Tag Archives: William Shakespeare

Theatre Review: ROMEO AND JULIET

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With glowing green and golden fireflies flying around the ravine, the romantic tragedy of Romeo and Juliet is transferred from Verona of the Late Middle Ages to New York during the Gilded Age, making the story more relatable to a contemporary audience.

Despite a car alarm threatening to ruin the actors’ dialogue at the beginning of the play, the scenes continued without major disruption. Co-directed by Willow Geer and Ellen Geer, the classic tale of forever love is now set in 1885. New York is bustling with activity and new fortunes are being built with the expansion of industry and transportation. Unprecedented changes in America are happening at an incredible pace, giving people hope for a brighter future. The Gilded Age is synonymous of wealth, mansions, and names like Rockefeller, Vanderbilt, and Carnegie. It’s during this period that Romeo (Asher Hagler) meets Juliet (Quinnlyn Scheppner). They fall in love and their future looks bright. But what do the stars have to say?

One great thing about Will Geer Theatricum Botanicum is that it keeps the theatrical experience vibrantly analog. No digital displays, just lights, music, minimal props, and the talent of the cast. With the natural ravine as the background, even the sound of nature is highly appreciated. With this setting, what gives away the Gilded Age period is the costumes. Designer A Jeffrey Schoenberg presents elaborate costumes that reveal the elegance and status of the new riches. But the costumes also depict the personality of the characters. The red suit of Tybalt, for example, shows his ambition and aggressive tendencies, an element that stands out and plays with the concept of color psychology. The ladies, of course, are dressed in their best silks, brocades, and ruffles, displaying a rich palette of fabrics and colors.

The selection of a different period than the original is an attempt to correlate the opportunities for American society during the Gilded Age and the imbalances of society’s structure that left many people behind. The endless opportunities were not for everyone. Although the progress was extensive, the characters are still stuck in old beliefs and social norms. For Callahan (Ethan Haslam), keeping a high social status is imperative. That’s the reason he demands Juliet to marry Paris (Tomas Francois), a wealthy man that would elevate the Callahans’ prestige. But love is love and Juliet has other plans, in cahoots with Friar Lawrence (Max Lawrence).

The blocking is exceptional, allowing the actors to make great use of the big stage and platforms. Breaking the fourth wall is also an effective engagement device, as so is the actors walking and seating close to the audience. The fighting scenes add realism and movement to the story and heighten the tension among the characters. With all of these kinetics, Willow and Ellen Geer creates a space to nurture the humor and drama of this classical tragedy.

The cast is a mixture of experienced and upcoming talent. Ellen Geer as Nurse is fantastic. Sweet and spicy, she teases about female anatomy and male attractiveness, much to the amusement and shyness of a young and naive Juliet. Geer does it remarkably well, playing her character as the messenger between Romeo and Juliet, but also as the unfortunate prey of old traditions, unable to champion the drives and priorities of a new generation. Rhett Curry as Mercutio is excellent as well. He gets into the character with a hypermasculinity tendency that leads to tragic consequences. Great dialogue and action. As for the protagonists, Hagler and Scheppner are two young actors navigating the exciting and challenging rhythm of Shakespeare’s iambic pentameter. These young actors are on the right path to master the demanding job. It’s always exciting to see up-and-coming talent taking one of Shakespeare’s script and making it their own, metamorphosing and revitalizing iconic characters written more than 400 years ago. Their performances exude the innocence and illusion of an entire generation who truly believes that love conquers all. Kudos for their brave performances.

The change of time period is an intelligent way to keep Shakespeare relevant. Technology changes, but human behavior stays the same. Setting the play during the Gilded Age is a symbolic reference to the rapid and chaotic changes we see today. New fortunes are being created , but the question remains, who will advance and who will be left behind? Ellen and Willow Geer see these connections, and the Gilded Age is perceived as a time where opportunities came along, but only for a few. Romeo and Juliet represent that bridge, a hopeful new beginning, a break from the past. What are the realities behind the shiny, gilded mansions?

Romeo and Juliet

Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura freeway)

June 6–Sept. 26

Tickets and show times: theatricum.com

Written by William Shakespeare. Co-directed by Ellen Geer and Willow Geer.

Cast: Asher Hagler, Quinnlyn Scheppner, David Benne, Billy Walker, Jesse Corwin, Rhett Curry, Tomas Francois, Jason Hayes, Ethan Haslam, Brooke Heatley, Michelle Jasso, Max Lawrence, Shane McDermott, Michelle Merring, Christopher Miles, Elijah Reyes, Ethan Ricks, Franc Ross, Jon Sprik and Ellen Geer. Taking on a variety of smaller roles are Cole Dechant, Asher Edwards, Kiley Fallon, Estrella Garcia–Starr, Abbs Stoiber and Elliott Grey–Wilson.

Creative team: Fight choreographer Cavin (CR) Mohrhardt, costume designer A Jeffrey Schoenberg, lighting designer Geoff Barton, sound designer Irene Silbert, properties master Shoshanna Green and wardrobe supervisor Beth Eslick. The assistant director is Natalia Jofre and the production stage manager is Karen Osborne, assisted by Amayah Watson. Sophie Edwards is production assistant.

