By John Lyle Belden
In its present form, Indy Bard Fest’s annual festival goes beyond works by William Shakespeare to include notable stage classics and works that could be considered “Shakespeare adjacent.” In this latter mode, we become exposed to playwrights whose works we might not otherwise see.
“A Bold Stroke for a Husband,” is a 1783 comedy by English writer Hannah Cowley (not obscure in her own day, her hits included “The Belle’s Stratagem”) who liked to include commentary on the difficulties of women in European society. The title (wordplay on that of a similar work of the era) refers not to abusive men, rowing, or a brain seizure, but of women who execute brave maneuvers in order to gain or keep the men of their fancy.
Two main plots run through this play, set in late 1700s Madrid, Spain. Don Carlos (Trent K. Hawthorne-Richards), who left his wife Victoria (Tailynn Downing) and their children to have an affair with Donna Laura (Hannah Elizabeth Boswell), learns his lover has tricked him out of the deed to the estate that had been in his wife’s name. Devious Laura refuses to sign it back, dumping him for another gentleman.
In other events, Victoria’s cousin, Olivia (Wilhelmina Dreyer) has her father Don Caesar (Angela Dill) insisting she commit to a suitor immediately to avoid old-maid status and eventually give him an heir. The gentlemen arrive, first Don Garcia (Katie Brownlee), then Don Vincentio (Jordan Paul Wolf), who are verbally dispatched by Olivia with the aid of her saucy maid Minetta (Rowan Apple-Knotts).
Though, in our closest link to the Bard, we see the lady as a “shrew” to rival Shakespeare’s Kate, Olivia secretly pines for a different man, Don Julio (Ryan James Moskalick), whom she toys with in another way.
Don Caesar, meanwhile, calls his own bluff in that he’d marry the neighbor’s young daughter and send Olivia to a convent if no son-in-law was secured. This is distressing to Marcella (Cass Knowling), the teen in question, as the law and customs of the time would allow for it – but Caesar comes to his senses and insists the girl only pretend their engagement to spur Olivia to action.
Speaking of tricks, Laura’s latest obsession is Florio, actually the desperate Victoria in disguise! A bit of subterfuge with the valet, Gaspar (Tracy Herring), should help to put things right.
This ribald piece of 18th-century feminism is entertaining, funny, and fairly easy to follow. Cross-gender and transgender casting aid the topsy-turvy atmosphere, accented with beautiful costuming by Sue Kuenhold, sharply directed by Max McCreary in the intimate atmosphere of Shelton Auditorium.
The men are buffoonish, but in an appropriately genteel way. Moskalick gets to play the one dude with sense – thus a worthy match for beautifully bold Dreyer as Olivia – though he gets fooled a bit as well. Hawthorne-Richards presents Carlos as downright pathetic, making Downing’s Victoria all the more noble in rescuing him as well as their fortune. Other women get plenty to flex their acting chops, whether as villain (Boswell) or trickster (Apple-Knotts, Knowling, Herring).
Strike boldly for the venue at the southwest corner of the Butler University campus, 1000 W. 42nd St., Indianapolis, for performances this Friday through Sunday (Oct. 27-29). Get info and tickets at indybardfest.com.
Plays with John & Wendy 