Pericles (Play)

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    Stratford-Upon-Lake-Michigan: Royal Shakespeare Company Plays Chicago

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    The Royal Shakespeare Company, which keeps the plays of William Shakespeare alive in the town of his birth, was long a regular presence in the United States. It brought Ian McKellen to Brooklyn as King Lear, built a replica of its main theater in an Upper East Side drill hall and sent a stream of shows to Broadway.But in recent years the renowned troupe has taken fewer overseas trips from its home in Stratford-upon-Avon, England.Now, for the first time since the coronavirus pandemic, the company has returned to the United States — but not to New York, where some of the main importers of European work remain diminished and disoriented. It has struck up a partnership with Chicago Shakespeare Theater, which is led by Edward Hall, whose ties to the Royal Shakespeare Company run unusually deep: His father, Peter Hall, the eminent British director, founded it.“My love of Shakespeare grew up from my father talking to me about Shakespeare, and why he was passionate about Shakespeare, and why he thought Shakespeare endured, and quoting Shakespeare,” he said. “I watched him work a bit, and then, like every child, you go off into a corner and find your own way, which is what I did.”His earliest memory of Shakespeare is watching “The Wars of the Roses,” directed by his father, when he was 4 or 5, and “seeing a lot of people in armor with very exciting-looking weapons.”Edward Hall, the artistic director of Chicago Shakespeare Theater, is the son of Peter Hall, the founder of the R.S.C. He’s also the human for a dog named Dennis.Lyndon French for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: Fiasco Theater’s ‘Pericles,’ the Cruise of a Lifetime

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      If Fiasco Theater has mixed results in its production of this Shakespearean tragicomedy, it celebrates actors supporting and delighting in one another’s work.“Pericles” is a bit of a mess. Spanning decades and traversing the ancient Mediterranean like some deeply misbegotten Carnival Cruise, this Shakespeare play mingles comedy, tragedy and Christian allegory. There are two assassination plots, two shipwrecks, a brothel, a riddle, a tournament and some very convenient pirates. Deliberately anachronistic, it was described by Ben Jonson, a rival playwright, as a “mouldy tale” and “stale.”So, who better to face down this confusion than a company called Fiasco? A devised theater ensemble founded by half a dozen Brown MFA graduates, Fiasco has a soft spot for Shakespeare’s less loved works. The company broke out in 2011 with a production of “Cymbeline” and later staged “The Two Gentlemen of Verona.” (Fiasco’s 2017 production of a crowd-pleaser like “Twelfth Night”? An outlier.)Rather than relying on the published text of “Pericles,” Fiasco has set much of the poetry to music — sometimes supplying original words — and interpolated passages from a prose version by George Wilkins, a pamphleteer and publican. (Wilkins is often cited as the play’s co-author, mostly because scholars disbelieve that Shakespeare could have written anything as patchy as the first two acts.)Ben Steinfeld, a company member and the director, stages this revised text at Classic Stage Company using Fiasco’s poor-theater playbook — a mostly bare stage furnished with charisma, invention, spirit and song. “A miracle may come your way,” an early number promises.Through the hectic first half, this approach falters. Pericles (Paco Tolson at first, then Tatiana Wechsler, Noah Brody and finally Devin E. Haqq) goes to so many places in such a short time that characters and climes blur, especially without the help of scenery to differentiate each country. As Steinfeld’s narrator admits, “Now this is just an empty space/It’s hard to give a sense of place.” (No set designer is credited, though Ashley Rose Horton designed the vaguely Grecian costumes and Mextly Couzin the golden lighting.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Pericles’ Review: Shakespeare in the Blender

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      Target Margin Theater remixes one of the Bard’s lesser works, with uninspired results.In the opening lines of Shakespeare’s chaotic “Pericles,” before the play and its prince go chasing off on a series of adventures, there is a phrase so genteelly creepy that 400 years haven’t diminished its power to make an audience’s skin crawl.We are told of a widowed king’s beautiful daughter, “with whom the father liking took and her to incest did provoke.” Or, as one narrator rephrases it for contemporary clarity in Target Margin Theater’s slenderized, slice-and-dice remix of the play: “The dude sleeps with his daughter.”That’s not a secret that the predatory king wants anyone to know, and when Pericles, the Prince of Tyre, figures it out by solving a riddle, he has to flee for his life. But the king’s lurid scandal, which takes up much of the play’s first act, has nothing to do with what follows.It’s just the catalyst that sends the hero on his way, into further chapters of his life. Pericles (Eunice Wong) marries, seemingly loses his wife (Mary Neufeld) to childbirth, then seemingly loses their daughter (Susannah Wilson), too, before assorted joyous and even goddess-aided reunions restore his happiness. A stale jumble of a play, it’s not exactly Shakespeare’s best work, and many scholars believe he shares authorship with the dramatist George Wilkins.Target Margin, which credits the text of its version to “Shakespeare and others,” has added yet more authors to the mix for David Herskovits’s staging at the Doxsee Theater in Sunset Park, Brooklyn. Colloquial, 21st-century verbiage written by the ensemble, the designers and the production team is interspersed among the Jacobean lines — most heavily at the top of the show, as the actors try to ease us into the bizarro plot.Except that they also jar us from it, as when the announcement about turning off cellphones is tucked awkwardly amid the dialogue after the performance has begun. In Act II, when a fisherman asks Pericles if he knows where he is, another character answers for him: “We’re in Brooklyn,” which is funny until the show steps on its own levity with the rest of the line, “originally known as Lenapehoking.” Then comes the land acknowledgment.Herskovits, Target Margin’s artistic director, has a long track record of intrepid theatrical investigation, which has often resulted in surprising illumination. This “Pericles,” unfortunately, is an experiment that does not work. It is not clear enough in execution to suggest what it was aiming for.The cast is stocked with talent, and Dina El-Aziz’s costumes are lively and fun: motley and iridescent in Act I, largely black and white by Act V. But the storytelling has a miscalculated remoteness that leaves us with little to hang onto and no reason to feel — though Wong, in the title role, almost wrings emotion from the ending.Herskovits and his company are seeking meaning in a text that has survived this long not on merit, but because it bears Shakespeare’s name. Intact, the play is wildly overloaded. But this scooped-out variation feels like a dried husk that’s somehow just as messy as if it still had its entrails.PericlesThrough March 26 at Target Margin Theater, Brooklyn; targetmargin.org. Running time: 1 hour and 45 minutes. More