Theatre Review: RICHARD III

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With all of his charm and criminal bent, Richard III is back on stage, breaking all hell loose, this time in 70s England.

Richard (Ann Noble) is determined to get to the throne, eliminating all obstacles on the way, even if they happen to be his own relatives. Leaving a trail of blood behind, Richard seals his own fate, tearing a whole nation apart in the process. His list of crimes keep growing as the story unfolds.

Richard conspires to pit his two brothers against each other, eventually killing his brother George (Randolph Thompson), causing his other brother King Edward IV (Neill Fleming) to die of despair. Despite having murdered her father-in-law and husband, Richard also seduces Lady Anne (Erika Soto). In addition, Richard kidnaps and kills his two nephews Prince Edward (Micah Lanfer) and Richard, Duke of York (Brendan Burgos) to clear his way to the English crown. But once in the throne, Henry Richmond, Earl of Richmond (Wesley Guimarães) prepares to invade England and claim the crown.

With plenty of material to work with, Director Guillermo Cienfuegos navigates this play with striking chiaroscuro visuals that reflect the criminal and violent nature of the main character, Richard III. The lighting contrasts heighten the conspiracies and murders instigated by Richard and his goons. Proving once again his directorial skills, Cienfuegos takes Shakespeare’s centuries-old script and turns it into a contemporary and relatable experience, showing that human nature doesn’t change much over time.

The characters in this production exhibit the fears, insecurities, anger, ruthless ambition, and the continuous rumination of revenge, characteristics that have dominated the political arena since the beginning of times. The cast and director achieve a thrilling action on stage, each scene building up the tension for the grand finale, which jolted some people from their seats.

Special kudos to Noble for layering up Richard with humor and damnation, a fascinating duality to energize and polarize this controversial historical figure. Noble adds another electrifying performance to her resume, proving her to take on challenging roles both in classical and contemporary works.

The creative team builds a dynamic stage where the dramatic lighting takes center stage, and the rest of the elements contribute to a lesser extent to keep the action moving forward. It is the lighting that transforms the stage into a cinematic experience, enhancing the transitions and highlighting Richard’s moral debacle and internal anguish.

The discovery of Richard III’s skeleton in 2012 and the revision of historians’ opinion on his character and actions have kept his aura of mystery alive, including his actual physical appearance. Shakespeare’s take on Richard was not based on direct observation, as the king had been dead for more than 100 years. As Dramaturg Dr. Miranda Johnson–Haddad explains for this production, Shakespeare wrote the play based on the writings of three historians, Edward Hall, Raphael Holinshed, and Thomas More, all of whom had their own agendas. As Richard III’s legacy continues to be revised, one thing is for sure, kings and politicians never stop to amaze. They’re just an amusing menagerie of political animals; a sustainable source of comedy and drama for years to come.

A Noise Within proves once again its standing as a leader in exceptional theatre productions in Southern California. The ample stage, lighting system, and remarkable performers and directors allow this theatre to stage plays that are visually striking and thematically relevant

Richard III

A Noise Within
3352 E Foothill Blvd.
Pasadena, CA 91107

Tickets: anoisewithin.org

Performances Feb. 14 – March 8:
• Thursdays, Fridays and Saturdays at 7: 30 p.m. / Saturdays and Sundays at 2 p.m.

• Written by William Shakespeare
• Directed by Guillermo Cienfuegos

• Starring Lynn Robert Berg, Lesley Fera, Neill Fleming, Samuel Garnett, Wesley Guimarães, Veralyn Jones, Trisha Miller, Alex Neher, Ann Noble, Tony Pasqualini, Erika Soto, Randolph Thompson.
• Featuring Brendan Burgos, Vic Crusaos, Dominick Jaramillo, Micah Lanfer, Sean Umeda.

• Presented by A Noise Within, Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors

Creative team: scenic designer Angela Balogh Calin; lighting designer Ken Booth; sound designer Christopher Moscatiello; projections designer Nick Santiago; costume designer Christine Cover Ferro; wig and makeup designer Tony Valdés; and properties designer Stephen Taylor. Jonathan Rider is fight choreographer, Andrea Odinov is dialect coach, and Dr. Miranda Johnson–Haddad is the dramaturg. Sami Hansen is the production stage manager, assisted by Hope Matthews.

Theatre Review: The Winter’s Tale

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Will Geer Theatricum Botanicum presents A Winter’s Tale. Written by William Shakespeare. Directed by Ellen Geer.

Rage takes over Leontes (Aaron Hendry) and all hell breaks loose in this story of jealousy and redemption. Director Ellen Geer presents a fine ensemble to extract the humor and drama of the script and delivers an engaging rendition of Shakespeare’s psychological and romantic play.

One of the highlights of this production is Sophia Dawson‘s performance as Perdita. The role suits her well and she looks comfortable on stage. She projects convincingly the innocence and playful spirit of her character. Her speech and movements add magnetism to the iconic heroine. Visually speaking, Dawson has an astonishing resemblance to Edmund Leighton’s My Fair Lady, a romanticized depiction of a young woman from the Middle Ages.

