reprint or license Print E-Mail

Theater review: Rustic setting, lively production give Equus Run Shakespeare play warm intimacy

By Candace N. Chaney Contributing Theater Critic

Tucked behind a tree-lined country lane, Equus Run Vineyards offers a secluded, pastoral escape from the hustle and bustle of Lexington. Lined with horse farms and gently sloping hills, even the drive to the Midway winery is an idyllic one.

The same could be said of the inaugural production of Shakespeare at Equus Run, Love’s Labour’s Lost. This debut of Actors Guild of Lexington’s venture into outdoor drama proves to be as charming and pleasant as its rustic setting.

In fact, the production and its venue seem to function in a palpable symbiosis — the terraced seating before a simply set stage lends a rare feeling of both intimacy and openness that warmly invites you into Shakespeare’s realm, in this case, the Renaissance kingdom of Navarre.

One of Shakespeare’s earliest comedies, Love’s Labour’s Lost contains many of the Bard’s comedic staples — hapless, eager lovers; mistaken identities and trickery; a play within a play; and a general tone of self-irreverent humor and merriment.

As soon as the King of Navarre (royally played by Mike Van Zandt) makes his friends swear an oath to avoid all women for three years to better focus on scholarly pursuits, the Princess of France (played by equally regal Maureen Kuehler) and her three beautiful attendants arrive on his doorstep. Of course, Navarre and his friends immediately fall in love with the ladies, but they are forsworn from pursuing them.

Thus the plot of secret desires, mistakenly delivered letters and the snares of courtship ensue.

Director Anthony R. Haigh has assembled a strong, experienced cast that includes many of Lexington’s best talent. Adam Luckey is clearly at home in his role as Berowne, one of the king’s lovelorn friends whose humor and delivery often help guide the audience in understanding the next plot turn.

Micha O’Connor, Lisa Woods and Tiffiney Kavanaugh are equally natural as the princess’s beautiful (and mischievous) companions. Yet what is most impressive about the ensemble cast is its elegant, natural unity.

Though it is easy to cite quality individual performances (and all of them could be cited), the quality of work is cohesive, with no one standing out as the clear “star” (whatever that means) or upstaging anyone else.

Even less central characters, like Casey Holloway’s cheeky Jaquenetta or Timothy Hull’s Costard, hold their weight in the ensemble, making the production flow seamlessly.

The one intentional exception is Eric Seale’s performance as the flamboyant Don Armando, whose thick-as-mud Spanish accent, exaggerated flourishes, absurd swashbuckling mannerisms and keen sense of timing made him an audience favorite on opening night.

In fact, his first entrance yielded applause on its bravado alone. Nelson Fields costuming doesn’t hurt either; his outrageous Don Armando get-up could inspire laughter in its own right.

Another strength is Haigh’s judicious use of technical elements — with some used prominently and others scaled back entirely. Fields’ detailed Renaissance costumes function to beautifully evoke the period and tone of the play. Yet an early curtain (7 p.m.) and the outdoor setting of the play’s action allow lighting to be dismissed altogether. The set design is simple, with Matthew Hallock’s scenic backdrop alone providing reference to the kingdom of Navarre. Andrew Connerley’s sound design functions with a natural clarity, avoiding even the faintest crackle of interruption that plagued some past outdoor Shakespeare productions.

All these technical choices serve to tighten the focus where it ought to be — on the play itself and not the spectacle of it.

In fact, everything about this debut production seems to indicate a deliberate commitment to getting out of the way and letting Shakespeare be Shakespeare in all its simple elegance. That kind of artistic integrity is laudable and refreshing, but what’s more, it is definitely worth the drive.