Talking Theatre, Episodes 12 and 13

Photo by Struttmann Photo

We’re a little behind in getting these posted on the Blog. hopefully, you’ve had a chance to check them out, but if not, here are the latest two episodes.

A Review of Fair Maid

by Matthew Falduto
Photos by Bob Goodfellow

Iowa City – I’ve already waxed poetic about how wonderful it is to have an outdoor theatre in our little Iowa town so I won’t bore you with more of that. Instead, I’ll just say… get yourself to the Riverside Festival stage and check out one of the two fantastic shows they are presenting in rep this summer! You can check out my review of Pericles here, but today we’re going to talk about The Fair Maid of the West, which I had never heard of before seeing Riverside’s announcement for their summer shows. The show was written by Thomas Heywood somewhere around 1600, which makes it contemporaneous with Shakespeare’s works. It was adapted by Kevin Theis.

Riverside Returns to the Park

Iowa City – After taking their summer festival indoors last year, Riverside Theatre is returning to the Festival Stage in Lower City Park to present two shows in repertory this month: Shakespeare’s Pericles, Prince of Tyre and The Fair Maid of the West by Thomas Heywood. Pericles opens June 17 and Fair Maid opens June 24.

Treat Yourself to Riverside’s Othello

Kelly Gibson, Tim Budd, Daver Morrison

By James E. Trainor III
Photo by Bob Goodfellow

There’s no pleasure quite so simple and magical as sitting in the park by the river on a lovely summer night, where a cool breeze cuts the heat and the sun slowly recedes to reveal a beautiful night sky. Such a night in the park would be refreshing enough without a company of skilled actors performing an Elizabethan bedtime story for the crowd. This weekend, the beautiful language of Shakespeare’s Othello combined with a beautiful night to make magic happen, reminding one why we still do outdoor Shakespeare after all these years. Sometimes, when the company does its work and the stars are aligned, art and nature coincide, and magic happens. Such is the case with this production, due partly to the incredible piece of literature that is the text, but owing no small sum to Theodore Swetz’s focused directorial eye and Tim Budd’s captivating performance as Iago.

The play, as Shakespeare’s other “great tragedies,” has a very ritualistic feel, and this production brings that out brilliantly. The story itself is deceptively simple: an ambitious but thwarted ensign, Iago, plots revenge on his general (Othello, played by Daver Morrison), by manipulating circumstances to make it appear that Othello’s wife, Desdemona (Kelly Gibson), is sleeping with his lieutenant Cassio (Steven Marzolf). This little revenge play becomes so much more with Shakespeare’s artistic touches however, and much of that revolves around the character of Iago. In Iago, Shakespeare raises the silly old stock character of the Vice (the devil in medieval morality plays who gets to talk to the audience) to a high art: we see the living embodiment of duplicity and destruction in Iago’s soliloquies, and in between we get to see him manipulate everyone in Cyprus to perform in his plot against Othello. There’s a perverse sort of fun in watching these proceedings; like any good devil, he tempts us to be on his side.

Swetz does not shy away from the suggestion that Iago is channeling the capital-D Devil but embraces it fully, without camp and with a reverence for the form. Such wonderfully demonic lines, for example, as “Divinity of hell!/When devils will the blackest sins put on/They do suggest at first with heavenly shows/As I do now” are punctuated by Budd slowly making a circle on the stage with his sword, suggesting some ancient dark ritual that adds an ominous texture to Iago’s double life on stage. Likewise Othello’s desperate “All my fond love thus do I blow to heaven/’Tis gone/Arise, black vengeance, from thy hollow cell!” is performed earnestly under the stars as some sort of cosmic bargain. In the context of this masterful text and a summer night with magic in the air, these words and actions are imbued with all the power Shakespeare intended. Even clever rhetorical tricks like Shakespeare’s sledgehammer irony (constantly calling Iago “honest,” having Othello’s exaggerated poetry as in “my life upon her faith” come back to haunt him), carry a special weight, adding to the suspense of the plot and feeding into the moral themes of the show.

