Quintessence Theatre Group launches its second season with two classic comedies:
Carlo Goldoni’s THE VENETIAN TWINS, in a translation by Ranjit Bolt,
and William Shakespeare’s THE MERCHANT OF VENICE,
to be presented in repertory from October 5 – November 20, 2011.
THE VENETIAN TWINS
Separated in childhood, two Venetian twins unexpectedly arrive in Verona looking for love. Mistaken identities and madness ensue. Stolen jewels, lover’s duels and a death by poison fuel Carlo Goldoni’s 1748 comic masterpiece. Following the success of A Servant of Two Masters, Goldoni was determined to cement his place as Italy’s greatest comic playwright. Influenced by Molière and inspired by the famous twin comedies of Plautus and Shakespeare, Goldoni reformed commedia dell’arte by removing the masks and introducing psychological realism and social commentary. Quintessence is excited to present one of the stage’s funniest comedies using Ranjit Bolt’s contemporary English translation.
THE MERCHANT OF VENICE
THE VENETIAN TWINS plays October 5th – November 19th. A special PAY WHAT YOU CAN preview will take place on Wednesday October 5th at 7:00pm. A discussion on Goldoni and Commedia will take place with director Alexander Burns before the show on Thursday, October 27th. A discussion with the cast will take place after the show on Wednesday, November 9th.
THE MERCHANT OF VENICE plays October 12th – November 20th. A special PAY WHAT YOU CAN preview will take place on Thursday October 13th at 7:00pm. A discussion with the cast will take place after the show on Wednesday, October 26th. A discussion on Shakespeare, Christopher Marlowe and THE MERCHANT OF VENICE will take place with director Alexander Burns before the show on Thursday, November 17th.
PERFORMANCE SCHEDULE
To purchase individual tickets for THE VENETIAN TWINS click here.
To purchase individual tickets for THE MERCHANT OF VENICE click here.
THE ENSEMBLE
SEAN BRADLEY Quintessence: Measure for Measure, Apology. Philadelphia: Lord of the Flies (Curio Theatre); A Prometheus Bound (Renegade Classic Theatre); As You Like It, Hamlet (Philadelphia Shakespeare Theatre); The Winter’s Tale (Delaware Shakespeare Festival); Much Ado About Nothing (Theatre Horizon); Winners (Round Table Theatre); Titus Andronicus (Plays and Players). Educational: The Cider House Rules Pt 1 & 2, Roger and Miriam, The Philadelphia Story, Measure for Measure, Venus (University of the Arts). As Fight Director: Othello (Goodwill Theatre); See What I Want to See, Dog Sees God, In the Blood (Philly Fringe); A Prometheus Bound (Renegade Classic Theatre). Training: BFA, University of the Arts.
JOSH CARPENTER* Quintessence: Henry V, The Importance of Being Earnest. Philadelphia: Diabolique (Exigent Theatre). New York: How To Act Around Cops (The Studio at Cherry Lane Theatre); Holiday (Gotham Radio Theatre); Exhaustion (Naked Angels Lab); Taking One for the Team (Target Margin Theater); Radioplay (Manhattan Theatre Source); Tough! (American Theatre of Actors). Regional: A Midsummer Night’s Dream, I Capture the Castle, Henry V, Pride and Prejudice, Richard III, The Cherry Orchard (Shakespeare Theatre of New Jersey); Romeo and Juliet, All’s Well That Ends Well, The Knight of the Burning Pestle, Hamlet, Rosencrantz and Guildenstern are Dead, The Comedy of Errors, The Taming of the Shrew, The Merchant of Venice, Henry V, A Christmas Carol (American Shakespeare Center, VA); A Midsummer Night’s Dream (New England Shakespeare Festival). International: The Detectives, Jackie and the Giant (Bear Educational Theatre, Czech Republic). Training: Northwestern University.
J CENTER* Philadelphia: Nagg in Endgame, Krapp in Krapp’s Last Tape, and M (the Man) in Play (EgoPo). Regional: As You Like It, Twelfth Night (The Globe/SSA); the Narrator in The Rocky Horror Show, George in Who’s Afraid of Virginia Woolf? (New Arts Theatre, Dallas); the Historic Event in How I Got That Story, Shylock in The Merchant of Venice (Stage West, Fort Worth TX). Film: The Last Airbender, Law Abiding Citizen, Jacob and Death, La méduse rouge, Changing the Game.
