Home » Posts tagged 'shakespeare'
Tag Archives: shakespeare
“My Kingdom for a Tour De Force” cries Jim Catapano about A Dizney-fied Retelling of Richard III Delights at the American Theatre of Actors
There’s something weird in the Kingdom of Disneare! King William has been overthrown by some very familiar-looking evildoers, and the scheming Richard (Joshuah Patriarco) sees an opportunity to seize the throne. Sounds like Richard III, and it is, but in a dazzling new form. Richard III: A Twisted Fairytale brings classic Disney characters to the famed historical, making for an incredibly entertaining theatre experience. Devised by the Epiphany Shakespeare Company, the team who brought us last year’s compelling Hamlet/Batman hybrid Hamlet: The Clown Prince, the production is an ingenious mash-up that works better than anyone could have anticipated. It can be enjoyed on many levels and by all demographics, as evidenced by the enthusiasm of the children in the audience (many of whom were in costume). Shakespeare’s original text is mostly intact, but accompanied by the fairy tale aspects of traditional Disney and the colorful over-the-top characters that go with it. The story is introduced and narrated by Sir Jiminy (Andrew Austin), the “Conscience of the Kingdom”. Patriarco’s Richard starts out traditional and transforms into “Malevolent” (Maleficent); hero Clarence (Rommell Sermons) becomes Prince “Phil”; Queen Elizabeth (Mikelle Terson) is the Evil Queen; Lady Anne (Samantha Mileski), who talks to the chirping animals of the forest, becomes Sleeping Beauty, with some beautifully sung songs from Mileski along the way; and Thomas Annunziatta is Buckingham, who resembles a certain Royal Vizier, complete with snarky parrot on his shoulder. The costuming by Mileski (who also oversaw makeup and special effects), are letter-perfect, with every famed Disney character instantly recognizable, down to the tentacles of “Ursul The Sea Dog” James Hammill. Edward Gibbons-Brown does a hilarious turn both as King Edward and a certain honey-loving golden bear; and we also get the Dutchess of Deville (Shannon Rivoli), complete with Dalmatian fur coat and toy puppy. (With all the larger-than-life Disney characters, the famous scene of Richard being haunted by his victims is a particular sight to behold in this iteration.)
For the final performance of the initial run, Antares Puentevella took on the role of Peter Pan (the one “Prince in the Tower” instead of two), in his professional NYC stage debut. Puentevella is the son of ATA Executive Director Jessica Jennings and grandson of legendary ATA founder James Jennings and Jane Culley, and he sparkled in the role of the boy who won’t grow up. His sword battle with “Lord” Hook (Zorich Lequidre—AKA Captain Zorich), realized in the rafters of the John Cullum Theatre, was an absolute highlight, further lifted by Puentevella’s exuberance and Lequidre’s classic campy villainy.
Other pop culture references provide very funny Easter eggs, including lines from The Godfather and Richard’s fitting (and even poignant) a cappella rendition of “Behind Blue Eyes”.
Stylishly written and directed by Patriarco, and overseen by the production team of John Rivoli (SpongeBob SquarePants), Jake Minter, Terry Prideaux and Liam Riordan, this is an incredibly clever and creative production, with lots of enjoyment for Shakespearean fans. Plus terrific Disney flourishes and comedic moments for kids of all ages. It all comes together to make Richard III: A Twisted Fairytale a must-see when it returns to the stage.
It’s Mean to Be the King: Jim Catapano at RICHARD III (Atlas Shakespeare)
The Atlas Shakespeare Company Presents a Triumphant Retelling of Richard III
Following acclaimed productions of Henry VI Parts 1 and 2 and Henry VI Part III, the Atlas Shakespeare Company now completes the Bard’s first tetralogy with a riveting Richard III.
Following the long civil conflict in which the Yorks defeated the Lancasters, King Edward IV (Ethan Baker) sits atop the throne, depressed and ailing. His power-hungry brother Richard (Zachary C. Clark), the Duke of Gloucester, sees (and eventually seizes) an opportunity. Thus, he begins to systematically eliminate everyone who stands in his way, while wooing the widowed Lady Anne (Christa Souza) to his side. He imprisons his elder brother George (Yeshua Ellis), Duke of Clarence, in the infamous Tower, where he later also famously banishes his young nephews, Richard the Duke of York (also Souza) and Prince Edward (Charlotte Blacklock), to prevent any competition to the throne. The less-than-legitimate new King Richard’s reign of terror is finally threatened by Henry Tudor (Bradley Viktor), Earl of Richmond, who raises an army against the Machiavellian murderer.
