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Last Update:
April 21, 2017

What's new on Shakespeareances.com

Susquehanna Shakespeare Ensemble in Maryland added to Theater Links and Bard on the Boards.

Bard on the Boards Updates


Faction of Fools
Taffety Punk
Laboratory Theater of Florida
St. Ann's Warehouse
Lantern Theater Company
Smith Street Players
Actors' Shakespeare Project
Hawaii Shakespeare Festival
Royal Shakespeare Company
Arena Stage
Theatreworks
Marin Shakespeare Company
Shakespeare Theatre Association
Crown City Theatre Company
Seattle Shakespeare
Guthrie Theater
Shakespeare by the Sea (St. Johns)
Young Shakespeare Players
Synetic Theater
Cleveland Shakespeare Festival
Hudson Valley Shakespeare Festival

News and Anouncements

American Shakespeare Center—Playwright Contest Seeks Canon Companions

Atlanta Shakespeare Company/American Shakespeare Tavern—Folio Auction at New Academy Open House

The Cleveland Shakespeare Festival—Auditions Set for 20th Outdoor Tour Season

Bard Unbound—Drinking to Shakespeare As He Drinks to You

Orlando Shakespeare Theater—Roaring '20s Love's Labour's Lost on Trial

American Shakespeare Center—Blackfriars Playhouse Premieres New Play

Shakespeare & Company—Adam Davis Named Managing Director

Illinois Shakespeare Festival—40th Season Greets New Managing Director

Children's Shakespeare Theatre—New Space Opens Up Summer Camps

Shakespeare Theatre Company—Artistic Director Kahn Announces Retirement

Commentary

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

A tournament of Shakespeareances: Titles Tilt for the Title

To Adapt or Not to Adapt: All I'm Askin' For Is a Little R-E-S-P-E-C-T

On Stage

Richard III: This Point in Time

Coriolanus: One That Hath Always Loved the People

The Two Gentlemen of Verona: The Truth in the Matter

Romeo and Juliet: There's a First Time for Everything

The Second Shepherds' Play: The Spirit of Christmas Past

The Merchant of Venice: Truth in a Commedia Rendering of Shylock

The Shoemaker's Holiday: All Decked Out and Dekker, Too

Sense and Sensibility—Emotions in Motion

The Rise of Queen Margaret (Henry VI, Part 2): Masterwork in Hand Worth Two in the Making

Romeo and Juliet: A Lovely Libretto Bails Out in the End

Antony and Cleopatra: Epically Intimate

Richard III: Grave Consequences

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 Book of William: Book a Journey through First Folios

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

Hobson Woodwars' 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

Eric Rasmussen 's The Shakespeare Thefts: In Search of the First Folios

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

Gender Politics in Staging Shakespeare

Shakespearecure

A Midsummer Night's Dream: Bottom's Up

The Tempest: A Concoction Strange and Wondrous

Henry VI, Part One: A Great Stake

As You Like It: The Seven Ages of Man wine-pairing menu

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

And Also

2016 In Review and Top 20 + 10 Shakespeareances

Top 40 Shakespeareances

Plays seen: The Numbers

Find additional Shakespeareances
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On Stage: Shakespeare's Sister

Potential Wanting

Judith, in simple Elizabethan waist jacket, blousey shirt and maroon dress holds her hands up to her head in wonder.This is a story about potential. Potential in the past as well as in the future. Potential of place, of persons, of things real and imagined, of craft and art, of soul, of mind. Potential realized and potential wanting, if not wasted. Shakespeare's Sister, a new play by Emma Whipday, is a "what might have been" take on a "what probably was" story by giving William Shakespeare a playwriting sibling. The American Shakespeare Center gave the play its world premier theatrical production at the Blackfriars Playhouse in Staunton, Virginia, during the company's Actors' Renaissance Season, part of the company's nascent initiative to stretch the template of its "Ren Season" methodology. From preshow music on, we are treated to the heightened potential of the event, but though we attain some satisfying moments along the way and are treated to superb performances by this troupe of players, at the play's conclusion we are yet suspended in a state of potential. To continue, click here.

