Reuniting After Separation

Once Upon a Shore: A Tale of Pericles and the Daughters of Tyre – Idle Muse

Idle Muse is a true survivor. It’s the little storefront theatre that could. Once again, the company is back again and going strong, thanks to a small army of creative men and women who love creating dramatic art and who believe in its mission. They’re deeply devoted to transporting audiences through the plots of interesting stories, “exploring the relationship between individuals and the worlds they inhabit.” The company’s been around for 16 years, and despite a devastating pandemic that temporarily shut down live entertainment and permanently closed the doors of many theatre venues, Idle Muse is back. 

Returning to the boards once again, Artistic Director Evan Jackson has adapted and directed one of Shakespeare’s lesser known and seldom-produced epic dramas, from the 17th century. It’s a sprawling saga from Greek mythology that spans time and place. It’s filled with love, loss, deception and devotion, swashbuckling sword fights and several shipwrecks. The characters are heroes and villains, princes and prostitutes, royalty and rustics; but in the end, this is a play about reuniting after a long period of separation, which is precisely what all Theatres are doing everywhere with their audiences.

This new adaptation of Pericles, the Prince of Tyre is an admirable endeavor, especially considering it’s Idle Muse’s return to live performance after almost three years. There are many versions of this play out there, but perhaps Evan Jackson was motivated by a 2019 stripped down British production by Dan Dawes. It, too, focused on bold storytelling over lavish scenery and special effects. Both adaptations feature a cast of actors playing multiple roles. Idle Muse’s drama brings together thirteen actors, performing under the direction of its adaptor, and giving their all to this production. Unfortunately the results are uneven, at best.

As Prince Pericles, Brendan Hutt is a veteran performer with this company and boasts an impressive resume of experience. He brings a certain degree of strength and integrity to this demanding role, but he’s not perfect. Brendan just doesn’t look like a mythological hero. Perhaps more flattering costuming would’ve helped. However, Mr. Hutt’s biggest problem is the same difficulty found with many actors everywhere. Earnest as their portrayals may be, most of the actors in this production simply don’t understand how to speak Shakespeare’s poetic language so that the audience understands what they’re saying. It’s a skill that takes study and practice, guided by an authority in Elizabethan verse. Although each actor in this production has his moments of clarity, only a few of them are consistent and become the shining stars of this play.

The ladies of this cast are its strength. Playing Helicanus, a Lord of Tyre, Laura Jones Macknin is a breath of fresh air. She delivers her dialogue with clarity and conveys every nuance and subtext within her lines. Laura makes certain that she’s always audible, something her fellow actors might think about; and the character she’s created is honest, believable and forthright. Ms Macknin convinces us that, as she speaks, her lines are her character’s actual thoughts, and not simply a bunch of words she’s memorized. 

Other cast members who profess skill with this stylized speech include Elizabeth C. MacDougald, as the magical Cerimas. Not only lovely and graceful, but truly present and convincing in each scene. Morgan Manasa, whose many roles include Bawd, the Brothel Owner, is articulate, cogent and compelling…and also kind of frightening. Jennifer Mohr has been cast as Lysimacha, the Governor of Mytilene, a role usually played by a male. She’s commanding and articulate in this role, and creates a surprising gender-bending coupling in the end. And charming Caty Gordon is a very compelling Marina, Pericles young daughter, from whom he was separated when she was just a newborn. Not only is she pleasant but she’s poised and perfectly understandable in this role. Brava!

Visually this production offers only the essentials. Other than some thoughtful, creative work by Laura J. Wiley, as the production’s Lighting and Projection Designer, there’s very little special technical artistry. The set merely consists of a wooden porch or dock-like platform, angled toward the audience. Thanks to Violence Designer Libby Beyreis, the swordplay in this drama is spirited and looks realistic. Jessie Gowens’ costumes are hit or miss, with the highlights being the nicely-fitting and flowing gowns for Thaisa and Marina, as well as Cleon’s royal garb.

It’s always ridiculous to critique the play that might have been. However, it’s hard not to imagine that this could’ve been a better production if it had been a more contemporary version of the Pericles tale. At least if the language was easier for the company to master, and thus be more understandable and accessible for the audience, the story would be clearer. Perhaps the play could’ve been set in another time period, in which music could be an integral part of the mood and storytelling. 

Evan Jackson’s new production is much appreciated as it ushers in a new era for Idle Muse Theatre Company. But problems exist in this adaptation. Often the characters weren’t distinguishable, and some patrons were heard questioning why a certain actor was suddenly a part of the story when his character had been killed earlier. Set in another decade, even the costumes might’ve been easier to create while the simplistic scenic design could still work and remain the same. While it’s great to be back together again after such a long separation, this particular exploration of relationships simply feels too long and the storytelling and dialogue extra complicated for the world they’re inhabiting.

Somewhat Recommended

Reviewed by Colin Douglas    

Presented March 3-April 3 by Idle Muse Theatre Company at The Edge Off Broadway Theatre, 1133 W. Catalpa Ave., Chicago.

Tickets are available at the box office, by calling 773-340-9438, or by going to www.idlemuse.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.