“Chased by a Bear
Whyte Concert Hall, Royal Irish Academy of Music
★★★☆☆
The statement “Chased by a bear” is a theatrical indication taken from The Winter’s Tale. This Shakespearean play, which transitions between tragic drama and rom-com, entails two kingdoms led by long-time friends; King Leontes of Sicilian, and Bohemian’s king, Polixenes. While Polixenes is on a state visit, Leontes falls into the deceitful trap of his suspicious thoughts, accusing his expecting wife of infidelity with the Bohemian king, hence, planning his assassination.
Polixenes successfully flees; however, the cycle of disaster has begun, which eventually leads to the downfall of many, causing death and expulsion of several members of the Sicilian court. The tale resumes 16 years after, showing the two families attaining partial redemption via the loving marriage of Florizel, Polixenes’ son and Perdita, Leontes’ long-lost daughter.
In a novel turn of events, Pan Pan theatre group’s reconstitution of the story hinges on the bear, whose abrupt and savage entry in the third act heralds a ghastly fate for one character. Some historians speculate that Shakespeare might have intended a real bear to be present on stage, a not so uncommon practice in Elizabethan England. The play is predominantly dated to 1610 or 1611, and some others believe it was a costumed actor who would have exaggerated his comical look for amusement.
Chased by a Bear, essentially, is an informal reinterpretation. The group chooses vital scenes from the Shakespearian plot, and actors deliver their dialogues in verbatim. Manuel Zschunke notably stands out as Leontes, representing the king’s pendulum swing between a murderous jealous rage in the initial half, to a clear-headed, remorseful state in the latter.
Chased by Bear: Pan Pan’s informal reiteration of the Shakespearean play showcases remarkable skill and craft.
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The production shies away from being a mere recasting of the original, instead intermixing it with divergent plot elements. This is evidenced right from the outset when the actors, amusingly adorned with bear costumes, are assigned their roles derived from Shakespearian drama. The narrative is interspersed with breaks, such as the peculiar scenario showcasing Faith Jones chewing a toy spider off-stage, absorbed in her headphones while the play progresses.
Gavin Quinn, the pilot of this creative expedition, showcases moments of true craftsmanship among the cast, none more striking than the ingenuity of Mollyanna Ennis’s captivating dance, roughly in the second half of the act. Her performance enlivens the space akin to a loose, startling bolt of lightning taking centerstage.
Not all segments hit the mark, however. The attempt at comedy at times feels askew, the jokes faltering a notch and the comedic episodes drawing out bit too long, eventually losing steam.
The timeless dialogue of Shakespeare remains a constant amidst these shifting elements. Despite the uneven journey, the proficiency of the performers manages to seize your attention.
The spectacle continues to unfold at the Whyte Recital Hall, as an entrant in the ongoing Dublin Theatre Festival, until Sunday, October 13th.