Aaron Hendry offers an excellent performance as King Leontes, showing the dramatic transformation from an enraged husband consumed by jealousy to a repentant man consumed by sadness and regrets. Willow Geer as Hermione, explores the nuances of tragedy in a display of utter despair, reflecting the time when women had little choices to protect themselves against abuse and defamation.

The comedic relief comes mainly from Autolycus (Gerald C. Rivers), a pickpocket, Old Shepherd (Earnestine Phillips), and Clown (Daniel Ramirez), three actors with excellent timing. The comedy turns things around and the play takes a lighter tone, leading to the unexpected resolution of the story.

As usual, Geer stages this production with period costumes, making the play more appealing to the audience. The music and the dances keep things exciting and add kinetics to the performances. This Modern American staging of Shakespeare offers a sophisticated version of the drama and comedy of the text. It’s entertaining and visually exuberant.

Keep in mind that it’s an open stage surrounded by nature, so bring warm clothes; it can get chilly at night.

A Winter’s Tale

Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA
(midway between Pacific Coast Highway and the Ventura freeway).
Exit the 101 at Topanga Canyon Blvd. South to access Theatricum from the Valley.

June 1–September 30 (see website for full schedule)

Tickets: theatricum.com

Written by William Shakespeare. Directed by Ellen Geer. Presented by Will Geer Theatricum Botanicum.

Cast: Aaron Hendry, Willow Geer, Max Lawrence, Sophia Dawson, Earnestine Phillips, Christian Jordan Smith, Gerald C. Rivers, Daniel Ramirez, Aubrey Sage, Liza Rash, Tim Halligan, Michelle Jasso, Melora Marshall, Franc Ross, Andy Stokan, Kevin Rauch, Timothy Willard, Aralyn Wilson, and Julius Geer-Polin.

Creative team: Composer and musical arranger Marshall McDaniel; costume designer A Jeffrey Schoenberg; lighting designer Zach Moore; sound designer Grant Escandón; prop master Ian Geatz; and wardrobe supervisor Beth Eslick. The assistant director is Sara Carpenter and the production stage manager is Karen Osborne, who is assisted by Sky Wahl.

Theatre Review: Twelfth Night

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Twelfth Night is presented by Actors Co-Op. Written by William Shakespeare. Directed by Michael T. Kachingwe. Produced by Lorinda Hawkins Smith.

This production transfers the story from the Balkans to the South Pacific. It is also set in a recent past. This departure from the original setting gives the story a fresh look at Shakespeare’s themes of romance and European affairs. As expected, the costumes and the music reflect the change of place and culture.

The new setting allows Director Michael T. Kachingwe to give the characters in this production a historical context in relation to the location where the story takes place. The characters of Antonio and Sea Captain (Ben Kientz) have the look of pirates, outcasts that navigated the islands of the South Pacific in the past. Duke Orsino (Antwon Mason Jr.) and Maria (Britny Horton) have the looks of natives from the islands. Viola/Cesario (Mary Leeholland), on the other hand, has a European look, a hint to the European influence on those lands. This staging, however, does not seem to be a political statement on the history of the islands. After all, Twelfth Night is mainly a story with romance and comedy at the center, and Kachingwe keeps it that way. As for the sexual fluidity implied in the play, Kachingwe expresses this concept not only in the characters of Viola and Cesario but also in Feste, a male character played by a female actress, Chloe Babbes.

Talking about Babbes, her comedic and musical talents are engaging and add a playful and mischievous tone to the play. Along with Babbes, William Viriato is the other actor with a sensational sense of comedy. He does a fantastic personification of Malvolio, triggering the loudest laughs with his inventiveness and physical comedy, connecting with the audience immediately.

One thing to point out is that in the original script, Viola and Sebastian (Victor H. Rodriguez) are twins and look alike. In this production, however, Leeholland and Rodriguez do not necessarily look alike. This could be intentional, as this version of the play is modern rather than classical. This could or could not be noticed by the audience, depending on their familiarity with Twelfth Night.

This version highlights the comedy and musicality of the play. Except for the text, the costumes, setting, and music, give this staging a contemporaneous feel to Shakespeare’s story. This production feels closer to Antaeus‘ production of The Tempest, a version that also highlighted the musical aspect of the play.

Kachingwe’s production is a valuable rendition of a classical story with a twist more attuned to our times. It also serves as an opportunity to showcase a diverse group of talent that refreshes the theatre scene. At the same time, the major themes of the script are kept. intact. The love, the loyalty, the melancholy, and mainly the comedy are at the heart of this performance. Co-Op‘s offers another excellent play to explore new possibilities using one of the best comedies written by William Shakespeare.

Twelfth Night

Actors Co-Op’s David Schall Theatre

1760 N. Gower Street, Hollywood 90028

On the campus of First Presbyterian Church of Hollywood

April 5 – May 12, 2024

Friday and Saturday Evenings at 7:30 pm

Sunday Matinees at 2:30 pm

Additional Saturday Matinees April 13th & May 4th at 2:30 pm

Tickets: actorsco-op.org

Written by William Shakespeare. Directed by Michael T. Kachingwe. Produced by Lorinda Hawkins Smith.