On Stage: A King and No King/'Tis Pity She's a Whore

Incest Rep Flips Horror with Humor

Annabella in gray tunik, purpe sleeves and red-striped panels of fabrick over a black print dress kneels opposit Giovanni in black leather vest, black jeans, and grey sweatshirt, both clasping a dagger between them.The Incest Rep, as Brave Spirits is calling its repertory of the Francis Beaumont/John Fletcher collaboration A King and No King and John Ford's 'Tis Pity She's a Whore, is actually a pairing of 1 1/2 incestious relationships. Both Jacobean plays (A King and No King was first staged in 1611, 'Tis Pity came about 30 years later) dwell on the overly intimate behavior between brothers and sisters (or not), but they look at this taboo topic from two different angles. To use a cinematic basis of comparison, 'Tis Pity is akin to a James Wan horror flick while A King and No King is something Mitchell Hurwitz of Arrested Development fame might have come up with. The plays' authors also use different styles of composition, and the rep's two directors, Charlene V. Smith for 'Tis Pity and Cassie Ash for A King and No King, take appropriately different approaches to staging the two plays. But with one cast. That proves to be the most important link between the two plays in this repertory. From the gut-wrenching horror of 'Tis Pity to the gut-busting humor of A King and No King, this company of fine actors can cause you to jerk back in shock in one play and have you doubled over in laughter in the next.To continue, click here.

Viola and Sebastian both wear brocaded goad fests over white billowy shirts and black renaissance caps; both have small mustaches.On Stage: Twelfth Night

A Twin Killing

The line between a good idea and a gimmick in the staging of a William Shakespeare play can be as tangential as the predetermination of an egg to split into two embryos. Titan Theatre's decision to cast identical twins as Viola and Sebastian in its production of Twelfth Night incited in me a high degree of excitement when it was first announced. While watching the play, though, I realized how what I considered a great idea bumps into the realm of gimmickery, and how quality of performance ultimately is the determinator. To continue, click here.

Lear in white jacket and black pants with a silver space blanket around her shoulders, and sitting on the floor the Fool underneath the space blanket next to Lear. In the background is a worker's rolling scaffold with camoflage curtain, a silver sheet backdrop, amo boxes, and a barrelOn Stage: Queen Lear

Not Old, But Not Foolish, Either

Some will point out, accusingly, that Maeve Ryan shouldn't play King Lear because she's a girl. I respond that she might be a high school senior, but she's a 10-year Shakespearean stage veteran. As for Lear's gender, the production's director, Children's Shakespeare Theatre Company Founding Artistic Director Diana Green, initially may have been thinking of skill sets within her company (cross-gendered casting is her common practice). However, in this case, regendering the title role of William Shakespeare's King Lear opens up so much potential by exploring the play's central conflict in mother-daughter terms, especially in the hands of teen-age girls playing those roles. The production doesn't quite fulfill the promise of that proposition: certain textual cuts and setting the play in a postapocalyptic age undermines Green's thematic intentions in regendering King Lear as Queen Lear. Nevertheless, this is an engaging presentation of Shakespeare's play with some courageous performances and both an eye-gouging and a fight that create heart-racing theater. To continue, click here.

Angelo in light blue shirt, dark blue pants, red tie is face to face with Isabella in white fuzzy sweater and blue jeans, he has his right hand extended out to his side.On Stage: Measure for Measure

Alternate Truths

That my son is making his New York directorial debut with this presentation of William Shakespeare's Measure for Measure does not factor into my evaluation of the production. What does matter is that I have been privy to his thinking on this play from the moment he broached it with me even before he moved from Anchorage, Alaska, to New York five years ago. Some of that thinking I spurred (not a lot—he's far smarter and a much more astute Shakespearean than I am). Thus, it is not in my role as father but as a reviewer more enlightened on this production than usual that I offer my evaluation of what turned out to be one of the most profoundly relevant renditions of Measure for Measure I've seen. For the complete review, click here.

