DC Theater Arts

Tag: Caesar

Review: ‘Julius Caesar’ at Scena Theatre at the Atlas Performing Arts Center

Diamond Julesy Gets It

Shakespeare’s Julius Caesar has recently become a cause célèbre. When Caesar was portrayed in a Public Theater production with a Trump-like costume and wig, there were protests. Some people rushed the stage. The actor who played Brutus, Corey Stoll, described it this way to Time magazine (6/26/17):

A beat after I stabbed Caesar and he fell to the floor, I saw a flash of a white shirt, and a woman shouting something I couldn’t understand. Covered in blood and holding a very real knife, I was already in fight-or-flight mode,” he described. “Luckily, our stage manager Buzz Cohen asked for security to escort our visitor out before anyone got hurt… After a brief pause Buzz said, ‘Actors, let’s pick it up from ‘liberty and freedom.’”

There are times when stage managers are truly heroic; not to mention the actors who face the public and continue to do their job in the face of threats and even violence. In this case, the theater lost two sponsors, and theaters with “Shakespeare” in their name apparently received threatening missives. Largely obscured by the controversy was the fact that, in many ways, Julius Caesar and Donald Trump aren’t very much alike at all.

Ian Blackwell Rogers, Ron Litman and David Bryan Jackson. Photo by Jae Yi Photography.

The international Scena Theatre’s production casts Caesar (Robert McNamara) as a kind of Mafia don, surrounded by insincere toadies and would-be revolutionaries. Full of inspired directorial ideas, and satirical modern touches, this Caesar reminds us how timeless and necessary Shakespeare really is. Founder/Artistic Director and director of this production, McNamara is to be congratulated on offering us a muscular, action-packed version of one of Shakespeare’s finest plays.

The crowd, a character in and of itself, is everywhere. Chanting “Caesar! Caesar!” Switching allegiances from Brutus to Mark Anthony. Turning on the helpless and spreading the latest terrifying rumors around the desperate city. It is difficult to accept that our populace encompasses white nationalists with tiki torches. Still, it is an excellent time to remember how fickle human beings can be when they turn into a mob.

McNamara as Caesar is drunk on his own arrogance. He flicks his admirers away like flies. It is almost as if he believes he is already on Olympus with the rest of the gods, lowering himself to govern such inferior mortals. There is little of the aristocrat in him, and none of the clemency he sometimes showed to his enemies. It is easy to see how he has become so resented, even by Brutus, a dear friend who was, some believed, his illegitimate son.

As a director, McNamara is well served by his international cast. David Bryan Jackson as Cassius is the engine of the play, driving the plot forward with unctuous thoroughness. Barry McEvoy’s Mark Antony is deeply traumatized, yet full of dramatic power. His eulogy for Caesar is one of the high points of the production. As the Soothsayer, Greg Ongao has a strong stage presence and creates a palpable atmosphere of menace.

Amanda Forstrom and Ian Blackwell Rogers. Photo by Jae Yi Photography.

Brutus (Ian Blackwell Rogers) is probably one of the most difficult parts in the Shakespearean canon. Intellectual, somewhat distant, and some might say hypocritical, his is the betrayal that ultimately breaks Caesar’s heart. Some critics compare him to Judas. Although in Plutarch Caesar died of 23 stab wounds, Shakespeare turns it into 33, the age Jesus was when he died. Dante placed Brutus in the 9th circle of hell with Cassius and Judas.

Rogers has some particularly compelling moments in the famous “Quarrel” scene with Cassius, and again when the ghost of Caesar appears to him before the battle of Philippi. But there is also the superb scene with Portia (Amanda Forstrom). In this brief exchange, we learn enough to imagine an entire marriage. Amanda Forstrom as Portia is fully her husband’s equal, demanding the truth and insisting on being a partner instead of a pleasant diversion. Anne Nottage is a fine Calphurnia, even though Caesar’s dismissive attitude toward her fears for his safety is only too believable.

And, oh, the wonders of Ron Litman’s Casca, as he describes the efforts to offer Caesar a crown, eyes blazing, hands gesturing every second. He shows us in no uncertain terms that he has absolutely HAD IT with Caesar, and that is existentially that.

The tension builds after the assassination, and the danger is even greater. The horror of it, for the conspirators, is that they have not killed Caesar’s influence. In some ways, he is more beloved than ever. David Bryan Jackson as Cassius has some particularly striking scenes as the pressure becomes overwhelming.

The conspirators, in black suits, as befits the associates of a mob boss, each make a distinct impression. Louis Lavoie (Metellus Cimber), Kevin Boudreau (Cinna), Daniel Noake (Trebonius), and Robert Scheire (Decius Brutus) are a formidable group. Led by the jealous Cassius and the conflicted Brutus, they are successful – at first. Their subsequent history is a common one for all such plotters and as contemporary as ever.

One of the few tender moments of the evening occurs when Brutus hesitates to wake up his sleeping servant Lucius (Danielle Scott). Scott does well in her role, by simply being herself and not pretending to be a boy. Kim Curtis, as Cicero, Lepidus, and Ligarius (!) is as enjoyable as ever. Cicero’s death offstage is one of the many ominous signs for the Republic.

The cast of Julius Caesar. Photo by Jae Yi Photography.

