Shakespeare Theatre Company brings its
Summer Free For All program to life for a 29th season, this year reviving its
2018 production of Hamlet, originally directed by Michael Kahn and
remounted by Artistic Associate Craig Baldwin, and starring Michael Urie as the
title role. The show is a power-packed run at over 3 hours, but a scattered
performance from the cast and an incohesive design leaves the audience feeling
every minute of it.
Macbeth at the Folger Theatre is unlike any production you will have seen before. That’s a guarantee the Folger can make as they stage for the first time since its origination Macbeth by William Davenant, a Restoration-era adaptation of Shakespeare’s text. Director Robert Richmond, in a collaboration with scholars and the Folger Consort musicians, presents a production that is the result of years of research and work to present something unseen by a modern audience.
Madness in great ones must not unwatched go. By that logic, theatergoers should be rushing out to Shakespeare Theater Company for Michael Kahn’s production of Hamlet starring Michael Urie as the mad Danish prince. Disturbingly dystopian, albeit conceptually undercooked, this production marks the end of an era as Michael Kahn, the show’s director and the company’s long-standing artistic director, makes it his final production before retiring. Not without impressive performances given by the featured player and others,
Not a minute of our lives should stretch without some pleasure in it. The Folger Theatre is stretching nearly two and a half very deliberate minutes of theatrical pleasure into their current production of Shakespeare’s Antony and Cleopatra. One of the Bard’s tragic histories, or historical tragedies as it straddles both categories soundly, this alluring and tempting production is an enticing start for the 2017/2018 theatrical season at The Folger. Directed by Robert Richmond,
It is all too easy to make excuses for the violence of the oppressed. Humanity’s knee-jerk response to people who commit heinous atrocities is to paint them as monsters. But aren’t they just human beings beneath it all? In a powerfully gripping and evocative theatrical exploration, playwright Nicholas Wright presents a deeply harrowing psychological and emotional excavation into post-Apartheid South Africa with his work A Human Being Died That Night. Based on the book by Pumla Gobodo-Madikizela and Directed by Logan Vaughn,
Luck is believing that you are lucky, and it is high time for Baltimore to have a healthy dose of luck. Rolling through on the rattling rails of a passing street car, the alternating half of The Great American Rep, Tennessee Williams’ A Streetcar Named Desire, has settled into Everyman Theatre and is bringing all the luck Charm City needs to feel good about its theatrical experiences as of late. Directed by Derek Goldman and playing in repertory with Arthur Miller’s Death of a Salesman,
Illusions may shatter but memories stay. And a small man can be just as exhausted as a great one. America’s original play in memory, Arthur Miller’s Death of a Salesman comes to Everyman Theatre to close out their 25th Anniversary season as a part of The Great American Rep cycle, also featuring Tennessee Williams’ A Streetcar Named Desire. The iconic American drama gets the cycle underway and Directed by Vincent M.
We don’t live alone. Our lives intricately touch so many others. Strangers on the street, shop girls assisting us with things, women of the town, factory girls hard at work, they are all living breathing human beings. And what gives us the right to decide that a simple action on our end does not impact their lives irrevocably? The fact that our station may be above theirs? The fact that we are of importance and they are of little consequence?