Tim Budd’s performance in this production is simply exquisite. A seasoned actor (this show marks his 50th with Riverside Theatre), he brings all his experience and creativity to bear in creating this very challenging character. Iago must be an expert actor himself, playing each character in a very specific way, and Budd does this extremely well. With Roderigo (played by Christopher Peltier) he is an exasperated mentor, with Desdemona a caring protector, with Othello a cautious and insightful adviser. It’s great to see him in the crowd scenes; the intense attention and subtle nuances of Budd’s group work allow us to see Iago’s schemes as they’re being devised, improvised, and applied. This is only part of the job, however; as the play’s de facto narrator, Iago has a very special relationship with the audience. When the others leave the stage and he is free to be himself we see the pure joy he takes in causing all this chaos. Budd luxuriates in Iago’s evil, almost dancing with maniacal glee as his plans come to fruition. It’s always rewarding to see Budd play a Shakespearean villain because they’re so well-rounded; he creates a believable and nuanced person and then pursues a scheme with a vicious primal energy. Othello marks the epitome of this process; in Iago we see a very clear and believable person, bitter at the world but committed to mastering his baser impulses in order to seek a grand revenge, and we see the deeper, darker suggestion of the Great Deceiver, as it were, underneath.

The other principals are excellent as well. Daver Morrison’s Othello has a somber weight to him; he is very believable as a great speaker, a brave warrior, and an effective leader. The contrast in his character work is particularly effective; he is so calm, measured, and controlled at the beginning that we get to see the fall of Othello very clearly, when he rolls on the floor seizing and blurting about handkerchiefs, we know that Iago has succeeded and what is left is a disintegrated man. Kelly Gibson’s Desdemona is a joy to watch; she brightens up the stage with her early entrances, and when she prods Othello about Cassio it is not as a nag but as a playful, loving wife, happy simply to be conversing with her beloved no matter what the subject matter. Desdemona is smart, sexy, and powerful, and she knows it. It is this confidence and charm that makes it all the more tragic when first her spirit and then her life are snuffed out by Othello’s unleashed rage. Morrison and Gibson work fabulously on stage together; there’s a wild physicality to their interactions but there’s also the simple pure happiness of newlyweds who can’t get enough of each other. When it all falls apart, both actors are intensely engaged, and the murder sequence (fight direction by Jason Tipsword) is executed with energy and artistry.

While the company itself is very solid, there are a couple scenes where the acting could use a little nuance. The beginning sequence (when Iago and Roderigo inform Brabantio, played by Ron Clark, of his daughter’s marriage) and the end sequence (where Emilia, played by Jody Hovland, finally figures out Iago’s plot and exposes it despite his threats) feel a bit out of tune with the rest of the score. There’s a lot of shouting and screaming in both of these scenes, which makes sense given the extreme emotional stakes, but the trouble with this is that turmoil must be sustained for quite a few lines, and for this reviewer, it didn’t ring true. The intense anger, grief and confusion are probably a fitting counterpoint to Iago’s careful scheming, but the execution of Brabantio and Emilia’s explosions could have used more ups and downs. As is, these two scenes feel like bookends of bluster. Not that they do much that harm the overall feel of the show as an emotional experience, but I did found myself stepping out of it for a few brief moments.

Othello is a wonderful production, and if you’ve never treated yourself to the lovely time that is outdoor Shakespeare, there’s no time like the present. This is a masterpiece of a script, brought to life by an insightful director and very committed actors. Othello runs in repertory with The Complete Works of William Shakespeare (abridged) [revised] through July 13; more information here.

Complete Works Brings Out the Bard’s Bawd

Spencer D. Christensen, John William Watkins, Christopher Peltier

By James E. Trainor III
Photo By Bob Goodfellow

Iowa City – The Complete Works of William Shakespeare (abridged) [revised] is a loving send-up of our culture’s most beloved playwright, penned by Adam Long, Daniel Singer, and Jess Winfield. With a text updated from its original 1987 production to keep its humor current, three actors (Spencer D. Christensen, Christopher Peltier, and John William Watkins) slam through the entire Shakespearean canon in roughly two hours, with plenty of bawdy humor, hilarious sight gags, and amusing misinterpretations along the way. The show is playing now in Lower City Park, under the direction of Ron Clark.

The show is part classical acting, part improv and audience participation, and part anarchic sketch comedy, and it requires a lot of its actors. These three are definitely up to the challenge. John William Watkins has a hilarious deadpan stare and a brilliant sense of comic timing. He knows how to play with the audience, sharing the absurdity of the moment with us while never breaking “character.” He is the most fun when left alone onstage, terrified because the other “actors” have abandoned him, and trying to kill time. This section has a number of fun bits that Watkins carries through with commitment and skill.

