Shakespeare’s Troilus and Cressida might be considered a risky problem play in the canon of his tragedies.
Why?
In most of them (at least the ones I’ve read during my undergraduate years and taught in high school), the love story/family story unfolds at a pace that keeps the audience engaged. At this Shakespeare Bash’d opening night, the love story really doesn’t get going until near the end of Act One. The Prologue, seductively delivered by Kate Martin in a burgundy-red negligee/slip, states that the action begins in the middle. There’s a war going on, and that takes precedence in the plot.
The other problem? From my experience, Troilus and Cressida is rarely performed. A quick bit of online research shows it was last staged in 2003 at the Stratford Festival, over 22 years ago.
From an audience standpoint, there’s a lot going on in this Shakespearean take on the Trojan War that follows the plot of the Iliad.
Yet I couldn’t look away. I’m determined not to lose focus.
This Troilus and Cressida is quite good.
Achilles (strong work by Andrew Iles) refuses to participate in battle until Hector’s (tremendously focused work by Jordin Hall) death. Trojan prince Troilus (Deivan Steele), the son of Priam (a believable, fatherly David Mackett), falls in love with Cressida (Breanne Tice), another Trojan and the niece of Pandarus (Geoffrey Armour). Set up by Pandarus, the young couple profess their love until Cressida is exchanged for a prisoner of war. As Troilus does his best to visit Cressida in the Greek camp, he sees a dastardly Diomedes (grounded work by Austin Eckert) flirting with her. The heartbroken and angry Troilus wants to avenge her deceitfulness.
Where Shakespeare’s script poses a challenge for audiences is its focus on the leaders of the Greek and Trojan forces, Agamemnon (Isaiah Kolundzic) and Priam. Agamemnon and his friends urge Achilles (Iles) to return to battle and face Hector, who sends the Greeks a letter saying he will engage in one-to-one combat with a Greek soldier. Ajax (Adriano Reis) is selected as the combatant, but he makes peace with Hector. Achilles returns to battle only after his young friend Patroclus (Felix Beauchamp) is killed by Hector.
Guided by James Wallis’s sharp direction and cleverly inventive staging, the play’s timing passes quickly within the three-hour (!) run time. It never appears rushed. The intermission provides a welcome break.
Upon entering the Incubator Space at Toronto’s The Theatre Centre, the stage is empty save for one prop that remains throughout. There is a mirror on the main level, where characters briefly check themselves before proceeding. Wallis’s decision to keep the mirror is an excellent choice. It allows the audience and characters to witness and be continually reminded of the ongoing war and its brutal realities in mature, disturbing scenarios. Wallis further enhances the experience by adding a modern element—ICE agents—serving as a stark reminder of today’s world and the same atrocities occurring.
Matt Nish-Lapidus’s sound design is clear. I can hear the final consonants of each word. A slight quibble (and it is only that) remains in Sruthi Suresan’s lighting. There are several dead spots where actors are in darkness when they speak. It’s difficult to see their faces. Hopefully, that can be fixed for future performances.
Jennifer Dzialoszynski’s fight and intimacy direction is handled with utmost discretion and respect for the actors and audience. In those uncomfortable ‘adult’ moments on the battlefield in the second act, it’s clear what’s intended without spilling over into discomfort. The sword-and-knife fights are thrilling to watch.
Most noteworthy are the actors’ performances. They’re sharp and nuanced in their emotional rise and fall. The actors adroitly capture the iambic pentameter verse of the dialogue. At the top of the show and in Act Two, it’s exciting to watch them run through the second level where the audience sits. Throughout these onstage moments, Wallis carefully places his company of remarkable actors around the sunken playing space in the Incubator at Toronto’s The Theatre Centre. Nothing feels or looks cramped.
Julia Nish-Lapidus’s portrayal of Thersites as a war reporter on the ground covering the story works because she’s in their faces, questioning them point-blank to elicit information. Geoffrey Armour’s hilarious performance as Pandarus is eccentrically sassy and brassy in his initial conversation with Deivan Steele’s Troilus. Later in Act 2, Armour beautifully counters that comic ability with heartfelt drama.
Real-life husband and wife, Steele and Breanne Tice’s Cressida, are credible as the doomed lovers. Their expressions of love for each other are rather lovely, given their backgrounds. Once again, it’s shocking what happens to Tice’s Cressida in Act 2, involving the opposing army.
Thank goodness there are theatres like Shakespeare Bash’d willing to take risks staging this rarely performed tragedy. It’s another chance for artists and audiences to deepen their love and appreciation of the theatre.
Don’t be concerned if you can’t understand every tidbit of information about the plot. Come to enjoy fine actors performing a challenging story.
From what I understand, Troilus has always been on the back burner for the company to stage. It’s my first time seeing the play, as I did not study it during my undergraduate years.
I’m glad I came to see it. I’m also glad the company got the chance to stage it.
Can’t wait to see what Shakespeare Bash’d has planned next.
Running time: approximately three hours and ten minutes with one intermission.
The production runs to February 8 at The Theatre Centre, 1115 Queen Street West, Toronto. For tickets: https://www.shakespearebashd.com/ or call the Box Office at The Theatre Centre (416) 538-0988
SHAKESPEARE BASH’D presents
William Shakespeare’s Troilus and Cressida
Directed by James Wallis
Fight and Intimacy Director: Jennifer Dzialoszynski
Sound Designer: Matt Nish-Lapidus
Lighting Designer: Sruthi Suresan
Stage Manager: M Fera
Performers: Geoffrey Armour, Felix Beauchamp, Jennifer Dzialoszynski, Austin Eckert, Jordin Hall, Andrew Iles, Isaiah Kolundzic, David Mackett, Kate Martin, Julia Nish-Lapidus, Rianna Persaud, Adriano Reis, Deivan Steele, Breanne Tice, Ben Yogaanthan
