Coriolanus

By Victoria Weisfeld

Shakespeare’s most political play—Coriolanus—is on stage at The Shakespeare Theatre of New Jersey (STNJ) in Madison, N.J., through July 24, and a stunning production it is. You cannot help but draw the rough parallels between the story of Caius Martius Coriolanus and the current U.S. political climate, though these associations result more from Shakespeare’s uncanny insights about human strengths and frailties than a precise forecasting of electoral politics, 2016.

Director Brian Crowe’s notes say the play has been various interpreted over the centuries, and that “Shakespeare does not take sides outright, and we will attempt to avoid doing so in this production as well.” There is room for people of all political views to see themselves and their foes in the play’s stirring words.

Coriolanus (played by Greg Derelian) is a military hero, and when he returns triumphant from the battle of Corioli, the Senate wants to appoint him consul, Rome’s highest office. But because of his disdainful regard for ordinary Romans, the two tribunes who represent the commoners oppose him and inflame the mobs against him. The tribunes, played to perfection by John Ahlin and Corey Tazmania (in a brilliant bit of gender-blind casting), are so convinced of the righteousness of their cause, they set in motion forces they cannot control that could lead to Rome’s destruction.

As a result of their hectoring, Coriolanus is banished from the city and allies with his former foes, led by Tullus Aufidius (Michael Schantz), to march on the capital and seek revenge. Only at the last moment does the pleading of his wife (Amaia Arana) and, especially, his mother Volumnia (Jacqueline Antaramian) persuade him from his course. Volumnia, who has some of the play’s most powerful speeches, asserts that her son’s valor comes from her. But she is also politic, whereas Coriolanus is rigid and uncompromising.

He believes the noble patricians should rule the city by birthright (classic 1% thinking!), while the people’s tribunes say, “What is the city, but the people?”

Throughout the play the metaphor of the “body politic” appears, first formulated by patrician Menenuis Agrippa (Bruce Cromer) and mockingly referenced by Coriolanus in addressing the plebeians: “What’s the matter, you dissentious rogues, that, rubbing the poor itch of your opinion, make yourself scabs.”

Although these words were written four hundred years ago about the inhabitants of Rome some 2100 years before that, more than one departing playgoer said some version of, “Things never change.” STNJ calls it “a perfect Shakespeare play for an election year.”

It’s exciting to see a cast of some two-dozen players—all of whom appear on stage in several well choreographed scenes (director Crowe is STNJ’s Director of Education). The minimalist set is visually interesting and opens to reveal a shining Roman eagle, variously lit to dramatic effect. Kudos also to the excellent sound design.

Production credits to Dick Block (Scenic Designer), Denise Cardarelli (Production Stage Manager), Karin Graybash (Sound Designer), Andrew Hungerford (Lighting Designer), and Tristan Raines (Costume Designer), whose work pulls together beautifully to strengthen the impact of the performance.

For tickets, call the STNJ box office at 973-408-5600 or visit http://www.shakespearenj.org.