Mitchell Bloom considers connecting with the can-do attitude common among his acting peers a tremendous triumph in his progression as a performer. Particularly fond of those whose ambition results in the creation of theatrical entities, the South of South resident has enjoyed the fortune of joining one such zealous set of confident thespians through Revolution Shakespeare, which is holding its third full production, the Bard’s “King John,” in Hawthorne Park, 12th and Catharine streets.
“I look at my colleagues, and it’s just an embarrassment of riches,” the 28-year-old said from the green space, the host through Oct. 1 for the group’s FringeArts Festival entry. “To interact with them and to offer such an interesting play, especially as the election cycle unfolds, are two amazing gifts.”
Bloom is portraying Cardinal Pandulph, a figure, who, though he has taken a vow to help others, serves his needs with such abandon that one immediately ponders his ultimate allegiance. The man of the cloth lets his loyalty vacillate, including through his connection to the titular English sovereign, whose right to the throne comes into question. Handling the role of “a manipulative character,” Bloom, who resides on the 2300 block of Catharine Street, enjoys conveying Pandulph’s inconstancy, dubbing it fun to play the villain.
“He comes in and has this knack for shifting everything around,” the actor said, connecting the presence of chess boards in Hawthorne Park to his character’s penchant for ordering monarchs around. “His interactions bring up the whole notion of who has power and what are the limits to its implementation.”
With the Nov. 8 general election only 47 days away, the 16th-century text has taken on added significance for Bloom and the South Philly-heavy company, including founder, artistic director, and Queen Village occupant Griffin Stanton-Amiesen, because it tackles leadership, its perils, and responsibility to self. Well-versed in addressing the vexing inquiry of why people should produce a given work, the former believes Shakespeare should continue to receive regard for how contemporary his canon is.
“This is not a work that sees many stagings, and that’s a shame because there are so many good characters and such wonderful language,” Bloom offered. “It makes so much sense for us to present this now because of our political climate’s instability and, frankly, because it’s quite compelling to bring Shakespeare to life.”
Early fall temperatures should make for a pleasant experience for viewers of the free performances, with Revolution Shakespeare acknowledging its connection to civic matters by making voter registration available. The outdoor setting and the political link aside, Bloom admires that their experience will further his fascination with Philadelphia as a theatrical powerhouse where opportunities are ripe and rife with wonder.
“There are many chances to become involved, and I’m grateful for each one, especially with RevShakes,” he said. “There’s so much else that I want to explore, and I believe the confidence and the conviction are there to make it all happen.”
WITH RESPECT TO his overall journey as a performer and an admirer of texts, one might consider Bloom a late bloomer, as he did not fully situate himself in the theater world until his senior year of high school. He recalled playing Lysander in a third-grade production of “A Midsummer Night’s Dream,” an experience that bred a love for being in front of an audience, but art held more sway, with dance being another interest.
“Come senior year, I wanted to be at it again, and ‘West Side Story’ was my chance,” the Hollidaysburg product said of the Stephen Sondheim opus. “It was a lovely and wonderful means to broaden myself, but I didn’t think about pursuing acting that seriously.”
Entering Temple University with majors in English and history, he eventually let theater work its magic in his heart, and he nearly took enough courses to earn a minor in the discipline. Seeing this city as “a metropolitan location that wouldn’t reduce people to anonymity,” he explored education through the Philadelphia Teaching Fellows initiative and landed a job through the Kimmel Center, with grant writing as a huge element of his two-year, Center City-based employment. Desiring more depth as an actor, he acquired his master’s degree from Villanova University, with seven shows in two years giving him exactly what he needed.
“I think performers thrive off affirmations that are not only self-fashioned,” Bloom said of the effect that positive estimations of his efforts bred. “You can find great joy in having your voice listened to and respected.”
The giving individual has proven that sentiment beyond his acting aspirations through Philadelphia Young Playwrights, for whom, come next month, he has served as a development and communications associate for three years. That position has helped him to have a say in numerous projects and is set to align him with registrants at Delaplaine McDaniel School.
“I’m eager to be in the classroom as an assistant teaching artist,” Bloom said of his presence at the Point Breeze institution. “It’s always great to work in settings where you’re asking children to think creatively and to help them to understand that they have every right to be heard.”
That emphasis on personal growth, which Bloom will help to document through 20 podcast episodes, is akin to what he is seeking with his “King John” affiliation, which is a terrific reminder of the power of the FringeArts Festival, which is overseeing 17 South Philly-based offerings; the wonders of Shakespeare, with a turn in Mauckingbird Theatre Co.’s “Much Ado About Nothing” as his other opportunity to channel the playwright’s genius; and the thrill of matching wits with equally ambitious stage presences. As the run picks up momentum, he will continue to strengthen his bonds with fellow South Philadelphians and hopes that observers can give credence not only to public performances and Shakespeare’s potency but also to their roles in contributing to the creative climate.
“What makes us human? What makes us strive?” Bloom inquired. “Those are things this play will have you asking and answering, and your replies are particularly valid when you see yourself as being the owner of a very important voice. You don’t need to be a royal or a politician to have merit. Trust in that, and make your own sort of difference.” SPR
Visit revolutionshakespeare.org.
Contact Staff Writer Joseph Myers at jmyers@southphillyreview.com. Comment at southphillyreview.com/news/lifestyles.
