Young Critics

WWSD? What would Shakespeare do? This is a question that I have often posed to myself during periods of deep reflection, such as: Shall I write something comedic or tragic? Should I recite to my crush a 16-lined poem? To be or not to be? Ham or Turkey? And every time I consult the Bard he is correct. Even now, as I begin to write this very review, I thought; “why not consult my good friend Billy Shakes?” So, what would Shakespeare do if he had sat right next to me during Delaware Theatre Company’s production of The Complete Works of William Shakespeare (Abridged)? Would he storm out in a huff after watching his life works slaughtered and mocked? Or would he laugh so hard he nearly split his doublet and personally give each member of the crew a big fat smooch on the cheek? My guess is the latter.

I started my night at the Delaware Theatre Company watching the unsuspecting audience file into their seats, trying to hide peanuts they weren’t supposed to eat in their coats, and pretending to read the program (although they should really should have because the director and cast bios are hilarious.) Boy, did they not know what was coming to them. Thirty-six plays in less than two hours? Some serious tinkering is essential but this play goes beyond “tinkering” and heads towards revolution with no apologies. The playwrights Adam Long, Daniel Singer and Jess Winfield along with the interpretations of skilled director Steve Tague approach each of Shakespeare’s plays in ways you would never suspect. This series of twists on something the audience perceives as familiar seems to be the very foundation of the show. But devoted Shakespeare buffs don’t be offended; William certainly gets his respects (Shakespeare’s portrait is even placed in the center of the stage, ever-watching) and for the rest of you who’s interests in the Bard never traversed beyond 11th grade reading requirements; you are in for a pleasant and hilarious surprise as this production turn Shakespeare completely on his goateed head.

The stage was set by what looked like your standard Shakespearian set. Paneled walls, a “Globe-esque” ceiling that was colorful and yet not distracting but as the show progressed it became clear that you shouldn’t judge a play by its simple set. A flexible set would be required for this broadly spanning show; an excellent call by scenic designer Stefanie Hansen. Another area where flexibility was of the essence was in costume design by Andrea Barrier. One of the most technically interesting parts of the show was watching the actors transform from character to character so rapidly through costume. Barrier made this easier on the actors by utilizing simple changes to differentiate characters from another such as putting on a wig or a simple over coat equipped with sand bags if the character was female. These rapid costume and prop changes would never have been possible without the skill of assistant stage manager Kari Krein and her backstage team always there for the actors.

Not only does the small cast of three in Complete Works play all the characters in Shakespeare’s plays but they also portray their own actor’s personalities through dialogue, participating with the audience, and working through the scenes together. I became winded just looking at the poor lambs but Jeffery C. Hawkins, Joseph Midyett and Jason O’Connell bear their glorious burden with only a few hilarious whimpers. It’s clear the playwrights knew their show would be a nearly impossible task for a cast of three and they own up to the fact, making fun of it repeatedly. Hawkins, Midyett and O’Connell work together seamlessly as the cast. Their comradery and teamwork is evident throughout the play and they all exhibit the impeccable and un-teachable comedic timing essential to the production. The cast’s inventiveness in their different comedic interpretations of Shakespeare’s characters and ability to weave modern-day pop culture references and political humorwith good-old physical comedy and wit was a treat for all.