Macbeth at Frog & Peach Theatre

Get tickets to this production of Macbeth as soon as possible!   Click here Ovation Tickets Online or call 866-811-4111. It runs Thursday - Sunday, weekends through February 12th.

Shakespeare's Macbeth, a new production, by the Frog & Peach Theatre Company comes at the right time in our current political climate.  I went in wondering who are the Macbeth and Lady M of this administration.

I have seen many productions of the Scottish play, including Frog & Peach's previous production in 2010.  They have only improved upon and this take is perfection in its simplicity.  Every moment is visually and audibly breathtaking.  

Erick Gonzalez (Frog & Peach alum) and Kate T. Billingsley (company debut) are perfectly matched as the scheming couple.  Their ascent and descent had me on the edge of my seat.   I loved Kevin Hauver as Hecate/The Porter.  He was hilarious and the needed brevity during the madness.  Vivien Landau killed as First Witch.  If Shakespeare were still around, he would write a whole play around her and her sexy, fierce performance.   She elevated this role and brought the other weird sisters, Alyssa Diamond and Bess Miller, with her to extremely thrilling entertainment.  All of the supporting cast were fantastic, completely on point with their portrayal.

This is the company debut at the Sheen Center's Black Box.  Its as if the Black Box were built for specially for this production.  You descent down a completely red stair case in to the blackness. It's sheer perfection.  

I was thrilled to see another production of Shakespeare by Frog & Peach.  There's something very special about following the same company around town over the years - it's an opportunity to see growth in actors, nuances of skill, new additions to the company. The thing that never changes about this company:  Frog & Peach Theatre never disappoints.

Dame Helen Mirren Talks, Mostly about Shakespeare

When I was twelve, I went on a class field trip to Odessa,  with my beloved teacher Beth.  Bizarrely and incredulously, in the middle of this mostly forsaken oil town in far West Texas, there's a replica of the Globe Theatre on the campus of Odessa College. 

We saw The Tempest.  I don't know if it was a touring production or perhaps a college production, but I'll never forget the feeling of being there.   I will also never forget "Caliban" as he bounded up the aisle, practically into my lap.   I have never been so simultaneously thrilled and frightened.  

I had traveled as a child but we moved to West Texas for my parents' jobs and to be closer to family...it wasn't an unhappy time but it also felt like a million miles from everywhere.  Going to the theatre gave me the feeling of independence and escape.  I still feel this way, even living almost 2000 miles from that little place.

Since that field trip, I've seen many productions of The Tempest and it still remains my favorite.  Most of all, it opened a feeling and a world to me that I never grow tired of visiting.

Then this past Wednesday night, I heard something incredibly rare, extraordinary and equally unforgettable.  It was but a moment, but equally transportive:  Dame Helen Mirren read Caliban's monologue from an iphone.

Be not afeard; the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices
That, if I then had waked after long sleep,
Will make me sleep again: and then, in dreaming,
The clouds methought would open and show riches
Ready to drop upon me that, when I waked,
I cried to dream again.

 

The Tempest, Act III, Scene II, William Shakespeare.

This came at the end of Dame Helen's interview by Paul Holdengraber at the New York Public Library. 

I could never compare myself to Dame Helen.  She's too everything that I am not.  But I did find my past experience collide with hers as she told her own story of coming into Shakespeare.  When she was also about twelve or thirteen, she saw her first Shakespeare; a touring production of Hamlet in her rough little coastal English town, Westcliff-on-Sea.  She says she was transported and hasn't forgotten that experience in fifty or so years.    What if she hadn't seen that?  I shudder to think of an interruption of the fate that perhaps inspired one of our greatest actresses: 

"I am a very strong believer in the fact that children, young people I should say, should have their first experience of Shakespeare should be an experience of watching it in the theatre, or an watching
it being acted.  Certainly, that was my first experience....and I was utterly transported...And it lead me into this wonderful imaginative world of characters and storytelling and drama that was so different that was so different than the street I was growing up on..."

The talk was mostly about Shakespeare, a celebration of his 400th anniversary year, and Dame Helen's career as a member of the Royal Shakespeare Company. 

The interview was filmed and is still available here:  http://livestream.com/theNYPL/Mirren/videos/121229330

I admit that I've been watching it on loop.  

Shakespeare Noir!