SEAN CLOSE Quintessence: Henry V, The Importance of Being Earnest. Regional: The Pillowman (Bootless Artworks), As You Like It (Theatre Horizon), High Dramma Sketch Comedy. Educational: The Seagull, Eurydice, Hair, Antigone, Orpheus Descending, Damn Yankees, Little Shop of Horrors (College of William & Mary). Training: BA in Sociology and Theatre at College of William & Mary.
JESSICA DAL CANTON Quintessence: Don Juan. Philadelphia: The Greek Theatre Project (Iris Theatre Company); Silverhill (InterAct); Boeing Boeing (Act II); Hedda Gabler (Mauckingbird); Arms and the Man (Hedgerow); The Three Sisters, Incorruptible, TheTempest, Our Town (Villanova). Regional: The Foreigner (Covina Center); George Washington Slept Here, Pirates of Penzance, The Foreigner, Blythe Spirit (Maples Rep); Gypsy, You Can’t Take it With You (Arlington Theatre). International: CrossedWires, Necropolis (Prague Fringe); Medea (Cyprus International Theatre). Upcoming: Changes of Heart (Philadelphia Artist Collective). Training: BFA, University of Texas; MA,Villanova. www.Jessicadalcanton.com
KHRIS DAVIS Quintessence: Henry V. Philadelphia: Ruined (PTC); Go Green (WST Outreach tour); Black Nativity (Theatre Double); Mufaro’s Beautiful Daughters (Camden Rep); First Breeze of Summer (Adrien Theatre); u/s Blue Door, Superior Donuts (The Arden Theatre).
BETHANY DITNES Quintessence: Don Juan, Measure for Measure. Philadelphia: Carrie (Brat Productions); How to Disappear Completely and Never Be Found, Sick, Pussycat (Luna Theatre Company); The Diary of Anne Frank (Ritz Theatre Company); Henry V, Henry IV Part 1 (Philadelphia Shakespeare Theatre C.A.A.); Mate(Primary Stages); The Shape of Things (Theatre Revolution). Educational: The Philadelphia Story, Hot L Baltimore, The Dinner Party, Measure For Measure (University of the Arts). Training: BFA, University of the Arts.
BENIM FOSTER* Broadway: Barefoot in the Park w/ Patrick Wilson and Amanda Peet, directed by Scott Elliot. National Tour: Twelve Angry Men w/ Richard Thomas and George Wendt, directed by Scott Ellis (Roundabout Theatre Company). Off-Broadway: Becky Shaw (Second Stage); Last Train To Nibroc (Drama League Nomination for Best Play); Henry V directed by Doug Hughes (NYSF/The Public). Regional: Sleuth with Keir Dullea (Playhouse on the Green); Daniel Goldfarb’s Modern Orthodox regional premiere (Caldwell Theatre Company); A Higher Place In Heaven (People’s Light); Duplex (Best Actor Award, Midtown International Theatre Festival). Film: STAGS (Best Actor Nomination, Visionfest Film Festival 2011), FLYING SCISSORS (with Matthew Arkin), BROADWAY DAMAGE, ANALYZE THIS, Independent Film Channel’s THE UNDESERVED, the award winning short IMPERFECTION. Television: “FRINGE,” “UGLY BETTY,” “LAW & ORDER,” “LAW & ORDER: SVU,” “GUIDING LIGHT,” “AS THE WORLD TURNS,” “ANOTHER WORLD,” “ALL MY CHILDREN.” Training: BFA, North Carolina School of the Arts.
DANIEL FREDRICK Quintessence: Don Juan. Regional: reasons to be pretty (Journey Theatre); Romeo and Juliet, 12th Night (Trinity Shakespeare Festival); Much Ado About Nothing (Heart of America Shakespeare Festival); Something Intangible, Picasso at the Lapin Agile (Circle Theatre); Laughter on the 23rd Floor (Watertower Theatre); Sonnets For An Old Century (Firestarter Productions); Chicago (Center Season). Training: BFA in acting, Texas Christian University.