The Ensemble (Kevin Boudreau, Kim Curtis, Amanda Forstrom, David Johnson, Louis Lavoie, Ron Litman, Daniel Noake, Danielle Scott, Robert Scheire, and Greg Ongao) shout, run, chant, and stomp with exceptional commitment. One gets the sense that they could blow the roof right off the theatre, and I encourage them to try.

The Set Designer, Jonathan Dahm Robertson, relies largely on projections (he is Video & Projections Designer, with assistance from Natalia Gleason) to set the tone. Some enhance the theme of a Rome which resembles today’s DC. We see, among other things, the Pentagon, the JFK assassination, the Capitol Building, and RNN Breaking News: CAESAR IS DEAD! Others are more traditional: fire; dead soldiers; “Aut Caesar aut nihil” (Caesar or nothing). One of the most impressive is the Greek “καὶ σύ, τέκνον;”^[ (you too, child) which Suetonius says some believed were Caesar’s last words.

The use of a few key set items works well; a hospital bed and a ladder, for example. Costume Designer Heather Jackson uses black very effectively. Sunglasses, Caesar’s bloody (white) jacket, and Brutus’s red robe all become part of the action. Sound, by Sound Designer Denise Rose, includes brooding, dark music, whispers, cries, and song. All are evocative. Lighting Design (Jonathan Alexander) combines expressively with the projections to create the mood.

The actors show remarkable facility with Shakespeare’s magnificent language. The cuts to the script are well chosen. Energy and commitment are the leitmotifs of this production.

Cicero once said of Caesar: “When I notice how carefully arranged his hair is and when I watch him adjusting the parting with one finger, I cannot imagine that this man could conceive of such a wicked thing as to destroy the [Roman] constitution.” One could imagine one Senator saying this about another on Capitol Hill, any day of the week.

Running Time: One hour and 50 minutes, with no intermission.

Julius Caesar plays through September 23, 2017 at Scena Theatre performing at Atlas Performing Arts Center – 1333 H Street, NE, in Washington, DC. For tickets, buy them at the door or purchase them online.

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September 2, 2017
Review: ‘Julius Caesar’ at The Public Theatre’s Shakespeare in the Park

We are in the streets of Rome. The lights onstage bump up and immediately we are in the midst of controversy. Flavius and Marullus are admonishing the crowd to break up and get on with their business. We are the Crowd, we are the Citizens of Rome. There are actors in the audience who are playing us, being asked why they are there, what is their work. They claim to be “making holiday to see Caesar, to rejoice in his triumph.”

Gregg Henry in Julius Caesar. Photo by Joan Marcus.

And for this, they are admonished; they are called “blocks, stones, worse than senseless things.” And we are off, in Oscar Eustis’ production of Shakespeare’s Julius Caesar where, as Artistic Director of The Public Theatre, he has created a blunt and vital revival that clearly speaks to our own times.

These times of ours are fraught with divisiveness, and Shakespeare was attracted to the same atmosphere in ancient Rome, as seen from his own perspective in the late 16th century. Mr. Eustis, sensing the relevance of the play to our own Trump-era America, has chosen to hammer home his point by casting the play satirically with Gregg Henry playing Caesar in a blue suit with a white shirt and long red tie. He has given him a wife, Calpurnia, who is dressed in the contemporary high fashion of Melania Trump, and Tina Benko plays her with a mid-European accent that is startlingly familiar to any of us who’ve been listening to Mrs. Trump on TV. To keep up with the times, the director has chosen the gifted Elizabeth Marvel to play Marc Anthony as a woman without changing a line of the text other than to refer to him as “her” throughout.

The conspirators, who will argue themselves into a coalition that will kill Caesar, are a multi-ethnic band of excellent actors. They are headed by John Douglas Thompson as Cassius (the lean and hungry one) and include Corey Stoll plays Brutus, Teagle F. Bougere as Casca, Edward James Hyland as Cicero, and others. All of these fine actors are capable of rendering the text clearly in American accents, and they’ve been directed to perform truthfully in a contemporary manner.

The use of the audience as very much part of the action is occasionally unnerving, but effective. At least two dozen young actors have been discreetly placed among us so that when needed, they are there to robustly respond to the reports of Caesar’s death (no spoiler here, I assume we all knew that he gets to say “E Tu Brute?” to his friend Brutus, whose knife finally does him in). Our “fellow Roman citizens” must be won over by Mark Anthony, whose “Friends, Romans, Countrymen” soliloquy must turn us around to realizing what crimes have been committed in the name of the Empire. It was all very engrossing, and the audience listened attentively, and stuck with it to the very end, when they showed their appreciation.

For me, I found the shenanigans that went on late in the play, and the intrafamilial fights and feuds that transpired after the murder and the trials, to be less interesting than the many scenes that preceded them. The arguments that Anthony used to rouse the Crowd were brilliantly conceived and executed, and Ms. Marvel made us forget the arbitrary use of a woman adopting a male role.

In the vast outdoor space provided by the Delacorte Theatre in the middle of Central Park, birds flew about and the occasional helicopter roamed the sky. The atmosphere was created not only by the artistry of Jessica Paz’s excellent sound design, by David Rockwell’s flexibly rotating scene flats, and by the very topical costumes of Paul Tazewell, but also by unbilled Mother Nature, who joined the stagehands in shipping in clouds and breezes that kept everything in the moment. Lighting and sound made a great contribution, as well.

