By Amanda VanNostrand.
The Philadelphia Artist’s Collective is showing ‘Tis Pity She’s a Whore between now and April 14th, 2019. A cross between Romeo and Juliet and Game of Thrones, this dramatic production takes place at Philadelphia Boys and Girls Choir. ‘Tis Pity She’s a Whore brings a story of 1600s Parma to 2019 Philadelphia, and Jessica Bedford, the Director of the show describes it best: “With ‘Tis Pity, Ford (writer) is asking us to look at what happens to social order when the infrastructure of authority can no longer be trusted, when those in sacred offices aren’t up to the task at hand, and the corrosive effect on a society when toxicity starts at the top.” This show is witty and comedic (with parts that viewers will hope are simply ridiculous) but by the end, questions that are examined can be found as truly applicable to today.
‘Tis Pity She’s a Whore holds a love affair at its heart: Giovanni and Annabella are infatuated with one another, and their love is forbidden. As the two navigate their way around this seemingly impossible situation (did I mention they are brother and sister?), subplots full of rivalries, corruption, and fervor abound and while the language may leave members of the audience confused at times, these stories come together by the end, making the storytelling ability of John Ford quite remarkable. This story takes place during times when there are profound divides among social classes as well as between the sexes. These realities are the basis for the conflicts within this tale, and their consequences are hard-hitting. (But aside from the incest, they make for a great story!)
Shows from this particular era have the potential to be a bit dry, but the immense talent of each cast member brings intrigue to just about every scene. Part of the brilliance is due to Josh Totora’s work (Original Music & Sound Design); there are tables with various instruments on all four corners of the stage and as scenes change, cast members play beautifully composed music that compliments and surrounds the show. And then there is the acting itself, which certainly makes up the majority of the talent. Every actor who graces the stage in this performance seems to have perfected their role. Favorites are sure to include Amanda Jill Robinson as Poggio/Philotis; she plays one part as a man as well as another as a woman, and in addition to transitioning flawlessly to each role, she more importantly brings pure humor to her part of Poggio. Pairing with Josh Totora who plays Bergetto (in addition to music and sound design), the two create scenes that audience members look forward to. Stephanie Hodge plays the part of Annabella, and she brings both naïve and daring traits necessary for the audience to see in order to continue to root for her as she embarks upon her incestuous relationship. Trevor William Fayle plays the part of Giovanni, Annabella’s lover and brother and he brings Giovanni’s character development to light through and through. His character changes excessively, and Fayle puts these changes forth with precision; he portrays Giovanni’s angst from beginning to end. Lastly, Annette Kaplafka plays the part of Hippolita and she is fantastic. Her male counterparts consistently make comments about women and their hysterics, and Kaplafka takes her female role and devours them. She does not skip a beat as her character experiences pure distress throughout, all caused by males around her, and all at her character’s expense. Hippolita’s anguish is felt intensely; Kaplafka is sublime, and she gives justice to women who have been called crazy and hysterical for calling out the men around them.
This show is not much to look at, taking place on a simple stage with just candles and basic wooden planks to grace it through. (Dustin Pettegrew takes care of Scenic and Prop Design and though it seems that he intentionally left the scenic design to remain simple, he took the props and ran wild with them. Those of the final scene are quite poignant but you have to see them to know what I mean.) But, between the simplistic scenery and the costumes (Millie Hiibel) which consisted of everyday wear that can be seen on women and men today, it is apparent that this show is not meant to take the audience back in time, but for the audience’s mindset to remain in the here and now. The costumes and scenery are noncommittal, and therefore viewers focus on the main themes of the story.
Jessica Bedford reveals a clear-cut question of this show: “what does it mean to be a woman in a world dictated by men’s tempers and desires?” Upon leaving the show you may not have an answer, but you will be led to think about it, and that is a great start. ‘Tis Pity She’s a Whore should be enjoyed by all this spring!