The Oregon Shakespeare Festival, 1956

Abstract

HE originators of the Ashland Shakespeare Festival, established in I935, take honest pride in being American's oldest organization devoted to the production of Shakespeare's plays on the stage for which he wrote them. However, it is their actual achievement, rather than mere survival, for which they are most to be commended. Next year's productions of Henry VIII and Pericles and the I958 Troilus and Cressida will mark completion of the full canon of Shakespeare's accepted plays. It would be very apt if Professor Angus Bowmer, sole begetter of this fine enterprise, should speak the prologues in these performances. His constant purpose has been to catch Shakespeare's song and to convey to ever-growing audiences as much as possible of the delight he brought to those who first saw the plays. This year's season was marked by the now traditional variety, four plays running in cycle, so that on any four successive evenings patrons could enjoy Love's Labour's Lost, Romeo and Juliet, Cymbeline, and Richard III. As is customary with the more esoteric plays, Titus Andronicus was offered in two performances at the end of the season. This robustly sanguinary production was directed by Mr. Hal J. Todd, also director of Romeo and Juliet. Aaron, the sinister Moor, was ably portrayed by William Oyler, whose interpretations of Tybalt and Cloten established his versatility and technical skill. Irene Baird, as Tamora, always effective, was striking in Douglas Russell's very convincing headdress and costume based on the unique Peacham sketch.' Actually there are no stars in the Ashland company, except for those which hang aloft overhead. The Great Bear, suspended directly above the balcony, times the unbroken sequence of scenes as it swings around the Pole Star. On the place beneath, some fifty performers, drawn from all parts of the country, combine to bring the plays to life. Joan Kugell flitted through Love's Labour's Lost as Moth, dominated Cymbeline with her deeply felt Imogen, and then receded into the aged Margaret in Richard Ill. Rosalyn Newport achieved a delicately shaded Juliet, which was the most appealing feature of what was otherwise perhaps the least compelling production, appeared as Katherine in Love's Labour's Lost, and served as a mere curtain page in two other plays. Particular evidence that some of the best acting and actors were to be found in minor parts came in Love's Labour's Lost. Two of the directorial staff nicely