Again, I think some of the topical references were unsubtle; I think I’d have preferred to let the play speak for itself in terms of its relevance to the Trump Administration. But it’s the sort of experiment for which The Public is famous, and if it stimulates its audiences – as it seems to be doing even to the point of controversy – well, that sounds like a big achievement for an organization called The Public Theatre.

Running Time: Two hours, with no intermission.

Julius Caesar plays through June 18, 2017 at The Public Theatre performing at the Delacorte Theatre in Central Park, New York, NY. Tickets are distributed in front of the Delacorte Theater on a first-come, first-served basis at 12:00 pm every day there is a public performance (get there very early) and via digital lottery online.

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June 16, 2017
Review: ‘Julius Caesar’ at the Pennsylvania Shakespeare Festival in Center Valley, PA

For the Pennsylvania Shakespeare Festival’s current production of Julius Caesar, Director Patrick Mulcahy views the Bard’s ancient Roman history through a post-modern lens. Set in an imagined future, with a mash-up of references to the past and present, the universality of Shakespeare’s themes and his observations on human behavior are undeniable and enduring. The focus here is less on any specific identifiable era, and more on the playwright’s classic lessons about mob mentality, a public that is too easily swayed by cunning leaders, and the devastating effects of blind ambition, envy, greed, and the thirst for power, which abide across time.

Spencer Plachy and Keith Hamilton Cobb. Photo by Lee A. Butz.

The lead actors deliver the message loud and clear, in a style filled with believable emotion and psychology. Keith Hamilton Cobb is dignified and imposing as Caesar, with his deep resonant voice and towering stature, as he here attempts to fight off his knife-wielding attackers (a seeming anachronism in the future, considering the rampant gun violence of our time and the weapon of choice for killers), in a fruitless effort to save his own life (fight choreography by J. Alex Cordaro).

Greg Wood’s Cassius speaks in a natural conversational manner that is readily comprehensible to a 21st-century audience, with feelings of anger, indignation, and seriousness, and a defining “lean and hungry look” that is well conveyed by his expressive face and body.

Christopher Patrick Mullen is funny as the gossiping Casca (who admits, when asked what Cicero said about Caesar, that “it was Greek to me”), until the talk turns to deadly action.

Henry Woronicz’s Brutus displays a range from friendship to enmity, reluctance to duplicitousness, and uncontrolled rage to reconciliation. By contrast, Spencer Plachy’s Marc Antony is deliberate in his demeanor and calculated in his speech, as he delivers his iconic “Friends, Romans, and Countrymen” eulogy for the noble Caesar.

Mulcahy’s blocking on the thrust stage, with the audience seated around three sides, impedes some of the sight lines for such key scenes as the assassins bathing their hands in the dead Caesar’s blood, thereby reducing the horrifying impact for those whose view is obstructed by the actors encircling his corpse. But the director also employs the theater aisles to integrate the ensemble into the viewers’ space, thereby making the mob scenes more immediate and making us feel a part of them, with the cast pumping its fists and shouting all around us. It’s a potent reminder of the need to think for oneself, and not to jump on the bandwagon of specious politicians or to be carried away by reckless public opinion.

A stark white minimalist set by Steven TenEyck is inspired by classical architecture, but made more sharp, angular, and futuristic than the ancient prototypes, with electronically advancing and receding steps, and unembellished rectalinear piers instead of the traditional fluted portico columns. Simple portable chairs, tables, banners, and flags serve to define the changing scenes and locales within the stationary framework, and clean basic colors of background lighting, also by TenEyck, accentuate the shifting moods of the play.

2. James “Bo” Sayre, Henry Woronicz, Peter Danelski, and Spencer Plachy. Photo by Lee A. Butz.

An effective sound design by Don Tindall captures the crashes of a thunderstorm, the notes of heraldic trumpets, and the noise of chanting and cheering crowds off in the distance, while costumes by Marla Jurglanis support the production’s futuristic reimagining, which, for a contemporary young audience, might be more engaging and relatable than ancient togas. But with the cast’s clarity and the supreme eloquence of Shakespeare words, the plot points and morals would come across no matter what they were wearing or when it was set, be it in ancient Rome or “In states unborn and accents yet unknown!” (Cassius, Act III, Scene 1).

Running Time: Approximately two hours and 30 minutes, with a 15-minute intermission.

Julius Caesar plays through Sunday, July 17, 2016, at the Pennsylvania Shakespeare Festival, performing at the Labuda Center’s Schubert Theatre – 2755 Station Avenue, in Center Valley, PA, on the Campus of DeSales University. For tickets, call (610) 282-WILL, or purchase them online.

June 25, 2016
‘Doctor Caligari’ at Pointless Theatre Company

The Pointless Theatre Company troupe has taken on a major “dare” in adapting a landmark silent expressionist cult film into to a live stage production. Doctor Caligari from Pointless evokes the pounding fear and elevated heart rate of the descent into madness based upon the stylized German Expressionist black-and-white-and-many shades of gray nearly century old The Cabinet of Dr. Caligari. In its live production, the Pointless folk show themselves to be truly “inspired by the film’s distinctively sharp and distorted design and composition”.

Lex Davis (Doctor Caligari). Photo by C. Stanley Photography.