The play completes the War of the Roses saga with a compelling story of betrayal and sociopathic serial killing that ends in a bloodbath. Along the way we watch the titular character go from scheming to murder to full-on madness, with lots of backstabbing along the way, most of it literal. We learn that a cask of wine is a great place for a murder victim. And what show would be complete without a game of “catch the severed head”?
As the conniving cad of the title, Clark delivers a tour-de-force performance: charming, devious, funny and sly. He skillfully uses the audience as his “co-conspirators”, delivering asides and glances that make us feel part of the story.
“(Richard III) is very insecure in a lot of ways,” said director Adriana Alter in a talkback following a recent performance. “And very motivated by the need for external validation which he’s trying to get from the audience. We essentially become his imaginary friends. He’s trying to impress with how clever he is.” Clark is excellent at portraying Richard’s rollercoaster ride from the heights of power to the depths of slipping sanity. “He’s going to have to come face to face with the fact that he hates himself,” said Alter. “His coping mechanisms for keeping up, that pretense starts to melt away.”
Clark is joined by a sterling cast including Tonia E. Anderson as Cecily the Dutchess of York; Joscelyne Wilmouth as Queen Elizabeth; Nick Stevens as her brother Anthony (Lord Rivers); Matthew Tiemstra as Henry, the Duke of Buckingham; Quinlan Welch as Thomas Grey; Nicholas Grevera as William (Baron Hastings); Timm Coleman as Thomas Stanley; Chris Clark as Sir Richard Ratcliffe; and Gabe Girson as lawyer Sir William Catesby. (Baker, Blacklock, Sousa, Ellis, Viktor, and Welch each play two roles to round out the kingdom.)
The costumes—designed by Madeline Rostmeyer and coordinated by Nancy Nichols—are glorious in their elegance, and the sterling cast delivers Shakespeare’s iconic dialogue with a delighting deftness that captivates with every turn of phrase. Atlas’ mission statement is to present Shakespeare’s work as it was intended, and they do so here with a production that is true to the text and to the era it was initially performed, but still completely accessible to a 21st Century theatregoer.
Director Alter has presented a fantastic edition of the oft-performed classic, neatly trimmed and dynamically realized with all story beats intact. It is immensely engaging—from Richard’s first sinister speech, to the appearance of the ghosts of all his victims, to the incendiary final battle. That last sequence is astonishing, an edge-in-your-seat experience delivered with dance-like precision by the cast under the expert guidance of fight choreographer Leighton Schlanger.
This explosive conclusion to the saga is a positive triumph for Alter and Producer and Founder Alexander Nero. It’s a must-see for this “Winter of Discontent” or for any season.
Trade your kingdom for a horse and go see Richard III at the Wild Project through March 1, 2026. Learn more at atlasshakespearecompany.com/.
The Winter of Discontent Finds Its Heat: Zachary C. Clark Takes the Throne in Atlas Shakespeare’s Richard III
NEW YORK CITY — The sun of York is setting, and in its place, a shadow looms over the Wild Project. Following their sweeping success with the Henry VI trilogy, Atlas Shakespeare Company is concluding the Wars of the Roses with a visceral, blood-soaked production of Richard III.
Running from February 17 to March 1, this limited Off-Off-Broadway engagement promises a return to classical roots, complete with period-accurate dress and live sword-fighting. But at the center of this political storm is a performance that has been a year in the making: Zachary C. Clark as the titular villain.
A Villain Formed in the Shadows
For Clark, the role of Richard is more than just a performance; it is a culmination. Having played Richard in the company’s previous Henry VI productions, Clark has had the rare opportunity to live in the character’s skin long before he ever reached for the crown.
“It’s fun to have the full story,” Clark notes. “So much of Richard’s backstory isn’t really explored in many productions because Henry VI is rarely performed.”
This continuity allows for a Richard that is far more than a caricature of evil. Clark approaches the role—the second-largest in the Shakespearean canon after Hamlet—with an eye for the “vulnerability despite how horrible he is.” It is a psychological tightrope walk between a “self-congratulatorily sociopathic” mastermind and a man unraveling under the weight of his own ambition.
The Descent into Madness
While the first half of the play showcases a charismatic strategist outmaneuvering his “dangerously suggestible” brother, King Edward, the latter half explores a much darker territory. Clark identifies the “descent to the point of near madness” as his greatest challenge.
Key Themes Explored in This Production:
- Political Melodrama: The shifting allegiances and the desperation to retain power.
