There’s a male loneliness epidemic going on in Jane Anger at Maryland Ensemble Theatre, and it’s not only because of the Plague of 1606. William Shakespeare just can’t seem to find his words, which have always been his best friends. He’s filthy rich because of them. But the journey by the Bard through a challenging time of his life, as he tries (and fails) to write his “most important” play, takes a backseat to a more topical storyline in this revenge comedy, which also plays like a classic farce and a feminist fantasy.
This fourth-wall-breaking piece by Talene Monahon is a bit of a history play, too. Though, as director Suzanne Beal says, Jane Anger is “a total fabrication,” it’s packed with obscure bits of knowledge about good ol’ Willy Shakes, revealing his plagiarism, prostate issues, and penchant for sex workers. There’s also his obsession with the success of his competitors and his shocking lack of empathy for his wife and children — it’s a veritable exposé of the time’s most famous person. Plus, the inspiration for Jane’s story comes from a real document, an anti-mysogynist letter printed by Jane Anger “for all women” in 1589.
Monahon’s writing is in a style after my own heart, with tons of wordplay, modern slang, and pop culture nods. Right up top, there’s a fun homage to Abbott and Costello’s classic comedy routine “Who’s on First?” I then noted references to Shrek, Austin Powers, Wicked, and The Notorious B.I.G. before uncovering a few Monty Python Easter eggs. As an actor, I have to love all the nudge-and-wink asides and meta commentary. Beal bookends the play beautifully with up-close audience interactions, in between which she relentlessly pushes her actors with impressively difficult comedic blocking, unique stage pictures, and movement games that defy physics.
Lots of those games are played by MET Ensemble Member Bill Dennison, who keeps up quite well, and looks right at home as William Shakespeare, adopting all the flourishes and quirks of landed gentry with aplomb. The stress and strife of plague-filled Jacobean times are beginning to wear on him, and you can see the desperation in his eyes. He needs his audience, his accolades, his…escorts. However, he’s stuck at home with his manservant, Francis Sir, played with cartoonish enthusiasm by MET Ensemble Member Jeremy Myers. The two have a wonderfully playful chemistry, and, with all the physical comedy he’s asked to do, Myers plays a convincing human rag doll. He has the pleasure of saying some of the script’s most absurd lines, and he gets to be the personification of Chekhov’s gun when he says he “swoons at blood,” but I’ll give you no spoilers beyond that.
The details unearthed in the play equal a general thumbs down for Shakespeare as a person, but that doesn’t really matter, because he’s only a stepping stone along our heroine’s path. Jane Anger, adeptly played by MET Ensemble Member Shea-Mikal Green, has loved books from a young age, and, although they didn’t keep her out of whoredom as they were meant to, they mostly did. Anyway, now she’s a Cunning Woman (aka Witch), she’s got something she wants to publish, and she knows it must be printed under a man’s name. But in order to gain proper attention for her writing, only the signature of “the Voice of All People” will do. And she’ll do anything to get his name on her parchment.
Green is perfectly cast as Jane, with that mischievous glint in her eye that always makes for a strong character actor. She’s believable as a street scamp who performs spells, talks to dead rats, and brandishes a rapier. She’s confident, lively, and engaging in the aforementioned audience interaction bits, and is, above all, a Real Person™. I feel a little bad for Green for having to throwing herself under the bus repeatedly for the sake of men’s egos, but she has fun with it. Jane knows she has to feign incompetence and be the “silly little thing” they want her to be. Fortunately, we’re in on the joke.
As Jane gets closer to her goal, she’s playing her game well. However, just when her plan to get Will’s sign-off seems to be working, everything is complicated by the arrival of his wife, Anne Hathaway, whose reputation precedes her, and her crime is being too…nice? Mallorie Stern plays her as the purest version of a perfect wife, to the point where she gaslights herself into thinking she’s happy with her marriage. However, once her ire is awakened, she changes course as would befit a thundering tempest. The audience is delighted to see her come into her strength. It’s lovely work from Stern.
Since women are the heart of the matter in Jane Anger, it makes sense that the emotional hub of the story would take place when the two women are finally alone together. It almost seemed like we were peeking in on a different play. I appreciate that Monahon’s arc allows the audience to get their chuckles out for an hour before hitting these more serious feminist existential points harder, which have naturally been integral to the action all along.
Jane Anger certainly sets the historical record straight when it comes to a few things, but one resounding message that’s dear to me is that humans need to strive to be human. We need to respect one another, accept each other as equals, and shed our patriarchal conditioning in order to move forward and create a more just and livable society. It only makes sense. As Jane says to Anne, “I don’t see what’s wrong with trying hard,” and it’s clear that this cast and crew has taken that message to heart.
Running Time: Approximately 95 minutes with no intermission.
Jane Anger plays through April 19, 2025, at Maryland Ensemble Theatre, 31 W Patrick Street, Frederick, MD. Tickets range from $15 to $36, with discounts for students, seniors, and military. Pay What You Will tickets, starting at $7, are available for each performance while supplies last. Group rates available for parties of 10 or more. Tickets can be purchased by phone at (301) 694-4744, online, or in person at the MET box office, open Tuesday to Thursday, 12 – 6 p.m., Fridays 12 – 4 p.m. and one hour before performances. Discounts are available for groups of 10 or more by emailing contact@marylandensemble.org. ASL interpretation is available Friday, April 4, and audio description services can be arranged through the box office.
Age Guidance: If this were a film, it would be rated PG-13 for strong language and crude sexual references.
COVID Safety: Facemasks are strongly encouraged but not required. MET’s Safety policy can be found here.
Jane Anger
By Talene Monahon
CAST
Shea-Mikal Green* as Jane Anger
Mallorie Stern* as Anne Hathaway
Bill Dennison* as William Shakespeare
Jeremy Myers* as Francis Sir
Joe Waeyaert* as male swing
Tori Weaver* as female swing
*Denotes MET Ensemble Member or Associate Artist
CREATIVES
Directed by Suzanne Beal*
Stage Management by Rachel Smith*
Asst. Stage Management by Olivia Pietanza*
Lighting Design by Rhett Wolford
Properties Design by Lori Boyd*
Set Design by David DiFalco*
Costume Design by Elizabeth Tringali and Judy Harkins
Sound Design by Kaydin Hamby*
Intimacy Coordination by Megan Behm
Fight Coordination by Casey Kaleba
Production Management by Melynda Burdette Wintrol*
Technical Direction by Cody James*
*Denotes MET Ensemble Member or Associate Artist