Bu June April

WATERBURY — The timely titled March Tale, currently at Seven Angels Theatre, is something of a patchwork offering. Though the playwright, Tim Slover, won the 1996 Writer’s Digest Prize with this creation, the work really seems successful only in segments, not as an entity.

Playing through March 19, what viewers can expect is a somewhat stronger second act (albeit not that much stronger than Act I), and some clearly talented actors doing a credible acting job.

Kate Dawson as Emilia does echo Gwyneth Paltrow’s character in that delicious movie, Shakespeare in Love. Ms Dawson has a fine sense of timing, very fine elocution skills and presents herself with dignity and charm.

The same can be said for Belinda Wolfe, who plays Anne Hathaway Shakespeare. The distant-letter-exchanges with her husband William are touching and one of the stronger elements in this production.

Intentionally or not, Ted deChatelet does strongly bring to mind Joseph Fiennes’ characterization of The Bard in the film Shakespeare in Love. In fact, part of the plot is clearly a ponderous attempt at emulating the cinematic success.

Though a graduate of the Ringling Brothers & Barnum Bailey Clown College, in addition to an undergraduate degree from the University of California at Irvine, Stephen Simon’s portrayal of Queen Elizabeth’s trusted friend and minister Robert Cecil is remarkable. It’s a serious role, which he addresses with great sensitivity and strength.

Outrageously effusive and buffoon-like beyond good taste, Anthony Santelmo, Jr as a supposedly Falstaffian actor is much too much for the Waterbury stage. As William Kemp he comes across as either poorly directed or an actor somewhat out of control.

Respectable acting from Matt Daniels, Hans Friedrichs, Jerold Goldstein and Rock Lohman added to production, as did Sybil Ann Haggard’s depiction of the character Celia.

It was hard to tell if Lee Bryant’s rendering of the very sick, verging on dying Queen Elizabeth was weak because of director Don Amendolia determining to portray her thus, or the lady was unwell herself. Sometimes she could hardly be heard and her attempts at keeping a traditional stiff upper lip (or whatever part of the body she was trying to keep intact) just failed.

The music, especially at the ending of March Tale, was inspiring. Lou Romao played guitar and lute, Antonio Biello doubled on flute and piccolo, and Jon Bernegger was the percussionist.

The costumes were quite impressive. Designer Jennifer Emerson has a remarkable eye, as well as hands. The simplicity of the stage setting was effective. Scenic designer David Korins has a fine sense of balance and flow.

Overall March Tale is a bit of a disappointment, but all the obvious talent and effort that went into creating this production is appreciated.

(Performances continue through March 19 at Seven Angels Theatre, in Hamilton Pavilion on Plank Road in Danbury. Call 203/757-4676 for directions, the weekend performance schedule, or reservations.)