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Jim Catapano notes that the Prince Clowns so the Bat Can Fly: Joshuah Patriarco’s Brilliant Merging of Shakespeare and Batman Rises at the ATA.
“I am vengeance.
I am the night.
I am…HAMLET!”
Thus proclaims the “Prince of Arkham” (Joshuah Patriarco) as he prepares to avenge his father’s murder at the hands of his “Penguin”-like Uncle Claudius (Thomas Annunziata), who wears his stolen crown over a top hat and brandishes an umbrella. The ghost of the slain king (also Annunziata) prowls the night, with a bat cowl over his skull face, looking for revenge. Hamlet is alerted to the presence of his father’s spirit by his faithful sidekick, the yellow-caped Horatio (Jett Hernandez), and the trench-coated “commissioner” (Joe DeAngelo).
The ghost reveals the truth to Hamlet. But before the prince takes up his cowl for good, he dons clown makeup and a purple coat, in order to make both friends and foes think he’s mad as he plots the downfall of Claudius and his complicit mother Gertrude (Elizabeth Dimon), who slinks about in a latex catsuit and is counting on those other 8 lives.
Hamlet: The Clown Prince, a production of the Epiphany Shakespeare Company,is the astonishingly clever, superbly entertaining brainchild of Joshuah Patriarco. In a tour-de-force, he gives a magnificent performance as the title character, who has the personality of both Batman and the Joker, as well as directing the production and adapting the Shakespeare classic to blend perfectly into the DC Universe. The text and story of Hamlet is all here, from “To Be or Not to Be” to “The Rest is Silence”, but is here joined by “Why So Serious?” “Have You Ever Danced with The Devil…” and “Let’s Get Nuts!”. The quotes are taken from across the Batman Movie and TV Universe and skillfully added to the Bard’s text (almost as if they were always intended to be). And Horatio/Robin does indeed exclaim “Holy___!” with hilarious frequency. His “bring the house” down moment is when he yells, “Holy Nostalgia!” at the site of the late jester Yorick’s skull. And Frozencrantz is quick with the “ice” puns famously delivered by Arnold Schwarzenegger in Batman and Robin.
Hamlet’s duality works beautifully with the notion of the Dark Night and his greatest adversary being two sides of the same coin (and speaking of which, Two-Face appears in the role of Laertes (John Schmitz). The Riddler is also present, fittingly in the persona of the wordplay-loving Polonius (David Bunde). DeAngelo returns as the amusingly named “Frozencrantz” (Mr. Freeze as you might have guessed). Laura Ruth is the orange-haired, top hat wearing Guildenstern (Mad Hatter).
Hamlet’s transformation into a Joker-like figure disturbs the whole kingdom, but none more than his lover Ophelia (in an incredible performance by Epiphany co-founder Samantha Mileski). Ophelia is traumatized by the behavior of her “Puddin’” but remains devoted to him; after he kills her father Polonius she cracks entirely, becoming Harley Quinn in both demeanor and dress.
The soundtrack features Danny Elfman’s stirring 1989 score for the first Tim Burton Batman film, as well as the theme to the 60’s Batman TV show, and even Seal’s haunting “Kiss from a Rose” from Batman Forever. In addition, the tortured Ophelia sings a heartbreaking, appropo “I Started a Joke,” by the Bee Gees. And then there are the fight scenes. Bat-Hamlet and Horatio-Robin take care of the villains in a scene right out of the Adam West series, and the climactic swordfight of the Dark Prince/Knight with Laertes/Two-Face is magnificently realized. Special shoutout to Fight Choreographer Erin Hebert for crafting these stunning sequences.
Overall, the mashup of the deeply serious Hamlet and the grim world of Batman works much better than anyone might have expected; even the addition of elements from the campier versions of the Caped Crusader fit amazingly into the narrative. A smart, winning concept elevated by great performances, it all makes for a can’t-miss masterpiece that will delight both Batman Buffs and Shakespeare Students.
Goodnight, Sweet Bat!
Hamlet: The Clown Prince is performed at the American Theater of Actors through Sept 28 2025.
Jim Catapano attends A Majestic Production in Celebration of 50 Great Years
King Lear Rises Again to Mark the Golden Anniversary of The American Theatre of Actors
As the curtain opens on its 50th year, the ATA has turned to a signature piece to mark the very special occasion. King Lear, itself enjoying its 420th anniversary, returns to the John Cullen stage after a great run last year, and featuring faces familiar and new.
Alan Hasnas reprises the role of the titular tragic monarch in this energetic rendering, directed with panache by ATA president and founder James Jennings. In a special presentation after the show, Hasnas noted he is celebrating his own anniversary, having debuted at the ATA in the role of Claudius in a production of Hamlet 20 years ago.
