THE SPANISH TRAGEDY – at Villanova through April 2st. Andrea (a soldier) and the character “Revenge” (played here by 5 performers
By Ellen Wilson Dilks
Villanova Theatre closes out their current season with a production of Thomas Kyd’s THE SPANISH TRAGEDY, written between 1582 and 1592. Performances run now through April 21st on the thrust stage of the Court Theatre at the University’s Mullen Performing Arts Center. Filled with powerful stage imagery, it is a challenging piece of theatre worth seeing.
THE SPANISH TRAGEDY is considered the “granddaddy” of the genre known as Elizabethan Revenge Tragedies. Such works as Shakespeare’s HAMLET owe a debt to Kyd for popularizing this type of play. Some scholars even theorize that Kyd wrote the hypothetical “Ur-Hamlet” that may have been one of the Bard’s sources. The two pieces share a number of elements: a “play-within-a-play, a ghost intent on revenge, and quite a few murders/deaths. I also found many similarities to MACBETH in Kyd’s script. (At least this production connected with the Bard’s Scottish play in my mind. A number of Kyd’s contemporaries satirized his work—Ben Jonson, Kit Marlowe and Shakespeare, to name the biggies.
There have been some notable contemporary day productions of THE SPANISH TRAGEDY—such as London’s National Theatre in 1982 at the Cottesloe Theatre, transferring to Lyttelton Theatre in 1984. It was given a production at The Royal Shakespeare Company in 1997, which subsequently moved to The Pit at London’s Barbican in November 1997. It is a very dense script, with many characters and locales, that challenges the viewer to grasp the ideas both large and small of revenge, grief and love.
Speak thou fair words, I’ll cross them with fair words; Send thou sweet looks, I’ll meet them with sweet looks…”
Villanova’s tech team knocks it out of the park yet again, giving the performers a highly versatile playing space that is also visually appealing. Parris Bradley’s 2-tiered set beautifully evokes the courts of both Spain and Portugal, while also serving as the Underworld. Jerold R. Forsyth’s lighting adds greatly to the look—especially the underworld scenes. The costuming by Asaki Kuruma evokes both traditional Mediterranean design which rich fabrics and embellishments and a touch of contemporary in some of the ladies looks. A haunting soundscape is the work of Lucas Campbell, joining Liz Filios’ compositions with other pieces.
Horatio (Owen Dorlac) and Bel-Imperia (Emma Drennen) In Villanova Theatre’s THE SPANISH TRAGEDY
Under the direction of Alice Dailey and Chelsea Phillips, the mixed cast of undergrads and grad students is joined by Equity actor James Keegan. It is a large ensemble covering many characters. The action starts in the Underworld with the ghost of Andrea (nicely played by Emily Mosset), who describes the battle wherein Spain conquered Portugal and this soldier of Spain met his demise. Andrea is joined by “Revenge”—played here by 5 masked and caped performers, which is an interesting choice. They are Samantha Phillips, Mahtab Chaudry, Annabella Nordlund, Sydney Hughes and Kylie Horan. They work beautifully together and with Andrea. All six performers appear and reappear throughout the theatre as the play progresses, which adds a nice element of creepy.
James Keegan’s performance as Hieronimo is nuanced. He achingly portrays a man grieving over the murder of his son—and plots revenge after his wife’s suicide. The Queen of Spain is delightfully played by Noelle Diane Johnson; she deftly runs the gamut from stern leader to drunken reveler, never overdoing either. As the smarmy Lorenzo (who sets the murder plot in motion) Monroe Byer is compelling to watch; he is balanced by his prisoner, Balthazar, the son of the Viceroy of Portugal. Justin Badoyen relishes every second of playing Bathazar. David Adah- Ogoh is a strong presence as the Viceroy. Dory Scott is equally adept in the role of the Duke of Castille, a close advisor to the queen. Horatio, Hieronimo’s soldier son who is murdered by Lorenzo and Balthazar, is handled well by Owen Dorlac. Emma Drennen plays Lorenzo’s sister, Bel-Imperia with panache and conviction. The only thing the text doesn’t explain is how quickly she goes from being Andea’s love to being wild for Horatio…
The ensemble in the supporting roles are solid as well: Kylie Horan (Isabella), Abi R. Johnson ((Pedringano), Grace Acquilano (Jerome), Tess Matthewson (Ambassador), Samantha Phillips (Painter), Sydney Hughes (General), David Kennedy (Deputy), Mahtab Chaudry (Serberine), Annabella Nordlund (Pedra), Joe Tribble (Hangman—yes, they hang someone onstage),John Orndorff (Jacques) and Cas Corum (Don Alexanbdro) The Shadow Puppeteers—who show the opening events as Andrea relates them, and appear again at the end to tell what happened to the murderers in the afterlife—are Mahtab Chaudry, David Kennedy, Tess Matthewson, Annabella Nordlund, John Orndorff and Joe Tribble.
It is always interesting to see a play you are not familiar with. I did not know anything about this classic at all. At 2 hours and 45 minutes, including the intermission, it is a long play. I might have considered doing some judicious trimming where possible…. The story is dense with plot and characters, so it requires the viewer’s full attention. I felt the message that Kyd was hoping to convey is that revenge is not the answer when one has been wronged. It only leads to heartache for all involved. Though quite poetic in a number of passages and full of imagery, Kyd’s language is not as rich as Shakespeare’s, but it is Elizabethan. It was an interesting time watching these students tackle such a story and genre. (Sympathies to the wardrobe crew who must clean the bloody costumes after each performance.) There is quite a bit of violence, and that may not be everyone’s cup of tea.
“How should we term your dealings to be just, If you unjustly deal with those that in your justice trust?”
WHEN YOU GO: THE SPANISH TRAGEDY runs now through April 21st at the Court Theatre in Villanova University’s Mullen Performing Arts Center—which is located at the corner of Lancaster and Ithan Avenues. The facility is handicapped accessible—patrons should call the Box Office at 610.519.7474 or email at mullenboxoffice@villanova.edu for details. There is plenty of off-street parking, with some inclines involved in getting from the parking areas to the entrance to the center. There is a parking garage behind the building, as well as behind the Refectory across Ithan Avenue. If you’re in need of a little exercise, there is also parking across Lancaster Avenue, behind the dorms. The performance runs 2 hours and 45 minutes—including a 15-minute intermission. THE SPANISH TRAGEDY is recommended for patrons over the age of 17, due to some very sensitive topics depicted in this gripping play.