Word: played
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Dates: during 1970-1979
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...play's main conflict stems from France's support of the pretender Arthur, who is John's nephew. Arthur has taken refuge across the Channel with his mother, and war is already brewing in the opening scenes. But the countries avoid full-scale war through a marriage between the Dauphin and King John's niece...
...King's advisers, suspecting foul play, defect to France before Hubert confesses to John that Arthur lives. When Arthur dies trying to escape, the nobles find his body outside the city gate and grow more incensed. The French invade England under the Dauphin's command, only to be beaten back. The nobles find it expedient to return to John's fold when they learn the Dauphin plans to kill them. By now the King is a broken man who dies of poison, the ever-loyal Phillip the Bastard by his side...
Isham sparkles in his role as bastard son of Richard Coeur de Lion, a true-hearted Englishman ready to defend King and country against all comers. He baits his enemies and prances and banters during his soliloquies in the first half of the play. Isham's natural improvisations establish a rapport with the audience, which surrounds the Mather House stage on three sides...
Unfortunately, Isham's Phillip spends a lot of his time in the second half doing battle, as the play's complications take a more serious turn. Shakespeare uses Phillip's moral rectitude as a foil for King John's growing deceitfulness...
Director Greg Delawie has let all the lady's flabby flesh burst through her corset. He retains unaltered the play's weakest scenes, and even attempts to squeeze a size-14 chorus on the size-6 Dunster stage. The cast gamely bounces around but constantly risk stubbing toes on the furniture. When it isn't under orders to move, it sits blankly on the stage, obscurred from the view of everybody sitting farther back than the third...