Amber Brookes returns as the icy, scheming Regan, oozing malevolence in every scene, such as when she puts her cigarette out on the ill-fated Earl of Gloucester (a heartstring-pulling Tom Corciari in his ATA debut). Dramaturge Jane Culley is grand in her reprise of Regan’s sister Goneril, who tops her sibling’s villainy by tampering with Regan’s ubiquitous goblet. Sam Hardy, who recently excelled as Henry V, brings his powerhouse voice and presence to Edgar. Jake Minter returns to bring a powerful intensity in the role of the villainous Edmund, a part he also played in a recent film adaptation. Dustin Pazar shines, a dashing figure in the pivotal role of Kent. Karolina Larion takes on the role of Cordelia, whose actions at the top of the play start a chain reaction leading to her father’s descent into madness and despair. Larion’s expressive face and performance beautifully portray the punished daughter’s sadness and her later resolve to make things right and attempt to rescue her betrayed father. Sam Cruz is a dynamic Fool, providing the levity to balance out the dark events. However, he is not the only source of mirth—moments of humor are drawn from the text through clever interpretations of the dialogue by the actors, while never betraying the solemnity of the piece. The ensemble’s love of the play is palpable, and they work as a collective to bring it alive with astonishing skill.
The entire production is an incredibly engaging, high-energy rendering of the classic material; completely unabridged, the three-plus hours of King Lear are continuously riveting as well as moving. The space of the elegant John Cullen theatre is fully utilized, from its balcony to its stairs to its wings. The Fool hovers on the balcony watching events unfold; the increasingly mad Lear strides past the audience to command center stage; Edgar leads his blinded father down the winding staircases. Backdrops showing castle grounds and interiors, the sea, the hovel, an eclipse, and the famous thunderstorm provide a dynamic sense of place and time. The swordfights are beautifully coordinated and executed, and the relationships among the characters well realized, leading to the unforgettable, heartbreaking climax that will break your heart no matter how well you know the story. It’s another terrific success for the ATA, and the perfect way to start its milestone year.
The performance of King Lear on September 14th was followed by a rousing celebration of a half-century of the American Theatre of Actors, and of all who have honed their craft there.
King Lear runs at the ATA through September 21, 2025.
ATA kicks off the 50th Season with the revival of their acclaimed production of Shakespeare’sKING LEAR. September 10 – 21 with a special 50th Season Kick-off Event, Sunday, September 14 after the performance. Refreshments will be served.
King Lear begins as the Earl of Gloucester introduces his illegitimate son, Edmund, to the Earl of Kent. Lear, King of Britain, enters with his court. Now that he is an old man, Lear has decided to divide his kingdom between his three daughters. The division will depend on the quality of each princess’ declarations of love for her father before the court. Goneril, Duchess of Albany, and Regan, Duchess of Cornwall, both speak enthusiastically and earn their father’s praise. But Cordelia, the youngest, says nothing because she cannot voice her deep love for Lear. Misunderstanding his daughter, Lear disowns and banishes her from the kingdom. He also banishes the Earl of Kent, who had taken Cordelia’s side against the King.
Despairing for his daughters, and deeply regretting rejecting Cordelia, Lear goes mad at the height of a great storm. He and the Fool run wild on the heath until Gloucester takes them into a hut for shelter. He then seeks the aid of Kent to get them away to the coast, where Cordelia has landed with a French army to fight for her father against her sisters and their husbands.
In this family drama, greed is a driving force and remorse comes too late.
Alan Hasnas returns to the title role Featured in the cast is Josh Bartosch, Amber Brookes, Tom Ciorciari, Sam Cruz, Jane Culley*, Oliver Figueroa, Adonis Guzman, Sam Hardy, Karolina Larion, Emery Lawrence, Paul Maurizio, Jake Minter, Dustin Pazar, Alex Silverman, and Reese Villiger.*Ms. Culley appears courtesy of Actors Equity Association
The American Theatre of Actors was founded in 1976 by James Jennings, who continues as its President and Artistic Director. It is a repertory theatre company consisting of 50 actors, 15 playwrights and 8 directors. Its purpose is to promote the development of new playwrights, directors and actors and provide them a creative atmosphere in which to work without the pressures of commercial theatre.The plays deal with the social and ethical problems of contemporary society. Over 1,000 new works have been presented and more than 11,000 actors have worked at A.T.A., including Dennis Quaid, Bruce Willis, Danny Aiello, Dan Lauria, Chazz Palminteri, Kevin O’Connor, William Fichtner, Edie Falco and Kathryn Hahn.
CONTACT: info@jaymichaelsarts.com or 646-338-5472
Jim Catapano asks “Wherefore Art Thou, Dromio?”
