Returning after a deservedly lauded and sold-out run of The Tragedy of King Lear last year, Shakespeare BASH’d opens 2024 by presenting the rarely-performed The Two Noble Kinsmen, directed by Co-Artistic Director James Wallis. Though more than 400 years old, this collaboration between playwrights William Shakespeare and protégé John Fletcher explores timeless ideals like love, honour, and duty in ways that seem presciently current, and make it ripe for the BASH’d treatment.
Kate Martin, who was the assistant director of The Tragedy of King Lear, is thrilled to step into the role of Emilia, who is desired by the titular the two noble kinsmen, cousins Arcite (Michael Man) and Palamon (Emilio Vieira): “I’ve worked with BASH’d on readings and behind-the-scenes since 2019, and have been a big fan of their work for years prior. It is so wonderful to be a part of Two Noble Kinsmen‘s ensemble.”
Martin’s portrayal of Emilia delves into aspects of the character’s queerness, which she was most interested to portray, but approached with caution: “When we started, I was hesitant, as I kept wondering if my perspective was over-colouring the text. Was my bisexuality and modernity leading to a false interpretation?” Bottom line? “I think the answer is no,” Martin affirms, and she is most excited to share the scenes where Emilia discusses women. She expects they will resonate with modern audiences: “the language is beautiful and fun. It is surprising to hear within a classical context.”
In discussing her character, Martin especially admires Emilia’s ability to stay present and maintain her grace under pressure. “In a play where her world breaks down, we’re lucky to see a scene where she is purely in the pastoral. Happy, surrounded by flowers, with her Lady.” There’s timeless value here: “She would help me remember how to stay present, to maintain grace and compassion.” But the Kinsmen’s desires – and the strict chivalric rules governing this world – intrude.
Indeed, Martin sees the play’s chivalric system as its true antagonist: “It causes the Kinsmen to hurt each other, it causes the Jailor’s Daughter to be mistreated, and it deeply hurts Emilia.” And “to modern ears, Emilia’s protests against the system are correct”. To Martin, Emilia’s challenge of this “punishing system” makes her a “modern lens”, bridging the gap between Chaucer’s “The Knight’s Tale” (the text on which The Two Noble Kinsmen is based) and contemporary perspectives. But sadly, “within the world of the play, her protests are like arguing against gravity.” Stepping back for a moment, Martin offers the “hope that Emilia’s desire to rewrite the rules of chivalry will fall on sympathetic ears” and “that her language will help to ground the audience.”
The play is anomalous for its exploration of gender and sexuality, which includes same-gender love and attraction, in a way that few other plays of the period have built into their text. Thus, the production promises to challenge expectations and provide a unique experience for Toronto’s diverse audiences in 2024 . . . who may find themselves reflected in some unexpected places. And in order to embrace the play’s collaborative origins, the company is interpreting the text through an open rehearsal process that leaves room for continued conversation. The intersectional cast has been invited to bring their full identities to the experience, and explore how they both reflect and inform their performances. The talented ensemble includes BASH’d Co-Artistic Director Julia Nish-Lapidus, Jeff Yung, Daniel Briere, 郝邦宇 Steven Hao, Jennifer Dzialoszynski, Madelaine Hodges (賀美倫), Breanne Tice, Joshua Browne, Tristan Claxton, and Le Truong.
Surprisingly, one aspect of her identity that Martin is bringing to The Two Noble Kinsmen is her work as a model. She smiles at her diverse modeling experiences, which see her face adorning “odd places” such as gas pumps, subway posters and even the cover of a romance novel. In fact, she threw this tidbit into her artist bio as a “conversation starter” and a “wink at how strange my modelling work can be”: “Last summer, you couldn’t drive anywhere in Canada without seeing my smiling face at Shell stations,” she laughs. “It was so much fun! But also odd . . . like an uncanny valley and an image of a person that someone else had made”.
And Martin draws unexpected parallels between these experiences and Emilia’s struggles with perception and societal expectations: “In rehearsal, we’ve been discussing the pedestal that Emilia is unwillingly placed on. Her beauty and virginity are held in such high regard . . . but as a commodity. Her exterior causes suffering to her and those around her, but even as she blames herself, I think our modern audience will see the misogyny within the situation.” As a tall woman, Martin sometimes finds her height prized, and used to sell products. At other times, she is demeaned for it because “people feel discomfort that I take up more space than men.” A sigh seals the connection of Martin and Emilia: “Being perceived can feel . . . strange!”
Martin’s portrayal of Emilia in Shakespeare BASH’d’s The Two Noble Kinsmen promises a nuanced and contemporary interpretation of a classic, yet rarely-seen character. In addition to the general excellence of the company, her personal connection to Emilia and her insights into the character’s struggles offer a compelling reason for audiences to experience this rarely-performed Shakespearean work anew.
The Two Noble Kinsmen runs January 25 – February 4, 2024 at The Theatre Centre, BMO Incubator. Reserve tickets at theatrecentre.org.
© Arpita Ghosal, Sesayarts Magazine, 2024
