Hello.
My name is Amanda Gunther.
You killed all 37.
Prepare to be reviewed.
Going out with a rather impressive bang— though by no means are they finished producing or existing— The Rude Mechanicals, now in full-time residence at The Greenbelt Arts Center, have attained one of their coveted company goals: Produce all 37 of Shakespeare’s plays. Cymbeline, Directed by Erin Nealer, completes the quest of all 37.
How goes the world? A loaded question if ever there was one to be asked, especially in this day and age. But set yourself back from this day and age, set your dial of existence back to 1978 in order to prepare yourself to digest The Rude Mechanicals’ latest offering: Timon of Athens. Directed by Joshua Engel, this miscreant play of Williams Shakespeare’s is finding a new lens through which to be viewed in the hands of The Rude Mechanicals.
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Final boarding call for all passengers boarding flight STC-2017 to Illyria. All passengers please make their way to Sidney Harman Hall and follow the instructions of the flight attendant.
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The setup is astonishing, and at first a peculiar choice, but Director Ethan McSweeny’s conceptualization of Shakespeare’s Twelfth Night is nothing but gob-smacking by the play’s conclusion. Not unlike a cinematic psychological thriller,
He that loves to be flattered with worthy of the flattery. What if that being flattered is deserving of the flattery? Are they too then still worthy of the flattery? Perhaps even more so! Folger Theatre, in particular Director Robert Richmond, deserves a great deal of flattery for the current production of Timon of Athens, closing out the 2016/2017 season upon the stage inside the great Folger Shakespeare Library. Under Robert Richmond’s judiciously rendered vision and modernization,
Discomfort guides this servant’s tongue, you see
When first to speak on the venue known as the DCAC
But fear not, playgoers, for I share with you
Good news of The Rude Mechanicals and their show of Richard II
Laboriously titled The Life and Death Of
They present to you from one floor above
A judiciously rendered version that moves quite free
Of this early and poetic tale of history
Directed by Michael F.
I say there is no darkness but ignorance, and to remain ignorant of the truly sensational production of Twelfth Night that is gracing itself upon the stage of the Annapolis Shakespeare Company’s studio stage would be to remain steeped in the depths of an aphotic gloom of indescribable proportions. Directed by the company’s Artistic Director— Sally Boyett— this reimagined, innovative approach pays homage to the glistening golden era of Hollywood’s silver screen,
Duuuude! Are you down to party with the King of Navarre? Naaah man, I hear he’s got some wicked sick rules— like ‘No woman shall come within a mile of his court on pain of losing her tongue’ and ‘If any bro be seen to talk with a woman within the term of three years he shall endure such public shame as the rest of the court can possibly devise.’ But we hear he throws killer parties!
If the good truth were known, it would be spoke aloud that The Baltimore Shakespeare Factory has an impressive production of The Winter’s Tale to trod upon its boards the full month of April this year of 2016. What makes it so impressive, you ask? Not the fact that like at all BSF shows there is universal lighting a plenty and live music before during and at the end of the performance— both tools of the Bard’s day which serves well this merry band of players in their authentic Shakespeareance,
I am slain! Well, I’m not slain, thankfully, lest you’d be reading ye ole review by someone else! But you will be slain— with comic calamity and gripping tragedy all rolled into one amalgamation of a stage production currently parading itself on the boards of the St. Mary’s Community Center. Co-produced by Cohesion Theatre Company and Baltimore Shakespeare Factory, The Complete Deaths of William Shakespeare— a devised work written by Alice Stanley (with a little help from Old Bill of the Bard)— is stirring up quite a ruckus,
In the modern dieting trends where slimming down is all the rage even the world of the theatre could not be spared from the ravages of this new craze. Shakespeare gives us a smorgasbord of poetry and imagery; beautiful and powerful and in the new diet-approved rendition of Bard-Light: tragedies in under an hour, The BOOM Theatre Company is rendering down Macbeth to its purest essence; a powerhouse of moving and monumental scenes.
Shakespeare’s gone wild! It’s exactly like it sounds— crazy women, 37 plays, and a whole lot of vomiting! What could make for a better evening of hysterical gut-busting entertainment than the Fells Point Corner Theatre’s production of The Complete Works of William Shakespeare (Abridged)? Which, they are totally proud to present? Directed by Howard Berkowitz, this laugh-a-minute comedy will crack your funny bone wide open and unearth the Bard like you’ve never seen him before.
Be very, very careful about the way in which you hear and use words. It can be the key to understanding victory or misinterpreting failure in battle. And a battle of epic proportions is what the Shakespeare Theatre Company in Washington DC has set out to display with their national premier of the National Theatre of Scotland and The Royal Shakespeare Company’s production of Dunsinane. A thrillingly dramatic sequel to one of the Bard’s bloodiest tragedies,
Friends! Romans! Washingtonians! The time has come to take a stand against the inconstant shifting nature of theatre in Washington DC! Hail The Rude Mechanicals and their rebellious production of Shakespeare’s Julius Caesar. Directed by company founder Jaki Demarest, this scandalous production takes the great Roman Empire to 1920’s soviet occupied Russia. Stalin, proletariat, rebellion; all encompassed in Demarest’s revolutionary vision of one of the Bard’s milder tragedies.
With honor in one eye and death in the other,
The end of war is uncertain; Cohesion Theatre Company making an impact in the Highlandtown Arts District with their inaugural production Shakespeare’s Coriolanus, is certain. Exploding onto the scene with one of the lesser performed tragedies in the Bard’s repertoire, the new Baltimore-based company settles in with an ambitious first show, delivering on their company’s namesake a hybrid of classic tragedy with modern minimalist influences. Directed by company Co-Founder Alicia Stanley,
All the world’s a stage and the men and women of the Shakespeare Theatre Company are divine players in the 2014/2015 season opening production of As You Like It. One of Shakespeare’s more amusingly confusing comedies with romantic subplots twisted hither and thither all throughout, the play entreats theatergoers to delight in the marvels that are love, folly, and foolishness whether ye be man or woman. Directed by the critically acclaimed Michael Attenborough,