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Reviews of CT20 Ensemble's THE FAIR MAID OF THE WEST
The following review for CT20 Ensemble's production of "The Fair Maid of the West" appeared in the Chicago Tribune, November 25, 1994:
THRILL SHOW
By Lawrence Bommer
In the riotous spirit of swashbucklers like "The Pirate" and "Captain Blood", CT20 Ensemble's "The Fair Maid of the West" offers rollicking excitement- pulse pounding, cinematic swordfights and eloquent but never campy performances. Even the audience participation bits come off brilliantly.
Cleverly adapting this two-part romance-adventure by Thomas Heywood (written in 1604 and 1631), director Kevin Theis streamlines the pile-driving story into an avalanche of absorbing incident and dazzling derring-do.
Fueled both by testosterone acrobatics and a feminist ethic, "Fair Maid" celebrates the love of Bess Bridges, a gallant and virtuous barkeep, for Spencer, a privateer-adventurer about to embark for the Azores.
Fate and numerous cliffhangers seek to separate- and unite- the ardent lovers. Exiled from England for killing a fool in a duel (one of many awesome combats choreographed by Ned Mochel), Spencer is reported to have died abroad. After outfitting a ship to retrieve the body of her beloved, Bess captures the Spanish ship where Spencer is held prisoner- but an inconsiderate storm separates the perfect lovers.
Set on the Arabian-nights island-kingdom of Fez, the second act hilariously depicts pompous King Mullisheg's attempts to seduce Bess and his queen Tota's equally salacious pursuit of Spencer- just as the true lovers are about to consummate their painfully delayed wedding night. Once again, true love wins out, with the help of some ingenious tricks.
There's not a dull moment or weak performance in this thrill show, its rip-roaring, eye-popping theatrics inspired by a rich musical backdrop by Eric Korngold, Sergei Prokofiev and CT20's Susan M. Felder.
Although Heywood's potboiler lacks Shakespeare's lyricism, the tale's clear-cut emotions ring true, thanks to the young and inexhaustible 14-member ensemble. Ned Mochel's Spencer is a knight worthy of this 17th Century legend. Matching him in upright valor is Sara Nichols' title heroine, "a pattern of constancy in love" who grabs Heywood's grand speeches and lifts them to the roof.
Heartiest of the supporting roles are Bess' and Spencer's delightful companions: Matt Kozlowski as a coward braggart who grows into a very boon companion, Ted Koch as Spencer's stalwart buddy, and Matthew Maher as a wittily wimpy warrior. Will Schutz and Felder deftly inflate the pompous Fez royalty, and Steve Juergens reinvents nobility as a kind-hearted Fezzian prince.
The following review appeared in the Chicago Sun-Times on Thursday, December 8, 1994
`Fair Maid' Succeeds as Modern Play
by Avis Weathersbee
The swordplay's the thing that best captures the spirit of "The Fair Maid of the West", an adventure comedy romp through England's romantic Elizabethan Age. However, it's not Shakespeare who navigates these high seas highjinks, but another dramatist of the period- Thomas Heywood.
In the CT20 Ensemble's production (at the Theatre Building), Heywood's "The Fair Maid of the West: Parts I-II" has been delightfully fused into two acts that not only reflect an era gone by, but also offer plenty of contemporary appeal.
The heroine, Bess, is a 16th Century barmaid who falls for a young lord and adventurer named Spencer. The characters' relentless pursuit of their love is what helps them stay the turbulent tides of ill fate and fickle, storm-tossed seas.
The wholly independent Bess (Sara Nichols) is separated from her beloved, who entrusts her with 100 pounds before he hits the high seas after killing a man while defending Bess' honor. Bess uses the money (and 20th Century sensibilities) to establish her own successful tavern- all the while keeping her virtue intact.
When she later receives a false report of Spencer's death, she outfits a ship of her own, dons male duds and bands together a fearless crew to travel to a far-off land to reclaim Spencer's body for burial. And here the adventure begins...
