Authenticity provides another element for Richard

Quantum Theatre’s production of Shakespeare’s “King Richard II” delivers stellar performances,… Quantum Theatre’s production of Shakespeare’s “King Richard II” delivers stellar performances, but is trapped in a crowded house. Director Karla Boos chose to stage the play in the MacHemp Building, an abandoned ironworks and office complex on the South Side. What the venue brings to the table in the way of ambiance, it retracts in visibility. Large wooden pillars stand as obstructions in front of, and even on, the stage. Careening necks and leaning audience members counteract the benefits of having a real dirt floor with authentic stone walls.

Behind the dust-covered columns, however, rest gems. Peter Duschenes, leading the cast of 18, plays a fine Richard. Highlights of his performance come in three particular scenes: the handover of the crown, the prophecy to Northumberland and the final battle. Of the three, the crown scene stands as the pinnacle of Duschenes’ work. Before smashing a mirror in a fit of resurrected fury and livelihood, he lures the audience into his hand, only to tickle them ever so slightly with the comedic offering and retraction of his crown.

David J. Cabot gives a brilliant performance as Thomas Mowbray. Bubbling with emotion, Cabot literally shakes, as he boils over with rage toward his accuser in the opening scene. It’s unfortunate that Cabot wasn’t suited for a larger part, but certainly his gift to the stage as the banished Duke of Norfolk is undeniable. Ethan Hova, likewise, makes the role of Aumerle his own, with a sharp tongue and equally sharp acting.

The play, while largely a historical tragedy, does on several occasions interject humor to ease the dourness. The success of these relapses never soars so high as when the Duchess of York, played by Mary Rawson, pleads for the pardon of her son. On her knees she begs the newly appointed king to forgive him for the crime of treason. All the while, the Duke of York (Rick Kemp) begs for the hasty punishment of his son, who joins his parents on bended knees. The three bowing nobles spiral and wrestle among themselves while Rawson spits out a desperately amusing appeal.

The entire cast exhibits talented body and facial control Much of the drama can be read in the poses of the actors before a single word is spoken. This triumph, however, only exacerbates the staging flaws, casting full light on the room’s lacking. This is not to say that the house is without any compensation.

The dirt floor of the MacHemp Building’s former loading dock brings a literal sensibility to the oft-lofty dialogue. “This blessed plot, this earth, this realm, this England,” Jay Keenan cries as John of Gaunt in the second act. There is certainly something to be said for the difference between what this line means on a polished modern stage and what this line means in a broken shell of a building with the earth visible and clouds of dust rising from dramatic pounds of the actors’ feet. But beyond these swift rewards, the producers should have remembered to keep the show visible to the average theatergoer.

“King Richard II” runs Wednesdays through Sundays in June at 8 p.m. Tickets are priced from $20 to $25. For tickets, call ProArts at (412) 394-3353.