My Shakespeare professor at James Madison University, Ralph Cohen, told us Antony and Cleopatra was his favorite Shakespeare play. Robert Richmond’s new production for the Folger Theatre, with Cody Nickell and Shirine Babb in the title roles, took me back to my salad days. I reviewed the show in this week’s Washington City Paper. Individual issues are free but the paper is now for sale. It’s all very confusing.
Cody Nickell and Shirine Babb (Teresa Wood)
Joseph Marcell as King Lear.
My review of the Globe Theater’s stripped-down touring production of King Lear — the play that inspired Ira Glass to proclaim “Shakespeare sucks”! — is in today’s Washington City Paper. I also reviewed Theatre Alliance’s production of Caridad Svich’s Spark.
FURTHER READING: I reviewed Synetic Theatre’s wordless King Lear in 2011. And I interviewed Ira Glass, who was and remains one of my heroes, in April 2008.
Posted in theatre
Tagged Anacostia Playhouse, Caridad Svich, Colin Hovde, Folger Shakespeare Library, Ira Glass, Joseph Marcell, King Lear, play reviews, Theatre Alliance, Washington City Paper, William Shakespeare
Megan Graves and Jenny Donovan bare their “Fangs.” Photo by Chris Maddaloni/The Washington Rogues.
I review Stephen Spotswood‘s new play In the Forest, She Grew Fangs, along well as Aaron Posner‘s oddly inert new Romeo & Juliet for the Folger Theater, in this week’s Washington City Paper. Available wherever finer alt-weeklies are given away gratis. Continue reading
WEST PRACTICES: Danny Scheie, Cody Nickell, and Kate Eastwood Norris (Jeff Malet)
In Deadwood’s poetically vulgar patois, Aaron Posner’s Deadwood-inspired new The Taming of the Shrew at the Folger Theatre is “beholden to no human cocksucker.” I review it in today’s Washington City Paper, available wherever finer alt-weeklies are given away gratis. Continue reading
Posted in Uncategorized
Tagged Aaron Posner, Cody Nickell, Danny Scheie, Deadwood, Folger Shakespeare Library, Kate Eastwood Norris, Marcus Kyd, Shakespeare, The Taming of the Shrew, theater, theatre, Washington City Paper
Personally — and professionally, come to that — I had more fun with the imported comic illusionism of Elephant Room at Arena (“would look far more comfortable in some ramshackle, claustrophobic space, where its raw aesthetics and ironic sensibility might … Continue reading
Eric Hissom is emotionally erect. (Carol Pratt/courtesy Folger)
By the power vested in him by nothing more than his wildly protruding ego, Cyrano de Bergerac runs a blowhard actor off the stage at rapier point. So begins the Folger Shakespeare Library’s sparkling and soulful new adaptation of the romantic classic, and of all the outlandish scenarios it demands that leading man Eric Hissom imagine, this might be the most farfetched: As Cyrano, the guardsman of uncommon cheek and uncanny beak, a genius almost as fast with a sword as he is with a quip, Hissom is so effortlessly charming and authoritative it seems impossible he could ever find himself staring down a hostile audience.
He’s so good, in fact, you almost can’t believe that this Cyrano’s inconveniently 3D schnoz would much impede him in romance. But of course, the pickle he finds himself in ultimately has nothing to do with the fleshy cucumber sticking out under his eyes. For Cyrano, the rub is his lack of confidence that he’ll persuade his second cousin Roxane to see beyond her—uh, his—nose, an eloquent and enduring metaphor for the self-doubt that can cripple even the most capable among us. Continue reading