Tag Archives: Nick Salamone

NY Classical’s Henry IV

Outdoor Venue, Play July 4, 2024 Leave a comment

It’s summertime, the season of delightful outdoor (mostly free) performances.  Among my favorite companies is New York Classical Theatre.  Artistic Director Stephen Burdman has a one-of-a-kind flair for molding even the densest of texts into a compact and entertaining two hours.  This year he has impressively taken on Shakespeare’s Henry IV Parts I and II.  More than any of the history plays, Henry IV is a love letter to Shakespeare’s country and all its colorful facets.  Part I covers the early years of Henry’s reign soon after he has taken the crown from his weaker cousin Richard II.  He was not Richard’s chosen successor and rebellion is brewing.  To make his situation even more precarious, the King’s heir, Prince Hal, is far more interested in palling around with his jolly friend Jack Falstaff and his wayward circle than in taking his rightful place at court.  Part II continues the story, ending with a post-battle Hal stepping into his role as responsible King Henry V and disavowing his relationship with Sir Falstaff.  

Burdman has cut away much of Henry’s lamentations, but despite the title these were never Henry’s plays.  Falstaff is what we would call a fan favorite (so much so that Shakespeare gave him a cross-over role in The Merry Wives of Windsor.)  In this production, he is played with wit, charisma, and a dose of self-awareness by NYCT artistic associate John Michalski.  Counterpoint is Hotspur, a hero in an old-fashioned mold, who begins as a Henry ally and ends as a central force among the rebels.  Even passersby could identify this personification of gallantry by Damian Jermaine Thompson’s ramrod posture and elegant demeanor, two qualities he sheds when he also plays the meeker John of Lancaster.  As a nod to the power of Queen Elizabeth I who was on the throne in Shakespeare’s time, Burdman has changed Mortimer’s gender.  This allows us the pleasure of more time with magnetic Anique Clements, who also takes on Beth (formerly Ned) Poins, Hal’s closest friend.  Burdman has also converted Worcester to a Countess interpreted by Carine Montbertrand who doubles as put-upon tavern owner Mistress Quickly.  Her physical and verbal shifts between classes earns her special appreciation.  The overly self-confident Owen Glendower gets plenty of exuberance from Ian Gould who also portrays the King’s Brother-in-Law Westmoreland.  Ian Antal, another of the artistic associates, plays young Prince Hal with a devilish smile and much whipping of lustrous hair. The remaining cast members — Briana Gibson Reeves, Nuah Ozryel, Nick Salamone, and Juan Luis Acevedo — help move the story along with the high energy and wonderful timing this production demands.  

In most settings, this company has the audience change locations several times.  In Carl Schurz Park they are more physically restricted, so the actors move through the crowd.  They speak their lines cheating to the viewers and those who suddenly find themselves at the back are given permission to stand.  The trees form a lovely backdrop and the birds add to the soundtrack.  You have only to look at the long list of fight, movement, and vocal professionals in the program to get a sense of what it took to get this well-rounded creation on its many feet.

Henry IV and all his parts is a particularly welcome offering in the year when the Delacorte, home of the Public Theater’s Shakespeare in the Park, is shuttered for renovations.  It can best be enjoyed with friends, a snack and perhaps a well-behaved dog.  A perusal of the cleverly written program notes beforehand (https://theunforgettableline.com/wp-content/uploads/2024/07/efd4d-dramaturgyh42324.pdf ) is highly recommended.  You can catch New York Classical Theatre’s Henry IV among greenery at Carl Schurz Park through Sunday, July 7 or with water and an actual castle July 9 through 14 at Clinton Castle at Battery Park.  To make a free reservation and for more information visit https://nyclassical.org/

Cymbeline – FREE in NYC

Outdoor Venue, Play June 30, 2022 Leave a comment

For its 23rd season, New York Classical Theatre has chosen Shakespeare’s Cymbeline.  This inventive, lively company is the perfect troupe to take on a work that even Will’s Mum likely thought a headache.  Equal parts comedy, tragedy, romance, and fairytale, the work has a cast of nearly 40 and spans multiple locations.  With a wink and a smile, NY Classical’s jovial band of seven actors skillfully tackles the Everest-high pile of coincidences and present an evening of pure enjoyment. 

The group’s signature style includes traditional staging from the 19th century and the use of New York City parks as a natural backdrop.  In years past, viewers would physically move with the actors as the scene changed.  This year, the city has requested that a single area be used in each location, but the action is staged so that the audience remains the focus of attention. Costumes are minimal with a simple hat or cloak often distinguishing between multiple characters.  (Thanks to designer Sabrinna Fabi, Queen looks as if she shaved the neighbor’s cat to trim her dress, which befits her character.)  Lighting is provided by stagehands holding common flashlights; all the better to focus on engagement and storytelling.

I will not recount the sprawling tale of Cymbeline, which isn’t even about that king so much as his feisty daughter, Imogen.  A read through the dramaturgical notes provided on the website and via email is highly recommended for your enhanced enjoyment of the production.   Even if you do not heed this advice, the cast will give you a helping hand in their concise introduction to the evening, which also sets proper expectations and tone.

Artistic Director/Director Stephen Burdman has wonderfully edited the dialogue and uses each space to full advantage.  Fight scenes are amusingly choreographed by Sean Michael Chin and punctuated with Batman-like sound effects.  Oft-tangled pun-filled lines are delivered with clarity and wit.  Moments that could have been groan-inducing are transformed into delightful farce, as if we and the actors are together chuckling behind Shakespeare’s back.  Evan Moore-Coll is a standout in his four roles including the juicy part of Cloten the clod.  Also pivotal to success is Terrell Wheeler, who undergoes several hot changes between a kindly servant (Pisanio) and a powerful warrior (Caius Lucius).  He makes an imposing contrast to the slight Nick Salamone as the easily manipulated Cymbeline.  Holding the heart of the story as Imogen is an elegant and fiery Aziza Gharib, who also appears as Jupiter in one of the plot’s more outrageous moments.  Brandon Burk, Christian Ryan, and Jenny Strassburg complete the strong company.

Attendance on the Circle Lawn in Carl Schurz (enter at 87th and East End Avenue) is limited to 200 people.  Reservations are recommended in large part so you will receive helpful information including notice of a rain cancelation.  If you do not regularly attend a yoga class, I recommend bringing a short beach chair.  (Taller chairs are permitted, but you will be seated to the side.)  The logistics are described well on the company’s website.  

Above all, this entrance into N Y Classical’s line-up reminds us that sometimes Shakespeare can be FUN!  The strangled twists of Cymbeline are in support of an all-is-well ending that is sorely needed at this time.  Performances continue in Carl Schurz Park in Manhattan through Sunday, July 3, and then move to Brooklyn Commons Park at MetroTech from July 5 through 10.  Tickets are FREE to encourage every theater goer with a pulse to come out and enjoy the show.  Donations to support the professional actors are highly encouraged.  Visit https://nyclassical.org/cymbeline for further information.