Review: IMMORTAL LONGINGS is theater geeks and lay(wo)men alike at The Vortex

The trouble with being a theater reviewer is that I've got a baseline of bias: I've studied and acted Shakespeare. I'm predisposed to enjoy Immortal Longings, the Vortex' latest production, which brings a pantheon-ensemble of Shakespeare's greatest female characters from his greatest plays onto a single stage, to perform their greatest scenes. Rife with scholar's jokes, Elizabethan-imitation dialogue, cunning anachronisms, and substantial literary analysis-this is a geek's dream.

Yet I don't feel like I'm taking a risk when I recommend the show to everyone. You--whatever your tastes--will enjoy this because it is quality, elegant theater full of wonderful performances. And if you're not a geek at the start, you may be one by the end.

The premise is simple: Juliet doesn't want to die at 14-but the text decrees she must. Or does it? Lady Macbeth, Cleopatra, and Desdemona say yes; but Beatrice, Kate, and Viola say no. Therefore Portia must preside as judge, hearing the case from either side, to decide.

If that doesn't sound simple, if you find this array of names disorienting, fear not-each character is introduced with a full plot-intro. Yes, a total of ten such expositions risks bogging-down the pace, but director Kathleen Welker has wisely injected the show with the rowdy attitude of a prizefight, as in, 'in this corner, Cleopatra!'

This doesn't trivialize the Shakespearean scenes-instead, the prizefighter attitude fills the stage with energy and confidence. Which is needed-for the tone shifts drastically from one minute to the next: from the insane tragedy to flirtatious comedy and back, again and again. This is no mere emotional roller coaster (that implies a track of plot continuity); this is skydiving-dropping directly through height of a play, then immediately taking off and leaping into another play.

If this sounds scary, don't worry: the ensemble is good to the audience, holding the space with extraordinary cohesion. All the women stay on stage throughout the entire show, but even when merely watching from aside their attention doesn't wander. And when each comes forward to make their case and perform their scene-they flourish such vivid liveliness, there's never a moment to pause and realize how free and loose they're playing with your feelings, laughter followed immediately by tears.

Because this cohesive frame upholds the show more than any single performance, it's the ensemble as a whole that's most deserving of praise. But several individuals contributed heroically to this effect: Sheridan Johnson as Portia, the presiding judge, established a baseline from which the play drew its tone and pace; Bridget Dunne as Ophelia challenged this baseline with her feigned insanity, and she seemed to become an audience favorite. Pip Lustgarten as Viola, and Emily Carvey as Rosalind played not only their own roles with distinction but also the roles of all the men. And Caroline Patz made the many-times-told Juliet her own through delightful and surprising characterizations.

The show's one sword fight was a bit underwhelming, and because I went on opening night, there were some unfortunate line-flubs which will hopefully will smooth-out in later shows. Aside from those issues, this show is pristine--an effortless way to whirl your emotion, invigorate your mind, and totally geek-out.

April 29-May 22, 2016. Fri-Sat 7:30pm; Sun 2pm. Tickets $22.

Reserve tickets: HERE

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