Cast: Chloe Babbes, Freedom (U/S), Gavin Michael Harris, Britny Horton, Isaac W. Jay, Ben Kientz, Howard Leder, Mary Leeholland, Antwon Mason Jr., Nneka, Victor H. Rodriguez, Kevin Shewey, William Viriato, and Jessica Woehler.

Creative team: Scenic designer Hanalei Vasquez, costume designer Kelly Tsan, lighting designer Jesse Rodriguez, sound designer Thulani Kachingwe, hair and makeup designer Shelia Dorn, stage manager Kassy Menke, assistant stage manager Emmett Lee Merritt, choreographer Royce Correa, and set construction by Chris Winfield.

Theatre Review: A Winter’s Tale

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The Winter’s Tale is presented by Antaeus Theatre Company. Written by William Shakespeare. Directed by Elizabeth Swain.

With a minimalistic set, this staging The Winter’s Tale relies on the extraordinary skills of the thespians. Director Elizabeth Swain uses attractive costumes and the talent of her actors to present a story written in the 1600s. The themes, however, resonate with today’s audience in a moving and powerful way. Jealousy, based on facts or hypotheticals, is still a constant in our society, sometimes with deathly consequences.

The casting continues to be a decisive factor for Antaeus Theatre Company to create masterful productions. Actor Adam J. Smith portrays Leontes with passion and a convincing transformation into a man consumed by his inner demons. In a similar manner, he also morphs smoothly into the repented husband, father, and friend that is so eagerly looking for redemption. Ann Noble A Bella Incarceration, as Paulina, is also extraordinary. Strong and funny, she portrays the character that is not afraid to face an enraged Leontes. She speaks her mind, and fiercely opposes Leontes mistreatment of Hermione (Kaci Hamilton).

The combination of experienced actors with younger ones add a balance to the production that introduces Shakespeare to new audiences. The younger actors such as Peter Mendoza (Florizel/Lord I), Shannon Lee Clair (Emilia/Perdita), and Conlan Ledwith (Lord II/Shepherd’s son: Nathan Woodworth) blend effectively with the experienced actors JD Cullum (Autolycus/Lord III), Paul Eiding (Archidamus/Jailer/Old Shepherd), and Geoffrey Wade (Camillo/Mariner). 

This staging captures the festive scene of the play combining dance, music, and singing. It adds kinetics and shows the musical skills of the actors, blending brilliantly with the somber aspects of the story. 

Swain’s production features prominently the two themes that make this play a powerful and moving story: Jealousy with its lugubrious mood in the first three acts and redemption with a jovial tone in the last two acts. Bringing Hermione back to life is a poignant element used by Shakespeare to talk to the audience at an intimate level. Although impossible, resurrection has been a human desire since the very beginning. Steven Spielberg used it too in A.I. Artificial Intelligence. In The Winter’s Tale, at least for a moment, the impossible becomes possible.

The Winter’s Tale

Antaeus Theatre Company
Kiki & David Gindler Performing Arts Center
110 East Broadway
Glendale, CA 91205
(between N. Brand Blvd. and Artsakh Ave.)

February 4 – March 11, 2024

Tickets: antaeus.org

Written by William Shakespeare. Directed by Elizabeth Swain.

Cast: Shannon Lee Clair, JD Cullum, Paul Eiding, Kaci Hamilton, Sabrina J. Liu, Brian Kim McCormick, Peter Mendoza, Ned Mochel, Ann Noble, Catia Ojeda, Claire Simba, Adam J. Smith, Geoffrey Wade, and Conlan Ledwith.

Scenic Designer: Frederica Nascimento. Costume Designer: Carolyn Mazuca. Lighting Designer: Vickie J. Scott. Sound Designer: Jeff Gardner. Choreographer: Annie Yee. Props Designer: Aaron Lyons. Composer: Donna Cribari. Production Stage Manager: Karen Osborne. Assistant Director/Production Dramaturg: Kaite Brandt. Assistant Stage Manager: Casey Collaso.

 

A Winter’s Tale poster
A scene from A Winter’s Tale
A scene from A Winter’s Tale

Theatre Review: A Midsummer Night’s Dream

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A Noise Within presents A Midsummer Night’s Dream. Written by William Shakespeare. Directed by Julia Rodriguez-Elliott and Geoff Elliott. Produced by Geoff Elliott and Julia Rodriguez-Elliott.

In a Burtonesque style, A Noise Within delivers a fascinating production of A Midsummer Night’s Dream, transporting the audience to a whimsical dream of fantasy, music, and magical powers. The dark mood used throughout the play adds to the mystic nature of the story and highlights the intriguing side of the characters.

The visuals achieved in this production demonstrate the technical abilities of the creatives involved. Frederica Nascimento (Scenic Designer) and Ken Booth (Lighting Designer) create a mysterious and dreamy atmosphere that brings out the carnivalesque attribute of the story. There are plenty of grays and blacks with splashes of yellows, reds, greens, and blues to convey the fantastical underworld of the fairies. To complement the visuals, costume designer Angela Balogh Calin; wig and makeup designer Tony Valdés; and properties designer Stephen Taylor all contribute to the overall mythical look of the enchanted fairyland.

