In the bustling landscape of New York theater, where experimental “black box” concepts and modern deconstructions often dominate the stage, Adriana Alter is championing a different kind of revolution: the return to tradition.

As the co-founder and artistic director of Atlas Shakespeare Company, Alter is currently preparing for an ambitious, extended run of Richard III. For Alter, Shakespeare isn’t just a literary obligation; it’s a lifelong obsession that she believes holds the key to modern empathy.

A Director’s Secret Weapon

While many directors approach the Bard with a sense of intimidation, Alter finds a unique freedom in the 400-year-old texts. “I’ve found that Shakespeare is by far the easiest thing to direct!” she admits.

Her reasoning is rooted in the practical history of the theater. Because Shakespeare was an actor writing for a fast-paced repertory system with minimal rehearsal time, he “baked” the direction into the language itself. While modern plays often require a director to build character depth from scratch, Alter notes that Shakespeare has already done the heavy lifting. “Right off the page, these are three-dimensional, engaging characters, with believable relationships and satisfying narrative arcs.”

The “Likable” Monster

At the heart of their current production is perhaps theater’s most famous “unapologetically terrible person.” Alter describes Richard III not as a somber tragedy, but as a “wild ride” through unhinged political schemes.

“Richard is one of the earliest examples of a trope that continues to be popular in modern media: a charismatic, manipulative, unsettlingly likable villain whom the audience can’t help but root for.”

What sets this production apart is the actor bringing that charisma to life. Zachary C. Clark, who previously played Richard in Atlas’s production of Henry VI, Part III, returns to the role. According to Alter, the audience’s existing relationship with Clark’s portrayal adds a layer of complicity—we have watched this character grow from a soldier into a king, and now we must watch him descend into madness.

Finishing the Epic

This production serves as a grand finale for the company. Having just completed the Henry VI trilogy, Richard III is the natural conclusion to the “Wars of the Roses” cycle. It also marks a milestone for actress Charlotte Blacklock, who has portrayed Queen Margaret across all four plays.

“Now that she’s done such a truly extraordinary job of portraying each distinct stage of Margaret’s journey, we certainly couldn’t leave that story unfinished,” Alter explains.

Period Costumes and Steel Blades

Atlas Shakespeare Company is leaning into the very things that some might fear: the full script, period-accurate costumes, and live sword fights. To Alter, these aren’t “stodgy” choices—they are tools for escapism.

By working with fight choreographer Leighton Schlanger, the company has crafted an “epic battle sequence” designed to thrill. “Period costumes go a long way towards creating that world,” Alter says. “We’re offering audiences an opportunity to take a break from their daily lives and explore a whole different world.”

The Marvel Connection

When asked why so many elite actors from the Marvel Cinematic Universe or horror genres start in Shakespeare, Alter points to the “larger-than-life” demands of the text.

“Shakespeare teaches actors how to engage with unfamiliar worlds and how to embody larger-than-life characters without sacrificing psychological authenticity,” she says. “That’s a valuable foundation for anyone who wants to transition into genres where you have to persuade the audience to suspend disbelief.”

Looking Ahead

The goal for Atlas is nothing less than the full Shakespearean canon. By extending the run of Richard III, they hope to reach local schools and businesses, proving that these plays aren’t just for academics—they are for everyone who loves a good story.

https://www.atlasshakespearecompany.com/tickets