Theater review by Gail M. Burns
Yesterday, as I was writing my review of The Unexpected Man, a little voice in my head said, “You should wait until after you see The Comedy of Errors to write this.” But speed is everything in these days of instant electronic communication, and I chose to meet my deadline rather than to wait until I had a broader base of information. Now I regret it.
Rick Dildine was the Executive Director of Shakespeare & Company in Lenox for about six controversial months in 2014-2015, and both this big, bold, energetic production and the tiny fragile staging of Unexpected Man are the result of invitations he issued to directors new to the Berkshires. The two shows share the space in the Tina Packer Playhouse, where Comedy of Errors practically bursts the seams of the former Quonset hut, and The Unexpected Man seems to barely leave a footprint as it tip-toes through. Looking at The Unexpected Man alone, it appeared that Dildine had little sense of what the space was for or about. Assessing the two shows together, a broader and more coherent plan for the season emerges.
And I am actually the only member of the press to see The Unexpected Man first and The Comedy of Errors second. The Shakespeare comedy opened two weeks ahead of the Yasmina Reza one-act, but health issues delayed my opportunity to see the former. Dildine’s choice of the young Taibi Magar, a recently minted MFA from Brown University-Trinty Rep directing program, was genius and right in step with Tina Packer’s tradition of hiring innovative female directors with a genuine love and respect for the Bard. She in turn has cast from both inside and from outside the Shakespeare & Company stable of performers, and while it is painful to long-time fans of the Company to see comic geniuses like Josh Aaron McCabe and Michael F. Toomey relegated to minor roles, the newcomers Magar has hired are excellent and blend well with Company regulars like Cloteal L. Horne and Douglas Seldin.