The two quirky characters that have some of the funniest lines in the story are Puck and Bottom, played masterfully by Kasey Mahaffy and Frederick Stuart, respectively. The two thespians continue to shine in A Noise Within’s productions, delivering captivating and passionate performances consistently. Mahaffy is a natural playing the mischievous Puck, blending humor with oddity to the audience’s delight. Stuart does the same with his character of Bottom, always eccentric, always overdramatic.

Also gleaming on stage are the four lovers: Jeanne Syquia as Helena, Rafael Goldstein as Demetrius, Erika Soto as Hermia, and Riley Shanahan as Lysander, all of them contribute a great deal of humor to the play with their dialogue and physical comedy. Likewise, Zach Kenney and Trisha Miller show off their subliminal histrionic skills. They double up as Theseus and Hippolyta and Oberon and Titania, manifesting A Noise Within’s commitment to bring the best performers for their classical theatre productions. 

Directors Julia Rodriguez-Elliott and Geoff Elliott show their tasteful creativity by giving a distinctive Gothic and German Expressionism style to their rendition of A Midsummer Night’s Dream. The monumentalism of the opening scene with the big gray wall and the black costumes is a striking and very different take on Shakespeare’s play. Metropolis and Blade Runner 2049 come to mind when observing the brutalist, dark, and contrasting features of the scenic and lighting design. The dimensions of the stage and the seating arrangement contribute to make it an immersive experience. Don’t miss the opportunity to enjoy theatre at its best. Allow yourself to unplug from reality and fall into a deep dream of kings, queens, and fairies. It’s a magical journey to the underworld, in a land far, far away.   

A Midsummer Night’s Dream

A Noise Within
3352 E Foothill Blvd.
Pasadena, CA 91107

Performances Oct. 14 – Nov. 12

Tickets and schedule: anoisewithin.org

Written by William Shakespeare. Directed by Julia Rodriguez-Elliott and Geoff Elliott. Starring Greta Donnelly, Rafael Goldstein, Rachel Han, Zach Kenney, Kasey Mahaffy, Ed F. Martin, Trisha Miller, Hakop Mkhsian, Alex Morris, Brendan Mulligan, Cassandra Marie Murphy, Riley Shanahan, Lauren Sosa, Erika Soto, Frederick Stuart, Jeanne Syquia, Erick Valenzuela. Presented by A Noise Within, Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors. Creative Team: Scenic designer Frederica Nascimento; lighting designer Ken Booth; composer and sound designer Robert Oriol; costume designer Angela Balogh Calin; wig and makeup designer Tony Valdés; properties designer Stephen Taylor; and dramaturg Dr. Miranda Johnson–Haddad. The production stage manager is Angela Sonner, with Talya Camras assisting.

A Midsummer Night's Dream poster
An image from A Midsummer Night's Dream
An image from A Midsummer Night's Dream
An image from A Midsummer Night's Dream

Theatre Review: The Tempest

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Antaeus Theatre Company presents The Tempest. Written by William Shakespeare. Directed by Nike Doukas.

Nike Doukas‘ staging of The Tempest brings forward the romance and the musicality of what is thought to be the last play Shakespeare wrote alone. The cadence of the Bard of Avon’s writing is exalted in this production through the music numbers, some energetic, some balladic, just like an iambic pentameter.

Themes of witchcraft, colonialism, romance, and forgiveness come together to explore past, present, and future in a story that relates the tragedies and candidness of human relationships. By the time The Tempest was written, the Europeans were expanding the colonization of different parts of the world. Prospero (Peter Van Norden), Ariel (Elinor Gunn), Caliban (JD Cullum), and to some extend Sycorax, seem to symbolize the relationship between the European settlers and the natives of the lands being colonized.

Caliban’s mother, Sycorax, is presented as a powerful witch from Algiers. She was brought to the island and abandoned by a group of sailors when she was pregnant with Caliban. Analyzing the figures and symbols in The Tempest, the fact that she is a silent character, only referenced indirectly, might be an indication that Shakespeare tried to represent her as the figure of silenced and enslaved native women. As for Caliban, he is portrayed as a symbol of incivility. In this production, he has a hippie and disheveled appearance. The mutual dislike between Caliban and Prospero seems like a faithful representation of the tense relationship between natives and their European colonizers.

But Shakespeare goes beyond a simple caricature of these figures. If Prospero represents the colonizers, he is also a contradictory character. He dislikes Sycorax for being a witch using her supernatural powers for negative purposes, like enslaving the native inhabitants of the island, and yet, Prospero also enslaves Ariel and Caliban and uses them for his revengeful plan against his brother Antonio (Bernard K. Addison), effectively displaying a mirror image of Sycorax.

Prospero’s plan to regain his dukedom includes using his magical powers to cause a tempest when his brother is navigating the island’s waters, trapping Antonio and his entourage in the island. Eventually, however, the pure love experienced by Prospero’s daughter Miranda (Anja Racić) and Alonso’s (Adrian LaTourelle) son Ferdinand (Peter Mendoza) opens up Prospero’s eyes. It allows him to see beyond his own anger and revengeful frame of mind to give way to forgiveness. The romantic relationship between Miranda and Fernando implies Prospero’s idealistic hope in future generations, specially in view of his own demise. Prospero’s renouncing his magic might also be a hint of Shakespeare’s farewell to the theatre. The final release of Ariel could represent different things that are open to discussion. Is it a symbol of European regrets? Is it Shakespeare’s intrinsic sense of justice? Would it be that Shakespeare was foreseeing the future independence of European colonies?

