‘FARINELLI AND THE KING’: Mark Rylance. Photo: Joan Marcus

FARINELLI AND THE KING
Written by Claire van Kampen
Music Arranger Claire van Kampen

Directed by John Dove
Through March 25, 2018
Belasco Theatre

111 West 44th Street

(212-239-6200), www.farinelliandthekingbroadway.com

By David NouNou

Music is a healer for the heart, mind and soul. In playwright (and Mrs. Mark Rylance) Claire van Kampen’s Carlo Farinelli, the castrato was the healer of Philippe V, the King of Spain 1683 – 1746. After various British productions, Farinelli and the King is a show that has arrived on Broadway with a lot of pedigree behind it. It is one of the most anticipated shows of the season because it is the return of the brilliant Mark Rylance.

The play opens with Philippe V (Mark Rylance) in bed, gold fishing in the middle of the night. This causes alarm to his prime minister Don Sebastian De La Cuadra (Edward Peel) and Dr. Jose Cervi (Huss Garbiya) that Philippe is going mad and unfit for the throne of Spain. His second wife Isabella Farnese (Melody Grove) is distressed by what she sees and tries to comfort and soothe the distraught Philippe. The king becomes belligerent and believes they are all conspiring to dethrone him.

Isabella goes to London to meet the impresario John Rich (Colin Hurley) who manages Carlo Farinelli. She offers a great sum of money for Carlo Farinelli to break his contract and bring him to Spain to sing for the ailing Philippe. Two people portray Farinelli: The speaking one (Sam Crane) and the singing castrato (Iestyn Davies). Farinelli befriends the king and sings exclusively for him and the king’s mental health improves, but he has his ups and downs, especially when Farinelli wants to leave Spain and go back to England to resume his career. What starts as a one-month healing process ends up being a nine-year engagement.

The story itself is very compelling but, as a play, it leaves one empty and unfulfilled. It’s like cotton candy, lovely on the outside but quickly dissolves to nothing. There are three redeeming entities: Iestyn Davies as the castrato is superb. When he is on, everything else on stage disappears. Sam Crane is very good as the talking/acting Farinelli but is dwarfed once his alter ego the singer comes on. The dynamic Mark Rylance lends his usual expertise as King Philippe, but doesn’t have much of a role here. There are very few actors that can dominate the stage like Mr. Rylance can, but here the castrato eclipses even Mr. Rylance.

John Dove’s direction does not improve matters, because the direction and the set design by Jonathan Fensom look like they were totally plagiarized from the 2013 revivals of Richard III and Twelfth Night, both with Mark Rylance and both directed by Tim Carroll and designed by Jenny Tiraman. The three shows were designed and staged as if you were in the original Globe Theatre. The first two were brilliant conceptions and had excellent material to work with. Here it just looks like a hollow replica, trying hard to emulate its predecessors.

Ms. van Kampen is an expert on music and its healing powers. Not only is she Mrs. Mark Rylance, she is also the playwright, as well as the music arranger. It would have served her better had she concentrated more on Farinelli and his incredible story, and focused less on Philippe and his predictable storyline.

Edited by Scott Harrah
Published December 18, 2017
Reviewed at December 16, 2017 press performance.

‘FARINELLI AND THE KING’: Huss Garbiya, Mark Rylance & Melody Grove. Photo: Joan Marcus

‘FARINELLI AND THE KING’: (Left to right) Iestyn Davies, Mark Rylance, Huss Garbiya & Melody Grove. Photo: Joan Marcus

‘FARINELLI AND THE KING’: Iestyn Davies & Sam Crane. Photo: Joan Marcus

‘FARINELLI AND THE KING’: Sam Crane. Photo: Joan Marcus

‘FARINELLI AND THE KING’: Iestyn Davies. Photo: Joan Marcus

‘FARINELLI AND THE KING’: Sam Crane & Mark Rylance. Photo: Joan Marcus

‘FARINELLI AND THE KING’: (Left to right) Sam Crane, Melody Grove, Lucas Hall, Huss Garbiya, Edward Peel & Mark Rylance. Photo: Joan Marcus

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‘TWELFTH NIGHT’ Stephen Fry as Malovio with, clockwise from top, Andrew Wright as Sir Andrew Aguecheek; Jethro Skinner as Fabian; Colin Hurley as Sir Toby Belch. Photo: Joan Marcus

TWELFTH NIGHT
Written by William Shakespeare
Directed by Tim Carroll
Belasco Theatre
111 West 44th Street.
(212-239-6200), www.ShakespeareBroadway.com

By David NouNou

If you ever disliked Shakespeare as a child or couldn’t get into him as an adult, let me assuage your fears. Here is a pair of Shakespearian plays in tandem with Richard III, performed by a superb cast headed by Mark Rylance that will make you embrace the Bard instead of fearing him. What makes them both so enjoyable is their authenticity in recapturing the mood of that era. Seeing the actors get into their costumes before the play starts, musicians playing Elizabethan tunes, all add to conjure a night of merriment and enchantment.

