Desert tales
Tiny revolving spotlights flash across the stage, a loud wind tears through the theater and robed actors tumble in from behind the blood red stage curtains.
So begins the energetic ‘Arabian Nights,’ which runs through Sunday in the Arthur Storch Theater at Syracuse Stage. The performance reflects a professional production with a unique plotline and stage movement. Incorporating acrobatics into the story, students of Syracuse University’s Drama Department brought the narratives of the famous collection of Middle Eastern tales to life.
The production follows the storytelling talent of Scheherezade (Jackie Ganz), the new bride of the cruel caliph Shahryar (Steven Hosking), who marries virgins for one night and kills them at sunrise. In an attempt to save her own life, Scheherezade, draped in a flowing red robe, entertains the knife-wielding king by sharing tales of life in the Middle East and cuts each story short before dawn. The cliffhangers force the king to keep her alive so she can continue her anecdotes the following night.
Both Scheherezade and Shahryar remain on stage throughout the entire production, interacting with each other and with the characters performing the stories that Scheherezade relates. Surprisingly, this isn’t at all confusing for the audience – it’s actually helpful in keeping track of the characters and how each person works into the specific tales.
The set portrayed the ancient mood and era of the production, with seven hanging lanterns, a faded pink backdrop and deep red drape curtains at the sides of the stage.
Embedded narratives mark the format of the production; each tale is a story within a story. The concept is effective for most of the play, but confusion sometimes arises when multiples stories unfold before the first is finished.
A limited cast size also involves actors portraying multiple characters in similar costume and makeup, without enough prominent changes in vocal quality and movement to distinguish between individuals.
Neither Ganz nor Hosking had standout performances – they lacked distinctive personalities that made the stage time they had unmemorable.
A 15-minute intermission was awkwardly placed, separating a first half that lasted approximately an hour and 15 minutes and a second half that couldn’t have been more than 40 minutes. The timing issues extended into the overall length of the production, with too many individual tales taking up a two-hour-and-10-minute performance.
The sole positive aspect of the intermission split was a clear division between the tones of the first and second acts. The first act placed an emphasis on dance and vocal harmonies, while the tales of the second act highlighted moral lessons of knowledge and education.
Salamo Manetti-Lax, a senior at Manlius Pebble Hill School in DeWitt, said he thought the production was well-choreographed but a bit too abstract. His sister, Natalia Manetti-Lax, a sophomore at the high school, agreed.
‘I didn’t like that at times it was trying to be loud, and at some points it was too cluttered,’ she said.
Despite the fact the narrative caused some stage turmoil, it did prove successful in bringing originality to the stage through the acrobatics and unusual setting. Its bright, energetic atmosphere was essential in presenting Scheherezade’s tales.
‘In my four years here, I haven’t seen so much excitement to work as an ensemble, so much allowing us to enter their world,’ Jason Mesches, a senior acting major, said. ‘It reflects back on us as audience members because we’re excited to feel that we’re a part of the production.’
The incorporation of singing, acrobatic tumbling and strong performances leave audience members engaged in this classic tale despite multiple, sometimes confusing storylines.
Published on February 18, 2008 at 12:00 pm
