Theater review: John XII

by Bianca Baidoo of John Garcia's The Column

Living in Rome as an eighteen year-old nymphomaniac absolutely has its benefits when you're the pope!

This new play by Mark-Brian Sonna automatically transports the audience to one of the most controversial times in religious history. If you love power, sex, and murder, then Pope John the XII and his entourage are the ones to see. John XII is full of power-hungry fiendish people who constantly find themselves in a variety of schemes, roles, and positions.

This production uses minimal production elements, so there are not a whole lot of special effects or pizzazz in regards to the technical aspect but the writing and acting make up for the lack of effects. The costumes were just as minimal (with the exception of John XII's pope robes, but sufficed for this production.

Mark-Brian Sonna (writer and director of John XII), the face of MBS Productions, specializes in world premiers and new translations. MBS stands behind the idea of "bringing new theatre to the world." Sonna brings his solid, historical vision into a fascinating stage production. Sonna's picturesque writing and healthy balance of comedy and drama charms the audience from beginning to end.

The Stone Cottage Theatre (next to the Water Tower Theatre at the Addison Theatre Center) is not the most spacious of venues, but it does have the advantage of close intimacy with the stage. From scene to scene, audience members sit poised, at the edge of their seats completely enthralled. Cody Hinson plays the role of a straight-forward Otto, King of Germany. Hinson entered the stage with initiative, commanded his audience as if they were his minions, and produced a swagger so captivating, women swoon at the very thought of his name. This actor contains the uncanny ability to win his audience over no matter what action he takes. Hinson provides a superfluous amount of comic relief, but nothing will top the incredible Kevin Wickersham.

At first sight, Wickersham was as uneventful as 3-D movie for the blind; but it was not Wickersham who was unexciting so much as his role Aldebart, the cowardly lion of the group. However, by Act II, Wickersham had completely revolutionized his character, a skill all actors hope to attain, yet only a few achieve. His transformations come not because his character is written to do so, but because he truly consumes the persona of Aldebart. Wickersham's incredible understanding of his character can only assure an unswerving case of future casting.

Aimee Adams (Isobel, the promiscuous countess) and Mike Hathaway (Berengarius, the conniving King of Italy) played their roles with strategy and control providing a consistent performance throughout the show.

David Swanner (Liutprand, the persistent, power-hungry underling) struggled to find the balance between his emotions. At times, his line delivery was off kilter and bizarre; but Swanner has a particular way of justifying his actions.

Joshua Scott Hancock provided a lackluster performance as the manipulative puppeteer, John XII. Hancock had a bit of line trouble; one can only assume it was a case of first show jitters. This actor definitely displayed the sexual and manipulative nature of the controversial religious figure; yet his line delivery was stale and lacking passion. Hancock could make his performance much more engaging, by simply being the role, instead of perceiving what he thinks to be John XII.

With the exception of early light cues and boisterous transitions between scenes, the overall production was entertaining and satisfactory. If you are looking for interesting two-hour tale, John XII is the show for you!

• Staff
• Verified User
• Anonymous