Janus Theatre presents an engaging "Merchant of Venice"

The Merchant of Venice

Regina Belt-Daniels

Completing Janus Theatre’s 27th season is a 95-minute streamlined adaptation of Shakespeare’s “The Merchant of Venice." Artistic director Sean Hargadon adapted, directed and produced this production and he has done it “Old School” which means the lights are on, the production enfolds on an open stage, (nothing more complicated than benches and a wooden floor to keep things moving) and interaction with the audience with the focus on the words and the actors. (That’s how it was done during Shakespeare’s time.) And thanks to stage manager Tricia Miller-Hewson, this production of “The Merchant of Venice” has scenes that flow.

Hargadon’s adaptation is clever and fast paced. Shakespeare’s luxurious language and quick wit are maintained as well as the infamous lines we expect. Hargadon says “what makes the play interesting is how it feels like riding an emotional roller coaster, rising up and down with constant shifts in tone.” Shakespeare’s “The Merchant of Venice” in his time (1596) was considered a comedy, but truly it is a dramedy, combining both drama and comedy especially as it is known and remembered for its dramatic scenes (and hopefully we feel differently 400 years later).

Jennifer Reeves Wilson as Portia (with papers) and
Tiffany Jasinski as Nerissa. Photo by Sarah Knauf.

With Hargadon’s adaptation, and clever casting of the talented ensemble of 13, the story of Shylock, the Jewish Venetian moneylender, comes to full intrigue and attention.

Susan P. Anderson is a phenomenal Shylock; she may be the first black African American woman to play the title role. (According to Hargadon, “at least geographically”). Shylock represents the foreigners and aliens as she is constantly reminded by the Venetian Christians and Anderson powerfully articulates that prejudice throughout the play. As an actress, Anderson is eloquent in every way: vocally, expressively in her posture, and transitioning attitude. She makes you see Shylock’s humanness (“if you prick us, do we not bleed?”) and desire for revenge (“I will have my bond”). Anderson commands the stage. She is a memorable, riveting, and dignified actress.

Susan P. Anderson as Shylock.
Photo by Heidi Swarthout.

Four other actors maintain commendable performances in their protagonist roles. They also are attractive, articulate, witty, and have incredible chemistry:

Dustin Ayers is Antonio. His love for Bassanio causes him to sign the contract with Shylock for 3000 ducats and the forfeiture of a pound of flesh. Ayers plays him with a bit of melancholy and confidence about his finances. (“All my fortunes are at sea”). And despite his kindness, he has called Shylock a cutthroat and cur and spit on her.

Aaron Hoge is Bassanio, the ineffective businessman. He’s a charmer as an actor and very expressive. His great friendship with Antonio has led him into a complicated financial contract situation with Shylock. Hoge portrays Bassiano as noble but impulsive and a spendthrift.

Benedict L. Slabik II is Gratiano, friend to Antonio and Bassanio. Slabik’s character is coarse and most vocal about Jews. You’ll see venom and violence and levity with his superb character development.

Jennifer Reeves Wilson is Portia, the wealthy heiress with a list of suitors ranging from the Prince of Aragon to Monsieur LeBon of France. Wilson portrays Portia intelligently and cleverly, and her character also saves the day. She is a strong, attractive, and confident actor and has some of the best scenes and lines including the infamous “quality of mercy” speech.

Aaon Hoge as Bassanio with one of the caskets.
Photo by Sarah Knauf.

The supporting ensemble is energetic and vibrant.

Two Venetian gentlemen are enacted by Alex Wisniewski (Solanio)  and Dan Stromquist (Salarino). They are both associates of Antonio; initially they are bumbling characters but there is a charming transition to protectors and conspirators.

Matt Hellyer is Lorenzo, one half of the young couple in love; He is the poor Christian in love with Shylock’s daughter, Jessica, portrayed by the calm and serene Tessa Dougherty. They elope, but Hellyer makes us understand the many obstacles he has to surmount for marrying a Jew in Venice. Both Hellyer and Dougherty possess an innocence and credible chemistry.

Tiffany Jasinski is Nerissa, Portia’s devoted lady in waiting. She also provides some comic relief in this adaptation as Portia’s comfort and confidante. She is an expressive actress and could steal any scene she is involved in. She is delightful.

Matt Johnson makes a wonderful clownish Lancelot Gobbo. He starts out as Shylock‘s employee but later works for Bassanio. He’s a good friend to Jessica and is also a scene stealer each time he enters the stage. Johnson’s character is adept at puns which he delivers flawlessly; he utilizes two chosen audience members in his humorous conscience versus heaven debate.

Stephen Pickering ‘s Duke is the stern, law abiding character, who must hear and rule on Shylock’s court case. Pickering is an elegant actor who portrays the important Venetian hierarchy with confidence and credibility. Paul Anderson completes the cast entering late in the play as Tubal, another Jewish money lender, and friend to Shylock.

Anderson as Shylock with Dustin Ayers
as Antonio (l), Benedick L. Slabik II
as Gratiano, and Tiffany Jasinski as Nerissa.
Photo by Heidi Swarthout.

