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Peer Reviews 'Tis Pity She's A Whore Written by John Ford Reviewed by Keith Waits Entire contents copyright © 2009 Keith Waits, all rights reserved.
Louisville welcomes yet another new company to the roster of local, independent theatre groups with Savage Rose Classical Theatre Company. Founder and Producing Artistic Director Barrett Cooper's mission statement announces a desire to "bring to the city of Louisville ... vibrant, classical theatre by showing its relevancy to the modern audience." One could imagine an inaugural production for such an endeavor limiting itself to a smaller scale piece of material than this dark, Jacobean tragedy. Private Lives or The Importance of Being Earnest, both of which are listed on the program notes as possible follow-up productions for a fall season, would have been safer choices, with their smaller casts and certain commercial appeal. But Mr. Cooper seems intent on jumping headfirst into the deep end of the pool with this bold and challenging pick. The controversial work set in Parma, Italy, in 1620, concerns an incestuous attraction between Giovanni and his sister, Annabella. They defy the societal taboo and consummate their relationship, but Annabella gives in to the pressure to marry one of many suitors, Soranzo, and the ensuing jealousy and betrayal lead to tragedy. The play has provoked criticism and censorship throughout its history, primarily because of its refusal to entirely condemn the brother-sister sexual union, instead portraying them with uncertain sympathy. This is not to say that the subject is handled with gaiety. The playwright fills the story with emotional conflict and scenes of horrific violence that produce a reasonable body count by play's end. Mr. Cooper, doing double duty in this initial offering as actor and director, is not shy about staging such moments with physical ferocity, letting spittle fly and blood flow freely as he strives for something of a grand guignol effect. There is humor and tenderness throughout much of the play, but in the climactic moments of the third act he allows the extremities of the material full expression in a manner reminiscent of a modern-day horror film. For the most part, despite one or two moments where the tone of such scenes veers a little close to farce, he succeeds beautifully. But perhaps maintaining the fine distinction between farce and tragedy, like walking the razor's edge, is precisely what prompted his choice of this disturbing, albeit well-written, drama in the first place. As for the performances, the large cast includes many faces familiar from other, less daunting, and often lighter fare, and several younger actors fresh from academia. While there is some inconsistency of quality in the work, everyone on stage seemed to be pushing their abilities into new territory. As Giovanni, Lucas Adams vividly explored the obsessive, immoral passion of the character, and Karina Strange overcame some first-act awkwardness to match his energy as his sister, Annabella. Mr. Cooper's own performance as her suitor and eventual husband, Soranzo, was detailed and devious, and a fiercely violent confrontation with Annabella on their wedding night, as he discovers all is not as expected, was a powerful, go-for-broke moment that was a highlight of the evening. Cordelia Forrester was another standout as Hippolita, Soranzo's betrayed lover, and her compelling work had me wishing her character played a larger role in the proceedings. Tad Chitwood nicely exploited the surprisingly crucial role of Soranzo's servant, Vasquez. Tony Prince and Gerry Rose were authoritative as a friar who knows the incestuous secret and the father of the brother and sister, respectively, while Kelly Moore was a figure of sly humor and pathos as Putana, a tutoress to Annabella. Sean Childress, Craig Nolan Highley, Corey Music, Patrick Fitzsimmons and Julia Strange ably rounded out the other supporting roles in solid form, and special mention should be made of Tom Schulz's sly, understated scene-stealing in the otherwise easily dismissed role of a servant. The concept and mood of the show would have benefited from more substantial production design than the seemingly limited budget allowed, but Shana Lincoln's costumes managed to largely fill in the discrepancy with welcome gravitas and detail, as did the well-chosen music cues. In the end, this production of a play concerned with vengeance, death and Eros provides a full-throated declaration of principles for Savage Rose, a company clearly intent on delivering potent and meaningful theatre to the Louisville audience. Mr. Cooper gives this audience credit for the taste and intelligence to appreciate such offerings. Let's hope they receive the bounty with applause.
'Tis Pity She's A Whore Posted January 23, 2009
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