The Lark
Written by Jean Anouilh
Adapted by Lillian Hellman
Directed by John Arthur Lewis
Athenaeum Theatre, 2936 N. Southport (map)
thru Feb 22 | tickets: $12-$22 | more info
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Saint Joan retold solidly but safely
Promethean Theatre Ensemble presents
The Lark
Review by Keith Glab
[T]he real end of Joan’s story, the end which will never come to an end, which they will always tell, long after they have forgotten our names or confused them all together…
These words are uttered by Cauchon, The Bishop of Beauvais, at the end of Jean Anouilh’s The Lark. The play re-tells Joan of Arc’s story three decades after George Bernard Shaw’s definitive account of The Maid of Orleans in Saint Joan. In this speech, Anouilh cleverly gives himself license to challenge any pre-existing notions his audience may have regarding the characters and events surrounding Joan’s life, including historical evidence from the trial itself.
Brian Hurst’s Robert de Beaudricourt is a drunk, womanizing, and insecure imbecile. The stench of onions becomes the chief characteristic of John Walski’s Captain La Hire. We get glimpses of Joan’s abusive parents, as well as the Dauphin’s wife and mistress, none of whom appear in Shaw’s work.
Along with the characters, the structure of the play differs from Shaw’s work. The entire play takes place during Joan’s trial; she is asked to re-enact the events of her life for the inquisition. Those present in the courtroom step out of their robes to portray characters from Joan’s past.
Rachel Sypniewski’s vibrant costume design combines with a talented cast to make these dual roles distinct and interesting. Hurst’s Promoter is far more austere than his Beaudricourt. Brendan Hutt deserves praise for realizing both the gruff La Tremouille and the concerned Ladvenu. Walski skillfully portrays three distinct characters that each have a minimal amount of dialogue and stage time for which he can establish character.
The main triumvirate of Joan (Aila Peck), Warwick (Brian Pastor), and Cauchon (Brian Parry) are equally strong in their portrayals. Peck captures the duality of Joan’s humble vulnerability and her divine confidence, while Pastor and Perry give nuanced motivations to their characters. Parry, along with Nick Lake as the Inquisitor, both carry tremendous stage presence and vocal clarity that dominate the space.
Nevertheless, as technically strong as the performances are, the entire production plays it very safe. It’s often unclear whether the intention is realism or a more avant-garde staging. Rather than make big choices, director John Arthur Lewis tends to leave things ambiguous. For instance, when Joan is visited by the Dauphin (an energetic Peter Eli Johnson) in her cell after signing the confession – another departure from Saint Joan – it’s uncertain whether he is actually visiting her or whether Joan is having one of her visions. Light or sound cues could answer the question, but those elements – along with the set design – play very minimal roles in the production.
The Lark concludes with a surprising ending that reads as both ambiguous and unearned. Ultimately, despite all of the differences from Shaw’s work (including more interesting characters overall), one doesn’t get the feeling that this retelling needed to be retold, particularly with so many other adaptations already around. I just didn’t come away with much of a different appreciation for Joan or her role in history. While there’s nothing lacking in the quality of this production, its failure to take chances and say something profound makes it fall short of something you need to go out of your way to see.
Rating: ★★½
The Lark continues through February 22nd at Athenaeum Theatre, 2936 N. Southport (map), with performances Thursdays-Saturdays at 7:30pm, Sundays 3pm. Tickets are $12-$22, and are available by phone (773-935-6875) or online through OvationTix.com (check for half-price tickets at Goldstar.com). More information at PrometheanTheatre.org. (Running time: 2 hours 10 minutes, includes an intermission)
Photos by Tom McGrath
artists
cast
Brendan Hutt (Ladvenu, La Tremouille), Brian Hurst (Promoter, Beaudricourt), Peter Eli Johnson (Brother, Charles the Dauphin, Executioner), Nick Lake (Inquisitor), Kimberly Logan (Mother, Queen Yolande), Brian Parry (Cauchon), Brian Pastor (Warwick), Aila Peck (Joan), Heather Smith (Agnes), Meghann Tabor (Scribe, The Little Queen), John Walski (Father, Archbishop, La Hire)
behind the scenes
John Arthur Lewis (director, co-scenic design), Nicole Hand (asst. director), Alexa Berkowitz (stage manager), Justin Snyder (co-scenic design), Elizabeth Sutherland (lighting design), Rachel Sypniewski (costume design), Gaspard Le Dem (composer, sound design), Jeremiah Barr (technical director, props), Alexa Berkowitz (choreography), Tom McGrath (photos)
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