Pointless certainly has created a confident production that mashes together many creative arts including cinema, theater, dance, puppetry, along with usage of masks and original music. There also a major sore point in one key area I will get to in this review.

For those un-familiar with the 1920 silent movie The Cabinet of Dr. Caligari, a quick story-line. It tells the story of a possibly unhinged Dr. Caligari (Lex Davis) who uses a puppet-like somnambulist (sleep-walker) named Cesare to commit crimes and murders. The good doctor is a controlling puppet-master smitten with his powers over those who have treated him poorly or a young woman named Jane (Rachel Menyuk) that he covets. Several other characters including two close buddies named Francis (Frank Cevarich) and Alan (Matthew Sparacino) find their pre-ordained unpleasant fates.

The show’s ending is one fit for our modern world. Things do not wrap up clearly and neatly in this creepy world of Bedlam. What the audience takes away is up to each audience member. After all, this is no television police procedural. Nope not even close, thankfully, to the likes of the always good guys somehow win out at the end Criminal Minds or that ilk.

Under the self-assured hands of Director Matt Reckeweg, Doctor Caligari has many high notes. First is when we step into the Mead Theatre Lab at Flashpoint thanks to Set Designer Patti Kalil with scenery by way of Renegade Productions. We are inmates in a marvelous depiction of a vivid, wild world of hallucinatory visuals. We are in a place of no escape; full of tilted, jagged, crooked sharp-edges with several tight spaces for entrances and exits. With painted shades of flat gray, white and black lit by low wattage, film-noirish lighting (Navid Azeez) we are in a position of no escape; a delusional mindscape of graphic depression and claustrophobia.

If you know the movie, you can try to sink into your unpadded chair to see what you recall of the movie. The answer will be quite a great deal. If you are unfamiliar with the movie, let yourself marvel at what the self-described love for European avant-garde of the early 20th century can lead to. Over the course of the 80-minute, six “silent” acts (except for non-stop music), there are title cards projected from a not-quite-straight monitor above the live action (Alex Leidy is listed as media designer). The title (dialogue) cards have the look of being squiggly hand-lettered and then processed to appear as aged film stock. Nice, detailed touch!

From Left to Right: Frank Cevarich (as Francis), Lee Gerstenhaber, Madeline Key, and Madeline Waters. Photo by C. Stanley Photography.

Reckeweg groomed his cast into a lurching, side-ways, stylized type of movement. Little is ever head-on. Of particular note are the well-accomplished manner of the actors elongating their limbs and fingers or tightly clenching and tensing up their bodies. That gives each characters a feeling or turmoil from a troubled mind. Turmoil is enhanced with Kyra Corradin’s masks. Many of the masks, including some monkey-like faces, may remind you of Picasso and Braque cubist paintings

The Cesare sleepwalker character is a life-size puppet well-controlled by handles by Dr. Caligari and other times by three unnamed ensemble members. The Caesar puppet and several smaller stringed “police” puppets were masterfully rendered by the fertile mind of Genna Davison.

The 8-member ensemble includes the four already mentioned actors playing characters with names as well as four without names (Zachary Fernebok, Lee Gerstenhaber, Madeline Key, and Scott Whalen). Each of the eight-member ensemble separately and in also in well-choreographed groups were at one a twisted, angular, lurching style of acting. They are also in- synchronization when they are mouthing dialogue that is shown on the monitor above them.

There is one major, challenging off-putting feature for the Pointless Doctor Caligari. It is not a mere quibble. The mercilessly, trenchant “electronically distorted” music composition overwhelms the production to the point of interfering with the production’s other terrifically rendered design elements.

Michael Winch created the musical score and it was performed by Mr. Winch on violin, and his fellow musicians Rick Netherton on bass, and Madeline Waters on cello.

Unfortunately, to me, the electric violin became showy rather than affecting. The electric violin left few “silent” voids for me to take a moment to process the terror before my eyes. The unrelenting discordant sounds of the electric violin became assaulting like fingernails on a blackboard or a screech with an echo.

Sound is different than a visual. Put another way, there are moments when an audience may decide to look away for a respite to catch one’s breath or blink a nano-second for relief. That is easily doable with visuals. But for the ears, there was little of that space in the aural landscape of the Doctor Caligari. It is a constant squeeze of sound. Even that master of dread and terror in music, Bernard Herrmann with all his classic Hitchcock scores and even Taxi Driver provided some change in tonal quality and note structure over the course of a film.

Pointless Theatre has produced a Doctor Caligari that is intense, bracing and singular. You will be left to wonder who might be evil and who might be delusional. Yes, you will find yourself on the edge of your seat descending into madness with the Pointless production’s characters. This is no bright, chirper theater evening out.

So, if you are ready for theater of no escape, no exit, with no intermission, Doctor Caligari is here. The Pointless Theatre Company troupe continues to add to its original repertoire and inventive style to DC’s already vibrant theater scene.

From Left to Right: Frank Cevarich (Francis), Lee Gerstenhaber, Madeline Key, and Madeline Waters. Photo by C. Stanley Photography.

Running Time: 80 minutes, with no intermission.

Doctor Caligari plays through April 4, 2015 at Pointless Theatre Company performing at The Mead Theatre Lab at Flashpoint – 916 G Street. NW, in Washington, D.C. Purchase tickets online.