Frog & Peach Theatre Company is throwing an all-star reading tomorrow night.   Actors Zach Grenier, Judith Ivey, Austin Pendleton, Peter Gerety and the fabulous members of the Frog & Peach will read Shakespeare's text in honor of Manhattan Borough President Gale Brewer.  I am so stoked to see the thrilling Zach Grenier again, plus I'm excited to be a part of honoring the terrific Gale Brewer, who was also my city council member. 

Eight years ago, I walked about 8 blocks from my apartment to be immersed in Macbeth as staged by Frog & Peach.   I was in awe and since then, they've become my favorite New York Shakespeare troupe. 

The evening proceeds support free and discounted tickets to Frog & Peach Main Stage productions for under-served public school students city-wide.   I love that this Company remains committed to sharing making Shakespeare accessible to kids, which is arguably is the most important and best way to learn the Master's works.  

The evening takes place tomorrow, May 2 at 7 pm, at The Greenwich House Schol of Music at 46 Barrow St, in Manhattan’s West Village.  Tickets are $49-$99 each, or a table of six for $499.

Tickets are available via Eventbrite. 

Henry V at Rogue & Peasant Players

My favorite thing about seeing Shakespeare off-Broadway is that nothing is made into everything.  The Rogue & Peasant Players is doing this now with their new production of HENRY V at The Access Theatre, a wonderfully intimate black box in Tribeca.

The production, directed by Kelly Monroe Johnston, is at once simplistic and chaotic.  Out of a cacophony of sound, cleverly punctuated by a wonderful percussion set of hanging wine bottles and buckets, comes forth a clarity of text.  It's interesting and entertaining. The cast is mostly female and plays the roles as they are written.  At times it seems that there are a lot of actors in the space, but even then they switch characters seamlessly, thanks to simple costume changes, designed by Liliana Casabal.  I also loved the lighting.  The Access Theatre is fitted with typical stage lighting, but Lighting Designer Susannah Baron added very cool effects with lamps and in particular a flash camera during the battle scenes.

I saw HENRY IV last fall so I was happy to see HENRY V so soon since, as I'm making my way thru the History Plays.  Shakespearean quotes are so much of every day life that I find it a bit of a epiphany to hear them in context.  I was thrilled to hear the St. Crispian Day speech ("We few, we happy few, we band of Brothers") delivered beautifully by company member Brenna Yeary as Henry.

The rest of this cast is represented by company members Sarah Bonner, Tim Down, Dee Dee Popper. Alejandra Venancio (a delightful Katherine), and Malka Wallick.  Joining the company for this production are Alyssa May Gold, Elizabeth M. Kelly, Jess Milewicz, Adam Kee and apprentices Madeleine Escarne and Brandon Rachal. 

I have to shout out to Falstaff's soldiers played hilariously by Jess Melewics as Bardolph, Alyssa May Gold as Nym and Sarah Bonner as Pistol, especially with their use of some unlikely weapons.

In this 400th year since the death of Shakespeare, it's a great idea to add Rogue & Peasant's production of HENRY V to join in on the commemoration.

HENRY V runs Wednesdays thru Sundays until February 14th at the Access Theatre, 380 Broadway, just north of White Street and close to Canal Street.  Tickets ($18 well spent) are available via Brown Paper Tickets:  http://www.brownpapertickets.com/event/2473653

Harriet Walter would love to play Macbeth. Yes, please.

"A third production with Phyllida Lloyd is planned, and although the play has not yet been determined, there is one tragic hero Walter would relish taking on. 'Having played Lady Macbeth'—opposite Antony Sher, in 1999—'I would love to play Macbeth,' she said. 'We were yin and yang. I would like to try the yang to the yin—or whichever the female is. I can’t remember.'"

Dame Harriet Walter, to the New Yorker in "Women's Work" by Rebecca Mead, November 16, 2015 issue. 

Having seen Dame Harriet twice in the all-female production of "Julius Caesar," once at the Donmar in London and once at St. Ann's Warehouse here in New York, I'm here to tell you that she knows what she's doing when it comes to Shakespeare and playing a traditionally male role.  She's equal parts thrilling and terrifying.

In a few weeks, I'll see her in “Henry IV” at St. Ann's with two other card carrying members of the Dame Harriet Walter Society.   It's imperative.  

(and yes, I've seen that Macbeth in which Dame Harriet played Lady M to Anthony Sher's Macbeth - it was released to DVD in 2003)

Much Ado About Nothing at The Frog and Peach Theatre Company

I've been going to Shakespeare productions at Frog and Peach Theatre Company for quite a while.  Besides getting to hear and see the words of Shakespeare well acted, it was fun to walk just a few blocks for them right in my neighborhood. 

