A Directory of Shakespeare in Performance, 1970–1990 pp 1737-1757 | Cite as
Troilus and Cressida
In Troilus and Cressida Shakespeare reminds us that “‘tis mad idolatry to make the service greater than the god,” and the Festival production… clearly showed that neither the god of love nor the god of war is worth such service. The abbreviated costumes… effectively reflected the sensuous, indulgent temper of the seventh year of the Trojan War, long since grown out of all proportion to its cause. The wronged Menelaus… was a buffoon… Paris and… Helen were self-indulgent sensualists, hardly worth the bloody service rendered to their cause. The wasteful, degenerative influence of this war of dubious purpose has riddled the Greek forces… Agamemnon was close to a rustic clown, crowned with leaves rather than majesty. Rob Evan Collins was particularly effective in his depiction of Ajax’s brainless pride and brutish strength. His voice and stance spoke broadly for a man who has no language. The pettiness and narcissistic vanity of Achilles, dallying in his tents with Patroclus, was made eminently clear … even before it turns to dishonor and deceit with his grief at Patroclus’ death. It is ironic that the Greeks, whose cause is more “just” than the Trojans’, are less heroic than they. Even the Trojan costumes here suggested more seriousness of purpose. The nobility of Hector, played by Anthony Passantino, clouded his judgment, however, and he too is victim to the war. There were no winners here. Within these ranks, the voice of dignity and reason was virtually drowned out … Stephan Mark Weyte had an open charm and sincerity as Troilus that kept him from appearing foolish, and as Cressida Betty Smith captured a creature of appetite who had, at least, the grace to be a bit dismayed by her falseness and opportunism…
KeywordsRewarding Part Love Story Musical Accompaniment Tiger Stripe Battle Scene
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