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https://www.youtube.com/watch?v=xrg73BUxJLI

March 12, 2015
‘Julius Caesar’ at The Rude Mechanicals

Julius Caesar seems to be always with us. High school Latin still features Caesar’s Commentaries. Once there was a Russian Tsar. Now there is an Ebola czar. Caesar appears on Pinterest, Tumblr, and multitudes of Internet memes. Some e-cards notes “Just a heads-up that I have no intention of stabbing you 23 times on the Ides of March.” A distraught young woman pleads “We should totally just stab Caesar!” Perhaps it is time to admit that he is inevitable, like death, taxes, and Santa Claus.

And the Non-Rage Faces of Mikki Barry (Calpurnia), Alan Duda (Caesar), Boneza Hanchock (Portia), and Joshua Engel (Brutus!). Photo by Trevor Jones and Leanne O’Neill

The Rude Mechanicals have a unique take on Caesar; he is just like (wait for it) Lenin! In this iteration, Brutus becomes Trotsky and Octavius, a young Stalin. This production is an alternate history, set in 20th century Rome with echoes of the Soviet Union after the revolution. There are female soldiers; Cassius (Rebecca Speas), Mark Antony (Jaki Demarest, who also directs), and Casca (Lisa Hill-Corley). The crowd, i.e. the Roman populace, sits in the front seats and yells its head off for Caesar or Brutus, depending on who’s agitating and why. Caesar (Alan Duda) comes across as a somewhat courtly mob boss, surrounded by adoring women. Octavius (Holly Trout) is a combination of cold killer and femme fatale. Brutus (Joshua Engel) is just another thoughtful intellectual, wondering what it all means and oh, by the way, plotting to kill Caesar.

The key to this production is the performances, and the commitment of the actors is exceptional. Alan Duda is a startlingly effective Caesar, and his evil scream as his ghost appears to Brutus is one of the most riveting moments of the evening. As Brutus, Joshua Engel renders a fine account of a man who is torn between his idealism and his baser impulses. Rebecca Speas’ Cassius is full of conviction and fire; there is no doubt that this Cassius will win over Brutus to his (or, in this case, her) side. Jaki Demarest is a formidable Mark Antony, and her speech after Caesar’s death (“And Brutus is an honorable man”) is both a moving portrait of a woman mourning her friend, and a rousing call to action for the citizens of Rome. Lisa Hill-Corley is excellent as Casca; her matter-of-fact urgency and singularity of purpose make her an ideal co-conspirator for the fierce Cassius. As Octavius, Holly Trout is appropriately devious and menacing, suggesting that, like Stalin’s, her reign of terror will be profound and excruciating.

It is heartening to see so many women playing Shakespeare, when traditionally there are so few women’s parts. Here, Boneza Hanchock is a lovely Portia, and her speech about her fear for her husband is sensitively and beautifully drawn. As Calpurnia, Mikki Barry portrays a devoted wife, full of foreboding with a tender grace; her sadness as she stands by Caesar’s corpse in a wheelchair is especially touching. Moira Parham (Metellus Cimber), Melissa Schick (Trebonius) and Sam David (Cinna the Conspirator) give purposeful and focused performances.

Will Robey hits just the right note as Cinna the Poet, and his death is one of the most chilling scenes in the production. Sidney Davis (First Citizen), Andy Bakry (Second Citizen), Julia Pfanstiehl (Third Citizen), Leanne O’Neill (Fourth Citizen), Carol Calhoun (Fifth Citizen) and Michael McCarthy (Sixth Citizen) all contribute to the energy and brio of the production.

One of the best aspects of the staging is the use of the crowd. They chant “Caesar! Caesar! Caesar!” They react viscerally to whatever they see on stage, and are swayed 180 degrees by the dueling orations of Brutus and Antony.

Alan Duda (Julius Caesar). Photo by Trevor Jones and Leanne OíNeill.

A few caveats; to have Brutus be the one who tricks Caesar into going to the Forum doesn’t seem to work; such obvious tactics take away from our image of Brutus as the one conspirator with principles. In addition, this Brutus seems to have already decided to kill Caesar at the very beginning; the manipulation of Brutus’ vanity, and his journey to the final decision to kill, are part of why we want to watch Brutus. Because, for example, Brutus’ speech about assassination (“Between the acting of a dreadful thing and the first motion, all the interim is like a phantasma, or a hideous dream.”) comes in the very first scene, his through-line as a character becomes somewhat confusing.

Still, Director Jaki Demarest has created a unique, thought-provoking version of one of Shakespeare’s best plays. If at times it veers towards the outlandish, the production is always surprising and dynamic. The danger inherent in revolution, and the torturous intimacy of the relationships, are palpable, and, along with the power and beauty of the language, remind us what a great play this truly is.

Sound Design (Eric Honour) is among the evening’s greatest pleasures. As we enter, we hear scratchy revolution-type songs, and towards the end as the vision grows more somber, deeper, more mourning notes intrude. Lighting Design/Greenbelt Arts Center, by Eric Gasior and Liana Olear, has some unusual and striking effects, such as the flickering of lights in the beginning, and the darkness as Brutus encounters the ghost of Caesar.

Costumes by Trevor Jones have variety and style, and visually add to the Bolshevik revolution theme. Rebecca Speas creates many unusual Special Effects.