Spencer D. Christensen has tireless energy and a very broad range, creating many fun characters. He comes on as a “preeminent Shakespeare scholar” and treats us to a smart (but filthy) rant about Shakespeare’s productivity; ten minutes later he’s a loud, lowbrow Titus Andronicus hosting a revenge-themed cooking show. When the “show” stumbles and the “actors” argue about the best way to present Shakespeare, his responses are very true-to-life, which keeps the comedy very lively.

Christopher Peltier’s boyish charm completes this trio, and the playfulness he brings to the stage draws us in to this wacky world. His excitement is infectious, whether he’s hamming up Shakespeare’s greatest heroines or whether he’s leading an impromptu workshop of Ophelia’s scream. He draws on audience energy to keep a bit going in a really endearing way.

While Complete Works is full of witty nuggets for hardcore Shakespeare fans, much of its humor comes from its reckless irreverence, its juvenile joy at boisterous physical comedy and bawdy body humor. Ron Clark’s direction does a great job of bringing this silliness to the fore, and the naughtiness of the Bard is certainly a highlight here. There’s nowhere these three won’t go for a joke, and the absolute abandon is freeing. The pace itself seems to struggle a bit near the beginning, but it really gets rolling near the end of the first act, and the second act is a non-stop laugh ride.

The design of Complete Works is very effective. Jenny Nutting Kelchen’s costumes are colorful and efficient, turning this three performers into a wide array of different characters both male and female. The attention to detail adds a lot of texture to the story (when Peltier comes back at the top of the first act, for instance, we know by his outfit that he stopped at the gift shop when attempting to book a plane out of town). The layering allows for the frequent transitions to happen frequently, and the entire build is riddled with clever sight gags. Josh Christoffersen’s set, which is colorful and minimalist, allows all this to fit in a tiny area, leaving a wide open space in which to play the show. David Thayer’s lighting design allows us to visit the varied emotional realms that Shakespeare frequents, while Drew Bielinski’s sound design is fantastic at punctuating a gag with just the right noise or sound clip.

The Complete Works of Shakespeare (Abriged) [revised] is loads of fun whether you come for the Shakespeare, the comedy, or both. It’s performed by excellent actors on the same beautiful stage in Lower City Park where Riverside has been bringing you outdoor classics for years. In runs in repertory with Othello through July 13; do yourself a favor and go check it out. More information here.

Riverside Theatre in the Park

Iowa City – Riverside Theatre in the Park returns to the Riverside Festival Stage in Iowa City’s Lower City Park this summer, June 20 – July 13 with Shakespeare’s drama Othello, directed by Theodore Swetz, and the contemporary comedy The Complete Works of William Shakespeare (abridged) [revised] by Adam Long, Daniel Singer and Jess Winfield, directed by Ron Clark.

Full details at riversidetheatre.org or 319-338-7672.

About the Plays

For the first time on the Riverside Festival Stage: Othello – the epic thriller of sweeping passions and murderous ambition. When Iago, one of Shakespeare’s most manipulative villains, falsely stokes Othello’s jealousy, Othello’s wife Desdemona is in mortal danger. Ancient grudges of race, culture, and ambition collide in this classic story of love and revenge that promises to get your heart pounding and your mind spinning. Directed by Theodore Swetz

Called by The Guardian, “Rollicking, fast-moving and hilarious,” The Complete Works of William Shakespeare (abridged) [revised] is a full-power, energetic romp through Shakespeare covering all 37 plays in 97 minutes – with some creative editing, of course! This parody of the classic plays includes modern pop-culture references, audience engagement, and improvisation- enough to make any Shakespeare lover, or hater, laugh out loud. Directed by Ron Clark.

Special Events

—Dogs’ Night at the Park on 4th of July: Everyone is welcome to this special 4th of July show, including your friendly, leashed, well-behaved dogs! Tickets are regularly priced though a pay-what-you-will donation is suggested per pup; proceeds go to the Iowa City Animal Shelter.

—Green Shows: One hour before each main stage performance, RTP apprentices perform on the Green Show Stage. Brush up on the plot of Othello or enjoy comic songs inspired by the Bard before The Complete Works of William Shakespeare (abridged) [revised]. Free & open to the public.

—Family Nights: On Family Nights, up to two adults accompanying a youth receive their tickets at the youth price of $18.

