When the English Roundheads under Cromwell lost power in 1660, the monarchy of Britain was restored with a vengeance. Cromwell, Lord Protector, had subsequently died but was exhumed and had his head, coated with tar, displayed outside the Tower of London for the next 30 years. All others who had...
When the English Roundheads under Cromwell lost power in 1660, the monarchy of Britain was restored with a vengeance. Cromwell, Lord Protector, had subsequently died but was exhumed and had his head, coated with tar, displayed outside the Tower of London for the next 30 years. All others who had signed the death warrant for Charles I were drawn and quartered.
Written in 1993 and premiered in London at the Theatre Royal Haymarket, it predates the Alley’s fascinatingis a two-hander, with Shakespeare and soon-to-be rival Kit Marlowe battling in a sexy mano-a-mano dance of one-upmanship. Byzantine Elizabethan politics, theater maneuvering, and even the size of their goose quill pens play into this intricate game.focuses on five actresses and their fate. History and its times will curse them, doom them, or give them unimagined wealth.
There’s no one better in Houston theater to deliver a put-down or a juicy bon mot like Britton. And when she wants to stop the audience and command the stage, she does so in her closing monologue about the horrid treatment of the animals in those infamous bear pits whose entertainment so riveted the Elizabethan audience. She likens actors to those pitiable bears, made to suffer and entertain until they died.
Elizabeth Farley shows early promise on the stage, but is seduced by its glamour and instant fame. Propositioned by the King, she scurries to his bed, only to be cast aside shortly after. When her pregnancy shows, she must leave the company for propriety’s sake. She cajoles the others into performing an abortion – a graphic scene indeed, staged for its grand guignol effect by director Marshall Mays. The pain is too much for her, and she later abandons her baby.
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