Felipe Harris gives a expressive, fervent performance as Elesin Oba. His verbal sparing with Lyaloja (Towanda Underdue) is the highlight of the play. Lyaloja, the “mother” of the market, takes center stage early — her interpretation is powerful and full of depth. Nanna Ingvarsson portrays Mrs. Pilkings and her scene with Olunde is one of the production’s most fascinating. It is a classic struggle of Colonialism vs. that of the Yoruban culture. Olunde has an intelligent well reasoned answer for every Pro-Colonial point taken by Mrs. Pilkings. This scene makes evident Soyinka’s world views without them seeming overbearing.
The scenic design by Misha Kachman is simple but impressive. The Clarke street floor is painted in an African swirling motif and there are two raised, round platforms at opposite ends of the stage – one serves as Elesin’s jail cell in the second act. The far wall is painted plain white and becomes a giant projection screen that is filled with dancing British colonials during the play’s masquerade ball. The effect is positively brilliant without being overdone or campy. The costumes by Genevieve Williams were superb from the traditional African designs to the starched British kakis and red fezzes.The sonic effects by Matthew Nielson, especially the drumming, are tremendous. Speakers are setup at both ends of the long stage area and it serves as a very wide stereo effect. There were times when the drumming made it difficult to understand some of the plays dialogue but I am sure that will be corrected early in the play’s run.Death and the King’s Horseman is an epic undertaking and director John Veereke does an incredible job of presenting it. Pleasing choreography, fine acting and a wonderful story all make for a triumphant production that leaves one to ponder if our idea of “civilization” is better than anyone else’s.
Behind the Scenes of Death and the Kings Horseman By Debbie Minter Jackson Sunday’s post-performance discussion of Death and the King’s Horseman reinforced the importance of this remarkable play at the Washington Clark Street Theatre. Don’t get me wrong—the high quality of the production is definitely reason enough to see it: the powerful performances by the cast, masterful use of the cavernous space, exquisite execution of the director’s vision, and topical relevance of the multi-layered themes. The production should not be missed, if only to bid farewell to the space that has served the theater community so well (in a funky, sometimes uncomfortable, basement artsy sort of way). Plus, this is a unique opportunity to see this renown piece performed with such gutsy passion that one can almost accept the absence of live drumming—almost. Still, the cast members were as mesmerizing in discussion as they were on the set. They offered world-wide perspectives and experiences in their approaches to the piece, and they dug through the many layers of meaning that permeate Horseman. We learned that the multiracial cast rehearsed separately –the villagers and the Brits—until just weeks before tech, bonding within their own circles, resulting in an explosive energy dynamic when they finally combined. They shared emotional journeys, coming from multi-cultrural backgrounds and ancestry. One of African heritage shared how his own grandfather in the “King’s Horseman” position refused to carry on the dying tradition. The actors immersed themselves into their characters and recognized that the struggle of the play goes far beyond the surface “culture clash” while acknowledging the play’s relevance to today’s incendiary times. “People basically need to be listened to and respected,” one shared, “whether in their personal lives or as an entire culture.” The Washington Shakespeare Company will be hard pressed to follow up with a more relevant, topical, or powerful piece.
As a Casting Director Towanda Underdue is one of the most professional wonderful actresses I have me in the business. Iam very proud of her.
I am writing to you for help for my A level Theatre Arts Research Commission. I need directorial advice and would like to know what rehersal techniques you used for this particular production what type of set/stage did you have, costumes, how did you help people connect with their characters. I would be very grateful if you could replay as soon as possible.
Thank you once again.
KellySummer – KellySummer