'Tis Pity She's a Whore
nytheatre.com review by Amber Gallery
September 26, 2009
Incest. Sensuality. Violence. Lots and lots of blood. These are some obvious elements used in a play to fill seats in a theatre. What sets them apart from the usual predictable and passionless fare is when said elements are presented in the Shakespearean language of John Ford and written in a time when such themes sparked white-hot outrage. And what becomes the life-blood of a controversial, well-written play like Ford's 'Tis Pity She's a Whore is placing it in the hands of an able and intelligent group of artists like Toy Box Theater Company.
The sordid tale goes like this: young Giovanni and his sister Annabella are in love and begin a secret romance. Meanwhile there are three men vying for Annabella's hand in marriage, though no one's intentions seem as pure as Giovanni's. Soranzo, the most desirable of the three suitors, has left the widow Hippolita behind after promising to love her and having her husband killed and moved on to his next "conquest." Second is Bergetto, pressured by his uncle Donado to marry Annabella for the money, but he openly adores everyone around him (including himself) more than his prospective bride. Finally, there is Grimaldi, a soldier who seems to have a violent temper. There are a Friar and a maid who counsel the two lovers as obstacles begin to stack high in the way of their happiness.
Director and founding member of the Toy Box Jonathan Barsness has taken liberties by cutting and reworking some subplots in order to allow time for live music (sexy and disturbing in quick turns, played nicely by the Williamsburg-based band Colonna Sonora). This was also perhaps to cut down the rather long original running time. Through the cuts and the double casting of some actors (and I was impressed by what seemed like some super-quick costume changes), Barsness successfully presents a taut evening of theatre that keeps its audience interested until the final tragic end. The fights and killings are well choreographed by Wyatt Kuether and carried out with hardly a miss by the actors.
What I love most about seeing plays in the unpredictable world of indie theater is the special way directors use their imaginations. The result is the little details that bring the messages home and make you realize how much thought went into making the production effective. The perfectly timed use of the band, the brief and simple use of slides in the opening sequence, the blood red chandelier, and the picture of the heart in chains in the confession scene are a few of the nice touches worth looking for.
While these details exist, there are things that distract as well. For example, the use of blood is inconsistent. Sometimes, with the expense of replacing costumes and the inconvenience of washing out blood nightly, corners must be cut. Without giving too much away to those who do not know the play, let's just say that 'Tis Pity is a bloodbath. There are times in this production where the blood is copious and times when it is not there at all or in such small amounts that it is distracting. While it is perfectly acceptable to have a blood-free production (like the most recent revival of Sweeney Todd) it felt as though the choice made was not carried out to its fullest potential.
Finally, the company of actors are well cast and deliver beautifully. The entire cast creates strong characters and brings the language to life. As Giovanni, the frail-appearing Andrew Krug speaks powerfully and convincingly and is frighteningly effective in the more heightened emotional states late in the play. Jessica Rothenberg plays Annabella's first love with the perfect amount of delicate uncertainty.
Sarah Hankins as Hippolita and Putana (the maid) is the standout of the evening. Eliciting laughs and bringing the most expression to the language, she expertly makes a sharp distinction between her two characters. Ron Bopst plays Donado and Giovanni's Friar and also makes nice distinction between the two.
John Buxton and founding member David Michael Holmes play Soranzo and Vasques respectively with great duplicity and power. Michael Nathanson brings perfect comedic timing to his over-the-top portrayal of Bergetto. Artistic director Ryan Colwell does a fine job with the roles of Poggio and Grimaldi. And Zenon Zeleniuch plays the role of Annabella's doting father convincingly.