Michael Hagins Knocks It Out of the Park with an Early Farce from the Bard
Aptly named, The Comedy of Errors is a product of Shakespeare’s early period. Sharply plotted and wonderfully absurdist, it draws heavily on misunderstandings, wordplay, physical comedy, and puns. In other words, perfect for a revisit in 2025. Shakespearean Master Michael Hagins has brought the circa-1594 work roaring into the present with a series of summer outdoor performances produced by the Shakespeare Sports Theatre Company, including two at Central Park’s Summit Rock, a perfect venue if there ever was one for this type of production.
The Comedy of Errors takes place in Greece, and concerns not one, but two sets of twins who had been separated at birth. Antipholus of Syracuse (Vic Gitre) brings his servant Dromio of Syracuse (Emily Glaser) to Ephesus—unbeknownst to them, the city where their respective twin brothers, Antipholus of Ephesus (Charlie Keegan James) and his own servant Dromio of Ephesus (Jennifer Kim) reside. Thus begins a madcap, hilariously chaotic adventure of mistaken identity that is a delightful precursor to the tropes of hundreds of modern film and TV comedies. (The misunderstanding between a goldsmith and the wrong Antipholus, involving an impressive piece of bling, is a particular hilarious highlight.)
Director/choreographer Hagins brings his expert hand to an accomplished production, which incorporates the traditional half-masks of Renaissance Comedia—very handy (or face-y?) in depicting our two sets of befuddled twins. The staging is exceptional and the costumes elegant, and it is a treat to see the performers donning them in the charming park setting, giving a sense of true timelessness to the experience. Props are used to great comedic effect—from finger puppets, to a Sith lightsaber, to a giant swirly lollipop that doubles as a paddle when a certain character gets “out of line”. A red curtain held in place at appropriate junctures makes for some amusing entrances and exits. As evidenced at Summit Rock, the performers use the vast space wonderfully, making entrances from the surrounding trees; running, hopping, and skipping into the scene as they navigate the elevated grass, rocks, and steps. The ensemble possesses an astonishing physicality that is deftly choreographed and well-serves the tone of the play. It adds another level of free-spiritedness to the already deliciously zany piece, which eventually escalates to a hysterical climax that finally features both Antipholuses and Dromios with all the other (comically confused) characters. It makes for an incredibly enjoyable afternoon of classic theatre, beautifully realized by a great director and his expert team. It’s a text that the entire company clearly adores, and that joy is palpably felt by the audience. The Comedy of Errors is an entertaining and enjoyable tale told in an economical 80 minutes, and another positive triumph for Hagins and the Shakespeare Sports Theatre Company.
The Comedy of Errors is stage-managed by Adam Sherwin and also features Melissa Meli as Adriana, wife of the Ephesus Antipholus; Erica Gerold is Adriana’s sister Luciana; along with Katie Freimann (Angelo), Lila Ashley Meyers (2nd Merchant), Anna Behrmann (The Duke), Hayley Berketa (Aegeon), and Molly Feisher (Amelia/Dr. Pinch/1st merchant).
CAST ANNOUNCED for “the other Shakespeare in the Park:” Shakespeare Sports’ Comedy of Errors directed by Michael Hagins
CAST ANNOUNCED for “the other Shakespeare in the Park”
Shakespeare Sports Theatre Company opens its SHAKESPEARE SUMMER TOUR with a new production of the Comedy of Errors directed by Michael Hagins; Adam Sherwin, stage manager, coming to a park or performance space near you!
SCHEDULES THUS FAR: Riverside Church July 17 @ 7 pm RESERVE A SEAT
St. Francis Cabrini Shrine July 19 and 20 @ 4 pm RESERVE A SEAT
Summit Rock in Central Park July 26 and August 2 — BOTH @ 2 PM RESERVE A SEAT
Pat’s Lawn in Inwood Hill Park July 27 @ 2 pm RESERVE A SEAT
ALL EVENTS ARE FREE
Shakespeare’s Hilariously Haywire “Comedy of Errors,” a frolicsome farce so fantastically foolish, it’s practically a recipe for roaring laughter! “The Comedy of Errors,” a play where mistaken identities run riot features the following cast: Vic Gitre, Charlie Keegan James, Emily Glaser, Jennifer Kim, Melissa Meli, Erica Gerold, Katie Freimann, Lila Ashley Meyers, Kasey Cznowski, Hayley Berketa, and Molly Feisher
Imagine, if you will, a bustling ancient Ephesus, where not one, but TWO sets of identical twins are about to stumble headlong into a hilarious hullabaloo! We’re talking Antipholus of Syracuse and his ever-so-loyal (and equally confused) servant, Dromio of Syracuse, who unwittingly wander into the very city inhabited by their spitting images, Antipholus of Ephesus and his own bewildered Dromio!