Brutus’ desire to kill Caesar is really a contemplation of patricide; there were rumors in Caesar’s lifetime that Brutus was actually Caesar’s son. Such themes are primal, and they never fail to grab an audience. This cast commits thoroughly to the play, and rides it valiantly to the finish. If you are looking for edgy Shakespeare, relax and enjoy the ride.

Running time: 1 hour and 45 minutes, with one intermission.

Julius Caesar plays through Sunday, January 11, 2015 at the Greenbelt Arts Center – 123 Centerway – in Greenbelt, Maryland. Tickets can be purchased by calling the box office at (301) 441-8870 or purchasing them online.

Julius Caesar also plays January 16-24, 2015 at the Howard County Center for the Arts—8510 High Ridge Road – in Ellicott City, MD. Tickets can be purchased at the door or in advance online.

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January 10, 2015
‘Antony and Cleopatra’ at Chesapeake Shakespeare Company by Amanda Gunther

The Bard’s most tragic love story; not Romeo & Juliet as so many are inclined to think, but rather a tale of epic love that transcends even death itself. War, camaraderie, and one beautiful Egyptian Queen whose continence rivals Helen herself; all that set against the Caribbean Islands with cast-wide sing-a-longs is what you’ll find as the Chesapeake Shakespeare Company opens up their summer season with Antony & Cleopatra; the first of two in their summertime repertory. Directed by Ralph Alan Cohen, this legendary tale is made accessible to the masses set against the magnificent ruins of the Patapsco Female Institute Historic Park; an enchanting evening of mesmerizing drama that you won’t want to miss this summer.

Isabelle Anderson & Matt Radford Davies as Cleopatra and Marc Antony. Photo by Teresa Castracane.

Costume Designer Marilyn Johnson brings the subtle hints of tropical island life to fruition in the casts’ outfits with shirts of various lively colors and prints. The soldiers, be they loyal to Antony or Caesar, don sandy colored khaki uniforms and everyone in the servitude rankings wears the soft cotton head covering reminiscent of those out in the bright suns of the island sands. Johnson’s finest work is displayed in the gowns for Cleopatra and her two female attendants. Warm summery flowing dresses in shades of tropical sunset pink and purple are saved for the hand maidens and a crimson dress as sultry as the day is long reserved for the Queen. Even when Cleopatra opts for a more demure look the pearly peach gown is still stunning and fits her figure to perfection; the true mark of the most powerful woman in the world for her time.

One does not expect to often find music spliced into the workings of Shakespeare, but Musical Director Scott Farquhar unites the visions of the story with those of Director Ralph Alan Cohen, seamlessly blending appropriately modern songs into the works that allow for additional audience enjoyment as well as participation. During the drunken pirate scene and peace treaty the entire cast is making merry, singing “Red Red Wine” and during the pause between Act’s II and III, “Be My Yoko Ono” a catchy pop culture song that befits the deeply rooted love of the title characters is lead by Lauren M. Davis and accompanied eagerly Kevin Costa on trumpet and James Jager on lute. A rousing good time is had by all who partake in the musical numbers of this production, particularly Jager, playing the court eunuch to Cleopatra, who is constantly strumming away on his lute and singing to please the Queen.

Director Ralph Alan Cohen has a masterful vision of Shakespeare’s work which he executes with flawless perfection. Not only does Cohen ensure that the actors can be physically heard, which is a feat in and of itself as they compete with the outdoor elements in the open air theatre, but he ensures that the emotions and intentions of the text translate clearly; making the major themes and plot points of the text accessible to the entire audience, even those without a vast knowledge or understanding of the vernacular. Cohen encourages voices that can be clearly understood without ever having to shout, unless of course the scene calls for it and where Antony is concerned this happens frequently, but much to the credit of his hot-headed nature.

Cohen keeps the show moving at a rapid pace so that the natural lulls in the text are never noticed. Scenes are cut tightly against one another, constantly moving from one moment to the next so that the audience’s attention never wanes. His most impressive feat is the way in which he constructs Cleopatra. A pillar of beauty that is bound by her emotional strength, sexual prowess, and overall god-like presence on the stage, Cohen works with actress Isabelle Anderson to perfect the notion of Egypt’s beloved queen and does so with a flare. Working together the pair grasp a true understanding of the character making for one epic performance.

There are no small parts, regardless of how seldom the actors and their characters are seen on the stage. The ensemble in this production works like a well oiled machine letting everyone shine in their moments. The swarthy Menas (Vince Eisenson) a pirate in the employ of Pompey (Eric Humphries) shines with his momentary villainy, making for a good burbling scene of tension against Enobarbus (Kevin Costa) a loyal friend and soldier of Antony. Costa is a well grounded player, be it at odds with the pirates or in the midst of friendly banter with Agrippa (Jeff Keogh). His final confessions are deeply moving and horrifically tragic, a full engagement of his body and his voice for such heavy emotional outbursts.

These moments of blasting tragedy and woeful discovery aren’t reserved for the soldier’s alone; the court eunuch (James Jager) gives a heartfelt tragic delivery when forced to render bad news to Antony late in the play; another example of perfection in expression despite the tangling words of Shakespeare’s time. The cast is simply chock full of incredible performances that would run the length of the play itself if there were time to exemplify them all.

