Wednesday, November 20, 1996
With their production of Aphra Behn’s "The Rover," UCLA students
show that what made a good love story in the Restoration era is
equally timely today.By Kathleen Rhames
Daily Bruin Contributor
Although its elegant costumes and sword-fighting gallantry give
it a 17th-century appeal, UCLA’s theater production of "The Rover"
transcends the period piece and relates timeless issues of love and
sex to a ’90s audience.
"It’s full of sex," says director Nancy Keystone. "It’s about
people trying to have sex with each other. Nothing’s changed."
This Thursday, third-year master of fine arts students in the
school of Theater, Film and Television will present their
production of "The Rover" at the UCLA Little Theater. Under
Keystone’s direction, the play will integrate the romantic style of
the Restoration with contemporary issues concerning sexual politics
and women’s roles.
Originally created by controversial Restoration playwright Aphra
Behn, "The Rover" takes place in a Spanish colony during a carnival
feast celebration. Amidst an array of masquerading cavaliers with
flirtatious intentions, three sisters arrive at the carnival in
disguise with the hope of meeting men. It is a situation which
Keystone believes still holds a lot of ground in today’s
society.
"It’s very much how Mardi Gras is today. These people are
partying and breaking the bounds of established society, trying to
get as much out of life as they can," Keystone says. "These sisters
are so controlled and dominated by the men in their life that they
need to escape from that and take a stand and do what they need to
do to survive. In this case that means hooking up with these
cavaliers who may not necessarily be good for them but it’s a
better alternative to what they have."
The need of these women to escape from their oppressive
relationships leads them to a brazen, impulsive cavalier named
Willmore. Bearing the title name the Rover, he lives freely and
indulgently, basking in the delights of sword-fighting and
womanizing.
"He’s a cavalier, a fighter," says actor Nico Guilak of his
character. "He lives in the moment and doesn’t pay too much
attention to the consequences of his actions until it’s too
late."
Guilak sits casually in his chair as he mulls over his next
thought. Across from him is actress Kathleen Collins, who plays the
high-class courtesan Angelica Bianca, one of Willmore’s many
amorous affairs in the play.
"He’s the classic bad boy," she playfully interjects.
Guilak becomes indignant.
"He is not! I guess it’s a personal thing," Giulak says. "You
might think that but I don’t think he’s a bad boy. His life is to
fight, to be a warrior. He just wants to have a good time and
doesn’t mean anyone any harm."
"OK, he’s not bad, he’s just a rebel type," Collins tries again.
"You know, like James Dean."
They seem to reach a compromise here and the conversation
pauses.
Collins’ character, Angelica, although a prostitute, faces some
of the same issues as the other women in the play. Oppressed in her
relationship and devoid of self-esteem, she goes to the carnival in
search of a man to give her the attention she needs. Like Keystone,
Collins feels the play addresses issues that transcend the
boundaries of time and place. These issues exist as long as human
beings exist, despite changes in societal structure.
"The playwright herself wrote a character that can be translated
to our time and it seemed that she was very much ahead of herself
in writing the part of such a modern-day woman that has very
similar plights of women today," Collins says. "The issues that my
character faces deal with falling in love. She falls
head-over-heels in love with, unfortunately, the wrong man
(Willmore) and the man she loves and feels is equal to her will
never love her back."
Collins turns and scowls at Guilak, who gives her a comical
smirk in return. The camaraderie between the actors is reflective
of the relationship they share with the entire cast. It is to their
benefit that they get along as well as they do, since their
rehearsal schedule has them together at least seven hours a
day.
"My life has really been devoted to this class for the last
three months," Guilak says. "It’s a lot of work."
"It’s great though," Collins says. "I really feel fortunate to
be in our class and to work with such a great group of people.
We’re together like 20 hours a day."
At this Guilak cracks a mischievous smile.
"Yeah, and sometimes that isn’t such a good thing!" he says.
Collins joins in the moment.
"We’re like one humongous ornery family," she says.
Both actors hope their work will pay off by making "The Rover" a
play that every audience member can identify with.
"Everyone will relate to at least one aspect of the show,"
Guilak says. "It touches on every kind of love relationship between
a man and a woman as far as emotions go: sex, love, heartache. The
audience goes through that journey with them. They’re timeless
problems."
For Collins, however, the best part about performing in "The
Rover" was the chance to play the part of a 17th- century courtesan
and wear elegant gowns on stage. This is something that today she
feels is rarely done or appreciated.
"Today’s acting tends to be very realistic and commonplace," she
says. "But here we’re asked to be swashbucklers and heroic and
bigger than life. I think that this can be really fun if we seize
the drama and the excitement that’s in the show. It’s going to be
great."
THEATER: "The Rover," directed by Nancy Keystone, runs Nov.
21-Dec. 7 at the UCLA Little Theater, 8 p.m. Tickets: $12, $6
students. Call 825-2101 for info.
Photos by BAHMAN FARAHDEL
(above) Benille, played by Paul Katami (r.), third-year master
of fine arts student, gets tied up by Don Antonio, played by
third-year MFA student Nick Freeman.
Regina McMahon (r.), third-year MFA student, plays the Narrator
in "The Rover."
Nico Guilak plays the Rover and Kathleen Collins stars as
Angelica in "The Rover," playing at MacGowan Hall.