Is Shakespeare loquacious? Reading the last pages of Richard III one might think so. King Richard speaks his way into oblivion.
He seems to be made of words—his actions secondary, the description being all. This, after all, is a character who succeeds in wooing a widow over the coffin of a close relative, and after the deed, tells us about it as if we didn’t get it the first time. His comeuppance arrives eventually, and true to form, he is ready with a virtuoso description of the situation. He is always and everywhere a soliloquist. Richard’s words are a virtuosity. Hamlet’s words are long-considered, pondered. Richard finds his demise at least as theatrical as his life, and when the end comes, Marlovian rant rules. Needless to say, this requires spectacular acting.
Let me say at the outset that Frank Kelley is one of my favorite singers. His sound is his own. Valuable singers sound like themselves, and no other. Mr. Kelley is a generous performer He gives it all he’s got. In this regard he reminds me of the great Norman Treigle. It was a frightening experience to be on stage with Treigle. So great was his concentration, you feared for him, and you feared for yourself. Mr. Kelley is a born story-teller.
Another first-rate show from The Comedy of Errors actors at Shakespeare and Company. With effortless mutability the bunch took up a drama of great seriousness by Lolita Chakrabarti. John Douglas Thompson, great actor that he is, joined and performed the role of Ira Aldridge to perfection. Wonderful about this production was the way theatre itself became the story, and the story became theatre.