Caesar (Patrick Kilpatrick) is a cunning and clever Roman General that sparks conflict wherever he goes, even without meaning to. Spoiled, and rather ill-tempered, Kilpatrick’s rendition of the antagonist really makes a jibe at the vast age difference between he and Antony. Knowing exactly how to spoil the mood, especially during the party scene onboard Pompey’s ship, Kilpatrick crafts the character in such a way that the audience can’t help but dislike him, even if it’s Antony and Cleopatra who are living in mortal sin. While never villainous, Kilpatrick makes Caesar disliked enough that you’re wishing against him for the entirety of the show.

Antony (Matt Radford Davies) is a force to be reckoned with. Not only in his strong appearance but his vocal prowess, among many other pleasant features. His true to nature’s British accent falls right in line with what is ideally Shakespearean and his stage presence is both commanding and enchanting in a masculine sense. You can nary take your eyes off him, especially in his moments of peak emotional expression, going above and beyond the call of duty to truly emote the plethora of emotions welling up from deep inside of him. Even in his fading moments he is every bit as fierce and present as he is during his moments of jubilant triumph. Davies unleashes a furious thunderous rage upon a servant during a scene late in the show that is so realistic it’s frightening.

Davies holds his own against the mighty Cleopatra (Isabelle Anderson). The constant waves of their relationship splashing out to the audience in both a comic and tragic fashion. When it’s good between them it’s oh so good; a passionate plea of hearts entwined radiating out through their voices and their bodies as they dance their intimate dance of compliments and love. But when their tempers spark it’s practically lethal; a violent tempest roiling to a head between them, particularly when Antony suspects her of treason. A more perfect match has yet to be made on the stage this summer, Davies and Anderson take the gold with their performance as history’s greatest lovers.

Molly Moores, Steven Lopez, Isabelle Anderson and Lauren Davis as Charmain, Soldier, Cleopatra, and Lauren Davis. Photo by Teresa Castracane.

Anderson is the epitome of what every Cleopatra should strive to be. She’s an embodiment of the weather, constantly changing from volatile and tempestuous to sweet and smooth; a million emotions all wrapped up in one divine goddess, each showings its face at exactly the right moment. Anderson is every bit the goddess her character is painted up to be; her stance alone upon the stage commands respect and dignity, combing that with the way she issues forth confident commands and she is simply unstoppable. She exudes the physicality of a sensual woman with the rogue spirit of a warrior crossing her tongue; a complex enigma of femininity and power all churning forth into one enticing queen. Anderson delivers the character with a fierce emotional vehemence, even in more somber moments of deep tragedy the energy is full force. A sensationally phenomenal performance not to be missed; Anderson truly is the jewel of the Nile.

Running Time: Two hours and 45 minutes, with one intermission, and one song.

Antony and Cleopatra plays in rotating repertory through July 14, 2013 at The Patapsco Female Institute Historic Park – 3655 Church Road in Ellicott City, MD. For tickets, call the box office at (410) 331-8661, or purchase them online.

June 13, 2013
‘Brutus’ at The Catholic University of America by Justin Schneider

On stage, a man tosses and turns in his sleep. Nearby in an overstuffed leather chair, a woman rests. The view from the audience, on bleachers overlooking the stage, is intimate. And “intimate” may be the best word to describe Brutus, the intriguing – if uneven – psychological take on Shakespeare’s Julius Caesar now playing at The Catholic University of America.

Seth Rosenke (Brutus – in white shirt) and Robert Pike (Caesar). Photo by C. Stanley Photography.

Seth Rosenke as Brutus (white shirt) and Robert Pike at Caesar

Brutus is the brainchild of Allison Fuentes, an MFA directing candidate with the not-incorrect insight that Shakespeare’s original work was barely about the title character at all. As well as from cutting the text down to focus on Marcus Junius Brutus, Fuentes adds a few additional twists: Lucilio and Strato (two servants) are combined to form Lucy, Brutus’s daughter; Brutus, in turn, is Caesar’s illegitimate son; Cassius is a woman, and Brutus may be in love with her. While Shakespeare purists may balk at the alterations, the end result is an interesting look at the line between personal and political relationships as well as the dangers of dynasty.

Playgoers have time to take in the scene, designed by Dr. Thomas Donahue, before the action starts, and there are plenty of clues as to what’s coming. A low marble stage surrounded by pillars evokes ancient Rome, but the contemporary double-doors in the corner suggest that we’re really looking at something neo-classical: Washington, DC, a fit setting for the sharp suits and power politics. The cleverest part of the set may be Brutus’s bed, a simple platform that doubles as a table and settles seamlessly into the stage with a “thunk” so satisfying it’s a shame the sound isn’t worked into the action. But before we’ve even started, the production already seems a little ahead of itself – both the pillars and bed are dripping with blood, which seems odd for a play traditionally concerned with whether or not there will be an assassination.

Both the strength and weakness of the production stem from the director attempting to do so much with so little; this may be the first time I’ve ever wished that a work of Shakespeare had been longer. The upside is that the play’s focus is laser sharp, and Seth Rosenke’s Brutus is a character worth focusing on. We spend a lot of time with Brutus, and his frequent monologues give us the feeling that we’re living inside the man’s head. Everything that doesn’t deal directly with Brutus has been stripped away from Shakespeare’s work. While Antony gives his famous “Friends, Romans, countrymen” speech off-stage, the audience is treated to Brutus mentally – and physically – wrestling with the dead Caesar. Moments of introspective surrealism like this leave us with the possibility that much of the play is happening in Brutus’s guilt-ridden dreams. The lighting by Martha Mountain tends toward ghastly greens and reds, further enhancing the idea of a sickness in both the mind and the body politic. It’s Shakespeare by way of Poe.