But now, they've moved down to midtown.  It's still worth going to see them!   Now ensconced at the Workshop Theatre (312 W 36th St. 4th Floor), they are better than ever.  The black box space is just a bit more intimate and the acoustics are marvelous.  And really, New Yorkers are happy to travel any where in the city for great theatre, right?

On now, Frog and Peach has mounted a really groovy production of Much Ado About Nothing.  As usual. director Lynnea Benson takes a rock & roll approach - it's fast and tight and ultimately fun to watch.  It's so much fun to see Lenny Ciotti as Benedick.  He's hilarious and it's cool to see an actor move to stage front from the usual cast of supporting characters.  While not your typical leading man, he's a refreshingly wonderful and is quite marvelous in the role.  I was rooting for him all along.  I really hope to see him in more roles at Frog & Peach (perhaps Macbeth? God, he'd be so good).  Lenny and Amy Frances Quint as Beatrice had great chemistry.  I couldn't wait for them to get together!   Amy is always the perfect leading lady - beautiful and regal, but she handles the comedy very well too.

Seeing this company's performances on a fairly regular basis over the years has lead me to recognize so many of the actors and witness their progress as Shakespearean experts.  I always love where they take me.   Marcus Watson as Claudio and Ilaria Amadasi as Hero are perfect as the young lovers.   Veteran actress Vivien Landau perfectly gender bends Leonato to Leanata as mother to Hero.  I think it should always be the mother - brava to Vivien and brava to Lynnea for making this change.  David Elyha absolutely steals the whole show as the ridiculously incapable constable Dogberry.  It's one thing to see him hilariously and nattily dressed as a hippy, but his delivery is riotous.  It's one of the funniest performances I've seen.

The Frog and Peach always features music in its productions - classic rock & roll before curtain and during intermission always set the tone.  They also wonderfully feature original music.  This production features original music by Ted Zurkowski and is wonderfully performed by actor David Personne. 

I enjoyed all of the performances and it's always a treat to see company members, old and new, JP Makowski, Alyssa Diamond, Matthew Velez, James Foster, Jr., John Lampe, David Personne, Alec Barniskis, Liz Tancredi, Paul Battiato, Samuel Douglas Clark, Jamar Brathwaite and Vicki Kulkin.  They all round out this production fabulously.  A little bonus is that Samuel Douglas Clark, an Aussie, recites his lines with a decidedly British accent.  I have to admit that this Anglophile gets kick out of hearing Shakespeare with a posh accent amongst a very American cast (save for Italian actress Ilaria Amadasi who still speaks with a Italian accent, which is funny since this play is set in Sicily.)

The creative team by Asheley Cuask (set & design),  Dennis Parichy (Lighting Design), Tom Knutson (Movement), Ellie D’Eustachio (Stage Manager)  Sara Parcesepe (Asst. Stage Manager), and Nannan Gu (Design Intern) efficiently assist this actors in doing this fun and fast-paced production.  Of note, Nina Vartanian's costume design is fabulous - she decks out the cast in groovy 1970's vintage chic and it's a completely transportive effect.

I'm so glad I saw this production.  It's a play I've seen a number of times both on stage and on film, and Frog and Peach doesn't disappoint.  It runs for another week -  November 15 at The Workshop Theatre (312 W 36^th St. 4^th Floor - between 8th & 9th Avenue, just around the corner from the 34th street subway stop on 8th Avenue) with performances Thursday–Saturday at 7:30pm and Sundays at 3pm. Tickets are $18.  Tickets are available at the door or via SmartTix .



Amy Frances Quint, Vivian Landau and Ilaria Amadasi



Lenny Ciotti  and Amy Frances Quint



David Elyha and JP Makowski

  

TWO GENTS at the Hudson Valley Shakespeare Festival

On Saturday, I finally made good on my promise to return to the Hudson Valley Shakespeare Festival. Gratefully, I accepted Amy and Dan's invitation to visit and accompany them in seeing Two Gentlemen of Verona.   It was a fabulous weekend in the country!  

This Two Gents was wonderful.  The production is tightly, cleverly, smartly, hilariously directed by Eric Tucker.  It was sort of a combination of Roman Holiday, The Umbrellas of Cherbourg, Pret a Porter and Boeing-Boeing (the 2008 Broadway production) - crazy, brightly colored and so very stylish. 

