Review: ‘An Improbable Fiction’ a sublime ode to Bard

Still clever. Still witty. And at times, funny. This is the second time I’ve reviewed James DeVita’s “An Improbable Fiction.” In 2020, as part of the COVID-prompted “Out of the Woods” PBS Wisconsin series, I watched a Zoom production that DeVita originally did not want to do; however, persuaded by his colleagues who thought the play had promise, he acquiesced. Thank heavens!

And now it’s 2021, and “An Improbable Fiction” (title taken from a line in “Twelfth Night”: “if this were played upon a stage, I would condemn it as an improbable fiction”) opens the American Players Hill Theatre season.

DeVita, one of American Players’ Core Actors and its literary manager, is a novelist who wanted to be a writer since the sixth grade. DeVita also spent 30 years doing Shakespeare, and with “An Improbable Fiction,” he’s crafted a delightfully heartfelt play that is a true celebration of all things Shakespeare, presenting some of the Bard’s most popular characters.

DeVita centered his idea on the historical belief that Shakespeare wrote his greatest words during the plague when the theaters were barred and shuttered. He adapted Shakespeare’s words into his play; he believes 80% of the dialogue has been pulled from Shakespeare’s language but taken in different contexts. For example, Cleopatra might speak lines attributed to Hamlet or Othello. But you don’t have to be a Shakespeare fan to appreciate this show. As directed by Tim Ocel, this is a poignant and imaginative play.

Set in the 1600s at the Boar’s Head Tavern during the time of the plague, six of Shakespeare’s most recognizable characters have gathered to commiserate their situations. They strut upon a set designed by Nathan Stuber, in costumes by Scott A. Rött.

The boisterous and blustery Sir John Falstaff “buried and bereft of friends” is mournfully holding court (“It’s not the damn plague will kill me, it’s the solitude!”) with Mistress Nell Quickly until his friends enter, seeking refuge from the infectious streets and populace. The “riches of his kingdom” arrive one by one: Cleopatra, Othello, Juliet and The Messenger. By the way, Shakespeare is about to lose The Globe Theatre (“our wooden home, our essence”). The Privy Council has closed all the theaters; the rent is due, and the actors must be paid. He wants to take “The Merry Wives of Windsor” on tour in the countryside to help his financial situation and escape from the plague.

Happily, Brian Mani returns as Falstaff, fully embodying the role. Wait till you hear that magnificent voice. Mani also can sing and dance and deliver magnificent speeches even when sword fighting. He sports an eloquent silver mane and beard.

Fortunately for Falstaff, The Messenger arrives and is the recurring joke, the principal source of comedy – “I don’t have a name in particular” – but the characters recognize him in one guise or another: Gentleman #4, sailor, Musician #3, soldier, Serving Man. Ronald Román-Meléndez is a very believable and athletic messenger who can play the guitar, and is both an innocent as well as enthusiastic actor.

Mistress Nell Quickly is the sounding board, pacifier and support for Falstaff and all the characters in one way or another. “I run a tavern, I never get paid, I don’t have a play named after me, and I only speak prose.” In 2020, I wanted to see so much more of actress Sarah Day in that role; she is the ideal proprietress with the heart of gold who wants comfort and peace for all within her tavern. With the rewrite, Day has more action, more lines, and her character’s relationship with Falstaff is clarified and strengthened. Day is a confident and compassionate actress.

A majestic Othello, portrayed by Chiké Johnson, has yet to strangle Desdemona; she is at her father’s until the plague is over. Johnson possesses a melodic voice, boldness, dignity, authority and a surprising sensitivity. “No color could they see, then was I the noble lord.”

Tracy Michelle Arnold is Cleopatra; she roars in looking for her false love, Marc Antony. Thoroughly dramatic, she screeches and even gets to chase The Messenger all around the tavern. Arnold excels at histrionics, and is a spitfire actress who yet shows a calming change. Her delivery of lines about politics and truth are topical, and I particularly applaud Arnold’s delivery of “I ruled for 22 years, and what am I remembered for today? Antony and an asp.”

Melisa Pereyra’s Juliet is an independent, no-nonsense woman: “My tongue must tell the anger of my heart.” She’s upset with her father who “torments” her and would “enchain me”; she’s also not too happy with her forever association with Romeo. Pereyra is heroic; “men fashion our lives according to their desires” is a strong statement she delivers with aplomb.

These are all absolutely talented performers, some of whom we’ve been fortunate enough to see in previous American Players Theatre productions.

But be prepared for Act Two, which takes a serious turn. The characters all have taken control of their lives, and there is an attempt to take an ill Falstaff “of fractured heart” out on that “Merry Wives of Windsor” tour. But, of course, the Privy Council’s watchers have nailed a quarantine sign on the tavern door – no one is going anywhere.

The play runs one hour and 45 minutes with no intermission.

Welcome back, American Players Theatre. The magic is brilliantly back onstage in those woods of Spring Green. And thank you, DeVita and Shakespeare, for your words.

• Regina Belt-Daniels has long been a Shakespeare fan, even appearing in “Much Ado About Nothing” and “Romeo and Juliet.” Currently serving on the boards of RCLPC and It’s Showtime, she is more than delighted with the return of live theater onstage, and live, breathing audiences. To quote Falstaff, “a pox on the plague!”

IF YOU GO

WHAT: “An Improbable Fiction”

WHERE: American Players Hill Theatre, Spring Green, Wisconsin

WHEN: Through June 26

COST: Starting at $56 for live performance; also available digitally

INFORMATION: www.americanplayers.org