Bill Cain’s Equivocation (2009), which I saw in Ashland last week, is set amidst the events following the Gunpowder Plot of 1605. It takes the reality that the details of the plot are still highly debated/politically-charged and the fact that Shakespeare and his Players were writing and performing at the same time as these events were occurring … and then runs with the situation.
Shakespeare (or Shagspeare, as he is named in the play) is asked by James I’s adviser, Robert Cecil, to “dialogue” the state-approved “true history of the gunpowder plot.” The play follows his realization that given details don’t seem either logically consistent or true. As he attempts to write and practice scenes for the play, he meets with the Catholic gentlemen involved. This leaves him in the awkward situation of having to choose between pleasing the state or writing the truth. The play explores the concept of “equivocation” (speaking with double meanings) and the responsibility of the artist to Truth.
“A Treatise of Equivocation,” attributed to Henry Garnet, a Jesuit of the time, takes a predominate role in the play, as does Shakespeare’s relationship with his daughter Judith.
Bill Rauch’s production at the Ashland Festival was excellent. He cast it as a five member ensemble, which utilized the conceit of Shakespeare’s acting company well. As the players of Shakespeare’s company end up practicing scenes as actors, they transition to playing the actual historical characters. The acting was superb, the quick character transitions were navigated with great skill.
I was most impressed by the play’s ability to be quite relevant (especially in its discussion of state torture and the relationship between art and politics) without ever being heavy-handed. My favorite scene is copied above.
Equivocation will be playing (with a new cast and director) at the Geffen Playhouse this year, November 10 through December 20. I’ll post more details as the time draws nearer.
R
