Not much has changed since 1677 — Role Players Ensemble brings Aphra Behn’s The Rover to the Danville Village Theatre
Edited by Jessica Vaden
Perhaps now more than ever we are questioning the social constructs that have been put into place for us, especially for those of us on the margins, or in places where our identities intersect. In an attempt at dismantling oppression, we look at its history… starting from gender bending to gender breaking, and finally, to what we assume will become the complete elimination of gender roles.
Aphra Behn comes in at a time in history when women were subject to strict expectations based on their gender. Behn went against the grain and became one the prominent playwrights of her time, making a living wage off her writing, and bending gender both in real life and in her stories.
In reviewing her content, we actually find that not much has changed. It especially becomes clear when watching her words come to life. In The Rover, topical issues such as toxic masculinity leap off the page and onto the stage, as men repeatedly brandish their swords and high five their sexual conquests. Locker-room talk is alive and well in the city of Naples, as a group of Englishmen, led by the most rambunctious of them all, Willmore (Filip Hofman), descend upon the city in search of a good time.
There’s no change of heart when the Romeo of our play lays his eyes upon his Juliet… who is even his Juliet? During the course of the play, the running gag is that Willmore will chase anything in a skirt. He falls “in love” multiple times, even going as far as attempting to assault his friend’s fiancé, Florinda, played by Nicolette Ellis, who brings a stark modernity to the scene. There’s another scene in the beginning, where she defies her brother’s attempt to marry her off to his friend; something happens where we forget time and place. It is in these moments of juxtaposition where the play finds its voice. Otherwise, the heightened language is an obstruction for the actors, as they struggle to bring truth to their performances. It becomes external rather than internal, and it’s in the latter that we truly understand the intentions behind the words.
In a rare twist of circumstance, it is the women who ultimately gain the upper hand and release themselves from their forced roles. The most interesting plot line being that of Angellica (Deborah Murphy), the courtesan who finally “loses her virginity” – her “virgin heart” that is – despite fair warning that Willmore is bad news. He woos her with his words, and she allows him to partake in her services for free, a decision she later learns to regret. Lines that seem to be taken from a modern Tinder nightmare, or worse, men who believe they are entitled to a woman’s body, even after she has expressed her boundaries clearly.
The only seemingly redeeming man in this play is Belville, Florinda’s suitor, who swears his allegiance to her, tries to do what’s best, and, in a knockout performance by Terrance Smith, seems to fight his own forced expectations of what it means to be a man. Zack Bender is also highly likeable as the goofy Blunt. A tad dim and aptly-named, Blunt personifies the mob mentality behind gender roles.
Since the topics that arise in The Rover are still prevalent today, perhaps the missing piece in this production is the execution of that knowledge. It is clear that the director, Eric Fraisher Hayes, is aware of this, but the created atmosphere leads us to believe that we need to suspend our belief. But what if we didn’t have to do that and the production had been approached with the rawness of a 21st century perspective? With its so highly relatable content, the play begged for reality.
And although the set design is absolutely breathtaking, with beautiful partitions by scenic painter John Osgood, could we have possibly added more tangibility to ground the actors? They’re just standing around talking for a couple hours… could those props have helped? And there’s such masterful fight choreography by Durand Garcia, could we have heightened the action? Behn’s touch is light and witty so we know it’s all going to end well, but could we have created more suspense to captivate the audience?
These may have been some questions that arose, but at the end of the day, regardless of any flaws, we have to applaud Role Players Ensemble and the Village Theatre for showcasing this piece. It is a vital piece by a brilliant playwright, it is a timely piece, and, in the wake of everything that has happened this past year, we need this work. This work is important.
The Rover is playing at the Village Theatre now through April 29. For more information about the Role Players Ensemble, and to purchase tickets, visit www.roleplayersensemble.com. Tickets also may be purchased at www.villagetheatreshows.com or call 925-314-3400. Box Office available starting one hour before each performance at the Village Theatre & Gallery, 233 Front Street, Danville, CA 94526.
