TFG Reviews

Here are the reviews for This Flattering Glass. The first was posted at www.fresnoundercurrent.net/node/446 by Jessi Hafer on May 1, 2007. The second was posted on April 30th by Donald Munro at www.fresnobeehive.com/archives/2007/04/theater_review_7.html#more

Review One: Timeless Noir, Magic Relationships
Theatre Ventoux boldly embraces Richard II, a generally unfamiliar Shakepeare play, and gives it a fresh and enthralling vibe in This Flattering Glass. This adaptation sounds true to the original, complete with “thou hast” and so forth. Visually, it looks more like an episode of the Sopranos or a classic film noir, with a carefully crafted visual style generated by sleak suits, lighting and shadows, a quick shot of alcohol between lines, actor mannerisms, and a drawing of “swords” by way of aimed guns. The play opens with a montage of quiet misdeeds set to Johnny Cash, the intensity rising through the expressions on the actors’ faces.

Throughout the play, the driving force is not Shakespeare’s words, but the relationships between the characters. Sometimes, in other plays, you get the feeling that those acting, though talented, approach their fellow actors as if they were props. In Flattering Glass, you really sense the magnetism between the actors. It’s not simply how the characters react and interact. The true subjects of the play ARE the depths of what occurs between any two characters. Theatre Ventoux accomplishes this with a natural, genuine feel, through the ways one character will lean uncomfortably away or deeply towards another character, the way they may glance away and then back in distrust or thought.

That said, their moments alone are not lacking either. In speech, they don’t stay still or just talk to the audience, but they are always doing something that feels natural and appropriate. They deliver their lines through their postures. They deliver their state through a controlled move of a chess piece or a more random turn of a playing card.

There is risk in any adaptation in the choices of what to change and what not to change. In general, I wonder about Shakespeare adaptations that update the people without updating their speech. Why call the leader with a tie and a gun a king rather than a president or mob boss? Why call a gun a “sword,” even if tongue in cheek?

That said, overall Theatre Ventoux maintains the integrity of Shakespeare’s story and makes sound artistic choices. Historic notions of the divine right of kings (and their modern and ubiquitous equivalents) were delicately and continuously interwoven into the production’s more modern appeal. Matt Otstot is fantastic as King Richard, slimy and sleek. Angry characters (and there are many) are seething and subtle rather than explosive and uncontrolled. Those entrenched in their conniving approach their cooperatives with the caution of politicians.

Theatre Ventoux graciously cut some of Shakespeare’s original characters, shaving away some of the unnecessary duration without compromising the story. Those that are left are adeptly brought to life by several of Fresno’s finest: Ronald Blackwell, RJ Blak, Hal H. Bolen II, Melissa Geston, Arthur Koster, Rene Lastreto II, Renee Newlove, David P. Otero, Jessica Reedy, Julia Reimer, Gregory Taber, Stephen Torres.

All of the elements of This Flattering Glass come together to create an artistically mature and refined experience, a truly commendable accomplishment for the company’s first full length production. I hope you get a chance to catch one of the four (as of this posting) remaining performances: Friday, May 4; Saturday, May 5; Friday, May 11; and Saturday, May 12. All performances are held at the California Arts Academy at 4750 N. Blackstone at 8pm. Personally, I can’t wait to see what Theatre Ventoux comes up with next.


Review Two: Theater review: "This Flattering Glass"
Greg Taber and Lisa Mercier-Taber, in their director notes for "This Flattering Glass," an original adaptation of Shakespeare's "Richard II," say that the real story in this play is love. I think that's a stretch. Sure, it's possible in any work that delves into the human condition to find a connection to love -- whether it's "passionate, deep, tender, forbidden, unrequited, self-indulgent, shallow, desperate, abusive, destructive," as the directors put it -- but even in this heavily truncated version of the play, in which the number of characters has been reduced to a third and most historical references stripped from the text, love isn't what I think of. The complete and utter incompetence, obliviousness and sad detachment of a ruler for his people still seems paramount.

Still, I give this Theatre Ventoux production lots of points for ambition, verve and a strong viewpoint. There is a timelessness to Shakespeare's tale that resonates no matter if it's 1377 or 2007, and in his heavy editing of the text, Greg Taber finds an intriguing core of meaning. Today, in our society, our politicans are more likely to launch attack ads against each other than employ assassins, but the conflict (and venom) is in many ways the same.

The time and setting of the production is a sort of modern-day, Armani-tinged, Mafia-style power struggle. The men wear vibrant ties and modern suits, and the women look sleek and chic in well-cut dresses. A hint of decadence wafts through the production: hard liquor, cards, lascivious nudges and winks between principal characters. Richard (Matt Otstot, who has nice moments of smug narcissism), is more interested in flirting and pawing with his devoted cousin, Edward (nicely played by a measured Stephen Torres) than royal decorum. When another cousin, Henry (RJ Blak) becomes involved in a dispute with Mowbray (Rene Lastreto II), he takes the opportunity to banish them both.

But Richard, it seems, is not a very good politician. Even an absolute ruler must rely on some form of legitimacy, and Richard endangers his through callousness. Gaunt (a well-cast Ronald Blackwell), the ailing father of Henry, is the ultimate recipient of Richard's cruelty in a murder scene that is staged in this production with the requisite chilliness.

There are some elements of the story that get lost in this adaptation -- any subtleties in the relationship between the king and queen, for example. And the idea of the divine right of kings is also underplayed, which seems a shame, considering the political state of the world today.

What I like best about this production is its intensity. From the set -- stark but swathed with rousing purples, reds and blues, with the throne a leather Mission-style chair -- to the brooding medieval music supplemented by Ladysmith Black Mambazo and Joni Mitchell, you're never far from life-and-death. The acting, overall, is not as strong as it could be in an amateur production, and sometimes the pace of the show falters, particularly in several of Richard's monologues. (There are some fine supporting performances, including Arthur Koster and Greg Taber as thuggish father and son.) But overall, there's a ferociousness of spirt that carries "This Flattering Glass" a long way. I might not totally love it -- passionately, desperately, abusively or otherwise -- but I love the idea of it. I look forward to more productions from Theatre Ventoux.