Fanny in blue floral print dress has her left hand at her chest, while in the background, David in light blue shirt and tan slacks sits on the couch, one foot crossed under the other leg, watching Marthe in a white blouse and ankle-lengh tan-striped skirt opening shopping bags with Babette.On Stage: Watch on the Rhine

A Thriller at Every Turn

As Shakespearean theater fans, we had one significant reason to see the Jackie Maxwell–helmed production of Lillian Hellman's Watch on the Rhine at Arena Stage in Washington, D.C.: the actor Andrew Long. It was my wife, Sarah, who saw him in a production of Hamlet at the Alabama Shakespeare Festival in the mid-1990s and became an instant fan. We've since seen him perform several times in DC and New York, and it was because he took on the role of Kurt Müller in Watch on the Rhine that Sarah insisted we see the production. I certainly benefited from her strong-arming me, as I ended up enjoying a gripping yarn and its singularly realized characters portrayed by an outstanding cast, including Long: As good as he's been every time I've seen him, this particular performance convinces me why Sarah was so taken with his Horatio all those years ago. For the complete review, click here.

Richard sits on throne, frowning, left hand clinched with crooked arm, right hand on knotty cain, he's wearing a blue early 20th century dress uniform, long dress coat with gold-embroidered uptoruned collar, gold buttons and belt, and two medals on his left breastOn Stage: Richard III

Textual Conundrums

A soldier in a World War I army overcoat and gas mask stands guard on a platform above King Edward IV presiding over the signing of peace pacts among the factions in his court. Lord Rivers is gassed to death, rather than losing his head, at Pomfret. Young Duke of York plays with a toy Red Baron triplane. Preshow entertainment features music hall songs from the 1910s and '20s. This is the world of William Shakespeare's Richard III at the Chesapeake Shakespeare Company. The company's founding artistic director, Ian Gallanar, first staged his version of Richard III in 2012 as a movable production at CSC's then primary venue, the Patapsco Female Institute Historic Park in Ellicott City, Maryland. He's now revived it in the company's new downtown Baltimore theater with many of the same actors reprising their roles, most notably Vince Eisenson as Richard. Five years on, however, the production seems thematically out of sync, if not with the times at least with itself. Some character portrayals don't line up with Shakespeare's text, in part because of unusual choices in cuts, while a lack of consistent vision results in dramatic opportunities going by the wayside. For the complete review, click here.

Hecuba in tie-dye like jacket and blouse with a chain necklace around her neck, lamenting with hands outstretched.On STage: The Trojan Women

The Women of Troy Speak Us Home

Euripides' composition of The Trojan Women in 415 BC might have been aimed at political authorities in his Athens, but his play proved prescient for today's world, as evidenced by Taffety Punk Theatre Company's decision to switch from Shakespearean fare to the Greek tragedy for its annual all-women Riot Grrrls production. Certainly, the cries of justice from the defeated and disenfranchised women of Troy echo down through the ages and create a gripping effect in the peformances of a new generation of Riot Grrrls. However, I'm not convinced the play's real message is being heeded.For the complete review and commentary, click here.

Book cover of Year of LearIn Print: The Year of Lear

His Life in His Time

It is the penchant of critics, fans, and conspiracy theorists to look for the man William Shakespeare inside his works. However, the man himself is not necessarily in his plays and poems. The man's world is. Taking up residence inside the plays and from that perspective studying the external environment of the playwright could provide a more illuminating biography. Noted Shakespearean scholar James Shapiro does just that in his latest outing, The Year of Lear: Shakespeare in 1606. He studies three plays Shakespeare likely wrote that year and reveals how they reflect on the events and social attitudes of one of the most pivotal 12 months in English history. By tying those events and attitudes to the chronicled evidence of Jacobean theater operations and the documented record of Shakespeare's life and career, Shapiro shows us the playwright at work. Along the way, you'll learn about such epochal events as the Gunpowder Plot while glimpsing into the day-to-day activities of Shakespeare himself. To continue, click here.

The Count in wide green-striped jacket, green striped shirt, kahki pants, and tan fedora holds up a bottle of champagne in his left hand and a small cigar in his right sits next Jake in blue jacket and pants and light purple shirt, two glasses in hand and cigarette dangling from his lips. Beside him, Brett sits crosslegged, cigarette in fingers, a dark blue draping mini skirt.On Stage: The Select (The Sun Also Rises)

