Double Falsehood

Mixed emotions are inspired by the production of Double Falsehood at the Classic Stage Company. A new production of a lost Shakespeare play should inspire universal rejoicing but the reaction to this play is confusion and some disappointment.Double Falsehood was allegedly found in the 18th century and adapted by Lewis Theobald. It is believed to be an adaptation of Cardenio, which was a collaboration between Shakespeare and John Fletcher. Regarded as a hoax for three centuries, Double Faleshood was recently endorsed as authentic by the editors of the Arden Shakespeare. The history of the show is compelling, but unfortunately, the plot is not.Double Falesehood centers around Henriquez (Slate Holmgren), and his duplicitous romantic and sexual scheming. After satisfying his lust for Violante (Mackenzie Meehan) by raping her, he then proceeds to woo the wealthier and more noble Leonora (Hayley Treider). Leonora is in love with the poor but honest Julio (Clayton Apgar), who happens to be a friend of Henrique. After his assault of Violante, Henriquez secures the approval of Leonora’s father for the wedding and sends Julio to his father’s court to get him out of the way.Double Faleshood contains many of the classic elements of the Shakesperean canon – star crossed lovers suffering from parental disapproval, women in disguise as men, a mud-streaked madman telling the truth and the pairing of good and evil siblings. But this production feels more like a collection of these elements than a completely formed play. While Henriquez creates a great deal of confusion and chaos, the motive behind his actions is never explained. Is he merely a spoiled brat used to getting his own way? Does he harbor a grudge against Leonora's family? Does he secretly hate Julio? If he does, why? Holmgren gives a commanding performance as Henriquez, both powerful and slightly frightening, but I could not stop wondering why he was determined to destroy Leonora and Violante.Another inexplicable plot twist involves Violante and Henriquez. Played by Meehan, Violante is an impressively composed, determined and strong-willed woman who initially refuses Henriquez's advances. After he assaults her, she suddenly is in love with him and is betrothed to him by the end of the play. Is this a commentary on the social restrictions placed on women during that time? Was Shakespeare trying to work a feminist message into his work? Or was Violante’s character merely ignored after the first act ended and then given the only ending the Bard could come up with at the last minute? The only reason Violante's actions ares somewhat believable is due to Meehan’s performance, which is marked by a hint of mischief and malicious glee as she is promised to Henriquez. One can gather that she will get her revenge in one way or another, which is the only satisfying element of that romantic pairing.Fortunately, the romance between Leonora and Julio is believable. The two share a lovely, innocent chemistry and, when they are finally reunited, I could not help but smile. Rounding out the cast is Philip Goodwin and Jon as the fathers and Bryce Gill as Henriquez' brother Roderick, who give solid, if unmemorable, performances.Directed by Brian Kulick, this production is staged as minimally as possible, with almost no props except for several large rugs that are moved to signal the change in scenes. The gag becomes tiresome quickly and one longs for more visual stimulation. The play is set in Spain, which offers a wealth of visual opportunity. Why didn’t Kulick take advantage of that?The idea of “new Shakespeare” was an exciting, but this production made me long for the old classics.

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Priscilla Queen of the Desert