—Picnics: Bring your own goodies or get your delicious Nodo wraps, homemade cookies, chips and beverages (both alcoholic & non-alcoholic available) and picnic on the Festival Stage grounds before the show.

Featured Cast

Daver Morrison, a Boston-based professional actor, will be playing the title role of Othello in Riverside Theatre in the Park’s 2014 production. Mr. Morrison has performed nationally with stage credits ranging from A Raisin in the Sun at Capital Repertory Theatre in New York to A Midsummer Night’s Dream at Guthrie Theater in Minneapolis. He has also appeared in several daytime television series including One Life to Live and All My Children.

Iowa City actor Tim Budd returns this season as Iago, while Kelly Gibson, who previously played Portia in The Merchant of Venice, returns from New York as Desdemona. Othello will be Mr. Budd’s 50th performance with Riverside Theatre.

The Complete Works of William Shakespeare (abridged) [revised] will feature returning performers Spencer D. Christensen (Kansas City), Christopher Peltier (Chicago) and John William Watkins (New York), all previously seen in Riverside Theatre in the Park’s 2013 productions of Hamlet and The School for Scandal.

RIVERSIDE THEATRE IN THE PARK 2014 PERFORMANCE SCHEDULE

Othello by William Shakespeare

Friday, June 27, 8:00PM
Saturday, June 28, 8:00PM
Sunday, June 29, 7:00PM (Family Night)
Tuesday, July 1, 7:00PM (Family Night)
Wednesday, July 2, 8:00PM
Thursday, July 3, 8:00PM
Saturday, July 5, 7:00PM (Family Night)
Sunday, July 6, 7:00PM

The Complete Works of William Shakespeare (abridged) [revised]
by Adam Long, Daniel Singer and Jess Winfield

Friday, June 20, 8:00PM
Saturday, June 21, 8:00PM
Sunday, June 22, 7:00PM (Family Night)
Friday, July 4, 6:00PM (Dogs’ Night at the Park)
Tuesday, July 8, 7:00PM (Family Night)
Wednesday, July 9, 8:00PM
Thursday, July 10, 8:00PM
Friday, July 11, 8:00PM
Saturday, July 12, 8:00PM
Sunday, July 13, 7:00PM

Source: Riverside Theatre

Lecture on Othello

Iowa City – “Shakespearean scholar Miriam Gilbert presents a lecture and presentation entitled, “The Noble Moor and Honest Iago: Image and Identity in Othello” for Riverside Theatre in the Park on Thursday, May 8, 7:00PM at the Iowa City Public Library, Meeting Room A. The event is free and open to the public and will be broadcast live on The Library Channel, Iowa City cable channel 10.

The lecture topic: The value-laden adjectives “noble” and “honest” are tossed around frequently in Shakespeare’s play, and yet the action of the play forces audiences to question their meaning. What makes Othello noble—or what makes him seem noble? How is that label connected to the constant reference to Othello as an “other,” namely “the Moor”? And why does everyone in the play—not just Othello—think of Iago as “honest” when the audience knows his scheming? How does Shakespeare create and then undermine these images of worth, and what finally are we to think of these men by the end of the play? For more information on Riverside Theatre in the Park visit riversidetheatre.org or call 319-338-7672.”

Source: Riverside Press Release

Riverside Announces "Theatre in the Park" Selections

Iowa City – Riverside Theatre in the Park returns to the Riverside Festival Stage in Iowa City’s Lower City Park this summer, June 20 – July 13 with Shakespeare’s drama Othello, directed by Theodore Swetz, and the modern comedy The Complete Works of William Shakespeare (abridged) [revised] by Adam Long, Daniel Singer and Jess Winfield, directed by Ron Clark.

Tickets go on sale this April. More information at riversidetheatre.org, or 319-338-7672.

About the Plays
Shakespeare’s Othello is an emotionally gripping thriller of jealousy, passion and revenge. The story explores race, betrayal and politics through the tumultuous romance of the military general Othello, his wife Desdemona and Othello’s secret rival, Iago. Othello is a must-see classic for all fans of the stage. Directed by Theodore Swetz.

Called by The Guardian, “Rollicking, fast-moving and hilarious,” The Complete Works of William Shakespeare (abridged) [revised] is a full-power, energetic romp through Shakespeare covering all 37 plays in 97 minutes – with some creative editing, of course! This parody of the classic plays includes modern pop-culture references, audience engagement, and improvisation – enough to make any Shakespeare lover, or hater, laugh out loud. Directed by Ron Clark.