ALEXANDER HARVEY Quintessence: Henry V. New York: Long Day’s Journey Into Night (Theatre Row/York Shakespeare Company); Midsummer Night’s Dream, King Lear (ShakespeareNYC/Vook); Dreams of a Common Housefly (BAX/Upstart Festival); The Merchant of Venice and The Jew of Malta (YSC); King Lear (Balloon Heaven/Producer’s Club); Mrs. Warren’s Profession (Compassion Theater Co.); To Walk In Darkness (Turtle Shell). Regional: Doubt , Hip/Shake, The Red Sun and The Green Moon (Syracuse Stage). UK: The Merchant of Venice w/s (Shakespeare’s Globe); Romeo and Juliet, The Tempest, Midsummer Night’s Dream (new vic). Training: RADA, The Bristol Old Vic and Syracuse University.
LESLIE NEVON HOLDEN Philadelphia: The Musical Adventuresof Flat Stanley, A Christmas Carol, 2010-2011 Acting Apprentice and Touring Outreach Company (Walnut Street Theatre). www.leslienevon.com & www.lnhtheatrearts.com
KEN SANDBERG Quintessence: Henry V, Don Juan. Philadelphia: Dog Sees God, Aspects of Love, The Shape of Things, Shakespeare’s Land of the Dead, Zombie! The Musical, Simulations (Plays and Players); Romeo and Juliet (Arden Theatre Co);This is Our Youth (Sympatico Theatre Project); Anonymous Theatre (PDC); Sleep Detective, Spit for Tat (PTW); Wategate the Musical (Underground Arts); Conversations from the Cafe, Sidewalk Cafe (Represented Theatre Co). New York: Teach You Children (Dramatists Guild of America); Fabian is a Hurricane Now (HEM Theatre Collective). Regional: A Winter’s Tale, Taming of the Shrew (Collingswood Shakespeare Theatre, NJ); Shenandoah, Grease, Wizard of Oz (Alhambra Dinner Theatre, FL). Training: American Musical and Dramatic Academy.
Saw Thursday’s performance of Venetian Twins. Excellent acting (and ad libs in response to audience), superb direction, a wonderful time.
Bravo again to Quintessence, this time for bringing a comedic gem from the mid 18th century to Mt. Airy. THE VENETIAN TWINS by Goldoni is well served in translation by R. Bolt whose dialogue preserves the quick pace, sparkle and verve of an Enlightenment era comedy. Quintessence’s “allegro vivace” performance keeps the momentum alive with a sense of fun, dash and kinetic excitement. The cast’s sheer physicality (that often bounces around the stage and even around the room) might devolve into antics with a cast of lesser dramatic mettle, but merely invigorates this troupe’s confidently profiled performance. Connection with the audience seemed unforced though the audience was as cooperative as a ‘house’ can be. Strong performances by each cast member contributed to the kaleidoscopic color of this vibrant rendition. The charm of Khris Davis and Leslie Nevon Holden almost created a show within a show. The glam of Daniel Frederick was memorable as well. Bravo on all the musical touches. Obviously there is much musical talent among these actors! Please keep this up in future productions. The Entre-Act singing was delightful and Josh Carpenter’s little love song reeled in the audience with a bit of sweetness that enhanced with overall zesty quality of the show. (Nice falsetto too, entirely in tune, thank you!) Director Alexander Burns created a strong frame for Josh’s dual role with female casting that always remained distinct. (Bethany Ditnes and Jessica Dal Canton) And the sheer sonority of a mostly tenor male cast of speakers made Josh’s ringing baritone delivery that much more impressive. While the whole ensemble is to be congratulated for this well-woven piece of drama, Josh’s work was its thread of gold throughout. His amazing talent, technique and erudition enabled him to create a performance that was equally solid and exciting. His ‘twins’ were consistent in their stark juxtaposition. HIGHLY RECOMMENDED!
The Venetian Twins
When you go to the theatre and it is more than you can afford,
You being an artist of ill or no repute,
You either go in on the spur of the moment, or never.
This time in a short circuit of Mt. Airy, I importuned my wife
To consider seeing this Goldoni play – how often can one see one of those?
But dread – what if it’s badly done? What if we lose our minds with regret?
I can feel a thing, an energy in this place (no, a stillness), simple as it is, with one Representative at a table, I remember the feeling many years ago during the
People’s Light and Theatre Company’s second season, when they were still in a barn,
Of how they burned with a young passion that alone fulfills the needs of theatre’s
Alarming and committed bolt of truth. How could I know this would happen again?