Costume design is by Rebecca Lustig.  Choreography is by Alexandra Beller.  Sound design is by William Neal.  Props Design is by Sue Rees.  Lighting Design is by David Upton.  All of this stage production leads to a swanky, magical cocktail of modern and vintage.  
 
The cast is nothing less than fabulous: Ethan Saks as Valentine, Andy Rindlisbach as Proteus, Jennifer Johnson as Speed, Magan Wiles as Julia, Nance Williamson as Lucetta/Second Outlaw/Host, Kurt Rhoads as Antonio/Launce, Aryana Sedarati as Silvia/Third Outlaw, Rex O'Reilly as Launce's dog Crab, Cameron Jamarr Davis as Thurio, Leopold Lowe as the Duke of Milan, Oliver Lehne as First Outlaw/Silvia's accomplice. 

I could not have been more blown away by this cast.  Even though Rex O'Reilly threatened to steal all of his scenes with his canine wiles, my favorites were Nance Williamson and Kurt Rhoads.  While Rex is making his company debut, Kurt and Nance have worked on 60 shows together.  They are a RIOT!  Every moment from this entire cast, seasoned and those making their debut alike, delivered hilarity and they danced together like they've been dancing forever.    All sorts of shenanigans that actually had nothing to do with the play were happening on the vast lawn that serves as upstage and I loved every minute of it. 

I will seriously not wait so long to return again to the Hudson Valley Shakespeare Festival.  It couldn't be easier to get there via the Hudson Valley Line on the Metro North (and it's such a gorgeous ride Billy Joel didn't include a lyric about it for nothin').  The breathtaking landscape that is the stage is as beautiful as any lauded theatre.  The price is pretty right as well.   The remains of their rep season  includes Othello, The Liar by David Ives, and Two Gents until August 31st:   http://hvshakespeare.org/.

 

 

 

King John at Frog & Peach Theatre

There's a marvelous production of "King John," one of William Shakespeare's rarely seen "History Plays" on through May 18th by the Frog & Peach Theatre Company.  

As is custom, director Lynnea Benson has employed a most talented company of Shakespearean actors to bring the history of King John to life.  Intimate and accessible, this royal family drama comes alive cleverly and concisely.   Some of us only know King John as the tyrant foiled by Robin Hood.  This play tells the rest of the story:  adultery, claims to the throne, illegitimacy, wars, crazy mothers...Eric Doss as King John brilliantly plays the mama's boy ruler who takes the throne only by default after the adored Richard the Lion Heart dies in the Crusades.  It's fun to see him pouting and grasping at power.  Joining him as Queen Mothers are the wonderful Karen Lynn Gorney and Amy Frances Quint.  

Having seen Miss Quint in a number of Frog & Peach productions, I was blown away by her mature and intense performance here as Constance, the mother of a would be successor to King John.  Her grasp of the text was powerful indeed.   She teeters on the edge of desperation and sanity and is perfectly cast. 

Completely enthralling was newcomer Luke Edward Smith as the Bastard of Faulconbridge, dubbed Richard after his resemblance to Richard the Lion Hearted.   Mr. Smith hails from Sydney Australia and has the richest, most pleasing voice I've ever heard (I want him to read everything to me all the time).

David Elyha steals scenes as scheming, red sock wearing Cardinal Pandulph - his deliverance as the conniving man of the Roman Catholic Church during the time of the Crusades brings chills.  

Another Frog & Peach newcomer is Randy Howk as Hubert.  He is the antidote to the Royal madness and brings beautiful calmness and confidence to the stage. 

Additional Frog & Peach company members bringing this story to life are Matthew Gunn Park, Ken Straus (F&P debut), Mark Weatherup (F&P debut), Jonathan Reed Wexler, Jane Morison, Ilaria Amadasi, Victor Carinha, Hamish Carmichael, and Gabriel Christian (F&P debut).  

The Frog & Peach Theatre Company tags itself as "Shakespeare Revisited." Indeed with rock music setting the mood before curtain and during the intermission, simple sets and a cleverly designed mesh of modern and period dress (Nina Vartanian for costumes), this production, as well as all of the Bard's works I've seen this company do, has a very satisfying, kick-ass modern feel.   I go in expecting to be treated to really hearing and being in the text and I'm never disappointed.  