Featured Cast
Daver Morrison will be playing the title role of Othello in Riverside Theatre in the Park’s 2014 production. Mr. Morrison has performed nationally with stage credits ranging from A Raisin in the Sun at Capital Repertory Theatre in New York to A Midsummer Night’s Dream at Guthrie Theater in Minneapolis. He has also appeared in several daytime television series including One Life to Live and All My Children.

Iowa City actor Tim Budd returns this season as Iago, while Kelly Gibson, who previously played Portia in The Merchant of Venice, returns from New York as Desdemona. Othello will be Mr. Budd’s 40th performance with Riverside Theatre.

The Complete Works of William Shakespeare (abridged) [revised] will feature returning performers Spence Christensen (Kansas City), Christopher Peltier (Chicago) and John William Watkins (New York), previously seen in Riverside Theatre in the Park’s 2013 productions of Hamlet and The School for Scandal.

RIVERSIDE THEATRE IN THE PARK 2014 PERFORMANCE SCHEDULE

Othello by William Shakespeare

Friday, June 27, 8:00PM
Saturday, June 28, 8:00PM
Sunday, June 29, 7:00PM (Family Night)
Tuesday, July 1, 7:00PM (Family Night)
Wednesday, July 2, 8:00PM
Thursday, July 3, 8:00PM
Saturday, July 5, 8:00PM
Sunday, July 6, 7:00PM


The Complete Works of William Shakespeare (abridged) [revised]
by Adam Long, Daniel Singer and Jess Winfield

Friday, June 20, 8:00PM
Saturday, June 21, 8:00PM
Sunday, June 22, 7:00PM (Family Night)
Friday, July 4, 6:00PM (Special 4th of July performance before the Iowa City area fireworks begin)
Tuesday, July 8, 7:00PM (Family Night)
Wednesday, July 9, 8:00PM
Thursday, July 10, 8:00PM
Friday, July 11, 8:00PM
Saturday, July 12, 8:00PM
Sunday, July 13, 7:00PM


Source: Riverside Theatre press release

Riverside’s The School for Scandal Gets High Marks

John William Watkins as Crabtree; Jody Hovland as Mrs. Candour. Photo by Bob Goodfellow

By James E. Trainor III

Iowa City – The School for Scandal, the other half of Riverside’s 2013 Riverside Theatre in the Park Festival (Hamlet opened last week), first opened in London in 1777. In it, Richard Brinsley Sheridan ruthlessly mocks 18th-Century British society. Though the costumes (by Lauren Roark) do a wonderful job of transporting us back to that time via recreating the ridiculous fashions that dominated, the production itself is surprisingly modern. Contemporary American society, after all, has no shortage of hypocrites, gossips, liars, and usurers. Theodore Swetz’s direction focuses on the storytelling, and does a wonderfully job of taking these very colorful characters and putting them into context. It is very clear how much social power these scandalmongers have, and how much the protagonists are in their grip. Thoughtful direction, dazzling design, and excellent acting make The School for Scandal an entertaining and thought-provoking play.

Much of Sheridan’s satire is leveled at the rumor mill that had so much sway in his time. His “school for scandal,” the group of socialites that idles away the hours in Lady Sneerwell(Corliss Preston)’s drawing room, is nasty, vindictive, and its members are not afraid to turn against each other on a dime. These characters are petty and mean, but also very intelligent, defending their behavior with sophistry and clever phrases. Sneerwell is the charming but vicious “headmistress” of this “school,” and Preston is excellent at portraying her pleasure at being so cruel. Crabtree (John William Watkins) and Benjamin Backbite (Spencer Christensen) seem to be the “star pupils” of the group, and their snide observations and clever insults are greeted with riotous laughter from the others. Watkins and Christensen are absolutely fabulous in these roles, playing off each other very well and exploding with vocal and physical energy every time they are on stage. Lastly, Lady Candour (Jody Hovland), who delights in going from house to house spreading rumors, is a member of this group who seems to be disliked but tolerated for the valuable information she has. Hovland creates a wonderful comic character in this busybody, coupling the speeches with hilarious facial expressions and taking obvious pleasure at being the center of attention. All of these malicious macaronis are dressed in the height of fashion, with huge hairdoes, painted faces, and gigantic outfits, and the effect is a little bit alienated, a little bit cartoony, and altogether outrageous. Roark has done a wonderful job designing effective costumes that are astounding to look at.

