Tag Archives: Shakespeare

The Tempest – Bethesda and Streaming

On Demand, Play, streaming January 23, 2023 Leave a comment

The Tempest, thought to be one of the last plays written by William Shakespeare, is one of his most often reinterpreted.  A new adaptation by wordsmith Aaron Posner and slight-of-hand master Teller (of Penn and Teller), who also co-direct, brings the themes of perception, manipulation, and illusion to the forefront.  It is the magic of theater fully visualized.

The story swirls around Prospero whose evil brother, Antonio, has usurped his position as Duke of Milan.  Now living on an enchanted island with his teenage daughter, Miranda, Prospero has become a powerful magician served by an able spirit, Ariel.  The only other inhabitant of the island is Caliban, the vengeful misshapen son of a witch who feels the island is rightfully his.  Fate has brought Antonio’s ship close by, and Prospero whips up a storm.  With Ariel’s help, Prospero grounds the vessel and scatters those aboard onto the shore.  This proves to be the first step in his plan to regain his position and give his child the life she deserves.  If Ariel performs his tasks well, Prospero promises to free him and bury the book of spells forever.

Playwright Posner has done a skillful job of trimming the sprawling plot and making visible some aspects of the text that are more often just implied.  In the beginning, he illustrates long narrative passages by bringing the relevant people on stage to act out the descriptions.  This technique not only makes the play even more engaging, it helps newcomers keep straight the myriad characters and their interconnections.  

The circus-like atmosphere of the island — complete with grotesques of all sorts— is also made bolder by the first-rate cast.  Prospero (Eric Hissom in tumbling waves of anger, love, and self-awareness) is presented as a cross between a magician and a carnival ringmaster, with a wand rather than his customary staff.  Several traditional magic tricks are woven into the production, with the most gasp-inducing being a transformation of Prospero’s own costume.  Teller’s influence is most notable in the rendering of Ariel (a uniquely suited Nate Dendy) as soft of tone and palette, with quick hands and a mischievous nature.  Caliban’s twisted essence is portrayed by two intertwined muscular actors (the awesome pair of Hassiem Muhammad and Ryan Sellers) whose menacing limbs and animistic movement were choreographed by Matt Kent and Renée Jaworsk of the revolutionary dance company Pilobolus.  Two roles — the compassionate counselor Gonzalo (a stately Naomi Jacobson) and the delusional drunkard Stephano (a winking Kate Eastwood Norris) — have been gender flipped which deepens certain aspects of their characters.

Eric Hissom (Prospero) and Nate Dendy (Ariel) in The Tempest at Round House Theatre. Photo by Scott Suchman.

Posner and Teller have surrounded themselves with a creative team that brilliantly supports their special take on this classic.  The scenic design by Daniel Conway inventively blends painted backdrops framed in old-fashioned footlights with elements of a ship’s rigging.  The bluesy music of Tom Waits has been substituted for the songs from Shakespeare’s time, supplying a moody soundtrack that is vibrantly interpreted by Kanysha Williams and Lizzie Hagstedt as “goddesses” Juno and Iris.  (A third god, Saturn, usually played by Ian Riggs, was absent from the performance I saw.)  Andre Pluess’s sound design also incorporates critical musical effects that emphasize the action.  In addition to the men’s dapper suits, costume designer Sarah Cubbage has given Miranda (an exuberant Megan Graves) practical loose fitting overalls and outfitted the crooning Iris with an eye popping red bustier.

It’s thrilling to see the dreamy and poetic aspects of The Tempest translated into spellbinding visual imagery.  The live production at Bethesda’s Round House Theatre (4545 East-West Highway) is sold out, but streaming tickets are still available making the play accessible to a wider audience.  The simple three camera production can only be streamed from the Round House site, but the Vimeo platform is stable on most browsers and the sound quality is high even on a laptop.  (Nice size captions are also available.)  Runtime of the recording is 2 hours and 10 minutes, which makes for clean storytelling.  Tickets must be purchased no later than January 29 by calling 240.644.1100, ordering online at RoundHouseTheatre.org, or visiting the Round House box office.  On Demand access will be available until February 12.

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Kiss Me Kate on BroadwayHD

Broadway, Comedy, Musical, On Demand, streaming January 14, 2023 Leave a comment

Wonderful news for those who missed the Tony Award winning 1999 revival of Kiss Me Kate.  Its sister 2001 West End production, nominated for 8 Olivier Awards, will arrive on BroadwayHD this Sunday, with a stellar creative team and four gifted stars in the leads.  Initially winning for Best Musical in 1949, Kiss Me Kate took home awards for Bella and Samuel Spewack’s  snappy script and Cole Porter’s witty songs, some of which might sound familiar even if you didn’t know their origin.  The original cast recording is so woven into our cultural fabric, it resides in the Library of Congress’s National Recording Registry.

The vehicle is a welcome addition for lovers of big splashy musicals since the action revolves around a big splashy musical.  It is the Baltimore opening night of a new musical production based on William Shakespeare’s The Taming of the Shrew, conceived, directed and starring the dedicated but egotistical Fred Graham.  Despite their tumultuous relationship, he has asked his ex-wife Lilli Vanessi to play Katherine to his  Petruchio, hoping that her brief stint in Hollywood films will attract financial backers.  Graham has also started a flirtation with Lois Lane, the actress playing Bianca.  She in turn is involved with cast member Bill Calhoun who, using Graham’s name, has racked up a large debt to a loan shark.  Viewers will benefit from doing as the song says and brushing up their Shakespeare in order to follow the threads from Taming of the Shrew as the focus swings back to the Fred and Lilli storyline.  Period should be kept in mind since many plot points hinge on way-pre-#metoo era behavior.

Captured during its London run and adapted by Michael Blakemore from his own stage work, the streaming production is flowingly directed by Chris Hunt using a team of 7 high-def cameras.  His mixture of perspectives never breaks the illusion that we are watching a proscenium stage.  This is particular noticeable during the flashy dance numbers set to songs that actually forward the story and character development.  In a twist, the theater audiences is used as Graham’s opening night house.  Captivating choreography by Kathleen Marshall makes the most of the skillful ensemble, blending slinky dance styles with pure athleticism. Scenic designer Robin Wagner defines sense of place by flattening the Shrew sets and coloring them in storybook fashion while keeping the representation of backstage realistic and stark.  All the better to bring out the brilliant detailing of Martin Pakledinaz’s Tony Award winning on and off stage wardrobes (particularly Lois’s peek-a-boo outfits) and Paul Huntley’s delightful wig and hat designs.  

Rachel York as Lilli/Katherine and Brent Barrett as Fred/Petruchio in Kiss Me Kate. Photo provided by BroadwayHD.

It is always thrilling to see a stage filled with a large company such as the ensemble of 13 who here play Graham’s troupe.  The cast members led by Broadway veterans Brent Barrett and Rachel York all sing clearly with nuanced interpretation.  Nancy Anderson and Michael Berresse as Lois and Bill give us the playful duet Why Can’t You Behave.  The two strong opening act numbers — Another Op’nin’, Another Show and  Too Darn Hot — feature Kaye E. Brown as Lilli’s assistant Hattie and Nolan Frederick as Fred’s man Paul.  Even Jack Chissick and Teddy Kempner as two gangsters have their moment in the spotlight’s glow.

Kiss Me Kate is engaging family entertainment in traditional style.  Director Hunt eliminates intermission and uses movie-like blackouts to replace scene changes, so runtime is cut to 2 hours and 27 minutes.  This streaming exclusive will be available to BroadwayHD subscribers beginning January 15, 2023.  Visit https://www.broadwayhd.com for pricing options.

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.