Review by Val O’Bryan, Front Row Reviewers
Though it isn’t performed as often as other Shakespearean tragedies, Coriolanus is a thought-provoking piece being produced at Utah Shakespeare Festival in Cedar City this summer. Though Coriolanus isn’t one of Shakespeare’s more popular plays, I agree with director Lisa Peterson that “Coriolanus is one of Shakespeare’s most powerful plays with some of his most beautiful writing.” The Utah Shakespeare Festival, with an outstanding cast and artistic staff, is an ideal venue for this compelling play.
Set in ancient Rome, the story revolves around Caius Martius Coriolanus, a fearless and skilled Roman general played by James Ryen. A relentless warrior and fierce opponent, Coriolanus gains fame and respect through his military triumphs. Ryen has a commanding presence, navigating the stage as a soldier with a thundering voice. I do not know how Ryen keeps his voice so astoundingly strong the entire play (perhaps thanks to voice coach Philip Thompson). His fellow Romans, Cominius (Jeorge Bennett Watson), Titus Lartius (Jeremy Thomspon), and Nicanor (Jack Doherty), form a robust army, and the fight scenes by fight/intimacy director Caitlyn Herzlinger are the most impressive you will see at the festival this season. The small stage of the Anes Studio Theater is wholly transformed into a battleground through the use of violent red lighting and sound by scenic designer Tanya Orellana, lighting designer Tom Ontiveros, and sound designer Paul James Prendergast.
Coriolanus is hailed as a hero for his military victories and is encouraged by his ambitious mother, Volumnia, and Roman senator Menenius Agrippa to run for the position of consul, the highest office in Rome. Volumnia is a powerful woman, and Sheila Tousey does an exceptional job playing an adoring mother and doting grandmother with the political cunning and diplomatic skills to push her son to greatness. Jasmine Bracey usually plays Menenius, but the show I attended had Anatasha Blakely play the part. Bracey is a festival favorite; however, I enjoyed Blakely’s performance immensely. With one hand constantly checking Coriolanus’ approval rating on her phone and the other hand rubbing her throbbing head, Blakely’s Menenius is a hard-working mentor with great coaching advice. If only Coriolanus could demonstrate a modicum of humility and charm, he might be able to win over the people.
In a crucial scene, the tribunes that represent the commoners, Sicinius Velutus (Darin F. Earl II) and Junius Brutus (Nell Geisslinger), manipulate the crowd into turning against Coriolanus, accusing him of being a tyrant and enemy of the people. Earl and Geisslinger expertly portray characters who must advocate passionately for the oppressed common people but achieve their goals through deceit and manipulation. I loved how they used their phones in contemporary ways to capture and distribute videos to undermine Coriolanus’ campaign. The decision to blend the modern with the traditional must have been the vision of the artistic team, including the director Peterson and dramaturg Isabel Smith-Bernstein. The costumes by An-Lin Dauber further illustrate the blend: togas in the senate and flak vests in the field. With each actor playing multiple parts, there are a lot of quick changes, but stage manager Jade Bruno keeps things running smoothly.
The accusations of the tribunes lead to the banishment of Coriolanus from Rome to the despair of his wife, Virgilia (Gabrielle Francine Smith), and child (Kinsley Seegmiller/Rory Shakespear). Although Virgilia doesn’t speak often, Smith portrays an anxious, loyal, and concerned wife. Elise Thayn stepped in as Valeria, a warm and supportive friend of Virgilia. Enraged and vengeful, Coriolanus joins forces with his former enemies, the Volscians, and leads them in an assault on Rome. One of my favorite scenes is when Coriolanus presents himself to the Volscians during a training exercise. Tullus Aufidius (Elijah Alexander) and Coriolanus have a frenemy-type relationship, part respect and admiration for each other’s military prowess and part distrust since they represent opposing sides. Coriolanus makes his case and fights for a chance to be accepted by the Volscians. Adrian (Christopher Centinaro), a Volscian lieutenant, remains suspicious, but Aufidius is thrilled.
Coriolanus’ act of betrayal intensifies the conflict and brings him into confrontation with his former friends and family. Ryen as Coriolanus dominates the stage every time he is on it. The only character that can compete with this “dragon” of a warrior is Volumnia, his mother. Tousey and Ryen demonstrate impressive emotional ranges in their political push and pull. The play delves into themes of power, politics, loyalty, and the consequences of pride and arrogance. Who is the hero? Who is the villain? Who is unforgivable? Audiences experience up close a flawed but compelling protagonist, witnessing the complexities of human nature and the impact of personal choices on individuals, families, and societies.
Don’t miss your chance to see the high-powered fighting and political domination of Shakespeare’s Coriolanus.
Utah Shakespeare Festival presents Coriolanus, by William Shakespeare.
Eileen and Allen Anes Studio Theatre, 351 W Center Street, Cedar City, UT 84720
Plays on select dates until October 7, 2023, 2:00 PM and 8:00 PM
Tickets: $15-85
Contact: 435-586-7878 or 1-800-PLAYTIX, guestservices@bard.org
Utah Shakespeare Festival Facebook Page
Photos by Karl Hugh. Copyright Utah Shakespeare Festival 2023
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