Review: QUEEN MARGARET'S VERSION OF SHAKESPEARE'S WAR OF THE ROSES at Will Geer Theatricum Botanicum

The lady doth protest too much, for I tell you, she’s a villain.

Will Geer Theatricum Botanicum continues its 50th Anniversary Summer Season with QUEEN MARGARET’S VERSION OF SHAKESPEARE’S WAR OF THE ROSES, a new edit of Shakespeare’s best-known history plays — Henry VI Parts I, II and III and Richard III — compiled by artistic director Ellen Geer.

Dubbed the “British Game of Thrones” and Shakespeare’s “First Boxed Set” by British director Trevor Nunn, the Bard’s WAR OF THE ROSES follows 30 years of bitter infighting between the rival Lancaster and Plantagenet dynasties as they battle for power and the crown of England.

In fact, one of the louder and most recognizably corresponding events in Geer’s theatrical version is Dame Eleanor’s (Willow Geer), wife of the Duke of Gloucester, fall from grace and public penance, which directly inspired Cersei Lannister’s (Lena Heady) Walk of Shame through the streets of King’s Landing (GOT’s 2011 Season 5 finale episode “Mother’s Mercy”).

What Geer purports to do in this adaptation is focus on the women of the court as they watch, get maritally tossed around, occasionally battle, and subversively attempt, to parlay personal power in the bloody wars of their fathers, husbands and sons. Mostly, though, notwithstanding Geer’s [quoted] comparison of 15th century civil war to what is currently happening in American politics, for the women, just as much for the men, it’s a game of survival.

The presentation begins with the lightening rise of French shield maiden Joan of Arc (Claire Simba) whose fall is no less nimble. In fact, her appearance is so hurried in the script, it becomes a ministerial aside to the remaining next three hours of compacted history.  Yet, it is an interesting thematic and juxapositional footnote where the treatment of power and justice is concerned. Joan the peasant girl, innocent, chaste, passionate and righteous burned at the stake. Margaret of Anjou, astute, scheming and treacherous, trading on nothing but her acclaimed beauty, offering a very politically un-advantageous marriage to England, becomes Queen. The injustice feels marked.  And, so down the rabbit hole we go.

Margaret of Anjou, the she-wolf of France, has possibly never been described as a victim. And although she tends to act one here in the countless episodes of her story, she is, as ever, wholly corrupt.  Geer’s variation does nothing to address the misogynistic, xenophobic views that have led to Margaret’s presentation (or any other woman’s) as a stereotypical villain.  It merely excises more of the male dialog in order to polestar its chief female character.

Coy and patient, she manipulates everyone who comes in contact with her, including and especially her own husband, for the sake of power and also revenge.  Every life she touches one way or another turns to ashes until her malfeasance loses her the crown, gets her husband and son murdered and leaves her a wayward pauper wandering the countryside in tatters.  In real life, Margaret of Anjou died in 1482, impoverished, in the castle of Dampierre-sur-Loire, near Anjou where she was being hosted by Francis di Vignolles.

By focusing on the women, it is difficult to see what we are supposed to learn by doing so, or how Shakespeare’s work could be adapted to the degree that it would perhaps turn public opinion of Margaret around.  There are certainly parallels here to modern times. But there is no other context to serve the correlation. The one fact that is illuminated is that Margaret is the only female with true public power, which she wields, quite viciously at times.

During her own lifetime, Margaret was already being villainized by the sophisticated Yorkist propaganda machine as a non-conformist to the expectations of her gender and role as a queen.  Not to mention, her marriage was a key factor in the War of the Roses itself.  The 16th-century historian Edward Hall described her personality in these terms: “This woman excelled all other, as well in beauty and favor, as in wit and policy, and was of stomach and courage, more like to a man, than a woman.” In fact, as one of the principal figures of the Wars, Margaret at times personally led the Lancastrian faction.  And owing to her husband’s frequent bouts of insanity, ruled the kingdom in his place.

But Margaret nevertheless suffered from negative portrayals, particularly in Shakespeare’s history plays.  Geer’s compilation does nothing to bring that to light.  In fairness, though, it would possibly take an entire re-write in order to extricate Margaret from her own commemoratively bad reputation.  And that would be a different play.  Shakespeare’s text, no matter how dramaturgically managed, and no matter what temperaments any talented actor can define from its characters, simply doesn’t allow for such a crucible.  So any idealism of underlining Margaret’s “awesomeness” remains outside of the purview of Shakespeare’s play.

However, Geer’s compilation does succeed.

With the exception of some forced-sounding French accents on display that go in and out, as a total theatrical presentation, QUEEN MARGARET’S VERSION OF SHAKESPEARE’S WAR OF THE ROSES is impressive. The sheer scope of the entire set of plays being encapsulated into one sitting is remarkable.  That the stories, albeit cut down, are intact - a marvel.  The cast takes up all the challenges of speech, time, stage dimension, and choreography to offer a beautifully linear story that is clear and entertaining for audiences to follow. And Margaret’s departure from the scene toward the end actually does create a very palpable emptiness, giving credence to her true power up to that point, and the spotlight Geer is trying to create.  Margaret, whether you like it or not, is a force to be reckoned with, and you notice.

