BSF vivifies Shakespearean romance
The crown jewel of the Baltimore Shakespeare Festival is its new, historically accurate Elizabethan stage. James Kinstle, artistic director since 2000, spoke of the stage as a proud parent. He said construction began in January and was completed for the current production of Romeo and Juliet. Modeled after the Globe and Rose Theaters, the traditional Shakespearean stage includes a second tier, or overhanging balcony, supported by wooden pillars. The multidimensional stage allowed actors in Shakespeare’s time to interact with both the poor, rowdy theater-goers standing in the pit and the wealthy benefactors seated in the upper levels. The audience space of St. Mary’s is cut in half and redistributed to both sides of the stage. This completes the creation of a traditional thrust stage, which allows the audience to feel an intimate connection with the play’s action. The construction of the Elizabethan stage has also increased the respectability and professionalism of the company as a whole.
Romeo and Juliet, which opened Oct. 6, christens both the newly built stage and the BSF’s 11th season. Upon walking through the red velvet curtains into the theater, the mellow notes of classical guitar and flute are heard resonating throughout the room. Situated in the balcony are two costumed musicians whose music transports the audience into another time. Above the balcony is a mural of natural perspective of the sun and moon illustrating the union of two opposing forces – a lingering theme in the performance.
In true theatrical tradition, the entire cast comes into the theatre to begin the performance. The audience applauds to welcome the performers as they bow and curtsy. The cast wears authentic Shakespearean costumes. Rich colors of crimson, midnight blue and hunter green in luxuriant textures swirl around on stage. The full-length skirts, pantaloons, plumed hats and headdresses sparkle with gold trim.