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Last Update:
December 15, 2018


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St. Lawrence Shakespeare Festival
Texas Shakespeare Festival

Oregon Shakespeare Festival

Hudson Valley Shakespeare Festival

Kentucky Shakespeare

The Public Theater
Philadelphia Artists' Collective

Quill Theatre

Pac Rep Theatre

American Stage

4615 Theare Company

Lantern Theater Company

Shakespeare in Action

Livermore Shakespeare Festival

Baltimore Shakespeare Factory

Kingsmen Shakespeare Company

Great River Shakespeare Festival

Utah Shakespeare Festival

Island Stage Left
Los Angeles Drama Club

Shakespere Orange County

Hoosier Shakes

Marin Shakespeare Company

Theater 2020
Stratford Festival

Idaho Shakespeare Festival

Arkansas Shakespeare Theatre

Pointless Theatre

Shakespeare on the Saskatchewan

Lake Tahoe Shakespeare Festival

Sonoma Shakespeare Avalon Players

News and Anouncements

Shakespeare & Company In Memoriam: Dennis Krausnick, Educator

Shakespeare Orange County: Driven from Its Longtime Garden Grove Home, SOC Gets "Stunning" Santa Ana College Offer

Commentary

Shakespeare's Hot 40: Ranking The Bard's Plays by Stage Popularity

Another Happy Anniversary: Passion Play

Martin Luther King Jr. Day: The Birth of a Man

Locker Room Talk and Sexual Assault: To Whom Should I Complain?

A Ghost Story: The Real-Life Drama of The Executor

Opening Day: The All-Shakespeare Baseball Team

In Memoriam: Dean L. Minton Sr.—Methinks I See My Father

A Happy Birthday: Enduring Wind and Weather

Oregon Shakespeare Festival Translation Project: Chill, People

A Father's Love: Issues with Daddies in Shakespeare

On Stage

Coriolanus: Of the People

Imogen (nee Cymbeline): Refocusing Shakespeare's Play from Y to X

The Way of the World: Money Talks

Hamlet: Virtual Reality for the Soul

Richard II: Divine Right

Hamlet: O'erstepping the Modesty of Nature

Hamlet: Crafting Madness

Twelfth Night: Live Theater As Theater of Lives

Twelfth Night: A Dying Fall Resurrects As a Great Play

Antony and Cleopatra: The World Is Their Toy Box

Doctor Faustus: The Devil Is in the Details

Peter and the Starcatcher: Such Starstuff As Dreams Are Made On

On Screen

Shakespeare Uncovered 2: Second Set of Mini-Documentaries Reveals Bard's Brilliance with Filmmaking to Match

Still Dreaming: Past the Wit of Man to Say What Dream it Was

Twelfth Night: What Achieved Greatness Was Born Great

Romeo and Juliet: Too Dumb for Tweens

The Hollow Crown—Henry V: The Crown Comes Full Circle

The Hollow Crown: Henry IV, Part Two: Falstaff Diminished, This Play Is Built on Irons

The Hollow Crown—Henry IV, Part One: Irons' Henry IV Reigns O'er His Own Play

The Hollow Crown—Richard II: This Crown Jewel Is a Hollow Richard

Romeo and Juliet: Rudolph & Margot Trump Romeo & Juliet

Much Ado About Nothing: Innate Understanding of Shakespeare's Ways Underlies Whedon's Masterful Much Ado

On Air

Much Ado About Nothing: The Couple in Love, With Their Own Selves

The Tempest: A 1612 Space Oddity

Hamlet: Good Radio vs. Good Shakespeare: With This Hamlet It's a Drawl

Midsummer Night's Dream: To See a Voice and Hear a Face With Fairy Magic and Bottom's Roar

Romeo and Juliet: The Tone Is Out of Joint

In Print

The Year of Lear: His Life in His Time

The Book of William: Book a Journey through First Folios

Shakespeare Beyond Doubt: Beyond Even Unreasonable Doubt Book Establishes Shakespeare's Authorship