This uproarious rendition, brought to life by the visionary direction of Michael Hagins who is a celebrated Shakespearean artist in NYC with productions of Macbeth, Hamlet, Romeo and Juliet, A Midsummer Night’s Dream, Two Gentlemen of Verona, Twelfth Night or What You Will, Titus Andronicus, King Lear, Othello, Julius Caesar, Pericles, King John, King Henry IV, Part 1, King Henry IV, Part 2, King Henry V, King Henry VI, Part 1, King Henry VI, Part 3, King Richard III, The Winter’s Tale, As You Like It, The Taming of the Shrew, The Comedy of Errors, The Tempest, The Merchant of Venice,Timon of Athens, All’s Well That Ends Well, Troilus and Cressida, Love’s Labour’s Lost, Henry VIII, Two Noble Kinsman, Cardenio\Double Falsehood, Edward III, Merry Wives of Windsor, Cymbeline, Richard II, Antony & Cleopatra, Coriolanus, Much Ado About Nothing, King Henry VI, part 2 and part 3, and Measure for Measure.
ALL EVENTS ARE FREE
Jim Catapano views the ATA’s New Life for Prince Hal
Shakespeare’s Henry V is revived with a Sparkling New Production at the American Theatre of Actors
“We Happy Few, We Band of Brothers,” Henry V famously proclaims—and Sam Hardy, the actor who currently brings him to life, could well be addressing his castmates and crew of this accomplished production, now playing at the ATA as presented by Jonathan G. Power.
Henry V is the final piece in a tetralogy by Shakespeare that was basically the 16th century stage version of the Marvel Cinematic Universe. It was preceded by Richard II, Henry IV, Part 1, and Henry IV, Part 2. Henry V would have been a familiar character to theatre fanatics of the Renaissance, having appeared in Henry IV Parts 1 and 2 in youthful form as the wayward, tavern-loving Prince Hal.
This “sequel” depicts Hal/Henry (also known as “Harry”) rising to the throne with a new maturity. At the English court Henry is convinced after a discussion about land laws with the Archbishop of Canterbury (David Allard) that he has a claim to the Throne of France. Thus, he prepares to do battle with the French near Agincourt. His regiment is comparatively small, but the king is armed with a of heart and spirit that he is determined to share with his soldiers.
Shakespeare veteran Hardy is perfect in the title role; his commanding voice, powerful stage presence and impressive physicality adding an extra electricity to the Bard’s 1599(ish) play. He brings great poignancy to a sequence where Henry disguises himself to walk among his soldiers, in order to get to know them and bring them hope and encouragement.
One of the most popular of Shakespeare’s historicals, Henry V is engaging and witty throughout, with many humorous interludes and an incredibly quotable text. The actors handle the complex languages, lengthy soliloquies, and Bill’s famous wordplay with astonishing skill and a clear love for the source material; they also excel at the tricky, operatic fight sequences, which are expertly choreographed for this production. The English soldiers are in tan T-Shirts, the French in blue; and the overall dress is contemporary. Even with the large cast many of the actors play multiple roles, switching demeanors and characterizations with deftness.
Dustin Pazar is engaging as The Chorus (“Narrator”) as well as The Duke of Exeter, Noy Marom is Princess Catherine of France; in one of the play’s most amusing scenes she asks her maid Alice (Annie Unger) for a lesson in how to say a selection of English words, with Alice responding with rather suspect pronunciation. Marom also plays the conspiratorial Sir Thomas Grey, and Unger doubles as “the Boy,” page to comedic trio Pistol (Joe Patrick Marshall), Nym (Kieran Wylie), and Bardolph (Paul Maurizio). (These four characters also appear in multiple Shakespeare works.) The prolific Jane Culley (over 50 off and off-Broadway credits) is the Queen of France and also Pistol’s wife, Mistress Quickly. Producer Power appears as Henry’s counterpart on the chessboard, the King of France. Adam Lyons is very amusing as the French Herald, who periodically appears on the balcony to taunt the English warriors.
Dukes and Earls of course abound. Christian Miranda appears as both the Duke of Orleans and the Earl of Salisbury; Reese Villiger is the loyal Earl of Westmoreland;
For audiences unfamiliar, I’d equate the relationships among the characters to the conflicts, and camaraderie in another more recent hero’s journey, The Lord of The Rings franchise (subtracting magic rings and dragons, but adding the tennis balls that the Dauphin of France sends to his rival Henry as a gag gift). Cruz is an entertaining presence as the aggressive, always screaming Dauphin.
Directed with panache by ATA founder and artistic director James Jennings, Henry V makes great use of the multi-leveled, atmospheric John Cullum Theatre. Moving video backdrops portraying castles, battlefields and graveyards add a nice sense of place and time. As usual for this highly regarded entry into Shakespeare’s canon, this edition Henry V earns it’s 3-hour runtime, captivating throughout on its way to a rousing denouement.
Henry V runs at the ATA through April 19, 2025.
Arts Independent 