As always, Willow Geer uses her mastery of language to define much of the story through her roles, but it is Melora Marshall who truly drives all the action as the centerpiece of the play.  No character can compete with her ferocity.  Certainly no man in this script.  Marshall is driven, exact and energetic and quite embodies the title role. Score Geer: TKO.

In Shakespeare’s, WAR OF THE ROSES, it’s a man’s world. But, in Geer's version, it is NOTHING without THIS woman.

Theatricum’s play is far from perfect, but it does offer perspective and at least a partial accounting of both the events of the time and the women most remembered for them.

Recommended

WHAT:
In Queen Margaret’s Version of Shakespeare’s War of the Roses, a new edit of Shakespeare’s best-known history plays — Henry VI Parts I, II and III and Richard III — Theatricum artistic director Ellen Geer puts the focus on the women in court to draw an unspoken parallel between the in-fighting of rival dynasties that led to England’s bloody civil wars and modern-day American politics.

WHO:
• Written by William Shakespeare
• Compiled, Edited and Directed by Ellen Geer 
• Presented by Will Geer Theatricum Botanicum

CAST:

Margaret of Anjou, wife of King Henry VI (played by Melora Marshall); Dame Eleanor, wife of the Duke of Gloucester, and Lady Elizabeth Grey, Queen Elizabeth after her marriage to Edward IV (both portrayed by Willow Geer); the Duchess of York, mother of both Edward IV and Richard III (Cynthia Kania); and Lady Anne, daughter-in-law of Henry VI, widow of the young Prince Edward, and, finally, wife of Richard III (Claire Simba); Roman Guastaferro as King Henry IV; Emoria Weidner as King Henry VI; Franc Ross as the Duke of Gloucester, protector of the realm; Max Lawrence as Richard, Duke of York (father of Edward IV and Richard III); Jon Sprik as both the Duke of Suffolk and Richard III; Tim Halligan as the Duke of Somerset; Gerald C. Rivers as the Duke of Buckingham; and Christopher Wallinger as Cardinal Beaufort.

The large cast also features Charlie Burg; Sara Carpenter; Ben Church; Rhett Curry; Cole Dechant, Emelie Dechant, Julius Geer-Polin; Dylan Greer; Colin Guthrie; Emerson Haller; Christopher Wei Fu Hernandez; Michael Kendrick; Andrew Klein; Tariq Mieres; Nations; Daniel Ramirez, Quinlynn Scheppner; Anthony Soliz, Sky Wahl; Aralyn Wilson; and Elliott Gray Wilson.

The creative team for Queen Margaret’s Version of Shakespeare’s War of the Roses includes lighting designer Zach Moore, sound designer Charles Glaudini; costume designer Shon LeBlanc and prop master Ian Geatz. Original music is composed by Marshall McDaniel. The production stage manager is Kim Cameron.

Battle scenes courtesy of fight choreographer Cavin (CR) Mohrhardt.

Photo by Ian Flanders: Melora Marshall

WHEN:
Performances: June 24–October 1:
• Saturday, June 24 at 7:30 p.m. 
• Saturday, July 1 at 7:30 p.m.
• Saturday, July 8 at 7:30 p.m.
• Sunday, July 16 at 7:30 p.m.
• Sunday, July 23 at 7:30 p.m.
• Sunday, July 30 at 7:30 p.m.
• Saturday, Aug. 12 at 7:30 p.m.* 
• Friday, Aug. 18 at 7:30 p.m.** 
• Sunday, Aug. 27 at 7:30 p.m.
• Sunday, Sept. 3 at 7:30 p.m.
• Saturday, Sept. 9 at 7:30 p.m.
• Sunday, Sept. 17 at 3:30 p.m.
• Sunday, Sept. 24 at 7:30 p.m.
• Sunday, Oct. 1 at 7:30 p.m.
*Prologue (pre-show discussion):Saturday, Aug. 12 from 6:30 p.m.–7 p.m.
**Pay-What-You-Will performance on Friday, Aug. 18 at 7:30  p.m. (cash only at the door)

WHERE:
Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura Freeway)

TICKET PRICES: 
• Adults: $48 (lower tier); $30 (upper tier); $60 (premium seating)
• Seniors (65+), Students, Military Veterans, Teachers, AEA Members: $35/$20
• Children (5-15): $15
• Children 4 and under: Free
• Friday night, Aug. 18 Pay-What-You-Will (cash only at the door)

OTHER:
• The outdoor amphitheater at Will Geer Theatricum Botanicum is terraced into the hillside of the rustic canyon. Audience members are advised to dress casually (warmly for evenings) and bring cushions for bench seating. 
• Patrons are welcome to arrive early to picnic in the gardens before a performance.

HOW:
theatricum.com
(310) 455-3723

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