Hobson Woodwards' A Brave Vessel: The True Tale of the Castaways Who Rescued Jamestown and Inspired Shakespeare's The Tempest

Stephen Landrigan and Qais Akbar Omar's Shakespeare in Kabul

Interviews

Fiasco Theater: How Downsizing Leads To Supersizing Shakespeare

Olivia and Maria: From Mourning to Light, Tonya Beckman Plays through Two Twelfth Nights

Richard III and Queen Margaret: Four Years, Two Immortal Enemies

A Day with The Brooklyn Tech Students: Shakespeare at the Dawn of a New Generation

A Shakespeare Impresario—Playing the Whole Shakespeare Canon: Great Works and Good Work, Too

Bardroom
Racial Casting and Theatrical Sacrilege

Gender Politics in Staging Shakespeare

Shakespearecure

Cymbeline: A Wing and a Pear

A Midsummer Night's Dream: Bottom's Up

The Tempest: A Concoction Strange and Wondrous

Henry VI, Part One: A Great Stake

Macbeth: Fowl with Red Pepper Sauce, Lady Macbeth's Curse, Porter Rhubarb, and a Witches' Stew

And Also

2017 In Review and Top 20 + 10 Shakespeareances

Top 40 Shakespeareances

Plays seen: The Numbers

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Shakespeare Canon Project link Caricature of Shakespeare with suitcase, iPad and iPod A message for snobs only: click here

Special Commentary Update for the All-Star Game

The All-Shakespeare Baseball Team

Cartoon of Shakespeare as a baseball playerAs we take a break (kind of) from the Shakespeare Canon Project for Major League Baseball's All-Star Game, my 2016 commentary drafting Shakespeare characters for a baseball team has been updated, thanks to my recent experience with a Joan of Arc. To read the full commentary, click here.

 

On Stage: Macbeth

The Magic Macbeth Show

Production Photo of MacbethsThe show opens with Lady Macbeth taking a child's corpse out of a coffin and hugging it. She's joined by the Weird Sisters. “When shall we three meet again, in thunder, lightning, or in rain?” the Weird Sisters chant as they raise their sleeves shrouding Lady Macbeth from our view. “Upon the heath, to meet with Macbeth!” and, presto!, Macbeth himself appears from behind the witches’ sleeves where his wife had just been, and he starts engaging in a loud, energetic battle with on-rushing rebel Scots. And there you have it: horror, action, Shakespeare (for the most part), and magic—real magic in this Chicago Shakespeare Theater production of William Shakespeare’s Macbeth, adapted and directed by Aaron Posner and Teller, the latter one-half of the Las Vegas magic team of Penn and Teller. It’s more about the magic, atmosphere, and accessible storytelling than it is about Shakespeare’s text and psychological mystery, but as theatrical entertainment, it’s a thriller. For the complete review, click here.

On Stage: The Cherry Orchard

Unmasking a Masterpiece

Photo of Dunyasha and Lopakhin listening for Lubov's arrivalMany of us Western theater aficionados think of Anton Chekhov’s plays, such as The Cherry Orchard, as weighty philosophical forays into the tragedy of the human condition. Well, William Shakespeare wrote weighty philosophical forays into the tragedy of the human condition, too, such as Twelfth Night and As You Like It and A Midsummer Night’s Dream, great comedies all. Chekhov thought he was writing comedies, too—he even cited The Cherry Orchard as partial farce—but something has been lost in the translation, whether lingual, cultural, or theatrical (that last is cause for mistranslations of Shakespeare, as well). Washington, D.C.'s Faction of Fools is trying to recapture Chekhov's comic essence with its commedia dell'arte production of The Cherry Orchard, building on the success of its past such adaptations of Shakespeare and Thornton Wilder. In this instance, while you get the best of each world, commedia and Chekhov, you don't necessarily get the best for both worlds. For the complete review, click here.