The Novelization of Great Theater

We are about to hear and see The Sun Also Rises exactly as Ernest Hemingway wrote it in 1926, though trimmed to fit into just over three hours' traffic on the stage (including a 15-minute intermission). Mike Iveson plays Jake Barnes, the novel's protagonist and narrator, and starts off with the first sentences in the book. In addition to descriptive prose, Jake inserts even the "I said," and "he said," attributions in the dialogue. At first this might seem to be nothing more than storybook reading with actors providing the tale's visuals rather than pictures to show the assembled crowd. However, The Select (The Sun Also Rises) is less about Hemingway than it is the Elevator Repair Service (ERS), the cutting-edge New York theater company staging this production in a month-long residence at the Shakespeare Theatre Company in Washington, D.C. The company uses a meta-theater aesthete to expand the dimensions of stagecraft and audience-performance dynamics in order to blend the fictional reality of the play with factual realities of playmaking, creating a more comprehensive theatrical experience. By the end of The Select it's so much more than appreciating Hemingway's tale and lauding the actors' performances; it's also reveling in the empowerment the production gives you to charge your own imagination in the playing of the play. For the complete review, click here.

On Stage: The Front Page

Press-sure Cooker

As I'm a journalist, this seems as good a time as any to review a show about journalists. After all, there "ain't much respect for the press around here." That's a line from The Front Page, the Ben Hecht and Charles MacArthur play that was revived this past winter on Broadway. This and other such media bashings receive knowing laughs from the Broadway audience grown accustomed to a just-inaugurated president's obsessive-compulsive derision of the media, even before he announced via tweet that journalists are "enemies of the people." For me, though, watching The Front Page with an all-star lineup had my own career flashing before my eyes, from the Walter Burns–like editors I've worked for to how stories are chosen for the front page. What also emerges is that while the script compares journalists to bootleggers and whores, the play actually reveals how members of the media really share the DNA of members of the military. To read the full review, click here.

Reader response added March 6, 2017.

Kate in black dress suit with white shirt, hands folded at her waist stands next to William in gray suit and tie with white shirt standing at a pair of microphones. Standing slightly behind them, Charles in dress uniform with medals, blue sash, and gold braids watches with his hands clenched at his waist.On Stage: King Charles III

A Shakespearean Reach

On our way home after seeing a play—after we've allowed the intensity of the experience (excited or painful) to run its initial emotional and intellectual course—I ask my wife, Sarah, "So what did you think?" When I popped the question after seeing a new staging of Mike Bartlett's King Charles III at Washington, D.C.'s Shakespeare Theatre Company (STC) produced in association with San Francisco's American Conservatory Theater and Seattle Repertory Theatre, Sarah went on to describe a different play from the one I saw—though we were sitting right next to each other in the theater, were both awake for the entire play, and both enjoyed it. Sarah, who could be labeled a "Royals watcher" from her infatuation with English monarchy past and present, saw a play about the members of the royal family projected into a future that begins with Queen Elizabeth's passing and Charles's ascending the throne. What I saw was a Shakespeare history play. To continue, click here.

Reader response added February 18, 2017.

Coriolanus in black armor-like leather vest, blood on his arm, and blood dripping down his face from his forehead.On Stage: Coriolanus

A Man; Take Him for All in All

This is the great conundrum of Coriolanus. Is the title character a hero or a villain? What is fact in the play, and what is "alternative fact?" Shakespeare, if not being obtuse, is at least presenting both the character and Roman society and its fickle population and manipulative politicians with dispassionate objectivity. In our age, Coriolanus tends to be antiheroic: There's a reason this play is showing up on an inordinate number of theater marquees this year (along with Richard III, Julius Caesar, and Measure for Measure). But René Thornton Jr. playing the part for the American Shakespeare Center's production at the Blackfriars Playhouse is not an antihero. He is engaging, funny, inspiring, endearing even. Thornton's performance is refreshing and disconcerting because I actually like this guy though it's clear in both the things he says and the way he behaves that he will pursue an authoritative course of rule and widen the economic gap between the patricians and the plebeians. But so what? Those plebeians certainly come off as a bunch of wusses. For the complete review, click here.