Sneerwell assists Joseph Surface (Jim Van Valen) in discrediting his brother Charles (Christopher Peltier). The scoundrel Joseph is a “man of sentiment” who always has some very lofty words of wisdom that he doesn’t actually believe. He’s trying to seduce both the ward and the wife of his friend Peter Teazle (Tim Budd). Van Valen is hilarious in the part, adding more and more manic energy as Joseph’s schemes blow up in his face. Budd is an excellent scene partner, and is very funny as the gullible Teazle, both in the scenes where he is being duped by Surface and in the scenes where he is squabbling with Lady Teazle (Eliza Stoughton).

Lady Teazle has an interesting character arc. Much younger than her husband, brought up in the country, she has become enchanted by London society and is quickly becoming part of the scandalmongering crowd. Even though she seems petty and bitter at the beginning, she breaks with the villains in the end, and her character is treated a lot more sympathetically than Joseph, who scampers off the stage in shame. Stoughton plays this character well, with humor and emotional honesty.

Charles Surface is an interesting character as well. Though he is kinder than his brother, his reputation has been ruined, in part because of his own excesses. Sheridan’s text is great because his heroes are not without their flaws. Where Peter is bitter and foolish, Charles is reckless, spending his days drinking and gambling on credit. When his uncle Oliver (Ron Clark) visits him, disguised as a creditor, Charles arranges to pawn his collection of family portraits — though he stops short of selling the picture of Oliver himself. In contrast to his brother, who is too busy preaching to practice, Charles’ few, simple moments of thoughtfulness show him to be the nobler brother, as Oliver soon realizes. Peltier clearly understands this character well, and it is a delight to see him bring him to life.

The show is played in the West High auditorium, due to flooding at City Park, and Riverside has built a small set piece to make up for the lack of a balcony. The staging of the play is very effective, the transitions are quick and humorous, and the pacing is excellent: quick, witty, and full of laughs. Director Theodore Swetz has done a wonderful job putting this intriguing script on the stage.

The School for Scandal runs in repertory with Hamlet through July 7. More information here.

Riverside’s Hamlet: "Sit You Down and Let Me Wring Your Heart"

By James E. Trainor III

Christopher Peltier as Hamlet; Eliza Stoughton as Ophelia. Photo by Bob Goodfellow

Iowa City – Riverside Theatre in the Park is not in the park this year; it’s been moved to West High’s auditorium due to flooding. However, the company has adapted well to the new space, and Riverside’s production of Hamlet, directed by Kristin Horton, retains the quality expected of both the festival and of Shakespeare’s most famous tragedy.

Horton begins the play with some innovative staging; in the court scene that follows the initial sighting of the ghost, Hamlet (Christopher Peltier) is first noticed by his absence. All the principals but him are assembled; just as we are about to wonder how he will be brought on he begins speaking from the back of the house, and his confrontation with his family is carried out across the audience. The change in venues actually makes this choice more effective, despite some issues with sightlines; standing at the back of West High’s rather large auditorium, we can hear Hamlet before we see him, and he makes a rather ominous approach shrouded in the “inky cloak” of the darkened theatre.

Instead of dispersing the crowd for Hamlet’s first monologue, Horton has the company freeze as Hamlet weaves in and out of them, explaining the situation to the audience. This is an interesting device that serves to separate Hamlet from the world of Elsinore, and it brings up interesting questions about his role in the play. Is this bitter, curmudgeonly young man an unreliable narrator? Or is he the only one willing to speak the truth about the conniving and scheming courtiers we see displayed onstage?

The setup is a great introduction to a character who has a lot of layers about him, each answer bringing up more questions. Hamlet is a particularly challenging show, for both director and actor, in part because of the very uncertainly and indecisiveness that surrounds its title character. There are too many questions available for prying at the character to pick just one: is he starting to lose his mind, or is he just really good at playing the fool? Does his biting wit serve as substantial political commentary, or is he just an angry young man lashing out at those around him? What’s his problem with women, anyway? Hamlet is a very deep character, and the fact that the play itself isn’t sure whether it’s a melodrama or a philosophical treatise compounds the problem.