Running during William Shakespeare's 450th birthday month, the Frog & Peach Theatre Company is presenting the perfect way to celebrate the Bard.   Don't miss this opportunity for terrific classic theatre.

"King John" runs to May 18th at the West End Theater, 263 West 86th Street (upstairs at the Church of St. Paul and St. Andrew).  Tickets will run you less than a movie in Manhattan and will be infinitely more satisfying:  $18!   Seniors are discounted with code ELINOR and students are discounted with code HUBERT for just $12 bucks through May 11th.     Ring the Smarttix box office at 212-868-4444 or purchase online at www.smarttix.com. 

Macbeth at Lincoln Center Theatre

I attended Blogger Night at Lincoln Center Theatre's Macbeth on Tuesday.  We were wine and dined by 'wichcraft and swagged with wooden spoons engraved with the production logo and the quote "Double, Double, Toil and Trouble."  It was a great treat to see some friends and see a cool production of my favorite playwright. 

This production of the Scottish play is the largest I've seen live.  It's directed by Jack O'Brien and boils it into a almost overflowing pot that fairly assaults the senses visually and audibly causing the skin to tremble and heart to pound.   The costumes by Catherine Zuber are a character in themselves, particularly as worn as haute couture by a lithe but fragile Lady Macbeth, played Anne-Marie Duff.   Ethan Hawke takes on Macbeth and keeps him on the edge of insanity.  He was completely weird and mad in the role.  I found him enthralling yet loathsome and almost couldn't wait for him to meet his end.

The other principals are Richard Easton as Duncan, Francesca Faridany as Hecate, Brian D'Arcy James as Banquo, Jonny Arsini as Malcom and Daniel Sunjata as Macduff.   The meddlesome witches were gamely and brilliantly gender-bended by John Glover, Malcolm Gets and Byron Jennings.  I especially wanted to re-wind Glover's recitations - he managed to make me laugh and shiver simultaneously.

To experience this production at a discount, visit Telecharge and enter the code MACBLOG for $75 Orchestra/$45 Loge tickets, a 67% savings.

To further immerse myself in all things Shakespeare, I have been watching PBS'  Shakespeare Uncovered.  This week's timely episode features Ethan Hawke as he researches Macbeth in preparation of taking on the role.   You can watch online or check your local listings.   It's a very necessary and satisfying series.  
 

 

 

A Bloody Give Away: Tickets to Macbeth at Lincoln Center

Something wicked this way comes!  Again!   Yes, there's another production of Macbeth in New York again.  This promises to be a very sexy and sumptuous production at Lincoln Center Theatre - all black, white and especially blood red - directed by Jack O'Brien with costumes by Catherine Zuber.   Ethan Hawke and Anne-Marie Duff star as the Macbeths. The other principals are Richard Easton as Duncan, Francesca Faridany as Hecate, Brian D'Arcy James as Banquo, Jonny Arsini as Malcom and Daniel Sunjata as Macduff.   There should be plenty of fun with the witches played by John Glover, Malcolm Gets and Byron Jennings.

I love Macbeth!   My favorite Shakespeare is still The Tempest, but having seen the Scottish play twice already this year, I was surprised to realize how much I really do love it.  The sex and politics juxtaposed against the supernatural lends to a thrilling experience, no matter the setting or size of production. 

I just can't resist seeing this production of the Scottish play, which is currently in previews at the Vivien Beaumont.  Tickets are available via Telecharge...or to win a voucher for two tickets, tell me why you want to see it in the comment section below.  I'll throw your name in a hat and draw a winner at random in honor of Opening Night on November 21st.  (Mention this post in a tweet and that will count too - I'm @adventuresarahb)

Midsummer's Night Dream at the Met Opera

I went to the Met Opera last Thursday night for the first time this season.  Sally rushed for $20 orchestra seats for us (thank you Sally and to the late Dr. Agnes Varis and the other patrons who are generously bringing the weekday rush program for the 7th year in a row!).  

We saw Britten's opera of Shakespeare's Midsummer's Night Dream.   It was gorgeous, magical, weird and wonderful.   The colorful set and costumes by Antony McDonald were as exciting as the music and the singers. 

It was great to see Maestro James Conlon back on the podium.   I had met him at the stage door after An American Tragedy on the occasion of his 250th performance at the Met back in 2005. 

The principals Iestyn Davies and Kathleen Kim as the King and Queen of the Fairies and as the humans Joseph Kaiser, Michael Todd Simpson, Erin Wall and Elizabeth DeShong were all amazing.  The mechanicals were hysterical, especially Matthew Rose as Bottom and Barry Banks as Flute.    Barry basically stole the show.   What a clown! 

