‘Malcontent’ on the stage, but not in the audience

 

Cynthia Citron

By Cynthia Citron

NORTH HOLLYWOOD — It’s Jeffrey Schoenberg’s Spring 1603 Fashion Collection, and it’s what every Shakespearean scholar will be wearing this fall.  Or should wear this fall!  The most sumptuous silks, puffed pantaloons, gold-threaded lapels—brilliant costume designer Schoenberg has outdone himself!

And oh yes, there’s a play to watch as well.  It’s The Malcontent, a 17th century farce which has been performed only sporadically in the past 400 years.

The Antaeus Company has mounted John Marston’s Jacobean comedy/drama with two complete casts labeled “Cuckolds” and “Wittols.”  You all know what a cuckold is.  And a wittol is a man who knows his wife is cuckolding him, but he doesn’t mind.

The story line revolves around Duke Altofront of Genoa, who has been overthrown by the machinations of the sinister Mendoza and replaced by a rather dimwitted and easily manipulated Pietro and a sycophantic and corrupt court.  But Altofront has returned to Genoa disguised as a carping clairvoyant (Malevole, The Malcontent), and has plans to free his wife, who is imprisoned in the Citadel, and to regain his usurped throne.

In the excellent Cuckolds cast, Ramon De Ocampo plays the conniving and dazzling Mendoza and Bo Foxworth plays Duke Altofront.  Pietro, who has replaced the Duke, is portrayed by Bill Brochtrup, whom many will remember as the sweet gay receptionist in NYPD Blue.  (In the Wittols cast, those roles are performed by Adrien LaTourelle, JD Cullum, and Mark Doerr, respectively.)

Replete with sword fights, disguises, dances, deceptions, and double-dealing, this swashbuckling saga is a treat to watch.  And also to listen to, since its dialogue is the rhythmic, archaic singsong of the Shakespearean age.  You may not catch all the words, but the intentions are made very clear by the flamboyant acting of this superb cast.  And because the language is so obscure and inventive, you can’t help but be awed by the skill of a troupe of actors who can render these lines as if they were written in today’s vernacular.  Huzzahs to director Elizabeth Swain, who not only wrangled this talented group, but also adapted Marston’s work for this production.

The setting, too, is a wonder.  Designed by Tom Buderwitz, it is a re-creation of the simple set used at the Blackfriars Theatre, which was later the home of Shakespeare’s company, The King’s Men.  It consists of an empty stage on which there is an elaborate assemblage of wooden panels that serve as doors and windows, and open onto upstairs balconies.  It’s attractive, unobtrusive, and effective.

There is much to admire in this rich production.  And much to think about.  The complex plots and ploys that are depicted in this play are eminently recognizable 400 years later.  As they say, politics is politics.  And, apparently, always was.

The Malcontent will continue at The Antaeus Company at Deaf West Theatre, 5112 Lankershim Blvd., North Hollywood, Thursdays through Saturdays at 8 p.m. and Sundays at 2:30 through June 19th.  Call 818-506-1983 or visit www.Antaeus.org for tickets.

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Citron is Los Angeles bureau chief for San Diego Jewish World.  She may be reached at cynthia.citron@sdjewishworld.com