Doukas highlights romance and forgiveness, two of the main topics in the play. Her approach offers magical landscapes of live music and sound effects that bring the island’s sweet airs to the stage, creating a rhythmic and delightful theatrical production with irresistible performances by the talented cast.

The Tempest

Kiki & David Gindler Performing Arts Center
110 East Broadway
Glendale, CA 91205
(between N. Brand Blvd. and Artsakh Ave.)

June 30 – July 30:
• Fridays at 8 p.m.: June 30, July 7, July 14, July 21, July 28
• Saturdays at 2 p.m & 8 p.m.: July 8, July 15, July 22, July 29 (no matinees on July 1, July 29)
• Sundays at 2 p.m.: July 9, July 16, July 23, July 30
• Mondays at 8 p.m.:  July 10, July 17, July 24

Tickets: antaeus.org

Written by William Shakespeare. Directed Nike Doukas. Starring Bernard K. Addison, John Allee, JD Cullum, Elinor Gunn, John Harvey, Adrian LaTourelle, Saundra McClain, Peter Mendoza, Erin Pineda, Anja Racić, and Peter Van Norden. Musicians: John Allee on piano, JD Cullum on guitar, and John Harvey on percussion. Presented by Antaeus Theatre Company. Creative team: Original music composed by John Ballinger. Sound and Foley effects designed by Jeff Gardner. Scenic designer Angela Balogh Calin, costume designer Julie Keen-Leavenworth, lighting designer Vickie Scott and properties designer Shen Heckel.

The Tempest poster
A scene from The Tempest
A scene from The Tempest
A scene from The Tempest

Theatre Review: Queen Margaret’s Version of Shakespeare’s War of the Roses

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Will Geer Theatricum Botanicum presents Queen Margaret’s Version of Shakespeare’s War of the Roses. Written by William Shakespeare. Compiled, edited, and directed by Ellen Geer.

Will Geer Theatricum Botanicum‘s artistic director Ellen Geer compiled Shakespeare’s best-known history plays—Henry VI Parts I, II and III, and Richard III—into a new edit of War of the Roses. 

This play pays special attention to the women of the British court, Margaret of Anjou, (Melora Marshall), Dame Eleanor/Queen Elizabeth (both portrayed by Willow Geer), the Duchess of York (Cynthia Kania), and Lady Anne (Claire Simba). These women are a reflection of the tragedies and insatiable ambition for power that characterized the brutal period known as the War of the Roses, spanning from 1455 to 1487.

This historical drama is a fascinating tale of intrigue, murder, and epic battles that fragmented the relationships between the monarchy and the nobility of England. The rivalry between the Lancaster and Plantagenet dynasties created new problems and opportunities. For one, the use of violence as a political tool became a common tactic to eliminate rivals, specially among the nobles and wealthy barons. It also created a phenomenon known as bastard feudalism, a way for those wealthy landowners to access the throne without having a direct royal bloodline, like in the case of Richard III (Jon Sprik).

The story is a parade of dubious characters. One of them is Lord Suffolk (Jon Sprik), a powerful figure who exercised the power behind the throne by taking advantage of a weak royal like Henry VI (Emoria Weidner). It was Suffolk who convinced Henry VI to marry Margaret of Anjou (Melora Marshall). Lord Suffolk and Queen Margaret were lovers and manipulated Henry VI at will. Their extramarital affair was so intense that Margaret carried around his severed head when Suffolk was captured and beheaded by an angry mob. In this play, Geer features Queen Margaret conspicuously, just like Shakespeare does in his History plays. Marshall, as usual, is impressive. She convincingly portrays a manipulative, intelligent, and courageous queen consort that controls the mentally unstable Henry VI, even leading an army and personally executing the powerful Duke of York (Max Lawrence), who was also vying for the throne of England.

As the battles and conspiracies continue with riveting performances by experienced and new actors, one thespian deserves special attention: Jon Sprik. His depiction of Richard III is a superb display of passion and technique. Not only his physical appearance and movements are exceptional—Richard III had scoliosis according to a study of his bones—but his speech is also sublime. His performance remind us of Dustin Hoffman in Midnight Cowboy, the kind of character actor that crosses the fine line between fiction and reality with ease to leave a powerful and everlasting impression on the stage.  

This special production is an example of Ellen Geer’s fabulous skills as a director. The meticulous attention to detail and the performances of her actors show her love and dedication for theatre. 

Even though the story is based on past developments, the same virtues and shortcomings affect the relationships between government officials, political adversaries, and their constituents today. The lighting casts a red hue on the scene where a mob chases down Richard III at the end of the play; it’s the red of the pool of blood upon which the kingdom of England was built. It’s the red of danger when despotic rulers abuse their power and commit crimes against humanity. Almost like a prophecy, Shakespeare’s writings continue to reflect the state of the world in which we live.                    

