Shakespearean tragedy shows human nature stays the same

Considering that Coriolanus, Shakespeare’s second last play is rarely staged, there’s a good deal about Jim Guedo’s production for Freewill Shakespeare Festival that is still relevant today.

Coriolanus is the Bard’s second last play and was never considered one of the great tragedies unlike Lear, Macbeth and Hamlet.

It has a sound structure, but its characters lack emotional and psychological depth and some of the great poetry of previous tragedies is lost.

However, its heavy militaristic themes and suppression of the classes look as if they are ripped right out of news headlines.

It’s shocking to realize that the bloody warmongering raging during pre-Roman times continues today in hotbed regions throughout the world.

In this despotic, dystopian climate of dog-eat-dog, Caius Martius is a Roman general who is victorious against the Volsican city of Corioles. To honour him, the Roman senate gives Martius a new name – Coriolanus.

Rome is in a transition state from a monarchy to a republic and Coriolanus requires the approval of the people for this new honour.

Born in the patrician class and groomed to command, Coriolanus is unmatched on the battlefield. He is the ideal hero – brave and extremely honourable. Unfortunately he is also proud, arrogant, immature and inflexible to a fault. Even though sworn to protect Rome, he is contemptuous of the plebeian class.

A defender of the people, he is a man totally lacking the common touch and living in a republic he despises yet helped create. John Ullyatt’s Coriolanus is angry from the get-go and seethes at making humble compromises. He shouts. He rants. He pontificates.

However, Ullyatt is less successful in conveying tenderness for his loyal wife and resentment toward his overbearing mother.

Volumina, Coriolanus’ mother, is the quintessential dominating mother who has moulded her son from birth to be a great warrior. She’s a controlling mother without a husband who can only influence through her son.

Volumina revels in her son’s exploits and his scars. Guedo also presents her as incestuously inclined towards her son. Actor Belinda Cornish is a powerhouse in the role, but the incestuous bit doesn’t feel right.

Sicinius (Farren Timoteo) and Brutus (Ryan Parker) are the two manipulative tribunes, two silver-tongued snakes that manoeuvre Coriolanus’ ouster. They are so relatable we still see their slimy ilk on television today.

Robert Benz completely charms as Menenius, the empathetic tribune that attempts to deliver compromises. And Nathan Cuckow as the jealous Aufidius, who is both Coriolanus’ greatest rival and protector, delivers an assaulting performance.

Also, as sound designer, Guedo adds booming Taiko drums that enhance the militaristic vibe and stylized battle scenes.

This may not be Shakespeare’s greatest work, but it definitely is worth the price of a ticket. It runs until July 18 at the Heritage Amphitheatre in Hawrelak Park.