One of theater's assets is theatricality. That asset shines brightly
in the Seattle Shakespeare Theatre's production of "Wild Oats," currently playing at the Center House Theatre.
"Wild Oats," which premiered in 1791, boasts a preposterous
plot played out by fantastical characters. The Shakespeare Theatre production
offers a rare opportunity to enjoy inspired silliness.
The show requires a certain amount of patience, however. It really is
idiotic. Nearly 2 1/2 hours of idiocy require a relaxed, permissive attitude.
Given that, however, "Wild Oats" is good fun.
Until now, SST has devoted itself entirely to works by William Shakespeare. "Wild Oats" is at least saturated with Shakespearean quotes
and misquotes. Its main character, Jack Rover, is an actor who can hardly
open his mouth without declaiming snippets from "Hamlet," "Lear,"
"Richard III."
These tragic additives mixed in with the frothy farce of Jack's life
account for a good deal of the humor in "Wild Oats." As Jack,
Jason Cottle portrays a hyperenergetic performer who is always "on." The excellent Cottle mixes explosive splutter with sly byplay worthy of
Groucho Marx.
The Royal Shakespeare Company rediscovered "Wild Oats" after
the play had been pretty much forgotten for 150 years.
After the RSC produced "Wild Oats" in 1976, it quickly became
a favorite with companies all over the English-speaking world. The Bathhouse
Theatre here produced "Wild Oats" in 1985.
Playwright John O'Keeffe (Irish, 1747-1833), was no less fond of mistaken
identities and long-lost relations than Shakespeare himself. The plots,
and subplots, and sub-subplots of "Wild Oats" defy concise description.
Suffice it to say that Jack isn't really an orphan. His friend Harry
is not really an actor. Harry's father, Sir George Thunder, is not really
a widower. Farmer Banks is not really a simple-minded rustic. Banks' sister
Amelia is not really a widow. And Ephraim Smooth is not really all that
virtuous.
The important thing, however, is that Lady Amaranth really and truly
is virtuous -- as well as rich and lovely. So things work out.
Heather Guiles is giddy and sentimental as good Lady Amaranth. Brandon
Whitehead is smarmy and nutty as bad Ephraim Smooth. Kelland Lindsey is
slick and devious as the playboy Harry. Sir George and his valet, played
by Jim Dean and Keith Hitchcock, respectively, would be better off with
a little less bluster. In general, the whole company would be well-advised
to cut back a bit on its sometimes unintelligible spluttering and dithering.
The 15 cast members, some of whom play three or four parts, all seem
to be having fun, and apparently director Stephanie Shine had a lot of
fun getting this crazy contraption up and running.
Amusingly cartoony scenery and costumes, by Jeffrey Cook and Deborah
Skorstad, respectively, reinforce the jolly mood. Even changes of scenery
are jolly. They are accomplished by four zany characters who do the
heavy lifting while cavorting and capering.
