The Rime of the Ancient Mariner
by Samuel Taylor Coleridge
Adapted and Directed by Patrick Siler
With Special Music Composed and Performed by Sleepy Kitty
April 11, 2015
This isn’t high school English class. Currently on stage at Upstream Theater is a staged version of Coleridge’s classic poem The Rime of the Ancient Mariner in a form that brings the work to life in a way that couldn’t have been imagined by my teenage self when I was assigned to read it in school. Taking the text of the poem, along with some classic engravings by Gustave Dore’, Upstream has joined forces with musical duo Sleepy Kitty to construct a living, breathing and singing presentation that brings the story off of the page and onto the stage in a vibrant, memorable and thoroughly winning manner.
This is the well-known and oft-studied English poem with many well-known passages and concepts, such as the albatross around the neck, “water, water everywhere” and so forth. It’s a vividly told story in written form, and director Patrick Siler has adapted it beautifully for the stage. With a three person cast and the two musicians, the story of the Ancient Mariner (Jerry Vogel) comes to life with color, depth and haunting melody. Joined by fellow cast members Shanara Gabrielle and Patrick Blindauer in various roles, Vogel portrays the the Mariner as he interrupts a festive wedding to tell his tale of adventure, calamity, despair and redemption on the high seas. Accompying them are Sleepy Kitty members Paige Brubeck and Evan Sult, who each play a variety of instruments and contribute vocals to the folk-influenced rock score of the production.
This production is a marvel of inventive staging, presented in the cozy black box theatre at the Kranzberg Arts Center. With Kyra Bishop’s simple but detailed set suggesting the bow of a ship, along with ropes, a rope ladder and other nautical accessories that are walked, climbed and danced on by the performers throughout the show. There are also vibrant costumes by Lou Bird, with late 18th Century English styles represented as well as some fantastical elements, as a number of realistic, stylized and ethereal creatures inhabit the story. There are some striking uses of clothing items like a scarf for the fabled albatross, as well as a variety of masks and veils utilized in different situations. The lighting, by Joseph W. Clapper, is striking as atmospheric, shifting in mood as the play shifts, and there’s excellent use of Dore’s engravings as projections to highlight various moments in the story.
This is a show where all the different elements are essential and blend together seamlessly. It’s remarkable how the musicians are brought into the story as well, with Brubeck and Sult donning costumes and featuring in the story on occasion, most notably in a haunting “death ship” sequence toward the middle of the play. The cast is top-notch as well, led by the charismatic, weary-eyed Vogel as the weathered, alternately optimistic, then haunted, then despairing, then penitent and ultimately joyful Mariner. Vogel navigates the gamut of experience and emotion with expert skill, displaying strong stage presence and a strong voice, especially in an ode to loneliness in the middle of the play and a joyful, worshipful refrain at the end. Blindauer and Gabrielle lend their support with much flair, as they both appear in a variety of roles from wedding guests to shipmates to sea creatures and more, displaying excellent voices and movement in the various sequences.
This is an excellent and somewhat surprising multi-media performance that makes great use of projection, video and sound to bring this 18th Century tale to a 21st Century audience with spirit and heart. Its short running time (about 65 minutes) is packed with action, song and story. I didn’t know quite what I was getting into when I saw this production, but what a wonderful surprise it is. This is a truly memorable, inventive and cleverly staged production that takes a classic work and brings it to the stage with remarkable modern style.