Queen Margaret’s Version of Shakespeare’s War of the Roses

Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura Freeway)

June 24–October 1

Tickets and full schedule: theatricum.com

Written by William Shakespeare. Compiled, edited, and directed by Ellen Geer. Presented by Will Geer Theatricum Botanicum. Cast: Melora Marshall, Willow Geer, Cynthia Kania, Claire Simba, Roman Guastaferro, Emoria Weidner, Franc Ross, Max Lawrence, Jon Sprik, Tim Halligan, Gerald C. Rivers, Christopher Wallinger, Charlie Burg; Sara Carpenter; Ben Church; Rhett Curry; Cole Dechant, Emelie Dechant, Julius Geer-Polin, Dylan Greer, Colin Guthrie, Emerson Haller, Christopher Wei Fu Hernandez, Michael Kendrick, Andrew Klein, Tariq Mieres, Nations, Daniel Ramirez, Quinlynn Scheppner, Anthony Soliz, Sky Wahl, Aralyn Wilson, and Elliott Gray Wilson. Creative team: Lighting designer Zach Moore, sound designer Charles Glaudini, costume designer Shon LeBlanc, and prop master Ian Geatz. Original music is composed by Marshall McDaniel. The production stage manager is Kim Cameron.

 

Queen Margaret's Version of Shakespeare's War of the Roses poster
A scene from Queen Margaret's Version of Shakespeare's War of the Roses
A scene from Queen Margaret's Version of Shakespeare's War of the Roses
A scene from Queen Margaret's Version of Shakespeare's War of the Roses

Theatre Review: Macbeth

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Will Geer Theatricum Botanicum kicks off its 50th anniversary with the tragedy play Macbeth. Written by William Shakespeare. Directed by Ellen Geer.

Macbeth, is it just a dream? Is Macbeth the witches’ dream? Are the witches Macbeth’s dream? Could the witches be an externalization of Macbeth’s character? Or, maybe even Lady Macbeth’s ambitions?

The debate is intense among scholars to decipher what the witches really represent in the play. As for their characteristics in Ellen Geer‘s production, the rituals and the behavior exhibited by the three witches and Hecate seem to infer that they were Scottish, and consequently, continental witches rather than local ones. In Shakespeare’s times, British witches were believed to be more interested in petty things and not having much control of magical powers. Continental witches, on the other hand, were perceived as more powerful and able to control the destiny of people, thus being able to foretell and influence Macbeth and Banquo’s future.

It is important to note that the Protestant King James VI, who survived several murder attempts, some attributed to the North Berwick witches, wrote Daemonologie, three books and a pamphlet about demonology and witchcraft. King James called the witches of his time “slaves of the Devil” and encouraged witch hunting during his reign. It is believed that Shakespeare wrote Macbeth as a tribute to King James, who became the royal patron of Shakespeare’s theatre company. The supernatural, the historical and contemporaneous perception on witchcraft, and the duality of paganism and Christianity influenced and inspired some of the passages in Macbeth.

Director Ellen Geer’s production renders a faithful representation of the play’s emblems that surround the story and give Macbeth the uncanny anxiety that leads him to madness and his ultimate demise. The apparitions, the moving grove, and the Weird Sisters’ rituals are depicted in visually stunning detail to emphasize the decaying mental state of the protagonist and the fatal consequences of his actions.

Both Max Lawrence and Willow Geer transcend in their roles of Macbeth and Lady Macbeth respectively. They keenly illustrate the initial attempt to support each other, but also their mutual devastation as a result- of their own excessive ambitions. Geer excels in her interpretation of the ambitious and oftentimes comedic leading lady, a sublime depiction of power lust and self-destruction. 

The stage, with a natural canyon ravine as its background, allows a dynamic performance. Actors enter and exit from all directions to give the audience an engaging experience. The costumes, lighting, and a touch of special effects frame this captivating story of kings, witches, good, evil, murder, and hope. Will Geer Theatricum Botanicum is a magnificent place to stage The Scottish play, a 400-year-old magical tragedy that continues to intrigue and fascinate audiences of all ages.

Macbeth

Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga CA 90290
(midway between Pacific Coast Highway and the Ventura Freeway)

June 10–September 23 (see link below for dates and times)

Tickets: theatricum.com

Written by William Shakespeare. Directed by Ellen Geer. Starring Max Lawrence in the title role; Willow Geer as Lady M; Aaron Hendry as Macduff; Claire Simba as Lady Macduff; Cavin (CR) Mohrhardt as Malcolm; Franc Ross as Duncan and the Porter; Taylor Jackson Ross as Hecate; Steven C. Fisher as Ross; and Jeff Wiesen as Banquo. Also in the cast are Marc Antonio Pritchett as Old Siward and Andy Stokan as the doctor. Presented by Will Geer Theatricum Botanicum. Creative team: Assistant Director Claire Simba; Fight Choreographer Cavin (CR) Mohrhardt; Stage Manager Kim Cameron; Assistant Stage Manager Ian Geatz; Costume Designer Tracy Wahl; Original Music Marshall McDaniel & Ellen Geer; Sound Designer Charles Glaudini; Lighting Designer Zachary Moore; Properties Master Alexander Sheldon; Wardrobe Supervisor Beth Eslick.

