DESDEMONA (GOOD MORNING JULIET)
by Ann-Marie MacDonald
Presentation House Theatre
March 23-April 9
In the 1980s, long before Fall
on Your Knees and Oprah’s
Book Club made her a famous novelist, Ann-Marie MacDonald was
a Toronto actress looking for good stage roles. Even at Stratford,
she noticed, the lead women were mostly passive victims. So she
decided to write her own play in which a mousy female academic
pursues alternative ideas about Shakespeare.
Constance Ledbelly theorizes that Othello and Romeo
and Juliet were originally comedies by another author with a Wise Fool character
that Shakespeare eliminated, making the comedies tragic. Pursuing
her thesis, Constance somehow falls through a reality warp like
Alice though the looking-glass and finds herself inside the two
plays, intervening in their plots. Her journey leads to a renewed
sense of her own identity and the discovery that Shakespeare’s
heroines were once a lot more independent and aggressive than
his scripts would have us believe. MacDonald’s clever twists
on the Bard and her gender-bending feminist comedy have made
this one of the most popular Canadian plays of the past two decades.
The obvious coup for One Night Castle Projects, tackling the
play at North Vancouver’s Presentation House, was casting
Cailin Stadnyk as Constance. Coming off her star turn as Fanny
Brice in Funny Girl, Stadnyk brings instant credibility to the
new company. She’s a natural comedienne, her trademark
squeaky voice and gawky persona providing delicious comic contrast
with the formality of Shakespeare’s characters and language.
Astonished to find herself in Othello, speaking blank verse
no less, Constance counts out the iambic pentameter on her fingers: “My
God. Perhaps I’m on an acid trip./What if some heartless
student spiked my beer?!” Recognizing that Desdemona was
actually a powerful Amazonian warrior, she gasps, “Boy,
Shakespeare really watered her down, eh?” Stadnyk’s
wide-eyed delivery makes Constance irresistible.
The talky first act lurches along somewhat, despite impressive
sword fighting on the small stage and strong work from James
Rowley as Othello. Leanne Koehn pushes a little too hard to make
Desdemona seem the toughest broad in Cyprus. But after intermission
things really take off when Constance finds herself in Verona
and the play turns into a sex farce in drag. Taken for a boy,
she’s pursued by both Romeo (Jeff Gladstone) and Juliet,
both horny bi-sexuals who dress in each other’s clothes.
Veteran British Panto director Ellie King knows exactly how to
handle this kind of material. The delightful Anna Cummer nearly
steals the show as sex-and-death-obsessed Juliet, and Rowley
shows great comic versatility as Juliet’s Nurse and Tybalt,
whom he plays in full Keanu Reeves mode.
Borrowing shamelessly—the Ghost from Hamlet makes an appearance
along with a Twilight Zone-ish narrator complete with low-rent
lighting effects—Ann-Marie MacDonald gives us intelligent
revisionist Shakespeare without tears. Good dirty fun for the
wise fool in us all.