in The Winter’s Tale, and this cast makes them memorable. We won’t quickly forget the paranoia on the face of Mr. Carlson as Leontes indicts his queen for allegedly playing footsie with Polixenes in a speech that, ironically, removes any remaining doubt that there is “nothing” to Leontes’s suspicions:

Leontes: Is whispering nothing?
Is leaning cheek to cheek? is meeting noses?
Kissing with inside lip? stopping the career
Of laughing with a sigh?–a note infallible
Of breaking honesty–horsing foot on foot?
. . . Is this nothing?
Why, then the world and all that’s in’t is nothing;
The covering sky is nothing; Bohemia nothing;
My wife is nothing; nor nothing have these nothings,
If this be nothing.
Camillo: Good my lord, be cured

Seana McKenna, as Paulina, calls Leontes to account in a no less powerful “nothing” speech of her own:

That thou betray’dst Polixenes,’twas nothing;
That did but show thee, of a fool, inconstant
And damnable ingrateful . . . .

This Winter’s Tale is easily among the best Shakespeare we’ve ever seen.

We wonder if anyone else noticed, among the modest props, the basin of translucent spears at the corner of the stage in the final scene. With a start, we realized, at the same moment as our daughter, seated right behind us, that they looked exactly like the life-restoring crystals in Superman’s “fortress of solitude” — just the thing to remind us that Hermione too had retreated to a solitary refuge.  We like the designer’s sense of humor.

We preview the Stratford Festival’s 2010 season

The 36-year-old Michael Therriault, who once played Ariel in The Tempest, will play Peter Pan at Stratford in 2010

Life is too busy and money too scarce for us to drive all the way to Stratford, Ontario to see a disappointing show; we’ve got to be selective. The eight shows we saw in 2009 were mostly worth it; Julius Caesar and the musicals A Funny Thing Happened on the Way to the Forum and West Side Story were memorable. But Bartholomew Fair and Macbeth left us fidgeting and annoyed, respectively, and made us feel we might have given them a miss.

Happily, for the 2010 season, the powers at the Stratford Shakespeare Festival (here’s its website) have decreed that there will once more be four Shakespeare plays on the playbill (there were only three in 2009) out of a total of 12 shows. Here’s what we think of the menu, which also includes Kiss Me Kate, Evita, and J. M. Barrie’s original Peter Pan:

Shakespeare’s The Winter’s Tale (at the Tom Patterson Theater)

This is the 2010 Stratford show we’re looking to most. It’s the story of Leontes, a Sicilian king who becomes violently jealous of his wife Hermione’s friendship with his friend Polixenes.

Ben Carlson

The Winter’s Tale should have a lot going for it. Marti Maraden was one of the main victims of the Stratford’s ill-conceived and short-lived experiment in having three co-artistic directors a couple of years ago, but she apparently holds no grudges and is coming back to direct this play. We like her Shakespeare better than anyone’s. Ben Carlson, a first-rate Shakespeare actor (Hamlet in 2008, Brutus in 2009), will play Leontes. Tom Rooney’s first two seasons at the Stratford have made him one of our favorite actors; he will play the philosopher-peddler Autolycus, just as in 2009 he played the philosophical Porter in Macbeth. Yanna McIntosh will, thankfully, take the place of the worst actress we’ve ever seen in a Shakespeare play, Nikki James, who was originally scheduled to play Hermione.

In one scene, the playwright directs that the character Antigonus, sent by Leontes to Bohemia to abandon Hermione’s (and his) baby to the cruel elements, should “exit, pursued by a bear.” Back in 1600, coming up with a suitable live bear for a show couldn’t have been very hard, since the drama theaters were also used for bear-baiting exhibitions. Fortunately, Ontario practically swarms with bears, so getting one should be a cinch. Should make for a lively show.

James M. Barrie

Peter Pan (by James M. Barrie, at the Avon Theater)

This is not, repeat not, a musical play, and it won’t be much like the treacly, annoying thing with Mary Martin that you’ve seen on television. It’s J. M. Barrie’s original stage play, first performed in 1904, and it’s one of the finest plays in the English language. At Stratford in 2010, the androgynous Peter Pan will be be played by Michael Therriault.

