
Floyd King as Geronte and Carson Elrod as Crispin in the Shakespeare Theatre Company’s production of The Heir Apparent,
directed by Michael Kahn. Photo by Scott Suchman.
The Shakespeare Theatre Company’s production of The Heir Apparent is quiet and subdued for about as many seconds as you can count on your two hands. Then Crispin (Carson Elrod) comes clamoring in the window and we’re off at full tilt until intermission. The story’s initial complication revolves around the desire Eraste (Andrew Veenstra) has to marry Isabelle (Meg Chambers Steedle) while lacking the necessary financial means. We soon layer on the ambition of his manservant Crispin, Isabelle’s mother Madame Argante (Nancy Robinet) and the holder of all the money that Eraste wants to get his grubby mitts on, Geronte (Floyd King). The only person without an agenda of their own is diminutive whipping boy Scruple (Clark Middleton), the lawyer summoned and repeatedly abused in the second act.
Seriously, you thought I was going to pan a play that has that much fun abusing lawyers?
It’s a whirlwind, madcap, fourth-wall-breaking, rhyming, asiding, many-joke-gliding play that works in more jokes than you’d expect to hear in a day. Much less two hours. It’s a good, light-hearted time which rarely missteps and is filled with contretemps and eventually the rhythm gets under your skin and is hard to shake, even a few days later when you’re writing your review.


















