By D. A. Blackburn
Closing its 45th season on a high note, Wayne State University's Hilberry Repertory Theatre has taken on an acclaimed guest director and a large-scale production about gender identity in the time of England's Restoration.
Jeffery Hatcher's "The Compleat Female Stage Beauty," which found its way to the big screen in 2004 titled simply "Stage Beauty," is a charming and witty depiction of England's post-Cromwell theater community. Set in London in 1661 and 1662, it is a fictional account of events, based in historical fact, which Hatcher distilled from the "The Diary of Samuel Pepys."
Set against a backdrop of Shakespearian plays performed following the demise of Oliver Cromwell's Puritan ban on theater, it is a poignant tale about the revitalization of art. Moreover, the work creates a particularly unique message as it explores the return of women to English stages, following a long-standing ban imposed to pacify the church. While this move by King Charles II carried with it the underlying theme of women's liberation, it had a distinctly chilling effect for many actors who had spent their careers honing the art of acting female roles.
It's this point that Hatcher makes exceptionally clear in "Beauty," asking powerfully what it means to be male and female. In the play's lead, Edward Kynaston, he has given the work a character so confused by his own gender identity, that he is devastated when forced to act a man – on stage or in life.
Kynaston, played by Jeff Luttermoser, has gained a reputation as the most beautiful and talented woman of the stage, and also become the sexual plaything of powerful men, including the Duke of Buckingham (Dylan Stuckey). Finding himself forced from the stage – and subsequently, the Duke's bed – Kynaston spends the bulk of the play trying to redefine his existence and discover his true identity.
The production employs a large cast of 18 players, filling out some 24 roles. All are well-developed characters, and what is immediately striking is the even quality of their performances. Each character is graced with good period dialect, making Shakespearean-style humor, and acting, a delight. Also evident in the cast, is a very professional confidence, as several roles involve partial or total nudity, and love scenes are executed with great realism.
Performances are so even that it's difficult to single any one player out for commendation. Both Luttermoser and Stuckey shine, as does Caroline Price as the king's mistress, Nell Gwynn, and Cynthia D. Barker as Maria, a seamstress turned actress who is Kynaston's ultimate salvation.
Guest director James Luse, dialect coach Michael J. Barnes and etiquette coach Nira Pullin have all done a fine job with the cast, providing a very high quality production in all respects. Costuming, designed by John D. Woodland, is exceptional.
Hatcher's two act script is well paced, and provides a thoughtful look at gender roles in a unique historical context, with a message that resonates today. The end result is a production that satisfies on every level, and a play that shines for the Hilberry – even in a season marked by excellent offerings.
REVIEW:
'The Compleat Female Stage Beauty'
Hilberry Theatre, 4743 Cass Ave., Detroit. Plays in rotating repertory through May 9. Tickets: $20-$30. For information: 313-577-2972 or http://www.hilberry.com