On Stage: Titus Andronicus

Some Key Ingredients Missing
From Otherwise Delicious Titus

Photo of Aaron and Tamora dancing A Titus Andronicus with no blood and no words; what's the point, right? Well, bloodless is no matter because such a visually based company as Synetic Theater can accomplish all manner of allegorical representations of bloodiness, as this production does from red fabric and red lights to cherry pies. Words, however, are an integral theme for Titus Andronicus as Shakespeare uses highly formalized verse and ritualized language as a metaphorical structure mirroring society's ritual obsession with revenge and violence. Synetic, a movement and dance theater, succeeds in that, too, establishing a formal framework and ritual behaviors within which human behavior runs amok. All that running amok guarantees stellar work from Choreographer Irina Tsikurishvili, who plays Tamora, Queen of the Goths, and gives herself one of the most astounding dances I've ever seen on a stage. Yet the production comes up short where it shouldn't: For all its words and ritual, Titus Andronicus contains some of Shakespeare's most emotionally wrenching visual moments that this visual-centric production fails to deliver. For the complete review, click here.

Photo of Desdemona and OthelloOn Stage: Othello

'Tis Love, 'Tis True, 'Tis Pity, Too

Let me point out right off the bat that this William Shakespeare play is called Othello—to be precise, The Tragedy of Othello, the Moor of Venice. This play's heart and soul is Othello's fall into an emotionally wrenching psychological abyss. In the Baltimore Shakespeare Factory's Original Pronunciation production, Troy Jennings gives one of the truest portrayals I've seen of such an Othello. His is a tragedy so aching it elicits pity even in his most violent moments, for this Othello is an unwitting victim of another man's cold-hearted, self-indulgent cruelty, which Ian Blackwell Rogers' Iago slams home in the last seconds of the play. Moments small and large with performances straight and true make this an Othello of singular excellence, with or without Original Pronunciation, representing a high benchmark for the Baltimore Shakespeare Factory (BSF) and its founding artistic director, Tom Delise, who helms this production. For the complete review, click here.

On Stage: Drunken Shakespeare

Raising the Bar with More and Much More

Photo of Minton presenting Sir Thomas More's speech in a bar full of patronsIt's called Drunken Shakespeare. It's described as Shakespeare karaoke. It takes place in a New York City bar. Sure, it's a fun time of hijinks and low-jinks, but along with Shakespeare-themed drink specials, it also offers up some special Shakespeare performances. It also allowed me the opportunity to see performed live William Shakespeare's portion of the play Sir Thomas Mores, his peech about violence against immigrants. Click here for the complete review.

On Stage: Henry IV, Part One

The Bling's the Thing

Photo of Hal and Henry after the king has thrown the prince into the throneBeing king of England is perceived power with a nice piece of head jewelry. It's all about the bling. That bling and a throne recognizable to Game of Thrones fans are centerpiece props in Southwest Shakespeare Company's production of William Shakespeare's Henry IV, Part One. This engaging staging gives equal emphasis to the four players for the crown—the one who wears it, the one vying for it, the one awaiting it, and the one manipulating it—while balancing the play's comic and dramatic elements as they wind their way to a comical dance with death in the climactic carnage of war.For the complete review, click here.

On Stage: All's Well That Ends Well

All's Well That Starts Well

Photo of Helena and Bertram holding hands, King looking delightedThree Shakespeare-centric companies opened new theaters over the past three years with William Shakespeare's A Midsummer Night's Dream. Inaugurating a Shakespeare theater with his play about dreams, fairy magic, and theater seems patently obvious. Not to Melissa Chalsma, cofounder and artistic director of the Independent Shakespeare Company (ISC) in Los Angeles, California. To open her company's new studio theater, Chalsma chose Shakespeare's too-little-performed comedy All's Well That Ends Well, a play about faith, resiliency, and resolve backing up talent and ingenuity. That choice, too, seems patently obvious with a play space—barely finished in time—that proves most worthy of the quality of Chalsma's simply funny but poignantly moving production of All's Well That Ends Well. For the complete review, click here.

