Not many of us know of Aphra Behn, but we should. She was a woman of intrigue (perhaps even a spy) and England’s first female professional playwright. Behn’s first days as a working writer are the topic of Seattle Repertory Theatre’s current production, Or, by playwright Liz Duffy Adams. Make no mistake, this play about the Restoration Era of England (circa. 1660-1700) is a historical fiction, not a biopic. It is also a funny, exuberant and thought-provoking glimpse into an era of theatre history tucked between the heyday of Shakespeare and the advent of the modern-style musical. Most of all, it’s a great show.
Adams’ script blends elements of the classic and the modern into a largely comedic 90-minute narrative; the phrase “an intriguing romp” may sum it up best. The three actors in the show share a wonderful rapport with the audience and with one another. Kirsten Potter in the role of Behn is energetic yet enchanting, classy and sexy all at the same time, as are her co-stars Basil Harris and Montana von Fliss. Harris and von Fliss each take on a range of roles, from a jailer to a housemaid to a cuckolded spy. Harris stands out in his portrayals of Lady Henrietta Maria D’Avenant—the first female theatre producer in England—and King Charles II, a man we should remember for (finally!) allowing women to perform on stage. Von Fliss’s take on Nell Gwynn, a prominent actress of the day who would become King Charles’s mistress, is also very well done. The play, however, rests largely on Potter’s shoulders and her energy and enthusiasm are remarkable. Her Behn craves to remain an independent woman while becoming a celebrated playwright, and we find ourselves rooting for her as she pursues both.
Scenic Designer Matthew Smucker’s set, particularly the white, picture frame border around the stage, is both metaphoric and functional and works wonderfully with L.B. Morse’s lighting design (and vice versa). The actors are beautifully costumed by Catherine Hunt, and Potter’s costume is particularly remarkable for both its sumptuousness and its ambiguity. It’s a lady’s dress, a man’s breeches, and an operative’s disguise, all depending on how Potter is positioned on the stage or how you choose to look at it. (Her black-painted fingernails are a nice, modern touch, too). She is truly an embodiment of the “otherness” encapsulated in the title of the play— Is she more male or female? Is she a poet or a spy? Is she a respectable widow or a “fallen woman”? Why either? Why not both?
Or,. By Liz Duffy Adams. Directed by Allison Narver. Seattle Repertory Theatre, 155 Mercer Street, Seattle. March 23 – April 22, 2012. Tickets and information at www.seattlerep.org.