Horton addresses this challenge in two ways. First, the text seems to be cut quite well, trimming some of the edges and getting rid of some of the many tangents and ratholes. The heavy bits of speechifying that are still there are very connected to the character’s emotional needs, so the action moves along at an exciting pace and the play does not feel as long as it actually is. But more importantly, Horton’s attention to the emotional realities of the story takes what could easily stray into exaggerated melodrama and gives it an intimate, realistic feel. In this she follows Hamlet’s advice to the players: “suit the action to the word, the word to the action, with this special observance, that you o’erstep not the modesty of nature.” The company’s commitment to naturalism, and the close exploration of the character’s relationships, makes this a deeply touching and very thought-provoking Hamlet. With this approach, characters who seem preposterous on the page can be very sympathetic.

Claudius (Tim Budd) seems to be the most nuanced portrayal; here we have less a lecherous, drunken villain than someone who seems to truly care for Gertrude, though he’s well aware of the sins he’s committed. This guilt threatens to consume him, and as the play goes on and he is more and more distracted from the affairs of state by Hamlet’s machinations, it becomes clear through Budd’s acting choices that this is less a story of political intrigue than a contest for Gertrude’s affections. This calm, crafty villain, whose only weakness is his tender care for his ill-gotten wife, is the perfect foil to Peltier’s wild and bitter Hamlet. Gertrude herself (Corliss Preston) seems a bit uneven at first, but Preston is a strong scene partner and her intense focus helps the character come through in later scenes. Though she seems unaware of the extent of Claudius’ machinations, her love for Hamlet is very clear as she tries in vain to protect him near the end.

Polonius (Jim Van Valen), typically a complete buffoon, is redeemed by his sincere love for his children. Rather than a suspicious, jealous father, he is an overbearing but well-meaning dolt, and his helpless rambling seems cause for pity rather than scorn. It is also clear that Ophelia (Eliza Stoughton) and Laertes (Fred Geyer) care for their father. Stoughton gives a very powerful performance, and her tenderness with Polonius and her bittersweet relationship with Hamlet seem to form the backbone of this production. She also does excellent character work, presenting at first a very composed woman who descends into madness throughout the play. In her final scene, she is simply stunning, taking command of the stage and attacking Claudius and Gertrude with thinly veiled accusations. Geyer is a skilled actor as well, and he is as boisterous and fun in the early scenes as he is bold and vicious near the end.

The tragedy of the piece is that Hamlet’s indecisive, fumbling revenge draws in nearly everyone at court by the end. This is made all the more tragic by the great acting and directing that flesh out the world of Elisnore. Hamlet is an outsider in a world that moves too quickly and is too coldly cynical for him; the only true ally he has in his private feud with Cladius is Horatio (John William Watkins). Horatio is more than just a foil for the audience here; he is a kind, patient man who has the misfortune to see horrible things but the serenity not to overreact. He is Hamlet’s rock, and Watkins and Peltier are well paired onstage. On the other end of the spectrum, Rosencrantz (Logan Black) and Guildenstern (Spencer Christensen), the double-dealing spies, are also well-cast. From when they greet Hamlet enthusiastically to when they bumble off to their doom, it’s equally believable that they were once Hamlet’s friends and that they have now been sucked into Cladius’ political machine.

Finally, Hamlet himself is exciting, energetic, and very engaging. Much of the “antic disposition” business seems to come directly from his anger and anxiety; when he lets down Ophelia as when he leads Rosencrantz and Guildenstern in circles, it is difficult to tell what is put on for show and what is venting about his situation. He seems to be full of paradoxes: when lashing out at the others, he walks the line between clever court jester and overgrown child; in soliloquies, he could be showing off his brilliant philosophical mind or just making excuses for his cowardice. He is clearly pent-up and neurotic, but his plight is recognizable and his passion, when finally activated, is amazing to watch. Drawing on his considerable skill as an actor, Peltier keeps the mystery of the character going right up until the end. When we see him finally discover his determination in the final scenes, it is the end of an exhausting journey of self-discovery.

The design is very good and adapts itself well to the space. Shelly A. Ford brings a few sparse scenic elements to West High, giving the impression of a vast amount of space to play in. David Thayer’s cool, subtle lighting furthers the impression of an empty, endless world, while Lindsay W. Davis’ costumes add color to it, lushly dressing Cladius’ court while setting Hamlet aside in a black cloak.

Hamlet runs through July 6, in repertory with The School for Scandal. For full schedule and ticket information, see Riverside’s website.