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)
Can a working actor get famous in one of Shakespeare’s least-famous plays? In this week’s Washington City Paper, available wherever finer alt-weeklies are given away gratis, I profile the hardworking and versatile titan of stage and stage Mr. Ian Merrill Peakes. He’s currently appearing in the Folger Theatre‘s Timon of Athens, the “Hey Bulldog” of the Shakespearean canon.
As You Like It is my favorite Shakespearean comedy after Twelfth Night, but when the actor playing Orlando can’t hang with the actor playing Rosalind, it prevents this pleasant diversion from being something deeper. I reviewed the Folger Theatre’s production in this week’s Washington City Paper.
I had the good fortune to interview Star Trek’s resident alien linguist Marc Okrand this week, for a video that’ll posting next week as part of Air & Space / Smithsonian’s coverage of Trek’s 50th birthday. I met Marc through his involvement in DC theatre. After the shoot, we got some coffee and talked about—well, okay, yes, about his work on various Trek movies mostly, again, some more. But we also discussed how much we both enjoyed writer/director Kathleen Akerley’s ambitious new play FEAR, which I review in this week’s Washington City Paper.
Posted in theatre
Tagged Amal Saade, Ashley DeMain, Kathleen Akerley, Longacre Lea, Marc Okrand, Michael Glenn, play reviews, Smithsonian Air & Space, Star Trek, Tom Carman, Vince Eisenson, Washington City Paper, William Shakespeare
District Merchants, Aaron Posner’s new Reconstruction-era DC gloss on The Merchant of Venice for the Folger Theatre, is an intriguing muddle; GALA Hispanic Theatre’s production of Octavio Solis’ El Paso Blue is a surrealist hoot. Both reviews appear in this week’s Washington City Paper, available wherever finer alt-weeklies are still hanging on.
The cast of Shakespeare Theatre Company’s production of The Taming of the Shrew, directed by Ed Sylvanus Iskandar. (Scott Suchman)
The cast and audience at the intermezzo of “The Taming of the Shrew.” (Scott Suchman)
Rick Hammerly as the Contessa, Peter Gadiot as Petruchio, Maulik Pancholy as Katherina, and Oliver Thornton as Bianca in “The Taming of the Shrew.” (Scott Suchman)
Shravan Amin and Jeremy Keith Hunter in “When January Feels Like Summer” (Stan Barouh)
Vaughn Ryan Midder and Jeremy Keith Hunter in “When January Feels Like Summer” (Stan Barouh)
Lynette Rathnam and Jason B. McIntosh in “When January Feels Like Summer.” (Stan Barouh)
Maulik Pancholy as Katherina and Peter Gadiot as Petruchio in “The Taming of the Shrew.” (Scott Suchman)
Directors have reckoned with the misogyny of The Taming of the Shrew in many ways. Ed Sylvanus Iskandar’s fix — cast only men, and let the female characters express themselves via covers of old songs from Duncan Sheik, a man — is at least, and most, strange. I review Iskandar’s perplexing boys-only Shakespeare Theatre Company Shrew in today’s Washington City Paper.
Posted in theatre
Tagged Cori Thomas, Duncan Sheik, Ed Sylvanus Iskandar, Jeremy Keith Hunter, Mosaic Theatre of DC, play reviews, Serge Seiden, Shakespeare Theatre Company, Vaughn Ryan Midder, Washington City Paper, William Shakespeare
I reviewed the Shakespeare Theatre Company‘s new Ron Daniels-directed Othello, starring Jinn‘s Faran Tahir as the Moor of Venice, for the Washington City Paper. Jonno Roberts’ Iago is the best reason to go.