On Stage: The Winter's Tale

Finis

Photo of Leontes at the front with Hermione sitting with Polixenes at the backThe Aaron Posner–helmed production of William Shakespeare’s The Winter’s Tale at the Folger Theatre reaches its zenith on the sea coast of Bohemia. You know the scene, famous for Shakespeare’s best-known stage direction. Antigonus, ordered by King Leontes to abandon his baby girl—whom he believes is illegitimately bred—in a wilderness, places Perdita in her basket on the ground as a storm begins to rage. He starts to leave, and then hears a most disturbing noise: It is Perdita, who begins crying. Antigonus goes back to the basket, picks up the baby, and sings a lullaby, soothing her. This may be one of my favorite-ever moments in any Winter’s Tale I’ve seen, Antigonus gently comforting the baby in a pause of beautiful song amid the violence rising about him. And then tragedy strikes: No, it's not a bear. A more carnivorous beast intrudes on this expectant moment and Shakespeare’s play on the whole: The director. For the complete review, click here.

Photo of Rosencrantz with palms together looking at Guildenstern next to him, pointiong at Rosencrantz, both in Renaissance-era clothesOn Stage: Rosencrantz and Guildenstern Are Dead

Two Characters in Search of Their Play

In the end, there is nothing. There is our imagination and the lingering effects of a writer's imagination, but there is "no thing," as Hamlet likes to pronounce nothing when he's making a lewd pun. An ending, even one of nothing, needs a beginning—but there's nothing there, neither, except a blank slate for conception. "There is an art to the building up of suspense," says Guildenstern, the opening line of Tom Stoppard's Rosencrantz and Guildenstern Are Dead—well, actually, the opening line is Rosencrantz repeating "heads" five times as Guildenstern flips coins to him, each coin landing with its head up. No thing in no place. Stoppard doesn't give his play any setting. His staging instructions are “a place without any visible character.” So, the place where Rosencrantz and Guildenstern exist is the same place where we exist: In this instance, that's the Blackfriars Playhouse in Staunton, Virginia, home of the American Shakespeare Center (ASC) which is staging Stoppard's play—with a dynamic duo in the leads—in tandem with William Shakespeare's Hamlet.For the complete review, click here.

Oedipus in blue three-piece suit with yellow and blue diamond tie, sunglasses,an African scarf oer his shoulders, a wood crookstaff in his left hand while he raises the index finger of his right hand.On Stage: The Gospel at Colonus

A Sermon from the Book of Oedipus

Praise the Lord and Greek theater! Praise WSC Avant Bard! not only for bringing The Gospel at Colonus to the stage in the D.C. region, but for reviving it a year later, too, giving me a chance to take in this theatrically spiritual experience. I was introduced to this—well, what do we call it? play, musical, Pentecostal service?—in a Masters of Humanities class in the mid-1990s when the professor showed us a telecast of it. I was moved by it, but never got the chance to see it in person until WSC Avant Bard mounted its intimate production last year. Unfortunately, I couldn't fit it into my schedule, even though its run was extended. Fortunately, so popular and acclaimed was the show, the company revived it for this season. Second chances are rare gifts indeed, so this time, though my schedule is even more crowded this year, I simply bullied it onto my calendar. Amen to that. For the complete review, click here.

Johnson sitting in a blue-backed chair at his wood desk, hands folded on the desk, speaks to slumping Wilbur Mills in chair, back to us.On Stage: The Great Society

