Review: THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED) at UD Rep Ensemble

Aisle Say began reviewing UD REP - Resident Ensemble Players – in a campus gym, long before the capacious and elegant Roselle Center for the Arts became a reality. I was always struck with their overarching quality of both acting and tech. In many reviews called them the pre-eminent acting company in the region. REP is entering its 15th year, with many of the original actors still plying their craft.

A professional actors’ life is peripatetic; wandering around the region (or the nation) seeking the next audition for the next gig. Nerve racking. A REP actor has job security; living in the same space, able to raise a family and not being burdened with a rigorous 7 show a week regimen.

REP actors teach course work in Theatre to students from all academic disciplines throughout the UD College of Arts and Sciences. Long time veterans:  Kathleen Tague; Intro to Theatre and Drama, Elizabeth Heflin; Intro to Voice and Speech, Mic Matarrese; Intro to Stage Movement, Stephen Pelinski; Fundamentals of Acting 1, El-Amin Hassan; Black History Live on Stage, Michael Gotch; Writing for Performance, Lee Ernst; Makeup for the Stage.

Observing these professionals over many years, these are the ones I would wish teaching me. I am certain they instill confidence, self-assurance and instruct the students to look inward; at one’s navel, as Stanislavsky would say.

The Complete Works of William Shakespeare (Abridged…again and again and again) has 3 actors featuring in a comic onslaught of all 37 of The Bard’s plays in 90-some minutes.  Veteran REP actor Mic Matarrese leads this motley and irrepressible crew along with Lenny Banovez and Joe Castillo-Midyett. Are they the Marx Brothers or The Three Stooges? It is up to the audience to determine which man is zanier.  Whichever trio you choose, shenanigans and buffoonery abound. One might even throw in some English ‘frolicsome’.

The 4th wall of the theatre is non-existent. Dorothy’s tornado just blew through. Audience participation in some scenes is required, to great comic effect. One ‘guest’ was summoned to the stage and required to run back and forth several times. Aisle Say has a feeling he was a plant. So be it. It was an amusing bit anyway.

One particularly engaging scene was in Act II (devoted to HAMLET). An audience member is asked to portray Ophelia for the Nunnery Scene. The rest of us were divided into three sections: her id, superego and ego. (Ya just have to be there to enjoy that one). Explaining TITUS ANDROCONIUS as a cooking show was hysterical. In another sketch, a scuba diver in Shakespeare? Mais Oui. Why would you think not?

Adding to the spontaneity and improvisation, the writers encourage topical ‘pop culture’ additions that through circumlocution the actors somehow make relevant. An amusing such a one was just too, too easy a target. It referenced an orange tinted bronzed-faced, self-aggrandizing demented grifter who gives the play writers – and latenight show hosts - a treasure trove of cannon fodder.

Costumer Jo “Fearless” Fulmer has a joyous sense of humor. The 3 actors’ doublets and matching dyed Chuck Taylor’s were a show stopper in itself. Fullmer has a keen eye for period dress.

Aisle Say did not see the unadulterated chemistry amongst these actors as he has witnessed in previous REP productions.

The Complete Works, etc, brings us familiarity to Shakespeare with both its contemporary references and slap-stick humor, especially for those that might otherwise find The Bard’s canon intimidating.

THE COMPLETE WORKS, etc – Through October 6

Next Up: ROUGH CROSSING – November 7 - 24

Resident Ensemble Players | Theatre and Dance | College of Arts & Sciences | University of Delaware (udel.edu)

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