“The Merchant of Venice” has always been a challenge for me. I cringe over the expressions of racism and religious persecution, not to mention man’s inhumanity to man. Hargadon’s adaptation certainly adheres to Janus Theatre’s striving to present work that is classic and contemporary while exploring, challenging, and raising questions. I highly recommend Janus Theatre’s production of “The Merchant of Venice” which runs through November 9th. It is diverse and engaging and so worth experiencing!

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Runs through November 9. Tickets $25. At Janus Theatre. 

Regina Belt Daniels has been writing reviews for more than 11 years, most recently for the Shaw Local News Network. She has also held board positions for the Raue Center for the Arts, Woodstock Opera House Advisory Commission, Townsquare Players, and RCLPC Theater. She has directed, stage-managed or acted in more than 40 productions.

iambe theatre's "Love's Labour's Lost" is a veritable hit!

iambe theatre has done it again! The 100 minute production of “Love’s Labour’s Lost” adheres to their mission statement of providing high-quality theatre that focuses on the exploration of the human condition with an emphasis on the under represented, particularly women of all ages. And director Lisa Dawn’s adaptation has made Shakespeare’s rom-com “Love’s Labour’s Lost” a veritable hit! 

As Dawn states, the play is perfect for an all-female debut. "We offer it to you as an act of joy, of rebellion against the constant state of the world and of love." Dawn originated her adaption during COVID with No Beard Shakespeare – the play was a virtual reading and pandemic experiment. iambe’s artistic director, Doreen Dawson said that iambe and Dawn "bonded through creativity, laughter, and love of Shakespeare’s words… Exploring the timeless, complexities of love, learning, lush language, and what it means to be human."

Lisa Dawn (left) as Berowne and Laura Leonardo
Ownby as the King are tempted by the charm, 
beauty, wit and intelligence of Tina Shelley's
Princess of France, Heidi Swarthout's brassy
Rosaline and the other ladies that come to court.

Dawn is joined and supported by a creative 18-member production team of artists and technicians. A simplistic and functional scenic design of statuary and benches by Mike Boyna sets “Love’s Labour’s Lost” in the courtyard of the king of Navarre with lighting design by Bob Haddleton and further enhancement with the sound design of Dave Amato and wonderful original music by Willa Zatzenbloom. A world that is both modern and timeless is complimented by the costume designs of Tiffany Jasinski, and hair and makeup by Morgan Dietkus. Fight choreography by Andrew Trygstad and uplifting dance choreography by Paige Coe add to the enjoyment of this production which stage manager Maureen Corcoran keeps smoothly running. 

“Love’s Labour’s Lost” deals with the themes of love and human relationships as the story of Ferdinand, the King of Navarre, and his three Lords, take a vow: no more romantic pursuits, no women, and no distractions. Just scholarly study for three years. “The mind shall banquet, the body fast.” Ah yes, but the Princess of France and her ladies arrive (“it was quite forgot”) on a diplomatic visit on the Princess’s father’s behalf. The real education! 

In past productions of “Love’s Labour’s Lost”, Shakespeare’s characters were thinly developed, i.e. men were juvenile, women all knowing. But in Dawn’s adaptation, we witness characters of richer personalities. And Dawn has cast well. This production showcases an animated and strong female cast of 16. They are all prolific in their verbal, physical, and emotive abilities. Although be forewarned, the clever wordplay may be difficult to understand at times, but that Shakespeare’s fault. Everyone gets their moment to shine, although there are many potential scene stealers: Kristi Contreary’s sweet, youthful and perky Moth; Tammy White’s underrated clown and fool, Costard; Maureen Morley is right out of a Western as Constable Dull; and Lisa Dawn’s relatable lover, the rebellious and skeptical of the oath, Berowne. But none so much as Doreen Dawson’s brilliant Don Adriano de Armado, the comic Spanish lord admired by the king and his lords for his verbosity. You don’t want Dawson to exit the stage, and what a perfect costume of velvet and ruffles. 

This adaptation is definitely a rom-com, but providing much of the drama are Laura Leonardo Ownby’s tall and elegant king; Tina Shelley as the cheeky and proud intelligent Princess of France, who by the way is never named, and Amber Cartwright’s Longaville and Paige Coe’s Dumaine, lords who take the oath but also succumb to love. Sheri Warren's Boyet is wise, protective, and a mentor to the Princess and her ladies. Warren easily commands the stage. 

There is also an incredibly charming supportive cast: Elizabeth Dawson as Maria and Bailey Angel as Katherine expertly play the flirtatious ladies accompanying the Princess of France. Along with Heidi Swarthout’s brassy and witty Rosaline
, they catch the Lord’s fancy. Becky Crawford and Pam Turlow appear later in the play as Sir Nathaniel and Sir Holofernes respectively. Both are scholarly additions that provide more comic relief. And although the role may be considered minor, Olivia Kaye’s Jaquenetta is a joy of twirling skirts and hair in her portrayal of a wench with a surprise. 

The best scenes are when the infatuated lords and King discover they have each broken their oath; the confrontation between the women and the men, of course, disguised; and the silent ending scenes that summarizes the future of these characters. 

