‘Two Gentlemen of Verona’ @ Shakespeare Dallas
—Sam Lisman
Two Gentlemen of Verona is another of Shakespeare’s plays that draws disdain from certain modern audiences. Actually, it’s really only the ending that people object to, the rest of the play is rather charming. To get around this problem, Shakespeare Dallas has adroitly repositioned some lines that normally occur earlier in the play, allowing for a more palatable conclusion. That this works so seamlessly—without prior knowledge you’d have no idea changes had been made—is a tribute to all involved, especially Director Korey Kent and Associate Director Sasha Maya Ada.
Before I go further, please note that I am a member of the Shakespeare Dallas book club, and am friendly with some people involved in this summer’s plays. As such, I was slightly apprehensive about how the play would be received, but if opening night’s audience is any indication, I needn’t have been.
The play, of course, focuses on two best friends from Verona, Proteus (Ben Stegmair) and Valentine (Dhruv Ravi), who are sent (separately) by their fathers to the court in Milan for seasoning, as it were. In one of the greatest mysteries (or perhaps mistakes) in Shakespeare, they voyage by ship. I’ve personally never been to Italy, but having looked carefully at maps, satellite photos, and Google Earth, I’m fairly certain that it is not physically possible to get from Verona to Milan by ship.
Regardless, after Valentine has been dispatched, Proteus’ father Antonio (Josh Hepola, who will also play Sir Eglamour) is told by his servant Pantino (Aren Hugo) that his brother (Proteus’ uncle) thinks Proteus should follow his friend to Milan. Proteus is reluctant to leave his latest love Julia (Kristen Lazarchick) behind. But since he must obey, they secretly exchange rings.
In Milan, Proteus meets up with Valentine, already besotted with the Duke’s daughter Sylvia (Lauren Floyd), though the Duke (Ethan Norris) plans to marry her to Thurio (Eric Berg). Upon the instant of seeing Sylvia, Proteus lives up to his namesake (a Greek God known for his changing nature and physical shapeshifting): he forgets all about Julia and determines to win Sylvia, even though it means betraying his lifelong friend.
Not knowing this is happening, but lonesome for Proteus, Julia decides to secretly travel to Milan herself, disguised (naturally) as a boy with help from her lady-in-waiting Lucetta (Mikaela Baker). Arriving in Milan, Julia will seek lodging from the Host (Rudy Lopez), whereupon she will see things she wishes she hadn’t seen.
While this may seem depressing for a comedy, the mood is happily lightened by the clowns. First, Thurio is an easy character to laugh at: a popinjay suitor who is much more liked by the Duke than by his daughter. Moreover, Berg plays him for laughs with a pronounced lisp that leaves him spitting all over everyone and everything. Then there’s Speed (Brandon Whitlock), servant to Valentine, whose mouth more than justifies his name. He’s got some wonderful lines and Whitlock really works hard to set the tone. Joining him in this is Proteus’ servant, Lance (pronounced Launce, and played by Michael Stimac). Certainly not as quick-witted as Speed, he's more of a (hilarious) sad sack, which Stimac milks excellently. He’s accompanied, however, by Shakespeare Dallas’ newest star, Sunny Butter Lettuce Stimac, playing Crab the dog. I’m no more a fan of dogs than I am of children (too much drooling from both), but even I found SBLS enchanting. Cast against type, this tiny canine with enormous eyes instantly won over the audience—completely stealing the show.
As much fun as the clowns provide, the interplay between the four leads is equally successful. Stegmair is able to play the dissembling Proteus with the kind of verve that is required for a truly great villain, while Lazarchick’s discarded and abused Julia is heartbreaking. Floyd’s Sylvia turns on a dime between her doting over Valentine and loathing for Proteus. Ravi nails Valentine, who despite not being the brightest fellow, nor having many good lines, comes across as genuinely decent and truly devoted to Sylvia and Proteus. Sadly, he’s caught completely unaware of his friend’s betrayal.
Verona is meant to be a hick town, the sticks, in relation to hip, trendy, urbane Milan. To convey this, Kent has styled Verona in the 1950s, while everything in Milan is in the 1960s—in part accomplished by music and dancing (choreography by Danielle Georgiou) lifted straight from those decades. The costuming (Ryan Matthieu Smith) is fantastic: Verona is bobby-socks and poodle skirts (I believe they’re called), Milan is mini-skirts and outrageous colors (wait until you see the Duke’s incredible suit), while the forest outlaws (Baker, Hugo, and Lopez) are straight-up hippies.
The lighting (Adam Chamberlin) is effective, especially during scenes where a character watching the action comments on it. There were some sound issues on opening night, which I’m sure designer Noah James Heller has handled—last week’s rain prevented the normal rehearsal process from being completed at the park prior to opening. The set (Michael Sullivan), which is shared with Much Ado (and will be used this fall for Lear), is solid and allows for the necessary action, while Taylor Solice’s props —particularly the rope ladder—look usable.
Despite neither of the title characters living up to the current meaning of the word gentleman (although one is considerably closer than the other—faint praise, I know), this is a fun production that softens the very sharp edges of Shakespeare’s ending, while giving the audience what it wants: clowns, merriment, dancing, great acting, an ambiguous conclusion, and an adorable little dog.
WHEN: June 14-July 14, 2023
WHERE: Samuell-Grand Amphitheatre, 1500 Tenison Pkwy., Dallas
