Review: OR at Irish Classical Theatre

A modern day Restoration Comedy with a contemporary gender fluid  slant takes to the stage in  Liz Duffy Adams' play OR, now playing at Buffalo's Irish Classical Theatre. This polished production brings a modern day sensibility to a 17th century comedy of sorts. Adams pens a play that while set in the late 1600's, carries 21st century morals and social commentary. She blurs the lines between a  predestined dichotomy of living by "either-or" constraints. Must someone be 100% chaste or else a whore, is there only good without a trifle bad in everyone. And does a play need to have an "or" subtitle. Needless to say, everything is not a black and white situation.

Poet and spy Aphra is kept jailed in a debtor's prison. She serves as a narrator to explain her plight, all in a language that Adams fashions in a sort of iambic pentameter, making clear that her eloquent speech is that of a learned woman. Her masked savior turns out to be none other than King Charles II, and an unlikely love affair blossoms. Now with freedom, Aphra yearns to be a playwright that can rival Shakespeare. She must write a play in 24 hours that is worthy of production in 1 of  2 available theatres that are now reopened after a Puritanic ban on theatrical presentations .Under the gun, Aphra encounters her other love interest, Nell Gwynne. It's clear that loving a man or a woman is possible, as love is blind to gender.

Adam's uses language that harkens back to another age, melding  anachronistic contemporary cursing with grand theatrical passages. Co Directors (and real life husband and wife team) Keelie A. Sheridan and Jorge Luna anchor the action that serves a script that could be of any time period. Love, injustice and artistic license are all timeless constructs that serve as a springboard to explore Aphra's story.

The play relies on quick wordplay and as well as swift movements. Entrances, exits and hidden places all are handled deftly, as the three actors shift roles, sometimes in the same scene. The fine cast executes the farcical elements  easily with split second costume changes.

Alexandria Watts takes on the massive role of Aphra Behn,  the affable female playwright who nimbly takes on encounters with each and every character with focused control. Watts relishes the wordy language given to her, tossing off her lines as any good playwright would. Her ability to declare love, and lust, is refreshing and her desires never seem questionable, no matter straight or gay.

Anna Fernandez brings a joyous effervescence to all of the roles she plays, so it is hard to pick a highlight. Let's just say that when she dons a two foot tall wig and spews forth a cavalcade of decrees as the imperious Lady Davenant, the viewer is delightfully entranced. But her impetuous take of the young actress Nell Gwynne is full of youthful giddiness and equally as charming.

Ryan Cupello masterfully embodies all the roles he plays, whether it be a hunched over cantankerous Jailer or  member of a Royal family. He quite literally sweeps across the stage with a billowing cape or oozes mystery as a masked gentleman with long flowing locks. His performance as Charles II is comedically coy and his take as the over dramatic William Scot ensures that everyone on stage falls in love with him.

Scenic Designer J. Marc Quattlebaum has transformed the theatre in the round to a thrust configuration, allowing one wall to be used for quick escapes and mysterious hiding places. The lighting by Matthew Divita offers a golden glow to proceedings, somehow magically transforming the space to a bygone era.

Costume Designer A. Lise Harty has fashioned spectacular ensembles that light up the stage with grand embellishments and eye popping detail. And what a treat it is to see Vanna Deux's spectacular hair and makeup design. The wigs were often a character all their own, and added to the period nature of the piece. These added details dramatically raise the bar compared to past productions at the ICTC.

This fine one act play offers a glimpse into what the Restoration period may have been like, all in the guise of telling a tale of a strong woman who attains her goals without  restrictions.. 

OR plays at Buffalo's Irish Classical Theatre through September 28, 2025. Contact irishclassical.com for more information