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Regional Reviews: New Jersey Hilarious, High Brow Wittenberg Is Not Just For Brainiacs
It has taken six years (since its 2008 world premiere at Philadelphia's Arden Theatre Company) for David Davalos' totally accessible, delightfully literate comedy Wittenberg to cross the Delaware for its New Jersey premiere. Happily, it was well worth the wait. This is particularly so in light of the pitch perfect, deft production which Joseph Discher has directed for the Shakespeare Theatre of New Jersey. For the record, Wittenberg has been performed to acclaim in New York (Pearl Theatre Company) and elsewhere including London and Berlin. Likely with tongue-in cheek, Davalos has labeled his play A Tragical-Comical-Historical in Two Acts. Davalos' play is set in Wittenberg, the German town and its university during the last week in October, 1517. At the University, Martin Luther taught Theology. Fictionally, Marlowe's Dr. Faustus as a faculty member, and Shakespeare's Hamlet as a student were also there. Brilliantly Davalos has imagined that these three men were together at Wittenberg. The cleric-theologian Luther and the philosopher, medical doctor and devilish Faustus compete for the heart and mind of the Danish student prince. Hamlet hears weighty words from them which, according to Shakespeare, he will later repeat as his own after his return home to Denmark. Faustus and Luther scintillatingly debate theology. There is an actual on campus debate between them. If you know the significance of the specific time setting of Wittenberg, then you should likely get your tickets to see this witty and brainy play without further ado. Praise for Wittenberg has quite reasonably described it as being "Stoppardian". This term describes plays which are similar in style to the work of Tom Stoppard whose seminal plays are marked by verbal brilliance and playfully ingenious plotting, and explore historical events. However, several of Stoppard's plays tend to be dense and intellectually very challenging, and contain historic references that are not well known to all but the most literary and intellectual of theatergoers. For many of my readers, this is all to the good. However, for those who have some trepidation as to this, and are not certain if Wittenberg is for them, rest assured that with all of its well earned "Stoppardian" credentials on full display, Wittenberg is a readily accessible, trippy, academic college comedy which delightfully and consistently tickles the funny bone as it stimulates the mind. This does not mean that Wittenberg does not contain pleasures lurking about for those up for literary challenges to decipher. Most amusingly, author David Davalos has described Wittenberg as a prequel to Hamlet, Dr. Faustus and the Protestant Reformation. The Shakespeare Theatre has provided Wittenberg with the superlative production which it merits. Anthony Marble is irrepressible as the pot stirring Faustus who leads his friend Luther toward repudiating the Church and its indulgences. The most anachronistic of the male protagonists, he is a Dylanesque folk singer at a student café where he stirs up his youthful listeners. He assures Hamlet that at the café, along with the music, that "you can get all the tripe you can eat". Jordan Coughtry brings a laconic, fresh faced juvenilia to his Hamlet. His depiction of varsity tennis player Hamlet losing his cool on the court is hilarious (Laertes is his unseen opponent). Mark H. Dold portrays the more traditionally drawn Luther with intelligence, insight and conviction. There are several women who play major roles in the crises which the men endure. All of these women, who are recognizably related to those appearing in Dr. Faustus and Hamlet - including Helen, the woman whom Faustus wants to marry, and a vision of the Virgin Mary - are played with vigor, humor and individual distinctiveness by Erin Partin. The clever and immensely playable set designed by Brittany Vasta is a delightful feat of design with so many interesting details that it makes for a stirring show in and of itself. Basically, it is two stages each bisected by wall panels hinged together and placed on a large turntable. The stages can be placed at differing angles to one another and either side of each wall panel can face the viewer. There are three arches (doors) in the walls and three levels on these stages for the playing of various scenes. There is much more in the way of scenery and stage properties on these stages. The scenic design is as clever as Wittenberg itself. The costumes by Hugh Hanson are appropriate and playable. They combine wit with verisimilitude. Director Joseph Discher has performed the delicate and complex task of humorously embellishing the text without distracting or detracting from its heady confectionary pleasure. And Discher has made it look easy to boot. Wittenberg continues performances (Eves: Tuesdays, Wednesdays and Sundays 7:30 PM; Thursdays, Fridays and Saturdays 8 PM/ Mats: Saturdays and Sundays 2 PM) through September 28, 2014 at the Shakespeare Theatre of New Jersey, on the campus of Drew University, 36 Madison Avenue, Madison, NJ 07940. Box Office: 973-408-5600, online: www.shakespeareNJ.org. Wittenberg by David Davalos; directed by Joseph Discher
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