Don’t ‘fiddle’ and miss this one

By John Lyle Belden

“Seneca and the Soul of Nero” is a new play by Southbank Theatre Company artistic director Marcia Eppich-Harris, but stands well in style and content with other great historical tragedies. I sense it could have been written at any time between now and the 900s, when the myth that Emperor Nero “fiddled while Rome burned” became popular. 

The premiere Southbank production of the play, at the IndyFringe Basile stage through Oct. 2, resembles a Bardfest event in its excellent handling by director Doug Powers and a cast that includes David Mosedale as Stoic philosopher Seneca and Evren Wilder Elliott as teenage “Princeps” Nero. 

Despite the abundance of written material in the First Century, much of it surviving to today, the true history of Nero is anything but clear, with contemporary accounts often written by those who didn’t like the young tyrant and centuries passing to add myth and legend to his story. The fiddle didn’t even exist at the time, but it was possible to draw a bow across a lyre, an instrument that Nero did enjoy playing — and he embraced music and theatre at a time when its practitioners were in lower regard than prostitutes (never mind an alleged god-king). Just as we don’t mind the words that Shakespeare put into the ancients’ mouths, Eppich-Harris is perfectly entitled to her well-researched dramatic license, especially as she captured the spirit of the era and its abundant lessons for today’s social and political climate. 

Seneca was Nero’s tutor when he ascended to the throne, and the boy, feeling immediately in over his head, smartly kept the philosopher on as principal advisor and speechwriter, as well as trusted military leader Afranius Burrus (David Molloy) to head his guard. Also on the scene were his ever-hovering mother Agrippina (Rachel Snyder), naive half-brother Britannicus (Brant Hughes), and dutiful but suspicious stepsister/wife Octavia (Bra’Jae’ Allen) whom he would ignore in favor of the beautiful and ambitious Sabina (Trick Blanchfield). At Seneca’s side were faithful wife Pompeia Paulina (Jenni White) and his nephew, the famous poet Lucan (Noah Winston).

Elliott brilliantly brings us along on the emperor’s journey, as he grows older and more at ease with power, but no more mature. At first troubled by signing off on the deaths of the justly condemned, Nero comes to find a quick murder is an easy solution to an immediate problem — but then more issues pop up in its place. Each death takes a little more of his soul, power-madness devolving to madness, reducing him until nearly no one is left, and the knife is in his hand.

Mosedale stands ever solid, defending his young charge as long as he can while defending himself against the hypocrisy of living large yet espousing Stoic principles. In the end, he must choose between Nero and Rome. White’s Pompeia leads the greater example, steadfast to her husband but never wavering on their moral stand. 

Snyder embodies the complex Agrippina without slipping into villainous caricature, perhaps even engendering some sympathy as the evil she sows grows out of her control. Molloy exemplifies the “good soldier” completely, bearing his orders until his sense of justice can do no more.

An exceptional look at history and the dynamics and hazards of unfettered power, “Seneca and the Soul of Nero” is worthy to stand among the Classics. We encourage all who can to see it, and to those reading this in the future to consider bringing to your own stages.

Find information at southbanktheatre.org and tickets at indyfringe.org. Note that COVID-19 vaccination and masking are required of all audience members. Home viewing via “on-demand” streaming available Oct. 15-Nov. 14 (see Southbank site for details).

Full ‘Hamlet’ enriches familiar story

This Show is part of Bard Fest, central Indiana’s annual Shakespeare festival. Info and tickets at www.indybardfest.com.

By Wendy Carson

By now we all know the story of Hamlet. It’s one of Shakespeare’s most produced plays and you’ve likely seen more than one version of it. However, Doug Powers and the Carmel Theatre Company have chosen to give us a different take by giving us an almost entirely unabridged look at the play.

Before you balk at the 3-plus hour running length (with intermission), note that with these rarely acted scenes returned to the story, it just deepens the richness of the characters. It also brings the secondary plot forward (remember Norway?) bringing more closure and purpose to many of the characters.

Honestly, I had forgotten many of the scenes and speeches performed and was touched by the true beauty of not only their narrative but the language itself.

Also, the starkness of the stage and minimalist set pieces help remind you that this show is about listening to and understanding the characters. In order to fulfill this task, one must have great actors and Powers has outdone himself in procuring them.

Brian G. Hartz sizzles as Hamlet, pulling forth all of the rage and deviousness that the character embodies. Miranda Nehrig turns Ophelia into a young woman who’s confusion and frustrations over Hamlet’s behavior help lead her to her desperate end. Both have skill in communicating beyond saying the lines, especially Nehrig’s talent for adding volumes with a single facial expression.

Eric Bryant as Claudius and Jean Arnold as Gertrude present the quintessential parents who are bewildered as to why their son has so quickly changed his demeanor. Their recent nuptials so soon after the previous King’s untimely death never cross their mind as a possible reason.

While most of the Bard Fest offerings have cast women in several men’s roles, Powers uses his casting choices to their maximum effect. Jo Bennett plays Horatio as a dear friend but in later scenes there seems to be romantic tension, which they pull off with great aplomb.

However, the best example of this is with the character of Guildenstern, played by Gorgi Parks Fulper. Instructed to play upon her history with Hamlet to obtain information, she is asked to use her feminine wiles. Meanwhile, Benjamin Mathis plays Rosencrantz as the perfect second banana who seems to always be left out of the whole scheme.

Alan Cloe is perfect as wise but tragic Polonius. Noah Winston is a fiery force as his son, Laertes.

Casting is also clever in its players with two or more roles: Fulper and Mathis also play palace guards in the opening scene. Janice Hibbard is the messenger to Norway, and later is that country’s warrior princess Fortinbras. The ghost of murdered King Hamlet (the title character’s dad) is portrayed by Tony Armstrong, who also plays an identical character in the play-within-the-play that Hamlet (the younger) sets up to watch his stepfather’s reaction; later Armstrong is the gravedigger who unearths Yorick’s skull.

In addition, kudos to Rachel Snyder and Kyrsten Lyster as members of the traveling troupe of Players.

There is some intense swordplay in this production, so credit is due to Bryant as fight choreographer.

Remaining performances are 7:30 p.m. Friday, 7:30 Saturday (with talkback following) and 1 p.m. Sunday (Oct. 25-27) at the IndyFringe Theatre.