UT’s ‘Arabian Nights’ to tell tale of tolerance

The all-too-human impulses of conflict and cooperation co-exist uneasily in each of us.

In the University Theatre production of “The Arabian Nights,” the tension between distrust and detente is as real as the evening news:

There once was a king called Shahryr, who one night found his wife in the arms of a slave.

The world darkened for Shahryr. His soul grew sick and he killed them both on the carpet of the bed.

Scherazade finds herself in quite a pickle. No, she is not the hapless queen in the above fragment, which opens Mary Zimmerman’s adaptation. Instead, Scherazade is a storyteller, charged with delivering a tale every evening for the requisite 1,001 nights. Her story must amaze and enchant the king, else she will die.

The true subtext of “Arabian Nights” is tolerance, according, perhaps ironically, to its fight director Tony Simotes, also director of the University Theatre. As if his plate already weren’t full to overflowing, Simotes also is directing “The Rover,” Restoration playwright Aphra Behn’s 1677 commentary on marriage and gender roles. “The Rover” runs through Saturday, Nov. 4, in Vilas Hall’s Mitchell Theatre.

“‘Arabian Nights’ definitely is more timely because of the war overseas. While ‘Rover’ takes a political look at gender issues, race, culture and society’s seamier side, ‘Arabian Nights’ tells its tale much differently. ‘Rover’ tickles you with a feather, swings a blade over your head and makes you feel like you took a ride on Pirates of the Caribbean. ‘Arabian Nights’ entertains you with vibrant colors, dances, exotic sounds, knives and swords … but then shakes your innermost parts and leaves you breathless. The ache is real and is reflected every day in the news,” Simotes says.

Conflict as played out with the aforementioned swords and knives is Simotes’ professional stock in trade. After working as Shakespeare and Co.’s master teacher of fight and movement in Lenox, Mass., for 30 years, he came to Madison about three years ago. He has proceeded to wrack up credentials with American Players Theatre in Spring Green, Madison Repertory Theatre, Mercury Players and other UT productions. In addition, he has traveled the world from Australia to Canada choreographing fight sequences of all kinds.

Jennifer Stewart, who teaches at Deerfield’s Dance Studio 3D, also teaches movement for the production. However, her contribution is instruction in Middle Eastern dance. A veteran of teaching and performing in both solo and company settings, Stewart says that this production came with some special challenges, and surprising freedom to meet them:

“There wasn’t any pre-existing music for ‘Arabian Nights,’ as there is with musical theater,” she says. “The sound designer here decided to create the music based on the movements. That’s exciting because there aren’t any limitations, only that it fits within the director’s vision.”

The same criterion applied to lighting designer and master of fine arts candidate Krystal Kennel. For inspiration, Kennel turned to photographs she has seen of the Hagia Sophia in Istanbul.

“The pictures of sunlight coming through the windows of the dome are so breathtaking! But initially, I wasn’t sure if the images I showed the director (Norma Saldivar) about a month ago had an effect on the direction she would be taking with the play. We met just today, and she said that she was framing moments in the production that will give me the opportunity to recreate the quality of light that was so beautifully represented in the photographs,” Kennel says. “That we can inspire each other like that and work together to create a piece of art is really extraordinary.”

Kennel is working closely with electrics and sound designer Casey Martin to develop a spectacular starlight effect. “I dream up a crazy idea and he makes it work. Again, I couldn’t ask for a better collaborative relationship,” she says. “I guess my life lesson from this show is that lighting design — and life in general — should not be done in a vacuum.”

So, backstage anyway, UT’s “Arabian Nights” comes down firmly on the side of peace and cooperation. The production opens on Thursday, Nov. 16, and continues Friday and Saturday, Nov. 17 and 18; Wednesday-Saturday, Nov. 29 and 30 and Dec. 1 and 2; and Thursday-Saturday, Dec. 7-9.

Curtain is at 7:30 p.m. in the Gilbert Hemsley Theatre of Vilas Hall. In addition, there will be a 2 p.m. matinee on Sunday, Nov. 19. Tickets, $18 general/$14 students, are available through the Vilas Hall Box Office, 262-1500.