With Peter Pan, the Stratford Festival is trying to tap the kids’ market. But when we first saw the play at the Shaw Festival a few years ago, we found that Peter Pan was a dark, decidedly adult play, apt to scare the bejeezus out of the average five-year-old. Then again, maybe today’s five-year-olds, weaned on Darth Vader and Spiderman, can take it.

Shakespeare’s The Tempest (at the Festival Theater)

Christopher Plummer, who be 80 years old next summer, is coming back to Stratford to play Prospero. Surely there’s no finer Shakespeare actor in the world; Mr. Plummer’s King Lear at Stratford seven years ago was hands down the most breath-taking theater experience we’ve ever had. We were mesmerized by the zillions of great theater anecdotes in Mr. Plummer’s recent autobiography, In Spite of Myself (see Emsworth’s review at this post).

So even though it was only five years ago that we saw the late William Hutt in a marvelous performance of The Tempest at Stratford, we wouldn’t think of missing the 2010 show, though we do wish someone besides Des McAnuff were directing it. Folks will need to get their tickets for The Tempest early; the show is only running from June 11 through September 12, and at a relaxed schedule designed no doubt to keep Mr. Plummer from wearing out. Don’t plan to save money at a preview performance; the Stratford Festival is charging full price for every single performance of The Tempest.

Cole Porter, no doubt in the process of composing songs for Kiss Me, Kate

Kiss Me, Kate (music by Cole Porter, at the Festival Theater)

Another opening, another show. We love the songs of Cole Porter, and the plot of Kiss Me, Kate might have been written by P. G. Wodehouse himself, so this classic musical is tempting. Like so many musicals, it’s a show business story, and it has a play within a play: one of the characters, Fred Graham, is directing a musical version of The Taming of the Shrew, starring Fred’s ex-wife Lilli as Katherine the shrew. Real-life actress Chilina Kennedy will play Fred’s girlfriend Lois Lane. Our favorite songs: “Always True to You in My Fashion,” “Why Can’t You Behave,” and “So In Love.”

Dangerous Liaisons (by Christopher Hampton, at the Festival Theater)

This is the racy play on which the 1988 movie, starring Glenn Close, John Malkovich, and Michelle Pfeiffer, was based; you probably saw it. It takes us back to eighteenth-century France, when the amoral, idle nobility amused themselves by playing humiliating practical jokes on one another. Tom McCamus and Seana McKenna will play the jaded aristocrats whose game is to bring about the deflowering of a young girl and the fall from virtue of a married woman. Martha Henry will also be in the cast.

Shakespeare’s As You Like It (at the Festival Theater)

This would be among our top choices at Stratford for 2010 if it weren’t for our fear that the Stratford Festival’s Artistic Director, Des McAnuff, who has designated himself to direct it, will spoil the play with distracting gimmicks. (We have the same fear for The Tempest, but trust that Christopher Plummer will keep his director focused on the story of the play.) We have now seen two deeply unsatisfactory Shakespeare plays directed by Mr. McAnuff: 2008’s Romeo and Juliet and 2009’s Macbeth, and we are not alone in thinking that this is not where Mr. McAnuff’s talents lie. Couldn’t he have taken on Kiss Me, Kate instead? This is sheer stubbornness.

Tom Rooney

But As You Like It seemingly has a foolproof cast, with Paul Nolan (star of 2009’s West Side Story) as Orlando, Tom Rooney in the dual roles of the good duke and the bad duke, Ben Carlson and Lucy Peacock as the unenthusiastic fiancées Touchstone and Audrey, and Brent Carver as Jacques. How badly could the play be spoiled?

Evita (by Tim Rice and Andrew Lloyd Webber, at the Avon Theater)

This is not our favorite Rice-Webber show; indeed, we have only lukewarm enthusiasm for Andrew Lloyd Webber shows after Jesus Christ Superstar. But Evita should pack them in, as did West Side Story in 2009. And as the very first rock-style musical presented at the Stratford Festival, it’ll presumably draw a younger audience.

Not a bad marketing move, considering that the Stratford Festival depends so heavily now on revenues from its high-priced musicals. Evita will be directed by Gary Griffin, who did practically everything right with West Side Story, and it will star Chilina Kennedy, who was dazzling as Maria in West Side Story and is now clearly Stratford’s diva of choice. Ms. Kennedy will play the charismatic wife of Argentinian dictator Juan Peron, and everyone will sing along with “Don’t Cry For Me, Argentina.

