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.

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