Compleat Female Stage Beauty

It's no secret that actors love to play dress up and pretend, but what happens when they have to behave like themselves?

Epic Theatre Company launches its third season with what could easily be described as a costume drama -- albeit unfairly -- but is more an examination of a group of performing artists who discover more about themselves when they're offstage with nary a wig, corset or fishnet stocking in sight.

"Compleat Female Stage Beauty," by Jeffrey Hatcher, revisits a bygone era when women were forbidden from taking the stage and men were not only cast in female roles, but also actually sought to play Shakespeare's greats, like Lady Macbeth, Ophelia and Juliet.

Edward Kynaston (Jonathan Fisher), a renowned stage presence, whose latest turn as Desdemona in "Othello" is winning raves across town, suddenly has competition -- from a woman. Much to Kynaston's chagrin, despite being an admirer of his work yet lacking his experience and talent, an unknown actress, Margaret Hughes (Kerry Giorgi), manages to pack the house at a rival theater, portraying -- you guessed it -- Desdemona.

More importantly, the "gender-fication" of theater has caught the attention of King Charles II (Kyle DeMartino), already partial to a kinder, gentler, Shakespeare, courtesy of his aspiring actress mistress, Nell Gwynn (Elaine Letaio), who uses more than just her questionable acting prowess to persuade Charles to outlaw men portraying women.

This legislative development leaves Edward jobless while his frequent counterpart on stage, Thomas Betterton (Kevin Broccoli), now has to cast women who can't hold a candle to the former leading lady of Othello.

Director Jill D. Jones skillfully assembles this cast of maladjusted yet mostly good-natured, attention-craving misfits in an exquisite, concise production that, while still colorful, amusing and delightfully bawdy, gets to the heart of why actors take to the stage, not just to entertain others, but to fulfill a need within themselves.

Edward becomes aware, once he stops pretending to be a woman, of how capable and magnificent he really is, and Margaret, with the unanticipated guidance of her adversary, shines brightest when reminded to feel, rather than think.

The story also serves as a pointed history lesson of the performing arts and a reminder of why all artists and their fans owe an immeasurable debt to The Bard of Avon. After all, it is not difficult to imagine today the casting of a certain actor in a particular role invoking passion, outrage and division among a seemingly unified community.

Fisher, a veritable one-to-watch, delivers a superlative performance as Edward, the gender-bending thespian, who hits rock bottom only to reawaken as an improved, better defined version of himself. Epic vet Giorgi combines insecurity and audacity in her beautifully composed portrayal of starlet turned sensation, Margaret. It is apparent this duo has shared the stage before because they complement each other handsomely.

Speaking of handsome, the eye-catching supporting cast churns out a bevy of illustrious performances. A brassy Letaio owns every moment she appears on stage as Nell and Brocolli is equally cheeky as the quintessential control freak, Betterton.

Paige Berry provides a few moments of necessary serenity as unrequited love, Maria, as does Patrick Keeffe, impressive as inveterate note taker, Pepys. Michael Shallcross thrives as the wicked Villiers, Edward's secret lover, and I would be remiss if I didn't mention the dutifully decorated Cherylee Sousa Dumas and Stephanie Traversa as meddlesome maidens Lady Meresvale and Miss Frayne.

As Epic continues to establish itself as a theater company focused on delivering a playwright's work and less concerned with all the bells and whistles, "Compleat Female Stage Beauty" follows suit with its fitting theme that the real drama ensues when the costumes come off.

"Compleat Female Stage Beauty" continues through September 20 at The Artists' Exchange, 82 Rolfe Square, Cranston, RI. For tickets and information, visit The Artists' Exchange website.