by: Jessi Hafer

Theatre Ventoux boldly embraces Richard II, a generally unfamiliar Shakepeare play, and gives it a fresh and enthralling vibe in This Flattering Glass. This adaptation sounds true to the original, complete with “thou hast” and so forth. Visually, it looks more like an episode of the Sopranos or a classic film noir, with a carefully crafted visual style generated by sleak suits, lighting and shadows, a quick shot of alcohol between lines, actor mannerisms, and a drawing of “swords” by way of aimed guns. The play opens with a montage of quiet misdeeds set to Johnny Cash, the intensity rising through the expressions on the actors’ faces.

Throughout the play, the driving force is not Shakespeare’s words, but the relationships between the characters. Sometimes, in other plays, you get the feeling that those acting, though talented, approach their fellow actors as if they were props. In Flattering Glass, you really sense the magnetism between the actors. It’s not simply how the characters react and interact. The true subjects of the play ARE the depths of what occurs between any two characters. Theatre Ventoux accomplishes this with a natural, genuine feel, through the ways one character will lean uncomfortably away or deeply towards another character, the way they may glance away and then back in distrust or thought.

That said, their moments alone are not lacking either. In speech, they don’t stay still or just talk to the audience, but they are always doing something that feels natural and appropriate. They deliver their lines through their postures. They deliver their state through a controlled move of a chess piece or a more random turn of a playing card.

There is risk in any adaptation in the choices of what to change and what not to change. In general, I wonder about Shakespeare adaptations that update the people without updating their speech. Why call the leader with a tie and a gun a king rather than a president or mob boss? Why call a gun a “sword,” even if tongue in cheek?

That said, overall Theatre Ventoux maintains the integrity of Shakespeare’s story and makes sound artistic choices. Historic notions of the divine right of kings (and their modern and ubiquitous equivalents) were delicately and continuously interwoven into the production’s more modern appeal. Matt Otstot is fantastic as King Richard, slimy and sleek. Angry characters (and there are many) are seething and subtle rather than explosive and uncontrolled. Those entrenched in their conniving approach their cooperatives with the caution of politicians.

Theatre Ventoux graciously cut some of Shakespeare’s original characters, shaving away some of the unnecessary duration without compromising the story. Those that are left are adeptly brought to life by several of Fresno’s finest: Ronald Blackwell, RJ Blak, Hal H. Bolen II, Melissa Geston, Arthur Koster, Rene Lastreto II, Renee Newlove, David P. Otero, Jessica Reedy, Julia Reimer, Gregory Taber, Stephen Torres.

All of the elements of This Flattering Glass come together to create an artistically mature and refined experience, a truly commendable accomplishment for the company’s first full length production. I hope you get a chance to catch one of the four (as of this posting) remaining performances: Friday, May 4; Saturday, May 5; Friday, May 11; and Saturday, May 12. All performances are held at the California Arts Academy at 4750 N. Blackstone at 8pm. Personally, I can’t wait to see what Theatre Ventoux comes up with next.