Needless to say, Twelfth Night is the comedy. The storyline is convoluted; suffice it to say it deals with a shipwreck, twins getting separated, mistaken identities, the wrong couples pursing each other. However, by the end all is mended. With all the characters in his plays, Shakespeare makes for difficult reading, but when it is performed well, and in this version it’s superb, it becomes a joy and a fresh breeze to follow.

Since the cast is comprised of all men, one has to start with Samuel Barnett as Viola; after all, she is the shipwrecked maiden who disguises herself as a young man by the name of “Cesario” throughout the whole play and is simply wonderful. Mr. Barnett is a man, playing a woman, playing a man, and is innocent charm at its best. Cesario is in the employ of Orsino (Liam Brennan) who is in love with Olivia, the indefatigable Mark Rylance. He brings new meaning to temptress. Olivia falls for Cesario, who in turn starts falling for Orsino. I told you it gets convoluted, but the fun is in how it all sorts itself out.

Among the formidable cast are Stephen Fry as Malvolio; Paul Chahidi as Maria; Colin Hurley as Sir Toby Belch, all living under Olivia’s roof. Also present is Olivia’s hapless pursuer Sir Andrew Aguecheek, Angus Wright; all giving splendidl performances. The director, Tim Carroll, works his cast at a breakneck pace and makes both plays accessible and delightful.

One must remember that this brilliant ensemble cast is doing a repertory of different roles in different plays. One can’t help but be in awe of their brilliance because each actor is portraying a different role in each show, and each character is so distinct that one forgets the roles are being played by the same actors. Amazing.

‘TWELFTH NIGHT’: Mark Rylance as Olivia. Photo: Joan Marcus

Twelfth Night received 7 Tony Nominations, including: Best Drama Revival, Best Dramatic Actor – Samuel Barnett, Best Supporting Actors : Paul Chahidi, Stephen Fry, MARK RYLANCE, Best Director – Tim Carroll, BEST COSTUME DESIGN – JENNY TRAMAN.

Edited by Scott Harrah
Published November 15, 2013
Reviewed at press performance on November 14, 2013

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MONARCH & MADNESS: Mark Rylance as Richard III. Photo: Joan Marcus

RICHARD III
Written by William Shakespeare
Directed by Tim Carroll
Belasco Theatre
111 West 44th Street.
(212-239-6200), www.ShakespeareBroadway.com

 By David NouNou

After seeing some pretty whacked-out Shakespeare earlier this year; from Alan Cumming’s frightful one-man Macbeth to the current gimmicky, twisted revival of Romeo and Juliet, I was dreading having to sit through another one of the Bard’s great works being desecrated. I’m happy to report that Shakespeare has finally been given his just and deserved due by the Shakespeare Globe Co. from England.

Alternating with another Shakespeare classic, Twelfth Night, I got to see Richard III first, and what a glorious production. This is not the conventional, hump-backed, beak-nosed, sneering Richard; this version has given him a comedic side. From his first entrance, Mark Rylance inhabits this Richard, Duke of Gloucester, later to become King Richard the III, as more of a harlequin court jester than the evil incarnate Richard we are familiar with. At times he is even buffoonish. For Mr. Rylance, one of the most fearless actors of the stage, has given us a new interpretation. Yes, he still manages to kill off his brothers, nephews, and most everyone who opposes him or who stands in his way to the ascension to the throne. We know he is doing evil but he does it in a most beguiling way; the transformation to evil incarnate comes much later.

Though Mr. Rylance’s performance would be categorized as unconventional, this production is done in the traditional manner: dialogue, sets, and costumes. Adding to the grandeur is the beautiful, authentic Elizabethan music played by expert musicians. Just as in Shakespeare’s day, men play women’s parts. Samuel Barnett as Queen Elizabeth, whose two young sons are murdered by Richard, is splendid as is Joseph Timms as Lady Anne. Also giving good performances  are Angus Wright as Buckingham and  in the dual role of Hastings and Tyrrell, Paul Chahidi.

I must admit it is an unconventional Richard III, and a lot of credit goes to Tim Carroll for his fast-paced direction and infusing much authenticity from the Shakespearean era. However, I did miss the sinister fear striking-in the-heart-malignant Richard. I could have done with a little less shtick and a bit more venom.

OUTSTANDING PERFORMANCE: Mark Rylance as Richard III. Photo: Joan Marcus

Tony nominated for Best Drama Actor 2014 – Mark Ryelance

Edited by Scott Harrah
Published November 14, 2013
Reviewed at press performance on November 13, 2013

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