The title character in “Coriolanus” is one of those Shakespearean heroes you love to hate — or maybe you’re just hating yourself for having warm feelings toward this rather unhero…
’s unusual attack on this drama, the last of the great tragedies. As established by Beowulf Boritt’s extraordinary set — a hulking contraption of distressed-metal flats — and Kate Voyce’s rag-bag costumes, Coriolanus is a man without a country. Or, at least, no country known to ordinary Romans.
His ideal habitat, it seems, is the battlefield — any battlefield, at home or abroad, anywhere but in Rome during peacetime. No man of the people, he stumbles all over himself trying to find a place among the people who neither understand nor welcome him. No wonder Volumnia fusses over her grown-up boy, and no wonder his wife, Virgilia , has little to say and less to do with her lord.
If ever there was a hero without a place to lay his weary head, Coriolanus is that hapless hero. Cake understands this man without a country and gives him the only compassion he’ll ever find in the warlike land of his birth. That much is clear, although whatever else Sullivan had in mind makes no more sense than the physical trappings of the production. Neither primitive nor futuristic, the play feels unmoored, its themes unrelated to any recognizable period, no less our own. In this context, or lack of one, the exiled hero’s longing to find “a world elsewhere” resounds with uncommon desperation at the end of the play.
Wherever he goes, let’s hope he takes the rest of the characters with him, because no one else seems any more comfortable in this nowhere-world they inhabit. To be sure, the gutless tribunes played by Jonathan Hadary and Enid Graham would be at home in any corrupt administration. And the silver-tongued Menenius Agrippa could survive in any society that thrills to a good speech.
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