You marvelous charlatans, you clowns of desperate measures, you gangplank walkers,
Visitors from the land of true imagination, impersonators of the type
Carved down to character, driven to the culminating actions of your essence:
How can you make this sacrifice of yourselves so complete for art, for us?
You gifted and skilled, you learned and witty, you plunge-ahead types,
You’re better than football or the mime of ballet. You spout words and leap
Over laughter toward truth. I’ve seen people die, but never with speeches so fit,
So fitly said, or given in spite of themselves. Only in art can this be done,
Can it all make sense at the end, and yet end in a beginning.
You know what? I saw the space, it was fine with that wabi-sabi art deco Klimt
Oriental Italianate architectural backwards look up the old Sedgwick. We the screens
Of your movie, our minds Plato’s caves visited by the light of true forms.
Philosophers of action and conceit. But first the musical welcome, first the
Mention to a man before me in line that he had left his credit card on the ticket table,
But first, deciding to sit in the front row, to keep the actors company, to not avoid
The altar as in church the humble go to the back and the Pharisees pray in front of us,
No, we are the Pharisees here, we must not shirk, we sit at the corner, unaware the
Thrust stage puts an entrance and exit next to my nervous knee and trippy foot.
Oh, wow, and then, and then the lights go down and darkness and then waking into
Café La MaMa intensity – a maid and her hair-tortured victim/mistress, stark in white,
In black, on black, presence in the infinity of this memory palace that goes back to black
And white movies and vaudeville. Wow, and struggle, and the thrown and the swift
Things said and done and quick quick of wit conformed and sleights of hand and
(What is this?) the weakness and desire and denial and control and powers actioned
Between unequals equaled by their cunning and blocked parries – high versus low
versus high – oh thrown aside money that alone allows art to flourish even once.
If these knew surgery I would patient under them, but they are actors, and so higher than CEOs, by gods, what splendid foils and fellows and honesties, robed in simple things, but
Most of all in our humanity.
You know, there was an actor who did two parts, and I never believed he was the same
Actor. There was a cunning shrewd fellow who made his way toward a woman by
Blocking all rivals, who told the truest speech on himself as he spun dying. There was a
Pair of lovers, and another and another. There were dancers crazy as the 20’s, and
A drummer sounding out the deathknell of the funnies, and there was sage old age
Attempting all for money, as I would have kept my ticket money, never knowing what is
Life. There was loveliness confused by love, and all surprise, and all surprise. You know
They came into the audience, they came and talked to us, held hands, sold drinks,
Vomited on me, and I was glad for all the purgatives of this amazing evening, knowing
Finally why the Japanese woodblock artists began by creating celebrity-fawning, adoring
Prints of actors, the only ones who live in public and let us know how alike we are, how
Fallible, how human.
You know, this is a company who could do anything. Only money can ruin them.
Only the lack of money can ruin them. How can money ruin them? I can tell you.
I can tell you from another production by another company I once saw of Moliere,
In which all the lines had been learned, but not one of which was funny, and not a single
Action had ever been thought of, not even a food fight. They had an expensive theatre,
Many donors, real estate companies bragged about them and raised home prices near
Them, they were the epiphany of success, and a mediocrity. Compared to this, a failure.
Quintessence: how Elizabethan a term. Strange that it might actually mean something
Again. Kudos! (That is Greek) To all of you, down to the stage manager, who also moves
With grace and mastery, conducting timings in the night-room of the mind. Every one of
You, to the placer of the ukulele under a corner of the stage. You are the Guthrie Theatre
Of our City. Play it again. Play it again. Play it again. We’ll never tire of a passion
Such as yours.
John Sevcik
BRAVO TO ALL!!!!!!
WONDERFUL HILARIOUS PRODUCTION…
“ABBOTT AND COSTELLO MEET CRAZY ITALIANS FROM THE 1700′s”
RUN, DON”T WALK TO SEE THIS PLAY>>
Just returned from seeing The Merchant of Venice and still enthralled. Awesome! Extraordinarily well done. The acting is excellent! The absence of scenery and the simplicity of costuming brilliantly enables the audience to focus on the acting and the language, both of which are stunningly rendered. What a treasure we have in this company!! If you possibly can, see this performance before it closes!!!!