Theatrical mishaps, with a splash of the #MeToo movement and considerable sexual content, are the basis of Bard on the Beach’s production of the Greek comedy Lysistrata. (Tim Matheson photo)
Anyone familiar with London theatre and other local productions will be aware of a trend in comedies revolving around problems arising in performance.
As far back as Michael Freyn’s 1982 Noises Off and continuing with later works such as The Play That Went Wrong and The Thirty-Nine Steps, audiences have been offered comedies based on the idea that things on stage can lead to unrehearsed (and often hilarious) mishaps.
This generally occurs to the consternation of the performers, who are also expected to devise impromptu elements to cover up problems with script, scenery, costumes or props. It is not surprising therefore that Bard on the Beach should attempt its own version of the genre, though playgoers might be expecting to see a traditional presentation of Lysistrata, the famous Greek comedy.
This production of Aristophanes’ play starts with the conceit that a planned all-female production of Hamlet has been superseded by the cast who wish to present a protest play. The protest arises from a supposed proposal to turn Vanier Park into a shipping terminal, although along the way other protests are also addressed, including misogyny, infringement of Indigenous rights, and neglect of the environment. Of course, at the centre of it all is the original play which is about the Athenian women refusing their husbands marital rights in an attempt to stop the war against Sparta.
Since the production is supposed to be unplanned, the cast have to improvise considerably, making do with whatever found objects they can gather for scenery, props, and costumes. The result is intended to be farcically funny. Unfortunately it does not always succeed.
Part of the problem is that too often the mishaps tend to look like rather like a high school acting class’s attempt at writing a farce, with very obvious gags and sometimes silly business that is more laboured than comical. This is not to say there aren’t moments that are truly laugh provoking, albeit not as many as one would wish. A further problem arises from the fact that far too much is attempted. By addressing so many issues, it becomes a case of “methinks the Ladies do protest too much.”
Things are not aided by a series of interruptions, designed to be funny, which simply delay matters, while achieving very little. For example, a frustrated actor who is anxious to perform the supposed production of Hamlet, and a police raid because there have been complaints about the supposed protest, really are problematic in that they simply divert from the supposed Lysistrata.
In addition, because of the nature of the subject matter, clearly there
is considerable sexual content, which many will find offensive.
In fairness I must point out that the opening night audience seemed to find the production considerably more entertaining than did I – and that at the end the cast received a standing ovation.
Part of my reaction was owing to the fact that I had hoped to see a straightforward production of Lysistrata, though perhaps one given a modern twist in the light of the “Me Too” movement.
Purists might object to the fact that Bard on the Beach has wandered away from so-called Elizabethan drama, though in the past it has done so with great effect. However, after so many years of presenting Shakespeare, it seems appropriate to present the works of other contemporaries or near-contemporaries of the Bard.
It would be good to have productions of Kyd, Marlow, Beaumont and Fletcher and, of course “rare Ben Jonson.” For that matter, there is certainly an argument to be made in favour of presenting other Greek or even 18th-century works. There is certainly a void in such things in Vancouver theatre.
However, if the company is going to do this, surely it should aim at doing so in a rather more conventional manner than the current Lysistrata. It might be well intentioned; it might be performed with enthusiasm by a talented cast, and it might be occasionally entertaining, but it ultimately seems to be above all a lost opportunity, either to present great drama or to protest effectively.
Fortunately, Bard on the Beach has much else of merit to offer audiences as it continues it season until late September, so don’t let the time slide by and book your tickets now for a performance. You will enjoy any of them – perhaps even Lysistrata.