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Corleone: The Shakespearean Godfather |
Through 11/18/2007
Reviewed by Chris Gibson
It might seem odd to combine the words and style of William Shakespeare with the pulp fiction of Mario Puzo, but David Mann's play, Corleone: The Shakespearean Godfather, succeeds in achieving this remarkable feat.
The NonProphet Theatre Company is presenting a revival of their acclaimed production featuring the return of nearly all of the original cast members. Be aware that Mann's work is not some literary stunt, but an ingenious re-telling of the story.
Puzo's tale follows Sicilian immigrant Vito Corleone who has risen from poverty to become the head of his own mob family. But it's now 1945, and the business of crime has changed. As Vito faces his own mortality and a market inclined toward narcotic trafficking, he's forced to consider a possible successor. Sonny, his eldest son, would seem to be the logical choice, but his violent temper is a hindrance to his ascension. And Fredo is far too feeble minded and easily swayed to serve. So, the task falls to his youngest son, Michael, freshly returned from the war and vehement about his distaste for the family business. As the plot unfolds, events transpire that wouldn't seem out of place in any Shakespearean tragedy.
In Mann's world the Don is a King and KDHX's own Chuck Lavazzi is effective in the role. He embodies the soul of a man torn between the desire to see his son lead a legitimate life and his need to have him take over the reigns of his kingdom. Richard Strelinger makes a strong impression as Michael, the prince who would be king. His interpretation is serious and free of imitation. Aaron Orion Baker brings the villainous Sollozzo to life, re-imagined here as a sort of Richard III, scheming to usurp the throne by carving a murderous swath through the Corleone family.
Charlie Barron gives hot-headed Sonny a physical presence despite his slight frame. And like Hamlet's father, comes back as a ghost after his murder to warn Michael of impending danger. Joseph Garner brings his usual manic energy and loose limbed antics to a variety of characters including Fredo. B.Weller is sharp as family counselor Tom Hagen and singer Johnny Fontane, among others. Tyson Blanquart generates a lot of laughs, and is especially funny as Luca Brasi. His wedding day speech to the Don is a hilarious bit of mangled verbiage.
Nicole Angeli gives the proper WASP-y edge to her part as Kay, Michael's intended before a moment of revenge sends him back to the old country to hide. Julie Venegoni also delivers in multiple roles, including battered Corleone sister, Connie.
Robert Mitchell's direction is focused and clear. Though told in Shakespeare's language, there's never a doubt about the nature of the action taking place on stage. Whitney Elmore's fight choreography is smartly conceived and executed. Nick Uhlmansiek's lighting is cinematic, evocative and, at times, purposely under lit.
Mann's script is witty and clever, liberally borrowing many familiar elements from Shakespeare without being heavy handed about it. Having just seen Measure for Measure the night before, I instantly recognized Michael's disguise as a Friar as a direct lift of the Duke of Vienna's masquerade.
The NonProphet Theatre Company's production of Corleone: The Shakespearean Godfather continues through November 18th (2007) at the gorgeously renovated Ivory Theatre in south St. Louis. Call 314-752-5075 for ticket information.
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