When purist theatre lovers think of Shakespeare's work, the image of a beautifully crafted painting comes to mind that one is meant to contemplate, rather than touch. It has its own unique style that we have grown to admire and familiarize ourselves with. In both Shakespeare's comedies and tragedies, one might say that it is his wordplay and wit that stand out when such things as plot become hard to follow. Coincidentally, that is also what is often said of Taratino, who in writing his film "Pulp Fiction," certainly created a seemingly absurd work noted, in part, for its fascinating dialouge. Playing matchmakers to Taratino and Shakespeare, adapters Ben Tallen, Aaron Greer & Brian Watson-Jones along with director Amanda McRaven, create combined artform of mutualistic porportions.

"Pulp Shakespeare (or Bard Fiction)," which closed this past weekend at the Theatre Asylum in Hollywood, is indeed the perfect marriage of Quentin Tarantino’s "Pulp Fiction" and the dramatic style of William Shakespeare. Indeed "Pulp Shakespeare" requires a bit of foreknowledge in order to enjoy thoroughly, but having seen Tarantinos classic film and read much of Shakespeare's prolific work, this comedic re-imagining of "Pulp Fiction" serves to be a pleasant evening of laughs.

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Before the show, one feels they must re-check that they are watching something taken from a non-Shakespearean source as they take in the 15th-century music (by Jeff Cardoni) and look over the mostly wooden set resembling the Boarhead's tavern from "Henry IV." As the show progresses, the tavern-style set is cleverly rearranged to provide different interiors. The costuming (designed by Paula Higgins), much like the usage of props, is meant to provide the audience with the Shakespearean equivalent of what is presented in the famed Tarantino film.

The story begins with Pumpkin-pie (Matthew Clay) and Meadsweet (Dylan Jones) who are two thieves which, while dining at a Shakespearean tavern, decide that the proper end to their siesta is to rob it. Vincenzio and Julius, two hit men working for a certain Lord Marcellus Wallace, are sent to recover a special, mysterious briefcase for their boss. Vincenzio later must also entertain Lady Mia Wallace while her husband is away. Butch (Brad Bentz) is an aging prizefighter—most humorously massaged by his trainer, also Matthew Clay, in his entrance—who is being paid to fail, but instead, accidentally kills his opponent and tries to flee town... but not before getting his dead father's lucky golden watch. These four seemingly unrelated stories are the basis for this zany, anachronistic play as they weave in and out of one another.

Much like the film, "Pulp Shakespeare" has a running time of about 95 minutes with no intermission, and as the plot of the movie is followed quite faithfully —albeit in the Shakespearean way— one can find iconic lines from both the movie and Shakespeare's most famous plays as they are cleverly woven together. For instance, when Mia (Victoria Hogan) overdoses on heroin —or "opiates" in Shakespearean tongue— and is thus revived by the application of adrenaline via a long and huge needle, in a sudden fashion by Vincenzio (Aaron Lyons), he is overcome by the shock of her revival as he was in the movie, but with the added line "O true apothecary, Thy drugs are quick!" from Shakespeare's "Romeo and Juliet." Even the profane language which is often found in the iconic quotes of the Tarantino's films, such as "motherf----r," often used by Julius Winfield (Dan White) makes as many appearances in the play as it did the film, but in the bard's guise of the phrase "Blasting Oedipus."

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Dan White can be commended for capturing the same intense, calm quality that Samuel L. Jackson puts into Jules, and yes, fans of the original film, there is a Shakespearean dance number in light of the goofy dance scene that takes place between John Travolta and Uma Thurman in the original film. One particuliary interesting choice is the use of soliloquy, which is useful in that it allows the audience to digest the plot at a slower speed in contrast to the fast-paced style used in the film.

Unfortunately, "Pulp Shakespeare (or Bard Fiction)" closed this past weekend, but don't be too sad, there may be a revival coming in the foreseeable future, perhaps featuring the same actors. When and if such a revival happens, I would certainly recommend seeing "Pulp Shakespeare" not only for its entertainment value, but as a study in the synthesis of two very different stylistic conventions.

"Pulp Shakespeare" played through April 4 at the Theatre Asylum (6320 Santa Monica Blvd, Los Angeles). For more information about upcoming shows, vist TheatreAsylum-LA.com

Contact Contributor Spencer Carney here.

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