Hanna/Prospero in gray tanktop and sweatpants clutching a book, with a guard in white shirt, black tie and police hat behind her on the left, the inmate playing Calaban in black jacket and black stocking cap behind her on the rightOn Stage: The Tempest

Master of a Full Poor Cell

Women in prison. It served as a metaphor for Rome in Phyllida Lloyd's staging of William Shakespeare's Julius Caesar and continued as a thematically resonant setting for her version of Shakespeare’s Henry IV. With The Tempest, however, metaphor has been turned inside out as the play serves to conclude what turns out to be the story of a single prisoner told through Shakespeare's canon. Taken as a whole, the series demonstrates Shakespeare’s redemptive power while showcasing the incredible, multilayered acting talents of Harriet Walter along with those of her fellow actresses. Donmar Warehouse’s production of The Tempest, which ran in London last fall and is now playing at St. Ann’s Warehouse in Brooklyn, New York, is the last installment of Lloyd’s "Shakespeare Trilogy" with Walter as Brutus, Henry IV, and, now, Prospero, though—unbeknownst to the audience—she has been Hanna all along. For the complete review, click here.

Hal in black tanktop and gray sweats, with green fingerless gloves and an olive green sleeve on the elbow of her right arm, lifts a crown made of aluminum drink cans onto her head.Posted in tandem with
Henry IV: Higher Crime

Phyllida Lloyd returns to the women's prison setting for the second installment of her Shakespeare trilogy, Henry IV (combining the two parts into one). She uses many of the same cast members, most notably Harriet Walter, who played Brutus in Caesar, playing the title character in Henry. However, much of what made Lloyd's Julius Caesar so intellectually, emotionally, and psychologically scintillating is missing in her Henry IV. The prison setting only serves this play in an allegorical context rather than in a social context as the Caesar production did so brilliantly. [Catch up with mustard, working through our backlog of reviews of the past year, revisitting these productions with benefit of hindsight and experience. For the complete review, click here]

Orlando in blue denim shirt jacket, olive green long-sleeve tee, brown slacks and brown shoes is on one knee as Rosalind in her Ganymede disguse of red vest, denim shirt, pink slacks and brown patent leather shoes talks in his face. Celia, in a plaid country dress, sits on the stage in the background.On Stage: As You Like It

In The World of Refugees

As You Like It is a call to action,” Director Gaye Talor Upchurch writes in her program notes for her Folger Theatre production of the play, an introductory sentence that seems to be prophetic given the coincidental timing of this production against the backdrop of real-life drama being staged down the street in Washington, D.C. However, Upchurch is thinking in general terms. Her goal is that we, the audience, will join in “this celebration of both the ridiculous and the sublime nature of love.” A juxtaposition of sublime and ridiculous may be her starting point in staging this play, but what is sublime and what is ridiculous easily get twisted in translation. Thus we get an As You Like It which, by the intermission, is about to sink under heavy-handed theatricality and restrained acting but suddenly gets buoyed by individual performances and an audience-engaging spirit that send the play sailing to a happy ending, Hyman and all. For the complete review, click here.

Shylock in black vest, white shirt, and black and white-striped tie holds his knife aloft but looks off to the side toward Portia, his hand on the orange-prison-garb clad Antonio (back to us) as Bassanio and Gratziano, heads down, brace Antonio.On Stage: The Merchant of Venice

The Perspectives of Just Deserts

This is a Merchant of Venice that illustrates how Shylock is both a victim and a product of racism. This is a Merchant of Venice that depicts Antonio as the epitome of Christianity—and I mean that as complimentary to him. This is an American Shakespeare Center (ASC) Actors' Renaissance Season production (actors with no directors or production team mounting a play with a week's rehearsal) of William Shakespeare's play that lacks cohesiveness as some portrayals end up wandering in the wilderness, but a couple of bit parts rise to the topmost elevations of great Blackfriars Playhouse moments. To continue, click here.

Beatrice in blue party dress and white gloves, Benedick in black uniform with red piping on the pants, both facing each other nose to nose with hands on hips.On Stage: Much Ado About Nothing

A Perfect Rom–Imperfect Com

Tears? Are my tear ducts really stinging as I watch William Shakespeare’s Much Ado About Nothing? It’s not from laughing so hard. It’s not from cringing too much (though I did a lot of cringing before this moment). These tears are the romantic kind—OK, the chick-flick kind—the result of a perfect consummation of Shakespeare’s script, from-the-heart acting, and fluid pacing under the direction of Abigail Isaac Fine. Fine teams sublimely with Shakespeare in such sterling moments in this NextStop Theatre Company's 1960s South Beach–set production; too often, however, she doesn’t trust the Bard, and though she’s given the tools for a truly superlative Much Ado About Nothing, the production stumbles as much as it soars. To continue this review, click here.