Young Critics

Before entering the theater at a Delaware Theatre Company production of The Complete Works of William Shakespeare (abridged), I glanced at a program. In the same sentence were the words “Shakespeare” and “trained clowns.” Immediately I was nervous. As soon as actor Jason O’Connell delivered a hilarious opening monologue, however, my skepticism was assuaged. Never did I stop laughing through the sped-up, slow-motion, backward, summary-parodies of Shakespeare’s greatest – and worst – works.

In a surprise in the introduction, O’Connell sets the tone by asking for house lights, illuminating the audience for the first of many bits of audience participation. He polls the audience about their knowledge of Shakespeare, only to reveal that one particularly obnoxious audience member was actually one of the actors, Joseph Midyettl, in disguise. Jeffrey Hopkins soon joined the two onstage to narrate the first of many Shakespearian sketches – Romeo and Juliette – performed by only two actors and a narrator. Precise direction allows the skilled actors to expertly perform some of the more technically difficult scenes, including a well-choreographed slow motion fight, a rewound rendition of Hamlet, and the regular use of buckets of fake blood. The three highly skilled actors convey not stress and anxiety, but enthusiasm and humor as they blend from one character to another in only moments. Changes in character voice from male to female to elderly to teenager demonstrate further the impressive skill of the trained comedians.

The unique format of this Shakespeare variety show is enhanced by its minimalist sets and costumes. Scenery remains a simple parlor setting while actors generally wear Elizabethan garb updated with All Star sneakers and knee pads to ease the pain from the physical demands of the blocking. The pace, as suggested in the title, was quick and allowed for comedic costume changes made effective by suggestions of a character; for example, a crown suggests a queen and a cloak suggests a hag with minimal other changes. Despite the minimalist attitude, the character and story transitions are clear but do not distract from the perfectly executed references to Julia Child, Blazing Saddles, and the Philadelphia Eagles.

Despite the clear success of the story progressions, one of my major reservations still lay in the fairly regular reliance on audience participation. Though comedically introduced by the actors, asides to the audience seemed to invite inappropriate comments from the more obnoxious theatergoers, leaving the audience uncomfortable. The actors, however, handled such contributions with grace, responding comfortably and demonstrating their familiarity with improvisation. The demonstration of Hamlet invites heavy participation, even involving audience members onstage. In its execution, however, the event reassured audiences that the actors are prepared for any type of response. The less enthusiastic audience members were integrated as easily as the eager participants, and all were left laughing.

Though not necessarily a show for the entire family (because of suggestive comedy), The Complete Works of William Shakespeare (abridged) is unique in its appeal to audiences from the senior in high school to the senior citizen, from the seasoned student of theater and comedy to the more reluctant in attendance. The multi-faceted brand of comedy that integrates slapstick humor with verbal irony and cultural references leaves something to be appreciated by any personality. As effective in entertainment as it is in its communication of the accessibility of Shakespeare, the show is a thematic and theatrical success.