Other characters keep stirring the bubbling cauldron that is this court. From the outset, the Catholic prelate Domingo (Christopher Francis Byrnes) and the Duke of Alba (Normand Beauregard) conspire to fan rumors and encourage deceptions, for their respective advantages of church and personal power. Poor Count Lerma (Tom Gleadow); the king’s principal aide does what he can to help Don Carlos, but to no avail.
By the time the Grand Inquisitor (Sam Babbitt) shows up, dressed in diabolical red, holding a staff that might as well be a trident, his self-righteous speech about the rightful primacy of the Church in maintaining order among sinners and heretics sounds not unlike a political acceptance speech. He is scary-eyed (contact lenses) and blind, a nice metaphor.
The set design of Sara Ossana opens up hellishly in that scene, glowing crosses behind and below — the opening in the floor, full of hot coals, had earlier been used to roast a heretic to death. The design is also impressive for frescoes right and left. The costume design by David T. Howard is realistic to the period and opulent as all get out, from musketeer boots to silk and satin finery. Sound design by Charles Cofone and lighting design by Matt Terry well perform their subtle tasks of being most effective when least obtrusive.
The Sandra Feinstein-Gamm Theatre and its artistic director, Tony Estrella, have done well by Schiller, and once again for us.
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Topics:
Theater
, Friedrich Schiller, Don Carlos, Don Carlos, More
, Friedrich Schiller, Don Carlos, Don Carlos, Sara Ossana, Tony Estrella, Alexander Platt, Steve Kidd, Charles Cofone, David Howard, Matt Terry, Less
