Coriolanus (2019) (The Public Theater)

I was not familiar with Coriolanus. It is not one of Shakespeare's more often performed plays. One of his later tragedies, Coriolanus takes place in ancient Rome. It features a war hero on the verge of being named consul if he could just get over his contempt for the plebians that make up the majority of the city. And when the people finally reject him, he takes vengeance on the city. He's not the most sympathetic hero. He's actually extremely unsympathetic. Jonathan Cake plays Coriolanus with a very deep, almost Bane-like voice. It's hard to take him seriously because he screams so many of his lines. I feel like we never get an adequate explanation for why he has so much contempt for the regular people except for class hierarchy. It seems unfounded, too extreme. Maybe that played better in hierarchical Elizabethan England. And then, when the patricians blame the plebian tribunes for exiling Coriolanus and making him mad, I lost it. It's as if Coriolanus is put up on a Superman-like pedestal. Who is this guy that he can do no wrong in their eyes? Because he is so obviously wrong. The problem wasn't the exile. It was that they didn't execute him in Act I.

Let's just also put it out there that the Public spent up all its budget on the amazing production of Much Ado About Nothing earlier this summer. The costumes here looked like something out of The Walking Dead. They're dirty and torn. The set looks like a slum. And yes, the set moves, but it's not as expensive looking as the beautiful estate from Much Ado About Nothing. The soundtrack also pales in comparison. And it drizzled for about a half hour of the performance. They valiantly performed through it, but it would've been nice if we had stayed dry.

Cymbeline (The Public Theater) (2015)

Cymbeline is a very strange play--must be why no one ever reads it at school or produces it.  It certainly is not one of Shakespeare's best.  Is it a comedy, a tragedy, a history?  It defies proper categorization.  It is a romance that doesn't end in marriage, a tragedy that ends happily, a history that depends on legend. It seems the director wasn't sure what to do about this.  There are lots of comedic moments that are refreshing and much needed in a three-hour play.  But it has just as many dramatic moments.  And it isn't until the end until the director makes a firm decision.  Because the play ends with a jig, complete with a fiddle and synchronized dancing.  It is seemingly out of place, but then you realize it's actually a perfectly fitting ending to a bizarre piece of theater.

The play is redeemed by good actors.  They interact with the first few rows of the audience and have a jolly good time on stage.  There are a few songs--the best sung by Tony nominee Raul Esparza.  He has a smooth voice that totally destroyed the admittedly out-of-place Vegas-y number.  Hamish Linklater and Lily Rabe have a great chemistry as the two leads that has been proven several times.   Linklater pulls double weight, playing two polar opposite characters.  He puts on silly wig and leaves on just one button of his shirt and puts on a ridiculous voice to play Cloten.  And Cloten is the easiest name to pronounce among the plethora of impossible names.

The plot is also pretty unbelievable.  There is a lot going on and it is all sort of convoluted.  A couple of the characters change clothes and suddenly they are unrecognizable to the other characters.  It is almost comically ridiculous.  The ending is a big reveal where everything magically turns out right and they live happily ever after.  It's a strange ending to a bizarre play.