From the 2010-2011 Season:
Playing June 02, 2011 to June 12, 2011
$12 General Admission Preview Thursday June 2
A melodramatic tale of romance, madness and betrayal.The inclusion of Double Falsehood in Arden's Complete Works of Shakespeare last year has inspired us to mount a production.
Double Falsehood is a tragicomedy thought to be based on Cervantes' Don Quixote. Full of over-dramatic action, cliffhangers, romance, betrayal, friendship and revenge... this is an action-packed story you're sure to enjoy!
First shown at London's Theatre Royal in 1727...
Last shown somewhere in Covent Garden in 1793...
Now popping up in theatres around the globe...
Join us for more history-makin'!
Learn all you need to know about Double Falsehood here in a brief interview with Assistant Producer - Director Amee Vyas.
Get a very silly taste of what you can expect with our production here.
All tickets June 3-12 are $20 with General Admission Seating. No other discounts apply.
Join the cast and crew for a post-show Q&A on Sunday June 5.
Is Shakespeare the true author of Double Falsehood? It’s quite the controversy! Lewis Theobald, a Shakespearean editor, is credited with resurrecting the script (or perhaps for finding Shakespeare’s lost play Cardenio and rewritting it himself) and John Fletcher (whom as most likely worked with Shakespeare on The Two Noble Kinsmen) has been noted as a collaborator on the project. We invite you to do some research on the history of this play and why the editors at Arden have included it in their “Complete Works of Shakespeare.” Then, come see the play and discuss your thoughts with us. Regardless of who wrote what, we guarantee you’ll have a fun night out at the theatre seeing a play that not many people will ever get a chance to see!
Read the Plot Synopsis
(From wikipedia.org...may not entirely reflect the production, but this will give you an idea on the plot)
The play opens with Duke Angelo and his elder son and heir, Roderick. Roderick is the dutiful and virtuous son; the Duke also has a younger son, Henriquez, a prodigal son who is absent from the ducal court, pursuing his own interests. Henriquez has just written his father a letter, requesting gold to buy a horse; Henriquez will send his friend Julio to court to receive payment. The Duke and Roderick decide to use Julio for their own purposes: they will detain him at court “some few days...and assay to mould him / An honest spy” upon Henriquez’s “riots.”
Julio’s father Camillo is not happy about his son’s mission to court. Julio wants to arrange a marriage with Leonora; his intended bride is agreeable, but cool, and the call to court delays Julio’s plan to obtain the consent of both their fathers. Julio leaves Henriquez behind him to further his suit with Leonora — a foolish trust. Henriquez has developed an infatuation with Violante, a beautiful and virtuous local girl of humble birth; she rejects his inappropriate solicitations. Henriquez forces himself upon her. Afterward, confronting his guilty conscience over his “brutal violence,” Henriquez tries to convince himself that his act wasn’t a rape, with the feeble rationalization that Violante did not cry out, however much she struggled physically.
His pangs of guilt do not prevent Henriquez from pursuing another scheme: in Julio’s absence he is courting Leonora. (Henriquez admits in a soliloquy that he sent Julio away with this in mind. His pursuit of both Violante and Leonora is the “double falsehood” of the title.) The young woman is appalled and repelled by this, but her father Don Bernardo wants the family connection with the nobility that their marriage will produce. Leonora sends a letter to Julio, and he returns in time to frustrate the wedding. Julio challenges Henriquez with his sword but is overwhelmed and ejected by Bernardo’s servants; Leonora faints and is carried out. Bernardo discovers a dagger and a suicide note on his daughter’s person, revealing her final determination to resist the forced marriage.
Julio and the two young women, each in a distraught state of mind, depart mysteriously; the fathers Camillo and Bernardo are left to confront their own distress. Roderick arrives, and comforts the two old men. Their unhappiness works something of a reversal in each man’s character: the formerly mild Camillo hardens his nature, while the formerly harsh Bernardo dissolves in tears.
In Act IV the scene shifts from court and town to the wilds where the shepherds keep their flocks (the same shift to the pastoral mode that Shakespeare employs in Act IV of The Winter’s Tale). Violante has disguised herself as a boy, and has become a servant to a master shepherd. Julio is also in the neighborhood, wandering distractedly, fighting with shepherds and stealing their food. The Master shepherd is a rare character in traditional English drama, who can actually recognize a woman when she’s disguised as a boy. He makes a crude and unwelcome sexual advance toward Violante, which is interrupted by the arrival of Roderick. Henriquez has learned that Leonora has taken refuge in a nearby nunnery, and has gained his brother’s help in a plan to retrieve her. Roderick has agreed, in part to keep an eye on his younger brother; he insists that Leonora be treated honourably, and given her choice whether to return with them.
Roderick is also clever enough to piece together the larger situation; he manages to bring Julio, Leonora, Violante, and Henriquez back home altogether. He engineers a grand confrontation and reconciliation scene at the play’s end: Julio and Leonora and happily re-united, and a now-repentant Henriquez wants to marry Violante to make up for his crime. The three fathers acquiesce to this arrangement.
Directed by Andrew Houchins
Act One - 55 min / Act Two - 40 min
June 2-12, 2011
Duke Angelo / Master of the Flocks – Daniel Parvis
Citizen – Jeff Watkins
Roderick/Gerald – Matt Felten
Henriquez – Jonathan Horne
Don Bernardo / Shepherd – Jacob York
Leonora/Maid / Shepherd – Kelly Criss
Camillo / 1st Gentleman – Clarke Weigle
Julio / Violante’s Servant – Nicholas Faircloth
Violante – Mary Russell
Bardometer RatingHow difficult is this Shakespearean play to grasp? On a scale of 1 to 10.
What does rating this mean?
These are plays you may have read in high school or college. The plot is fairly uncomplicated, though some of the themes may be dense or dark. These plays may include supernatural elements, straight-forward politics, historical content or religious content. (In these cases, we offer a synopsis with important historical or contextual explanations which you may read in the Playbill before the show.) In these plays, there may also be bawdy language and certain adult situations, and the language may be hard to follow for a first-timer.
We recommend this type of play to High School and College Students, casual theatre-goers, people who like mainstream films and reading “The Onion”, and Shakespeare lovers who enjoy delving into the Elizabethan world.
How to prepare for seeing this kind of play: You may wish to read the synopsis we provide (and maybe your notes from Literature Class). Or simply do a small amount of internet research. No worries – you won’t get lost.
Performances this Season
- Arthur Miller’s The CruciblePerformances begin October 10, 2015
- The TempestPerformances begin November 07, 2015
- Charles Dickens’ A Christmas CarolPerformances begin December 03, 2015
- As You Like ItPerformances begin January 02, 2016
- Romeo and JulietPerformances begin February 06, 2016
- Much Ado About NothingPerformances begin March 05, 2016
- Two Noble KinsmenPerformances begin April 02, 2016
- Bill Cain’s EquivocationPerformances begin April 23, 2016
- Two Gentlemen of VeronaPerformances begin May 14, 2016
- The Merchant of VenicePerformances begin June 03, 2016