A Shakespearean Tragedy Touches Us All

Lyndon Baines Johnson, played by the incomparable* Jack Willis (*really), walks onto the Fichandler's stage at Arena Stage in Washington, D.C. When he was a little boy, he tells us, his daddy took him to the rodeo, and the bull riding fascinated him most. "They released the gate and 2,700 pounds of horns, hooves, and hate exploded into the arena, twisting left and right, bucking up and down," he says. "Everybody gets thrown. Everybody." Some suffered broken backs, some the bull gored, some were killed. "Why would anybody do that?" Willis's LBJ asks rhetorically. The why, he says, was in that one moment in the short ride when young Lyndon could see the cowboy's face. "Maybe it was a trick of the light, but there was such a look of joy, of triumph," he says. "So, check your grip, take a breath, because here we go." And here we go, indeed, into The Great Society, Robert Schenkkan's sequel to his intensely rewarding and much-awarded play, All the Way, which chronicles Johnson's first year in office. The Great Society covers the rest of Johnson's presidency, a four-year bull ride that leaves him eviscerated and two other stars of equal voltage in the political arena killed, in a staging that ends up playing as a modern-day Shakespearean tragedy—for the characters, and for our current times. For the complete review, click here.

Bard on the Boards

And Cinemas, Too

With National Theatre Live (from the National Theatre in London) beginning rebroadcasts of its 2015 production of Hamlet starring Benedict Cumberbatch in cinemas this week, and Nicholas Hytner's acclaimed production of Julius Caesar broadcasting in cinemas later this month, I realized a glaring oversight on Shakespeareances.com: Though I have reviewed cinema broadcasts from the National Theatre and the Royal Shakespeare Company the On Stage section, I have never listed current and upcoming broadcasts on Bard on the Boards. I have now added the titles for all NT Live and RSC in Cinemas broadcasts to Where's Playing What, and the Shakespeare titles (including RSC's Troilus and Cressida) to What's Playing Where. Note that unlike staged productions, these have different run dates according to your location: you need to click on the link to go directly to that broadcast's webpage and from there find the cinemas, dates, and showtimes in your area. As these broadcasts are a valuable resource for seeing these productions if you can't get to Stratford-upon-Avon or London, I will henceforth list newly announced titles under the Bard on the Boards updates in the left column of this Update page. Click here to see the NT Live offerings, and click here to see RSC's titles.

Shylock in black cloak and red skullcap sits on a benchOn Stage: The Merchant of Venice

Seeking Heroes, We Get Laughter

These are kids ages 8–14 staging this production of William Shakespeare's The Merchant of Venice at the Children's Shakespeare Theatre. That matters little in the production's overall quality, but it matters much in the impression the play leaves. Shakespeare didn't merely write an anti-Semitic or an anti-anti-Semitic play or a play about racism specifically or generally: he wrote a play about bullying, across racial and ethnic divides, across economic divides, across generational divides, and across divides of physical abilities and impairments. And he wrote it as a comedy. Is this a play children should be exposed to, let alone performing, and in a generally hilarious staging? Absolutely: These actors see racism, rising numbers of hate crimes, and bullying every day through newscasts, on the Internet, in their communities, and, no doubt, at their schools. They, in fact, probably understand Shakespeare's play better than most adults, do; and some act it better than many professional actors do. For the complete review, click here.

Tybalt in black shirt, Juliet in peach dress over white shirt, Benvolio, script in hand and wearing blue and yellow checked shirt and jeans crouches down behind Juliet, patrons sitting at tables on the perimeter and a bar to the rightOn Stage: Romeo and Juliet: Choose Your Own Ending

Aligning the Fates for Tragical Mirth

Mercutio and Benvolio try to convince Romeo to join them at Capulet's party, but Romeo resists. "Some consequence yet hanging in the stars shall bitterly begin his fearful date with this night's revels and expire the term of a despisèd life closed in my breast by some vile forfeit of untimely death." "Or not," replies Mercutio. "I suppose it depends on whether or not people make terrible decisions," Romeo says, but he doesn't mean his decisions; he means ours, those made by the audience at this Valley Shakespeare Festival production of Romeo and Juliet: Choose Your Own Ending, the cleverly comic adaptation of William Shakespeare's tragedy by the sister-and-brother writing team Ann and Shawn Fraistat. The play pauses at three points for the audience to vote on a decision Romeo must make, leading to eight different endings. Relying as much on liberal use of mature language and sexual connations as on Shakespeare's text, the Fraistats create cheeky internal commentary on the play itself. In other words, it's a perfect piece to play in a bar, which is the venue for this production. For the complete review, click here.