The Met Children's Chorus was precious as the fairies and sang more beautifully than I have ever heard them.

It was a great night to finally be back at the Met.

Since we were at the Met, we took the opportunity to view the finally unveiled portrait of Renée Fleming as Rusalka.   The Met has continued the tradition of sitting its great principal artists for portraits.  These portraits are usually on display in the concourse level of the Met after the singer has retired or passed away.   Temporarily on display is Renée's portrait: she is reprising her great role of Rusalka at the Met beginning in January.  The portrait was painted by Nelson Shanks.  It's quite beautiful.

 

 

HAMLET at Frog and Peach Theatre Company

Last night I walked 10 minutes from my apartment to Denmark and I never left the Upper West Side.   The Frog and Peach Theatre Company has mounted another terrific Shakespeare production:  this time it's Hamlet, The Prince of Denmark.

I always have a great time at the Frog and Peach and this was no exception.   Director Lynnea Benson pointed out to me that it has been a while since they've done a Shakespeare tragedy and I found it immensely satisfying. (I prefer the tragedies.)  When in fact Hamlet is a categorized as a tragedy, there is much to find amusing within it and Lynnea didn't miss a chance to coax the humor as well as the angst from the company. 

As I've come to expect from Frog and Peach, this Hamlet is a sexy, rock and roll production.  With rock music and modern dress setting the tone, it's sleek and the momentum is fast and exciting.    Brando Boniver plays the crown prince and with his good looks it's not hard to believe.  He played the prince with great momentum.   Making it even sexier and bending the typical gender guidelines, the back-stabbing double agents Rosencrantz and Guidenstern are played by the very hot actresses Amy Frances Quint and Ilaria Amadasi.

Regular company members of the Frog and Peach Theatre Company were present and never disappoint.  However, it was Alfred Gingold as Polonius who absolutely stole the show.   Beautifully natural as a father and counselor, he was at once gripping and hilarious in his delivery.   I could have listened to him for hours.  

Full casting is Brando Boniver as Hamlet, Jonathan Reed Wexler as Horatio, Vivien Landau as Gertrude, Brad Holbrook as Claudius, Eric Doss as The Ghost/Gravedigger, Alfred Gingold as Polonius, Megan McGarvey as Ophelia, Stephen Siano as Laertes, Ryan Dreyer as Osric, Philip Oros as Fortinbras, Roger Rathburn as The Player, Hamish Carmichael as The Captain, and Amy Frances Quint as Rosencrantz and Ilaria Amadasi as Guildenstern.

A few weeks ago a friend from Texas, who happens to love literature and live performance almost as much as I do, told me that she just doesn't get Shakespeare.  Actually, she was there when I saw my very first Shakespeare at the Globe Theatre in Odessa, Texas, when we were in 8th grade.  I suggested maybe it's just because she hasn't had the opportunity to hear it and see it where she lives.   I know I'm privileged to see so much of it in New York City - and especially right in my own neighborhood on the Upper West Side of Manhattan.  It simply transports me and I couldn't care less if it's off-off Broadway or the Royal Shakespeare Company.   I just love hearing that text.  I particularly loved hearing Hamlet again, wherein so much of its text is part of our every day language (albeit usually misquoted).  

Frog and Peach never disappoints and this particular production had me on the edge of my seat from lights up to  the bows.   You should check them out at the West End Theatre, (on the second floor at St. Paul/St. Andrew United Methodist Church) at 263 West 86th at West End Avenue.   It's a great space and the price can't be beat, especially for such classy acting:  always 18 bucks!   Senior citizens are only $12!

Buy tickets online via Smarttix or take a chance and just show up.  I know they'll find a spot for you.     They have a matinee today at 3 pm and will run Thursdays, Fridays, Saturdays and Sunday through November 10th. 

Julius Caesar at St. Ann's Warehouse



 

There's some extraordinary Shakespeare going on with the production of Julius Caesar at St. Ann's Warehouse until November 3rd.   We trekked over yesterday to take it in (oh, Brooklyn).   Survived the experience, just.   Disclaimer, Roxie and I saw this production at the Donmar Warehouse in London last December.  It was almost the entire purpose of our trip:  to see Dame Harriet Walter live, in person, on stage again.    Bonus: it is directed by Phyllida Lloyd who directed our beloved Mary Stuart, another life-changing Donmar production which thankfully made its way to Broadway.  We were thrilled, even if terrified, to see it again. 

