Theater review: [They Fight]
Posted By Perry Tannenbaum
Scrappy company that they are, Shakespeare Carolina didn’t simply throw in the towel when rights to stage Albert Camus’s Caligula were yanked away. No, as you can see at Duke Energy Theater, they decided to put up a fight – actually, eight of them from a cross-section of the Shakespeare’s work, plays that we’ve seen often in Charlotte as well as a couple we haven’t. [They Fight] is thus a pupu power platter of fight scenes from Hamlet, King Lear, As You Like It, Macbeth, Coriolanus, Cymbeline, plus a double serving of Romeo and Juliet.
Conceiving, adapting, and fight choreographing the show, Charles Holmes has a good grasp of the guilty pleasure aspect of what ShakesCar is presenting. We get very little in Holmes’s set-up about what made Coriolanus ripe for his tragic fall and even less about his toxic mom, Volumnia. Nah, we’re going to “skip all that and go to the last three pages.” So Coriolanus fights Aufidius – not exactly as it happens in the text – but we’re spared the details of why they’re fighting. We do get the idea that Aufidius regards our hero as a traitor, and the outcome of his hubris is the same.
Other irreverent quips are sprinkled among the concise introductions. Once the characters strut onto the stage, Holmes’ alterations of the script only became annoying in a more familiar scene, where Edmund’s belated penitence in Lear after he is mortally wounded no longer occurs. Amid the hurly-burly of that brotherly brawl between Edmund and Edgar, which of the women is Goneril and which is Regan only gets clarified when one poisons the other – if you’re already familiar with the script.
But with less than two weeks to hone this fight anthology into performance trim, the cast does well, auguring well for ShakesCar’s upcoming productions of The Taming of the Shrew and August Strindberg’s Miss Julie later this summer. From a fighting standpoint, another fight choreographer or two would help to prevent us from thinking we’re seeing the same thrusts, slashes, and parries over and over. But Holmes and stage director Chris O‘Neill are cagey enough to insert fights, one in each half of the show, that leap outside the swashbuckling envelope.
The first of these is the bout between Orlando and Charles the Wrestler from the opening act of As You Like It, with the imposing David Hayes portraying Charles with full WWWF-style villainy, strutting invincibly and baiting the crowd as he seemingly destroys the hapless Zade Patterson as our hero – to the horror of Amy Hilliard as Rosalind and Mandy Kendall as Celia. Patterson returned in a far more comical turn after intermission as Cloten, the spoiled son of the evil conniving queen in Cymbeline – with as much aptitude for mortal combat as Tim Conway.
David Hensley as Guiderius butchers this arrogant pipsqueak, with Kevin Sario as Guiderius’ brother and Manu Barbe as their “father”/kidnapper looking on. Before tasting Guiderius’ sword, Cloten is also on the receiving end of some badinage about his clothing, so Kendall, doubling as costumer, rightfully drapes Hensley in a dopey, gleaming outfit that underscores Cloten’s foppery. Looks good on Hensley, though, after he emerges victorious.
But why have an intermission at all when your running time totals less than 70 minutes? Three more fights, one less intermission, and two more weeks of rehearsal to sharpen the tech and the combat would make [They Fight] very worthy of a second round. It would be fun – more fun – to see what this show would look like if it were brought back in less haste. While Holmes’ choreography ably simulates the fight scenes of Hollywood action flicks, it would add a little if Holmes and his combatants owned up to the fakery and absurdity of it all. Just once in a while.
Oh yeah, and it would also be nice to see Caligula at the Duke someday. That is, if the sonuvabitch holding onto the rights so tightly would let the show go on.