CSC's Charming "Love's Labor's" Anything But Lost

            I have said it before, and I will say it again.  No one locally produces Shakespeare for the masses better than the Chesapeake Shakespeare Company.  No one else really comes close, and their current production of the comedy Love's Labor's Lost is proof.  Often, otherwise extremely bright theatergoers will resist seeing Shakespeare for fear of not being able to understand what they are seeing and hearing.  That is most definitely not the case with this production.  Billed as a Shakespeare Workshop production – read: the play, not the costumes and sets are the thing – the company once again shows an amazing ability to create the Bard's plays within a context, and more importantly, within acting styles that are accessible to any and everyone.  So, if Will's work makes you nervous, try CSC – you'll be the better for it.

            Directed with a keen eye, swift pace, and comic flair by Jenny Leopold, a first time CSC director, Love's Labor's Lost charms and enthralls as it rushes fleetingly by.  The action is non-stop, the plot relatively uncomplicated.  Clearly, Ms. Leopold knows a thing or two about staging a play, debut or not.  Not one second of the staging feels labored or static, and she is always mindful of keeping the focus where it needs to be, without sacrificing interesting stage pictures.  (A few other local directors might attend to see what efficient staging looks like.)  Setting the play at a Western ranch resort in modern dress proves to be an inspired choice as it gives the audience easily understood context for the plot, and gives the characters a reasonable need to be in this place without stretching the bounds of believability.  This updating is not a case of the all too often shoehorning of a classic into an ill-fitting concept.  For a production that touts its lack of attention to the technical details, all of the elements sure are top notch.  The costumes (uncredited for design) are a hoot, from the corporate "Team Navarre" shirts worn by the four gentlemen to the ZZ Top/ Day Spa "disguises" worn by the men and women, respectively.  The lighting, which is merely and on/off, bright full stage wash is exemplary in setting the tone and cheeriness of the play and is of note also for its evenness – companies with far larger budgets may want to consult with designer Dan O'Brien for tips on how to avoid shadows.  O'Brien is also responsible for the bare bones set – a wide open prairie in the back, and two strategically places ladders – which do more for the show than some of the more expensive things I've seen recently.

            Even though technically the production is spare but first rate, true to the Shakespeare Workshop concept, Love's Labor's Lost is truly actor-centric.  This battle of the sexes is set up nicely from the get go, as each actor has a firm grasp on his or her role and its place in the grand scheme.  And from lead role to walk on, every actor has brought his/her best skills to the stage.  As CSC is an acting company, the same actors regularly appear in their productions, and it is fun to see what they will be asked to do with each outing.  CSC also makes a habit of infusing new blood in each show as well, and in this case each newcomer acquits him/herself quite well.

In the supporting roles, several cast members really stand out.  Steve Beall does a funny send up of a Spaniard without being a stereotype, and as Moth, the Spaniard's page, Karen Beriss practically steals the show.  A trained magician, she does tricks aplenty, but the best trick she pulls off is as the androgynous Moth – well-spoken and delightfully delivered lines make Ms. Beriss a name to look for in the future.  Shakespeare has set up this battle with two leaders and three sidekicks apiece.  All six actors in the side kick roles are delightful to watch and listen to as they each create very distinct characters, and yet manage to create a unified front a la The Three Stooges and perhaps Charlie's Angels.  The men (Bob Alleman, Scott Alan Small, Jim Raistrick) are hilarious as they bumble their way through love, machismo and disguises.  Similarly, the ladies (Diana Cherkas, Ashly Ruth Fishell, Charlene V. Smith) relish in using their femininity, guile and considerable charms.  Adding to the fun in smaller turns, but adding much humor and color to the proceedings are Kelli Biggs, Lorraine Imwold, Bernie Noeller, Scott D. Farquhar, and Rebecca Ellis as various servants and townies.  It really says something about the level of professionalism, direction and attention to detail of a show when even the smallest roles stand out as they do here.

 

Two of my favorite CSC actors, Jacob Rothermel and Bob Alleman are in the central roles of Ferdinand, King of Navarre and Biron, respectively.  As befitting his character's station, Rothermel commands the stage and his subjects with zeal, and infuses just enough self-deprecation to make the plottings of this "man's man" both realistic and humorous.  He also exudes a quiet, yet confident sexuality that makes the King's lust for the ladies interesting and just a shade naughty.  Rothermel does so with such subtlety that one wonders if this is the character entirely or a bit of the actor shining through.  The always reliable Alleman is simply terrific here.  His natural ease, charm and wit are used to full effect here.  His delivery of often complex language is effortless and perfectly timed, adding to each and every scene, while aiding the less Shakespeare-friendly audience members in understanding.  In this play, his stature is such that he is slightly awkward, and his face paints a picture of affable silliness.  Alleman is the total acting package here, using voice, physicality and facial expression to create a well-rounded, delightfully funny character.

 

On the distaff side, Rothermel and Alleman are ideally paired with actresses who hold their own against them.  The high level of give and take and easy banter of complex word play between them suggests years of working together – the kind of chemistry they have is a director's dream – something you can't force or create, it just is.  One can only imagine what they'd do with the 4 central roles in Guys and Dolls.  As Ferdinand's female counterpart, the Princess of France, Anne Nottage exudes the same qualities – a smart, witty sexual woman who lives and loves on her own terms.  There were several moments when I wondered if it was intentional that both actors were so similar.  And as Rosaline, Diana Cherkas delivers a beguiling performance that requires her to be the comic equal to Alleman and a touching ingénue.  That is not to say her Rosaline is a withering female, not at all.  She, too, has created a full woman – fierce and strong, but smart enough to know when to use her feminine wiles to full advantage. 

One suspects Shakespeare would have been pleased with these performances.  CSC has done the work a great service by making it so immediate and unburdened, and has gotten its 2006 – 2007 season off to a terrific start.

PHOTOS: TOP: (L to R) Jacob Rothermel, Bob Alleman, Scott Small, Jim Raistrick; MIDDLE: Anne Nottage and Jacob Rothermel; BOTTOM: Diana Cherkas and Bob Alleman.  All photos by Kitty R Photography.

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