By John Lyle Belden
In “Infernal” by Charlotte Markle, presented by the IU Jacobs School of Music, Theatre & Drama, Dante Alighieri’s famous allegory (“Inferno” of the Divine Comedy) gets a treatment he would appreciate, told through the style of Commedia dell’arte.
The 14th-century Italian poet Dante (Plezzance Lawrence), guided by the spirit of ancient Roman poet Virgil (Ava Fefferman), descends through the Underworld with its nine Circles that he made famous. He has come in pursuit of a woman (of course), Beatrice (Eliza Petrova), the divine one that he feels was his destined true love, even though she died.
Done in the trappings of cheap carnival with Medieval clowns gives this an appropriate otherworldly feel, malevolent without being overtly scary – the horror is more in what the damned have brought onto themselves, the tone of mockery lessening the empathy we may feel of their fate. Each Circle is announced with a simple sign. The imps are comical without joy, making the scenes entertaining but never light.
Fefferman’s Virgil looks like a statue brought to life, spry and full of old wisdom that isn’t accountable to Jesus Christ, having lived before him. Lawrence presents Dante in a more contemporary (to our century) mode. The stubborn modern man, he seems more interested in finding the woman – and some bread to eat – than learning the profound lessons before him.
The devilish imps and shades of the damned are portrayed by Bia Bammann, Rachel Dawson, Talon Hawkins, Charlotte Hottle, Sophia Savarese, and Luke Halpin (swing). The semi-mimed antics are relatable to the animated Minions (understanding that today’s yellow guys are derived from the Commedia characters). Most impressive in presentation is the Seventh Circle “forest” of human trees, cursed for Violence Against Self.
Another poignant moment is when Dante encounters Brunetto (Hawkins), an old friend and mentor. He doesn’t feel the man’s damnation is just, but Virgil reminds him that his own judgement of others’ lives delivered the sentence. Dante slowly comes to realize this epic is his own poem – Hell, as he sees it.
In “Infernal,” the clowning delivers the soft touch necessary to deliver the hard truths of life and the consequences beyond it, as well as an examination of the mysteries beyond us. It also delivers a refreshed example of the old saying: When you are going through hell – keep going.
Directed by Samwell Rose, in partial fulfillment of his thesis, with stage design by Spencer Donovan, costumes by Katie Cowan Sickmeier, lighting by Kairon Bullock, sound design by Ben Handel and stage managed by Elliot Straka-Kitch with Daniella Bengis, initial performances were held at the Fonseca Theatre in Indianapolis.
The show continues Tuesday through Saturday, Nov. 10-14, at The Fine Arts Auditorium, 1201 E. 7th Street (at Indiana University), Bloomington. Visit theatre.indiana.edu for details.