To paraphrase actress Elizabeth Dawson, come and enjoy the SHE-nanigans…. but you only have until October 19 to engage! 

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LOVE’S LABOUR’S LOST
iambe theatre ensemble
THROUGH October 19 

Tickets: tinyurl.com/2tvyuzhh
$22 - $24
Elgin Art Showcase, Eighth floor 164 Division St., Elgin

Regina Belt Daniels has been writing reviews for more than 11 years, most recently for the Shaw Local News Network. She has also held board positions for the Raue Center for the Arts, Woodstock Opera House Advisory Commission, Townsquare Players, and RCLPC Theater. She has directed, stage-managed or acted in more than 40 productions.

Janus Theatre's "School for Lies" is a witty and sparkling comedy

By Regina Belt Daniels 

What a delicious production! Expertly directed, creatively enacted, and smoothly stage managed, "The School for Lies” by David Ives continues Janus Theatre’s 27th season and is currently running at the Elgin Art Showcase through August 31. 

The talented ensemble of nine reveals the story of sassy widow Celimene who is plagued by a pending trial, three good for nothing shallow suitors (she is avoiding any love connection since her husband died), a gossipy frenemy on a mission to destroy her, a clumsy servant, and Frank, a stranger in black, irresistible, and a misanthrope. Based on Molière’s "The Misanthrope" this production is updated to 1976 Paris in Celimene’s drawing room. And it’s all done in rhyming couplets - a true auditory pleasure that provides much humor.

This cast is witty and cheeky and sparkling, (and not afraid) and maintains a stunning verbal display with Ives’ rhyming couplets for dialogue. It’s a 100-minute tribute to Moliere with themes of love, honesty, social hypocrisy, and romantic intrigue throughout. 

Julie Bayer as Celimene and Aaron Hoge as Frank in 
The School for Lies by David Ives. 

Director Sean Hargadon makes this production irresistible; he has cast well, staged creatively, and as artistic director of Janus Theatre, he continually strives to produce works that are classic and contemporary as also being fun and challenging. Truly a gift to the audience! Hargadon is joined by Tiffany Jasinski – her costumes are so accurate that they receive applause when a character enters. She utilizes the wide lapel suits, colorful shirts, glittery sequin disco dresses, (and prove some of the characters are looser than their morals.) And Choreographer Jennifer Reeves Wilson, with light/set design by Hargadon take me back to my disco days at the Poison Apple. R&B and rock music is also used on a wonderful record player. 

Stage manager Elizabeth Dawson is Hargadon’s right hand, ensuring his show’s vision is realized effectively and efficiently. Throughout the show’s 100 minutes, she keeps it running smoothly and this is definitely not an easy show.

The ensemble of nine is strong and truly not one can be singled out. Each actor has their moment to define their characters, perform some physical activity (by the way all are amazing dancers.) deliver rapid fire dialogue with those couplets and encompass vocal performances that are delightful. Central protagonists Frank played by Aaron Hoge and Celimene played by Julie Bayer (pictured) are outstanding and have an incredible chemistry with each other. Bayer doesn’t make her entrance until a half hour into the show. I believe her when she said she lost her heart when her husband was lost at sea "I wear my widows weed in my heart." Bayer is spunky, intelligent, fearless and strong in her character.

Frank enters with a humorous scene with Philinte who chastises him “there is a man being curious” and Frank pushes him back with “excuse me I’m being furious.“ Hoge plays Frank as a misanthropic despiser of insincerity who falls for Celimene while being the complete outspoken, mysterious, bad boy character. Hoge also has two wonderful scenes with Heidi Swarthout’s kind and sweet cousin Eliante that further the plot and Arsinoe, the villain of the piece. The tall Jennifer Reeves Wilson plays Arsinoe to perfection - “not the sort to gossip." who as Celimene’ s supposed best friend is ready to testify in court that Celimene is a “slut, floozy, tart, whore” - some friend!  

The three suitors are played expertly by Stephen Pickering as the wealthy upstanding lawyer

Clitander, ready to bribe any judge for Celimene; Matt Hellyer as the humorous Acaste, a monied, young, entitled authority, who calls himself “dumb and simple” and the hippie poet Oronte, played by Matt Johnson who steals scenes every time he comes through the curtains. 

Ben Slabik II is Philinte, a mischievous sort who truly is in love with Eliante. He creates all sorts of problems for the characters and Slabik is another sincerely incredible brilliant performer. 

Alexander Wisniewski (besides being an incredible disco dancer), has dual roles as valets Dubois and Basque. He also has an on growing joke with a tray of canapés. 

There is of course a happy ending. Opening night was sold out, but I’m sure the rest of the run will be as well. This was a new one for me –Janus Theatre’s production of “The School for Lies” is both an admirably clever, and fascinating production. It’s all in the timing- so get those tickets!

Tickets $25. Go to Janus Theatre. 

Regina Belt Daniels has been writing reviews for more than 11 years, most recently for the Shaw Local News Network. She has also held board positions for the Raue Center for the Arts, Woodstock Opera House Advisory Commission, Townsquare Players, and RCLPC Theater. She has directed, stage-managed or acted in more than 40 productions.