 

Macbeth poster
A scene from Macbeth
A scene from Macbeth
A scene from Macbeth

Theatre Review: The Book of Will

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A Noise Within presents The Book of Will. Written by Lauren Gunderson. Directed by Julia Rodriguez-Elliott and Geoff Elliott. The Producing Sponsors are Terri Murray and Patricia Hoppe.

It is incredible to think that the literary legacy of William Shakespeare could’ve been lost if it hadn’t been for the dedication of the playwright’s closest friends and associates. Two fellow actors and members of Shakespeare’s theatrical company the King’s Men, Henry Condell (Jeremy Rabb, Animal Farm) and John Heminges (Geoff Elliott Animal Farm, Metamorphoses), worked tirelessly to put together Shakespeare’s collection of plays and poetry in a high-end format known as a folio, a broadsheet folded once to make serious tomes or luxury books. Previously, most of Shakespeare’s plays were printed in quartos, a smaller and cheaper format.

According to Professor Linda Woodbridge, up to 90% of plays written in Shakespeare’s days didn’t survive, they just perished without trace. Many of those plays were performed, but never printed. Thus, the importance of ensuring Shakespeare’s legacy by printing the First Folio, a cultural capital for the subsequent generations to enjoy.

The First Folio contains 36 of Shakespeare’s plays and some short poems. Even though all of the details of the whole process to get the folio done are not fully known, Lauren Gunderson imagines what it was like to undertake such an expensive and arduous task. In the play, a jealous Ben Johnson (played on Friday by an extraordinary Alex Morris) finally agrees to write two poems in the Folio’s preface to honor Shakespeare’s talent. Money, of course, was a factor to make it almost impossible to publish the book. Throughout the process, Elizabeth (Trisha Miller, Metamorphoses, Animal Farm) Alice, (Nicole Javier, Metamorphoses, Animal Farm), and Rebecca (Deborah Strang, Animal Farm) encourage Condell and Heminges to keep going when everything seems lost.

The characters of Condell, Heminges, and Richard Burbage (Frederick Stuart, Much Ado About Nothing) reference Shakespeare’s phrases in many of their conversations, a sign of their deep admiration for the playwright’s witty poetry and the close relationship they all enjoyed as fellow actors. To make the story even more appealing, the secondary character Ralph Crane (a fascinating Kasey Mahaffy, Metamorphoses) delivers outstanding comedy to the play to keep things amusing as the Folio starts to take shape.

The set design and lighting are stunning. Scenic designer Frederica Nascimento and lighting designer Ken Booth play with soft, directional, and natural colors and textures that add an emotional atmosphere to the ample stage, and in the case of the props, give co-Directors Julia Rodriguez-Elliott and Geoff Elliott plenty of space to have the actors move around the stage freely.

The Book of Will is a celebration of one of the greatest writers of all time, the Swan of Avon, William Shakespeare. And just like Shakespeare’s plays, putting together the Folio becomes an experience of loss, dedication, and a sacrificial love for such a noble expression called theatre. The survival King’s Men understand that although a performance is a sizzling and titillating experience, it is ephemeral by nature. A book, on the other hand, can transcend centuries and generations.

The Book of Will

A Noise Within
3352 E Foothill Blvd.
Pasadena, CA 91107

Performances May 13–June 7
• Thursdays at 7:30 p.m.: May 25; June 1 (dark May 18)
• Fridays at 8 p.m.: May 26**; June 2**
• Saturdays at 2 p.m.: May 27; June 3
• Saturdays at 8 p.m.: May 13 (Opening Night); May 20; May 27; June 3
• Sundays at 2 p.m.: May 28; June 4
**Post-performance conversations with the artists every Friday (except the preview) and on Sunday, May 21 (included in ticket price).

An INsiders Discussion Group will be held on Tuesday, May 16, from 6 p.m.–8 p.m. on Zoom ($38 per individual or $45 per household).

There will be three student matinees at 10:30 a.m. on Tuesday, May 16; Wednesday, May 17; and Thursday, May 18. Interested educators should email education@anoisewithin.org.

Tickets: www.anoisewithin.org

Written by Lauren Gunderson. Directed by Julia Rodriguez-Elliott and Geoff Elliott. Starring Geoff Elliott, Stanley Andrew Jackson, Nicole Javier, Kasey Mahaffy, Trisha Miller, Kelvin Morales, Alex Morris, Jeremy Rabb, Deborah Strang, and Frederick Stuart. Producing Sponsors Terri Murray and Patricia Hoppe. Sponsored by Kathy and Jim Drummy. Presented by A Noise Within, Geoff Elliot and Julia Rodriguez-Elliott, producing artistic directors. Creative team: Scenic designer Frederica Nascimento; lighting designer Ken Booth; sound designer Robert Oriol; video designer Nicholas Santiago; costume designer Angela Balogh Calin; wig and make up designer Shelia Dorn; dialect coach Andrea Odinov; and dramaturg Miranda Johnson-Haddad. The rehearsal stage manager is Deena Tovar.

The Book of Will poster
A scene from The Book of Will
A scene from The Book of Will
A scene from The Book of Will