My old friend Robert Sicular has been visiting here from California this week, with his friend Tim Orr, seeing the shows and their friends from the Tahoe Shakespeare years. It's been good to hear their input on our performances and to have a jolt of fresh energy in our party scene, now running out of steam a little in the July heat and the routine of nightly performances. Yesterday being everyone's day off, we got a party together to drive up into Rocky Mountain National Park, about 90 minutes' distance from Boulder, and do some high-altitude hiking. Sean (King Henry), Philip (Artistic Director), Robert, Tim and I all piled into Phil's Subaru-- a tight fit, most of us being six-footers-plus-- and drove through Estes Park and up the old dirt road to the visitor center near the summit. We then found a good trail from Milner Pass, a few miles down the western side of the park, back up to the visitor center, a nice hike of four-plus miles rising from about 10,760' to 11,800'. The cool weather was a real relief after two weeks of temperatures in the nineties in Boulder, and there were still big patches of snow on the ground. But the main pleasure was finally to get up to the high country after weeks of glimpsing the mountains so tantalizingly close, but never having free time enough to get up among them. A particular thrill was to climb up past the tree line and-- pretty abruptly-- find ourselves in the alpine tundra that covers all the mountaintops above eleven-five or so. It was well worth the discomforts of getting there, and an exhilarating experience to share with old and new friends. The view of the tundra Sean, Tim, Phil, Robert near the timberline Rocky Mountain columbine Indian paintbrush
I've been meaning to write about Seth. Seth Maisel is an actor in the company; he's in all three of the outdoor shows. He's one of the two or three best fighters in the company, small and compact (five-foot-five, 180) but fast and very agile. He catches your eye onstage, especially in action sequences, by his shock of sandy hair, his quickness, and his native flamboyance-- he has that watch-this quality that makes him stand out. Seth as a Cardinal's Guard As I watched Seth in rehearsals, especially for Three Musketeers-- where he appears in almost all the fights, seven in all-- it occurred to me that he's always fighting (often brilliantly) but seemingly never winning. This has to do with his casting. In Macbeth, he's playing messengers, murderers and kerns-- Gaelic GI's-- and the early battles are mostly a showcase for what ruthlessly efficient killing machines Macbeth and Banquo are, so anyone who gets in their way is likely not going to come off looking too good. Murderers-- not to denigrate their important function in Shakespeare plays, but well, they generally prefer the sneak-up-behind-and-stick-'em tactic to the fair-fight showdown (unless things go wrong, as they sometimes do), and messengers are usually unarmed and can be mauled and manhandled at will, as they often will be if their reports include prophecy-fulfilling mobile forests. (I remember hauling poor Kate Heasley, my Birnam Wood messenger, all over the stage, and I once dropped her more or less on her head. Accidentally. Really.) Then in Love's Labours, Seth plays Moth, page to Don Armado. This of course is not a play one associates much with stage violence, but Moth does need to "present" baby Hercules in the Pageant of the Nine Worthies, so he gets to tussle with Cerberus ("that three-headed canis," a stuffed puppy-dog) and the (yes, stuffed) snake that tries to bite the young hero in his cradle. Even here, it must be sadly reported, the results for Seth are-- to put it charitably-- mixed. But it's in Musketeers that his talents for coming off second best in a fight are really on display. And again, it's really not his fault. Seth is cast as Jussac, the captain of the Cardinal's Guard; and anyone with even a passing acquaintance with the Dumas story knows that, just as Richelieu himself serves as a foil for D'Artagnan, the Cardinal's Guard are basically there to lose to the Musketeers. Whether it's a bar fight, a street brawl, an aborted abduction or a raid on a convent, there's Seth in the forefront, attacking valiantly, picking out the most challenging opponents, showing off his dazzling swordplay skills... and getting tripped up, disarmed, befuddled, knocked out or kicked in the family jewels one more time. If it were me, I'm sure I'd have developed a raging complex about it before the summer was half over. But Seth, he just keep comin' back for more. So I asked Seth to break down the list of all his fights over the three shows so I could run a little statistical analysis. We put together a chart that classifies his combat by play, by what character he is, who he's fighting for and against, the outcome of the fight, and wounds or injuries, if there are any (and there usually are). The results, run through a sophisticated data-analysis program I have devised (mostly involving counting on fingers, and quite a few toes), revealed the following results: Seth is involved in sixteen episodes of onstage violence. Of these, ten are clear-cut losses. The outcomes for our hero include (a random selection): * Being knocked down and hamstrung by the Thane of Glamis * Thrown face-first to the deck by an angry King McB. * Chased offstage by Malcolm * Disarmed, hand cut by ill-advisedly catching an airborne rapier * Knocked out by a baguette broken over his head * Head slammed into wall * Head slammed into table * Head slammed on stairs * Fallen on by two other guards (one of whom, Earl, is-- um, large), and then * Stepped on by them as they run away * Hip-checked (Duke of Buckingham) to the face * Double-kicked in groin by Planchet and Athos * Clotheslined by Athos * Elbowed in face by Athos * Slashed in butt by Athos (you really should learn to avoid this guy, Seth) * (eventually) Run through by Athos... But wait. We're being unfair to Seth here. He has his moments of glory too-- those brief, shining moments when he rises above the cruel fate of his casting and he triumphs-- if only temporarily. He gets to slash Athos-- once, not fatally. He does very well, on balance, in his contests with the plushies. (You should see him go to work on that snake.) He actually knocks out Old Siward with a shield-bash. And he does a very nice job on the Macduff baby (after its mother has nearly scratched his eyes out) with a battleaxe. Yes, I think we can say that, on balance, he wins that one. Maybe not the most stellar of victories, but-- when you're a kern... well, you take 'em where you can get 'em. Here's to you, Seth. The season would be a lot less fun without you.
Well, we now have five shows up and running. Musketeers opened Saturday night, miraculously with only minor hitches. Director, cast and our redoubtable stage managers Amy and Shannon somehow pulled it all together and we got it on stage in all its raggedy splendor. I'll write more about the show next week; in the meantime, here's a link to four pages of great photographs, a mix of rehearsal and full-dress shots, from our company member Zach Andrews: http://shinyscale.jalbum.net/musketeers Henry played three times in the week just past, including a double shot Sunday-- matinee and evening, with a talk-back after the afternoon show-- and many of us, tired as we were, welcomed the opportunity to perform the show back-to-back. It's difficult to generate momentum and "flow" in your performance when several days elapse between shows, though it gets easier as you get more performances under your belt. By the Sunday night show, I was feeling loose and relaxed, more confident in the first scenes of Act I and with a freedom to try some new things-- different emphases, new colors, some fresher line readings-- in the big downfall scene of III, 2. A couple of reviews of Henry came out during the week; they're good, and fair to the show I think, though the Denver Post critic seems to be in some confusion over the play's date of composition-- it was probably written around 1613, ten years too late to curry any significant favor with Elizabeth (who had died, as he correctly notes, in 1603). Here are links to that piece and to the Boulder Daily Camera review as well: http://www.denverpost.com/theater/ci_9901426 (this one has a fairly good picture of your hard-working correspondent) http://www.dailycamera.com/news/2008/jul/18/csfs-henry-the-eighth-engrosses/ (and this one even spells my name right.)