This is not your everyday Julius Caesar.  It's set in a women's prison (think "Orange is the New Black" but even more bad ass and BRITISH) and is played by an all-female cast of British actors.  Sexuality does not play into the production, nor does sexual orientation: only power.   Sometimes, the conversational presentation that these actors bring to the text make it seem like you're not even seeing a play it's that second-nature.   The conceit seems to be a play within a play, but there are times when I wasn't even sure that this was true, and I've seen it twice.  Mind is blown in every scene, it's that riveting.  

The production was even better in this space as compared to the Donmar, although I think the Donmar space felt more terrifying because everything was so close in that tiny space. Still gripping, challenging, emotional, and terrifying.   It's all hard rock, blood, guts, fear, confusion, terror and courage: all in the name of country and politics and freedom.  I never really knew Julius Caesar was this much of a nail biter until I saw this production.  It thankfully wipes away any other production I have seen (i.e., that Denzel Washington on Broadway fiasco) and sets the bar very high for any I see in the future.

I liked Frances Barber as Caesar even more this time.  Her voice is amazing - thrilling and frightening. Dame Harriet Walter as Brutus, Jenny Jules as Cassius,  and Cush Jumbo as Marc Antony knocked out of the park again.  Dame Harriet's portrait of Brutus' agony in choosing between the love of his friend and the love of his country was palpable,  Supporting cast is phenomenal indeed.  The cast is very diverse in age and race - really lends to the fascination.  

If you go, and you should, take the C or A to High Street.  There's a F train stop very close as well. Hopstop lied about Jay Street being the best stop - it was a not close enough for comfort and we arrived with  just under 10 minutes to spare. That was fine really as they didn't let us in until almost the appointed curtain time, but I'm pretty sure it started late as the loo line was ridiculously long. The way the entrance to the theatre set up lends to the experience - almost immersive theatre without being invasive.   

Post show stagedoor notes: Frances Barber was lovely and we loved talking to her about the differences in the staging and theatre between London and New York. (Success - I managed not to fangirl over her episode of Morse).   We also got Cush Jumbo's autograph.  I was a little star struck by this ridiculously amazing actress.  Then there was Dame Harriet Walter.  I was actually coherent this time with her and managed to forego the use of any cursing words in her presence.  I did tell her to come back to New York all the time and she asked me to arrange it.   I'll be absolutely happy to do so, Dame Harriet Walter. 

That time in London:

Witches, Thanes and Madness, oh my!

 

Last week I managed to see two remarkable and unusual productions of Macbeth.  They could not have been more different from one another.   One was Alan Cumming's one man on Broadway and one was the Tempest Ladies' all female production off Broadway.   Both were equally visually stunning, innovative and satisfying.   I'd see both again in a heartbeat. 

I always thought that The Tempest was my favorite Shakespeare, but having seen Macbeth quite a bit over the last few years, I'm starting to think that it might actually be my favorite.  It's got the political element, the madness, the intrigue, the supernatural and the believability that I love. 

Having seen it fairly regularly may have helped me follow along with Cumming's dive into madness with the Scottish play.   It's set in a cell in an insane asylum.  It appears that it's a forced commitment and the dread and fear is evident.  It's not strictly one man, as there are two actors playing doctor (Jenny Sterlin)  and orderly (Brendan Titley).  With just the slightest inflection of voice and change in body language, he conveyed the various characters.  His madness is evident and increases as the drama of the play unfolds, even as he subtly delivers the text, even as Lady M.  It's painful, astounding and consuming.  It's fairly graphic but also fascinating.  I was absolutely enthralled by the concept and the performance.

I was also enthralled by the beautiful production by The Tempest Ladies.   The Tempest Ladies is an all female company.  They play all of the roles in each performance, meaning each actress takes a turn at each character.  Each character is assigned a symbolic item of costume and the transition between actresses is so seamless, it's almost indiscernible that the actress has changed.   They highlight the text with percussion instruments and chanting.   Each actress fiercely and fearlessly gives her all to each character and the result is gorgeous.  The simplicity lends further depth to the text.  It's also interesting to see women taking on the masculine roles of murder and power - even as Lady Macbeth pleads to lose her femaleness - "unsex me" -  in her plotting to kill Duncan.  I adore this theatre company and what they do is nothing short of extraordinary. 

