The 1600′s Mardi Gras rendition brings with it sex, drugs and humor
It’s been said that Paul McCartney and the Beatles were the definitive band of early pop culture in the 60s and 70s, but what if a yellow submarine could take them back to the Italian Mardi Gras of 1660? That’s quite a time warp for anyone to consider, but all they would need is sex, drugs and a little rock n’ roll to leave their mark, and with that same combination of success, “The Rover” is certain to leave its mark as one of GCSU’s finest accomplishments in theatre.
Acted out in two segments with an intermission to split the difference, “The Rover” doesn’t waste one second of its run as it quickly introduces most of its key players within minutes. There’s Florinda (Lauren Adel) who doesn’t love the man chosen for her, her sister Hellena (Caleigh Allen) who is way too beautiful to settle for a life in the convent and their nurse Callis (Rose Williams) who understands the danger of spontaneous young ladies but is too old to try and persuade them of anything else. That doesn’t matter though, because with Bren Thomas there to deliver some fiery emotion as Don Pedro, these adventurous broads have all the protection they need.
Representing the Beatles’ invasion are the four cavaliers who have come to Naples in search of a little fun amidst the Mardi Gras festivities. Among them is Belvile (Shaun Manny), who becomes Florinda’s love interest. And by his side are Blunt (Nicholas Marrone), Frederick (Scott Howard) and the rover himself Willmore (Sean Casey).
They all came for a good time as it encircles them in several musical sequences, but at the heart of their desire (and that of several others) is the top courtesan Angellica, who has a power of seduction that feels almost too-good-to-be-true even for those who are wealthy enough to afford her services. Destiny Andrews clearly understands the quality of her character and uses that quality to make the audience believe it every time she appears. Angellica may be “the victim” of a society that underminds women, but as we see in a crucial scene involving a gun, this social “whore” is certainly not a victim to the charms of any man looking for a “fun night.”
Spoken from page to page in Shakespearean dialect, the entire cast of undergraduates in “The Rover” earns numerous golden stars as they show true commitment and respect to a style that seems to have been forgotten in recent years. As proven through his work in “The Tempest” and “The Rocky Horror Picture Show,” Scott Howard has a natural gift for accentuation. On paper, the Frederick character appears to be a simple chess pawn among Belvile’s group, but with some feisty chops and grinding body language, Howard creates a total package of potential in every scene and leaves all of it on stage when the show is over.
On a more thematic note, there is a heavy symbolism that exists among the numerous relationships created in the play, and while an uproarious applause is deserved in every perspective, the most effective vision, for me, came through the performances of Sean Casey and Caleigh Allen.
Willmore, the rover, is like a sexual predator who craves the smell of beauty, and as soon as he lays eyes on Hellena, all of his instincts go skyrocketing; “such a beauty cannot be expressed but silently adored!”
Although the primary focus of “The Rover” is set on its talented cast, it is also significant to mention the vivid production value that backs up every scene in its own unique way. The lights go out, we see stars, a full moon and at one point even a rainbow. The lights come on, we see an assortment of artistic stage production that includes Fat Tuesday masks, a set of admirable complexion and a variety of sword fights that were clearly choreographed with the best intentions. And closing the final door with a big dance sequence that includes the entire cast (including Colin Bragg with his guitar) is just icing on the cake.
Anyone who has been fortunate enough to experience previous GCSU productions certainly ought to know the imminent success that our program is capable of (and they have never failed to deliver solid results), but what director Karen Berman and company achieve in “The Rover” is above and beyond description. I guess studying film over the years has spoiled my logic a bit, but when you see a show that lasts nearly three hours, and includes such a devoted team of young talents who know it forwards and backwards without any second takes, you know you’re in for a treat of astonishment. I’m sure that Aphra Behn would be lost for words.
Posted by Colonnade Archives
on Feb 27 2009. Filed under Reviews.
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