To music of appropriately epic proportions, the players stage thrilling sword fights (choreographed by Ned Mochel), battle for queen and country against the Spanish Armada, deliver their comedic and dramatic lines with equal derring-do and make the two-plus hours fly by on gossamer wings.
Some really terrific personas are created here, particularly by scene-stealers Matt Kozlowski (as Roughman); Susan M. Felder (as Tota, the discontented queen of the mythical island of Fez), and Will Schutz (as her puerile potentate husband Mullisheg). The set design and lighting also add to the rich texture of director Kevin Theis' effort.
And, if this window to the past doesn't provide enough of an epicurean feast, there is also nourishment in the well-worn yet time-tested moral that love, indeed, conquers all.
The following review appeared in the WINDY CITY TIMES on December 8, 1994:
A Feisty Fight
by Elizabeth Wallace
CT20 Ensemble's production of Thomas Heywood's plays, The Fair Maid of the West, Parts I and II, set in the late 16th century, is executed like a well-told children's story, complete with ships sailing rocky seas, life-threatening swordfights, kings and queens, and old-fashioned romance between a fair maiden and her noble hero.
Heywood was a contemporary of Shakespeare, but was renowned more for his adventurous storytelling than his lyricism. Fine, because Fair Maid is indeed a rollicking, fast-paced, fun story.
In this production, Kevin Theis' adaptation and direction bring us a feminist heroine who's beautiful, sharp and fights her own fights. Our heroine, Bess (Sara Nichols), begins the story as a barmaid who falls in love with Spencer, a nobleman. When Bess discovers Spencer (Ned Mochel) has been in battle and is believed to be dead, she takes her fortune and goes traveling on the high seas.
Eventually, Bess and her crew land on the mythical isle of Fez, whose leader captures some of her seamen and holds her hostage. After much drama and some raucous swordfights, Bess and Spencer are, of course, reunited in love.
CT20 Ensemble has crafted a fine production. Theis' direction unfolds the plot like a classic fairy tale. And the ensemble seems to recognize that the play is not to be taken too seriously, that they are supposed to have fun. And they do. The scenes that include audience participation even have participants shouting, throwing plastic muffins and waving flags. And Ned Mochel's fight choreography is dazzling- there are at least 10 different physical fights, all graceful.
Sara Nichols is feisty and energetic as Bess- sort of an Elizabethan dominatrix. Mochel is equally charming as her counterpart, Spencer. Matt Kozlowski and Matthew Maher are effectively comical in the respective roles of Roughman and Clem, sidekicks to Bess, and Jason Eric Hays is wonderfully campy as the Spanish Captain. In the roles of the Chorus and Tota, Susan M. Felder both helps carry the story and provide some of its dramatic conflict.
Fair Maid reminds us of some traditional values- love, honor, loyalty, adventure- without being preachy or trite. Consider it a fun travel into another century.
The following review appeared in Chicago's NEW CITY NEWSPAPER on November 27, 1994:
THE FAIR MAID OF THE WEST
by Jack Helbig
The folks at CT20 have done something marvelous. They have taken a moth-eaten Elizabethan play by one of Shakespeare's less poetic rivals, and transformed it into a terrific evening of swashbuckling adventure in the style of Captain Blood or Robin Hood. Like a number of Shakepeare's plots, Thomas Heywood's story concerns a young woman who disguises herself as a man and sets out into the world. In the case of Bess, the play's exceptionally likeable protagonist - made even more so by the sweet but strong Sara Nichols- takes to the high seas. There, she faces down storms, Spanish galleons, and murderous, libidinous thieves, in search of her lost and presumed dead lover, Spencer (adeptly played by Ned Mochel).
What sets this finely acted, sprightly directed (by Kevin Theis) play apart from other recent attempts to produce seldom-done classics is how much attention has been paid to turning a historical oddity into entertaining and exciting theatre. The costumes are beautiful. The set is simple but compelling. And Ned Mochel's fight choreography is every bit as ingenious as the routines in his lauded evening of fight choreography, "A Night at the Fights", of two seasons ago.
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