As part of the Folger Library's most ambitious renovation in its history, the cozy theater space that I and so many others came to adore for it's intimacy in spite of its shortcomings, is no more. When next we make our way to that venue, it will have been transformed. And in the meantime, The Folger Theater is partnering with other DMV Theater companies and venues. For the excitement factor, this production at the cavernous National Building Museum was without a doubt the most anticipated. Originally scheduled for the summer of 1920, the Pandemic put the kibosh on that. That it is finally here is another sign that we are learning to live with Covid, even as rates of infection in the DMV are once again in the high zone.
Given all this time to prepare, I note how many of the cast members are new to the local theater scene with resume's that include many major regional companies not in our region. Places like La Jolla Playhouse, Yale Repertory, Seattle Repertory, The Goodman Theatre, Williamstown Theatre, Oregon Shakespeare Festival, The Guthrie Theatre, all the way to Broadway. Therefore, it was a chance to experience a lot a fresh faces and undiscovered talent. It was also a strong cast.
Within the characters you basically have three groups. The Players (itinerant acting troop), the Court of Athens, and the Fairy Kingdom. Actors from each play double roles. And yet, there is a distinct "flavor" within each. I'm happy to report that all were quite tasty.
Within the court, the standout performance belonged to Helena (Renea S. Brown). Her energy never waned, and often you could see how the others used that energy in their own performances. In the Fairy Kingdom, Puck (Danaya Esperanza) was delightfully impish, Titania (Nubia M. Monks) was devilish in how she channeled a sinister Cruella de Ville to great effect. But it was Rotimi Agbabiaka's Oberon that triumphed. Attired in an open chested (low-cut bodice) magenta satin gown complete with hoop, a flowing train, and 6-inch killer heels--his performance was that of a younger, sexier, fierce-diva in training Billy Porter from Kinky Boots. He sashayed thither and yon and commanded each scene he was fortunate enough to be a part of.
Saving the best for last, the company of players, who doubled for the fairies, was by far the strongest ensemble of the three. And Jacob Ming-Trent's portrayal of Bottom was the stand-out performance of the play.
A mixed race cast with a decidedly Caucasian minority brought a level of novelty to the production that was exciting and no doubt contributed to the overall energy of the production. Also noted where the range of body types. I can't help but think that costume choices that played into this physical diversity weren't also intentional and I say well done!
A mixed race cast with a decidedly Caucasian minority brought a level of novelty to the production that was exciting and no doubt contributed to the overall energy of the production. Also noted where the range of body types. I can't help but think that costume choices that played into this physical diversity weren't also intentional and I say well done!
If I had one complaint, it would be this. Given the immense proportions of the interior of the National Building Museum, it would have seemed to me to be a no-brainer to have designed the stage in the round. Something that was and will continue to be impossible at the Folger Theatre venue, and what perfect place and opportunity to try something different. But of course, this has nothing to do with the wonderful production playing at the National Building Museum through August 28th. My DMV friends, go! You won't regret it.
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The Players: Flute (John Floyd), Peter Quince (John-Alexander Sakelos), Snug (Sabrina Lynne Sawyer), and Bottom (Jocob Ming-Trent)
A word on John Floyd. Unlike so many of the other cast members, I have had the opportunity to experience John's talents in several pre-pandemic Folger Theatre productions (Davenent's Macbeth, Anthony & Cleopatra, and Timon of Athens). In each of these his performances fit a "type". They brought a certain stereotypical presence to the stage. In this performance, he was autonomous. He wasn't a type, he was Flute. It's always exciting when you have the opportunity to experience an actor in a way that suggests growth.
The Players: Starveling (Kathryn Zoerb), Flute (John Floyd), Snug (Sabrina Lynne Sawyer), Snout (Brit Herring) and Bottom (Jocob Ming-Trent)
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Two of the star-crossed lovers: Lysander (Hunter Ringsmith) and Hermia (Lilli Hokama)
So disappointed that there wasn't a single press photo of Helena and/or Demetrius
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Puck (Danaya Esperanza) with the flower magic, dispensed in the form of a mysterious smoke.
Below with her fairy entourage.
Love happens, bitch! Cobweb (Kathryn Zoerb), Oberon (Rotimi Agbabiaka), Bottom as the Ass (Jacob Ming-Trent) and Peaseblossom (Sabrina Lynne Sawyer)
Some Fairy Hanky-panky going on! Oberon (Rotimi Agbabiaka), Moth (Brit Herring), Bottom as the Ass (Jacob Ming-Trent) and Peaseblossom (Sabrina Lynne Sawyer)
And "All's Well The Ends Well"--a trademark of Shakespeare's Comedies!