Jacques Brel is Alive and Well and Living in Paris (at the Tom Patterson Theatre)

This is yet another musical show — but one more in the nature of a revue, with commentary from the performers, than a play. Brent Carver will be the lead troubadour, singing the songs of the late Belgian songwriter Jacques Brel, who wrote his songs in French.

We know a few Jacques Brel songs that were translated into English and became hits in the late 1960s and early 1970s, like “If You Go Away” and “Seasons in the Sun.” But most of the songs in the show won’t be familiar to us. Will there be English subtitles? We’re probably not adventurous enough to find out.

Shakespeare’s The Two Gentleman of Verona (at the Studio Theatre)

Emsworth has never paid much attention to this early Shakespeare play, let alone seen it performed, but a recent reading has whetted his interest. It’s the story of two pals, Valentine and Proteus, and their women; no sooner has Proteus successfully courted one named Julia than he leaves for Milan, where he promptly forgets her and falls in love with a duke’s daughter, Silvia, who falls in love instead with Valentine even though the duke intends her for someone else. The plot will seem familiar to hardcore fans of P. G. Wodehouse, who stole it for his 1931 comic novel Big Money.

In 2009, instead of a fourth Shakespeare play, the Stratford Festival put on Ben Jonson’s Bartholomew Fair, which had a large cast and a lot of fancy original props. It couldn’t have been cheap to mount. The Two Gentlemen of Verona will be more economically performed at the small Studio Theatre space, where the audience surrounds the stage. There will be only a short window of opportunity to see this play; it will run for less than two months (from July 30 to September 19, 2010).

For the Pleasure of Seeing Her Again (by Michel Tremblay, at the Tom Patterson Theatre)

In its 2009 season, the Shaw Festival offered Michel Tremblay’s Albertine in Five Times; in 2010, the Stratford Festival will put on Tremblay’s well-received 1998 play For the Pleasure of Seeing Her Again, a comedy based on the gay French-Canadian playwright’s relationship with his mother.

Lucy Peacock will play Nana (the mother character); Tom Rooney will be the Narrator (presumably a stand-in for Tremblay himself). This play will run for only two months, from July 27 to September 26, 2010.

Do Not Go Gentle (by Leon Pownall, in the Studio Theatre)

A one-man show starring Geraint Wyn Davies could be really good; our appreciation for Mr. Wyn Davies grows year by year. He will play Dylan Thomas soliloquizing about his life and how he rates as a poet compared to William Shakespeare.

This very show actually just opened on Broadway! (We write as of December 8, 2009.) It won’t appear at Stratford, though, till July 2, 2010, where it will run through August 22.

King of Thieves (by George F. Walker, in the Studio Theatre)

This play is actually a musical — another one! — but the Stratford Festival evidently doesn’t dare to risk putting this world-premiere piece in one of its larger theaters. Wonder what Mr. Walker thinks of that! The show is a new take on old material, a tale of a couple of crooks (Mac, to be played by Evan Buliung, and his father-in-law Peachum, to be played by Sean Cullen).

George F. Walker

Its source is John Gay’s 1720 ballad opera The Beggar’s Opera (whose characters included Macheath and Polly Peachum), but most of us are more familiar with Bertolt Brecht’s and Kurt Weill’s 1928 The Threepenny Opera. Those were both set in London; Walker’s version is set in New York City in 1928.

This is the second year in a row that the Stratford Festival has put on a work by Walker; we didn’t see last year’s Zastrozzi. A few years back, we saw Walker’s straight play Nothing Sacred at the Shaw Festival, but it didn’t make a lasting impression.

From its press releases, we gather that the Stratford Festival will have avoided losing money during 2009 on the strength of having had two extraordinarily popular musical shows. By offering Peter Pan and Christopher Plummer in The Tempest on top of Evita and Kiss Me, Kate, management has probably taken its best shot at increasing the number of sold-out shows in 2010.

We can’t help noticing that there’s nothing on the 2010 playbill even remotely comparable to the Ben Jonson, Racine, and Chekhov plays that were seen in 2009. In fact, aside from the Shakespeare plays and Peter Pan, the Stratford is offering mostly contemporary shows. The Stratford Festival will be that much less of a “classical” repertory theater company in 2010.