- The Weight of Curses: A world where the supernatural is as real as the steel of a blade.
- The Human Cost: A portrait of how a quest for the crown costs a man his family and, ultimately, his sanity.
Classical Craft for a Modern Audience
Founders Adriana Alter and Alexander Nero have built Atlas Shakespeare Company on the principle that the Bard’s work should be vivid, relatable, and profoundly human. By utilizing full classical dress and high-stakes choreography, the company aims to strip away the “dusty and stale” reputation Shakespeare sometimes carries.
Clark echoes this mission, stating that the primary goal is clear storytelling. “I think as long as we tell the story in a way the audience will understand, we’ve won. To keep an audience engaged and following the plot is the most important goal.”
Whether it’s the chilling delivery of Clark’s favorite line—“So wise so young, they say, do never live long”—or the sparks flying during the live combat, this production is designed to be a “cautionary tale about being careful what you wish for.”
Performance Details
- Dates: February 17 – March 1
- Venue: Wild Project, 195 East 3rd Street, NYC
- Tickets: Available at atlasshakespearecompany.com/tickets
Don’t miss the “bloodsoaked finale” of a saga that has captivated New York theatergoers for the past year. Come witness the rise—and the inevitable, crashing fall—of Shakespeare’s first great villain.
The King of Villains in the Concrete Jungle: Adriana Alter and Atlas Shakespeare Company Take on Richard III
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
The Bard in the Boroughs: Rodney Hakim and the Digital Renaissance of “New York Shakespeare”
In a city where the theater is often synonymous with the bright lights of Broadway, Rodney Hakim is carving out a vital, digital niche for the classics. As the owner, writer, and host of New York Shakespeare, Hakim has transformed his lifelong expertise into a premier multimedia platform. Through his popular IGTV series and a sprawling social media presence, he has created a central nervous system for the Shakespearean community in the New York metro area and beyond.
A Renaissance Man for the Modern Era
Rodney Hakim is not just a commentator; he is a veteran of the very boards he discusses. His background is a tapestry of performance and production, spanning:
- Acting & Comedy: A freelance actor and stand-up comic, Hakim’s experience ranges from stage plays and musicals to independent films, voice-overs, and TV industrials.
- Directing & Producing: His creative vision has graced venues like the Queens Theater in the Park and various Off-Off-Broadway stages. Notably, he founded and directed a monthly Shakespeare reading group in partnership with Barnes & Noble, bringing the Bard to the public in accessible, communal spaces.
- Education & Writing: As an acting coach and freelance writer for theater review sites, Hakim bridges the gap between the “how-to” of performance and the critical analysis of the art form. He is currently developing new concepts for screenplays and books.
“New York Shakespeare” on IGTV: The Digital Front Row
At the heart of Hakim’s work is the New York Shakespeare brand. Designed to be a “central resource for all things Shakespeare in New York,” the program serves as a bridge between the stage and the audience, documenting current productions and providing deep-dive intellectual access.
Upcoming Special Event: “Speak the Speech” Winners
Highlighting the program’s commitment to excellence in classical performance, Hakim’s next episode features a powerhouse lineup. The broadcast will showcase the winning Shakespeareans of Channel Indie’s inaugural “SPEAK THE SPEECH” competition.
This exclusive session brings together a unique blend of rising stars and established masters, including:
- Joe Staton
- Sean Gregory Tansey
- Sam Hardy
- Michael Hagins (Classical theater luminary)
This episode promises an insightful look into the mechanics of Shakespearean delivery and the future of classical performance in the digital age.
A Global Community with Local Roots
While the focus is firmly on the “happenings taking place in and around New York City,” the reach of New York Shakespeare is global. By leveraging Instagram, Facebook, YouTube, LinkedIn, and WordPress, Hakim has built a digital archive of the city’s classical heartbeat.
Perhaps most impressively, these resources—including live interviews and online discussion groups—are offered free of charge. This mission of accessibility ensures that “supporting your local Shakespeare” is an invitation open to everyone, regardless of their proximity to a physical theater.
Connect with New York Shakespeare
Whether you are a seasoned actor looking for coaching, a scholar seeking fresh discussion, or a fan wanting to know what’s playing in the park this weekend, Rodney Hakim’s platform is the definitive guide.
- Website: www.nyshakespeare.com
- Email: info@nyshakespeare.com
- Watch: Follow @NewYorkShakespeare on Instagram to catch the latest IGTV broadcasts and live interviews.
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
Arts Independent 