Out in Concord, Delphi to the Athens of America, Thomas Caron's underfunded Town Cow Theatre Company soldiers on with the seldom-seen "The Life & Death of King John". In their third season in narrow Ann Chamberlin Park beside the Christian Science Church in Monument Square. With the director once again in the title role, they manage to get through this rewrite of history in under two hours. Using only natural light, backed by some purple and black drapes plus the trees, and competing with commuter jets from nearby Hanscom Field, the company plays the verse with conviction. Costumed in modern black with a few accouterments like swords and crowns, with a freestanding staircase plus a small platform for the wooden arm chair which serves as a throne, a cast of 16 plays the courts of England and France, and all the machinations of this late Shakespearean historie.

The title character is pivotal to the action, but the most dynamic role belongs to Jay Newlon as the Bastard, Philip Faulconbridge, the illegitimate son of John's oldest brother, Richard Lionheart. The plot revolves around the support of Phillip of France, sturdily played by John McAullife for Prince Arthur, the young son of the middle brother, Geoffrey. The boy is well-played by Alexander Brako Sayde; his fiery mother Constance, who's pushing her son's kingship, is vividly portrayed by Town Cow regular Lida McGirr. Lis Adams is not quite her equal as the fabled Elinor of Aquitane, John's mother, who dies offstage leading her army in France near the end of the play. Young Sarah Morrison is convincing in her brief appearance as Princess Blanch, wed to the Dauphin for political expediency, while Pamela Dritt carries off the Bastard's mother with affrontery.

Among the younger actors, all of whom handle verse quite clearly, Kevin Shoemaker is dashing as Lewis, the Dauphin, while Chuck Schwager plays Chatillon, the Herald of France in the beginning, then returns to play a pivotal death scene at the end transferred to that character as per usual practice. Chris Lockheart plays three minor roles, and should at least be given a coronet for his final appearance as Prince Henry, John's son who doesn't appear in the play until then. Tony Dangerfield handles Cardinal Pandulph, displaying his years of experience, while Myron Feld makes Hubert from Angiers sympathetic and effective, and wears appropriate headgear. The whole cast should do so, particulary when doubling.

"King John" is one of the plays in the canon that really could use a prologue and a chorus. Absent that, the audience needs at least to get a geneology in the program to help sort out allegiances. The political machinations and bellicose patriotism of the piece are not so irrelevant today as they might have seemed not so long ago. Theatre groups like Town Cow deserve encouragement and support for bringing the lesser known plays before the public--they began with "Timon"--as much as well-connected and showy civic efforts like Commonwealth Shakespeare. Check out their Website. Watch for announcements of contemporary plays as well.

Will Stackman
On The Aisle

Politics and power in the park

The young Town Cow Theater Company presents its fourth production, William Shakespeare's "The Life and Death of King John," with an energy and conviction that transports its viewers to the world of 13th century Europe.

In the outdoor setting of Concord's Anne Chamberlin park, the troupe depicts the tale of King John's struggle to maintain his power in the midst of political turmoil. Feuding between the English and French royal families is alternately soothed and aggravated by the desires of ambitious mothers, young lovers and church authorities, leading ultimately to tragedy. The production portrays the maneuverings and machinations of the English and French courts simply but effectively.

Thomas Caron, producer, director, and actor in the play, said "King John," one of Shakespeare's most political works, is a good choice for an election year. But Caron also said he "want[s] the nature of the group to dictate the play." The company is already familiar with Shakespeare's style, having previously tackled "Hamlet" and "Timon of Athens," and seemed a perfect fit for "King John's" characters.

Caron is focused on the cultivation of a seasoned, cohesive ensemble; and the current group, clad simply in shades of black and gray, delivers in "King John." The actors' enthusiasm reveals a dedication to both the craft and Caron. Sets and costumes are minimalist, but the cast's efforts create an appropriately majestic, dramatic scene despite the lack of material pageantry.

Margaret Fuhrer
THE CONCORD JOURNAL