The Tempest Ladies' Macbeth is running through June 15th at The Actor's Theater Workshop on West 28th Street.  Tickets are available online  via Brown Paper Tickets.   It's possibly the best $20 you'll ever spend on Shakespeare.

Meanwhile, Alan Cumming's Macbeth is at the Barrymore through July 14th.  Tickets are available via Telecharge.  If you looking for something different and you  know the play pretty well already, this is a great take to see. 

 

Measure for Measure at Frog & Peach Theatre Company

The Frog & Peach Theatre Company  has launched its spring Shakespeare at the West End Theatre on the Upper West Side.  This season, it's a great production of Measure for Measure. 

This was my first time seeing Measure for Measure.  I thought it was going to be a comedy, but it came across more as a commentary on political hypocrisy.   Shakespeare wrote it in 1603 and of course, it could have been written yesterday, i.e. not much has changed with our politicians.  That's not to say I didn't laugh; I certainly did - it's full of irony and the cast delivered the wit with great skill. 

Typically Shakespearean, it's full of hidden identity, trickery, lust, love and justice for all.   It is even a bit risque with accusations of fornication, unlawful marriage, pregnancy out of wedlock and sexual blackmail.  

Directed by Lynnea Benson, this one had all of the elements that are customary of the Frog & Peach - simplicity in set that allows the text to shine and naturalistic actors practicing beautiful delivery. This production also featured fantastically flamboyant and sexy costumes by Asa Benally.  
I've seen at least four productions of Shakespeare by Frog & Peach and I've enjoyed them all.   I love that it's Shakespeare in a neighborhood - I walk 6 blocks to spend the afternoon with them.   The company is so accessible and some of the actors deliver the text so naturally, it feels like they are just having a conversation with you - notably Brad Holbrook, Erick Gonzalez and Vivien Landau.  

Measure for Measure features these three as well as company regulars Eric Doss (he does play a bad guy so good), Amy Frances Quint, Ilaria Amadasi, Macus Watson, Rachel Handler, Flor Bromley, Oliver Conant, Philip Oros, Stephen Siano, Alex Simmons, Jonathan Reid Wexler, Megan McGarvey, Julia MacMillan and Steve Mazzocone.   Mazzocone, togged as a super stylish dandy, had me giggling at his every line delivery.

Frog & Peach always comes with the bonus of music - often, they set the tone with pre-curtain and intermission rock music.  This production features some sort of Dixie land jazz.  This production also features a lovely original piece by Ian McDonald and performed by company member Iliaria Amadasi. 

The production runs until May 19th, with four performances from Thursday through Sunday: Thurs, Fri, and Sat at 7:30 PM, Sun at 3:00 PM.  You can't beat the price either: $18 General Admission, $12 seniors and students.  Call the Smarttix Box off at (212) 868-4444 or purchase online.

Frog and Peach's Taming of the Shrew

The Frog and Peach Theatre Company has done it again:  another terrific, wonderful accessible production of Shakespeare.  This time it's The Taming of the Shrew.  

While the company does not offer high production value, they make up for it with their intimate, conversational presentations from very skilled actors which far outweigh anything else.  I am fine with not much set; the delivery of the language is so satisfactory.   It's clear that these actors and their director Lynnea Benson fill the space of West End Theatre with an appreciative and innovative love of the the Bard's lines.  

This production is somewhat cut in a very neat manner and the time passes so quickly that it left me wanting more.  I especially liked that it was mother instead of father who negotiates for her daughters Kate and Bianca. It gives it a more feminist view.  Baptista, the mother, is beautifully played by Vivien Landau.   Along with Vivien, standing out in the cast were Amy Frances Quint as Kate, Erick Gonzalez as Petruchio, Ryan Dreyer as Grumio, Lenny Ciotti as Tranio and Alexandra Poncelet Del Sole as Bianca.   The entire cast is commendable.   I especially loved Ryan Dreyer as Grumio - he delivers an absolutely adorable and comical turn (I can't wait to see him in another, hopefully leading, role).  

I adore this theatre company.  There's something very special about being able to walk a few blocks to lose oneself to beautiful, practially lyrical, Shakespeare right in my own neighborhood.  

The Taming of the Shrew is running thru November 4th at the West End Theatre, at 86th and West End Avenue, upstairs at Church of St. Paul and St. Andrew.  Tickets are available via Smartix online here or by calling 212) 868-4444.