With the play itself so tightly focused on one character, it would be easy to make the mistake of ignoring the supporting cast. Kimberlee Wolfson works well as Cassius (though I miss Caesar’s description of the “lean and hungry look”), and it’s impressive that the relationship between Cassius and Brutus is at its most nuanced during the play’s added moments of intimacy. Sadly, these come and go too quickly for them to really sink in – again, I wish that Fuentes had more time to fully explore her ideas on stage. The introduction of Lucy is an interesting change to the script. Fuentes makes good use of two otherwise minor characters – and Nina Marti’s acting talent – to add a new layer to the play, but Lucy’s inclusion in every scene often leaves Marti with nothing to do on stage.

If there’s a real disappointment – it’s that the actors who have the best chemistry with Rosenke have the least time with him. Robert Pike’s Julius Caesar is on the stage for mere moments, but for that short span he commands the space. This is Caesar as big man on campus, with the easy charm of a born politician and the physical stature of a football hero. It’s easy to see why men follow this Caesar, and the mutual love and respect that Caesar and Brutus share is obvious. Latia Stokes’ single scene as Portia is even more impressive. Stokes may have the best command of verse out of anyone in the cast, and the acting chops to back up the words. The opening night audience included a slightly chatty high school group, but Stokes demanded and received their full attention and silence. That silence was broken by a collective gasp when Portia stabbed herself in the thigh to prove her worth. Shakespeare always requires some suspension of disbelief, but this Portia being left out when other women are involved seems too far-fetched. If Lucy and Cassius are part of the conspiracy, why not Portia?

In the end there are too many good ideas in Brutus, and the quick pace and cuts in the script take their toll on the production. With little time to work, the cast’s intensity starts at 11 and doesn’t seem to drop. Even an invitation to dinner is loaded with menace, underscored with ominous music. What should be nuance is reduced to inconsistency. The reasons for Caesar’s death are perfunctory; the mechanics of the assassination are unclear. The play as a whole seems episodic. Most noticeably, the jump from Caesar’s assassination to the military camp at Sardis skips over wide swaths of the plot. If you’re not already familiar with Julius Caesar, there’s nothing to explain why we’re suddenly talking about armies and countrysides and this Octavius guy.

Nina Marti (Lucy), Seth Rosenke (Brutus), and Kimberly Wolfson (Cassius). Photo by C. Stanley Photography.

Nina Marti as Lucy, Seth Rosenke as Brutus and Kimberly Wolfson as Cassius

Fuentes has a deft hand at staging and the vision to match. Her big moments are immensely watchable, and the play’s final battle is particularly impressive for the effortless way she modernizes the combat. With a little more reworking and a possible workshop this ambitious production will be worth revisiting.

Running Time: 90 minutes, with no intermission.

Brutus plays through February 24, 2013 at The Catholic University of America’s Hartke Theater – 3801 Harewood Road, N.E,. in Washington, D.C. For tickets, call the box office at 202-319-4000, or purchase them online.

February 22, 2013
Capital Fringe Review: ‘Ecce’ by Veronique MaCrae

The attempt to birth a theatrical piece rooted in the history of the Roman takeover of the land of Israel, the conflict for position of authority and favor of Caesar (Thomas McGrath) between Tiberius (John Crowley) and Pontius Pilate (Elliot Kashner), and the mystery of the man from Galilee named Jesus (Kofi Owusu) from a modern day perspective did not quite succeed in AP Caroll’s ECCE. However the potential for great work lies beneath what seems to be an under- rehearsed production.

While the script provides an avenue for the audience to see the complex nature of the human mind and its struggles with ambition, power, righteousness and betrayal through these characters, as well as through the High Priest Ciaphas (Justin Mohay), Herod (Emily Whitworth), Claudia (Emily Kester), and Calserus (Colton Timmerman) – the production leaves much room for growth.

Odd directorial and blocking choices by Director Ed Churchill along with underdeveloped performances by parts of the cast hindered the presentation of a solid work at the performance I attended.

However, the performances of Keegan Cassady as Marcus Skippio, Joe Feldman as Barrabas and Emily Whitworth as Herod provided formidable and memorable moments in the production.

Overall, ECCE felt like an evening rehearsal more than an opening night performance. The lack of sufficient preparation showed on stage. Nevertheless, the glimmer of hope in this production is that it has the ability to become something beautifully magnificent as the cast and crew run the show and engage in further characterization. With more refinement and rehearsal, I am confident that ECCE will be a must-see in the near future.

LINK

For more information on the show and to purchase tickets. go to our Fringe Preview.

July 21, 2012
Coming to the Capital Fringe Festival: ‘Ecce’ by Lisa Horan
A Man, a Crucifix, and a Conscience: Ecce Provides Provocative Perspective on the Man Who Authorized Christ’s Death

Sparing an innocent man’s life or sacrificing your political future. If the choice was in your hands, what would you do? Ecce begs this very question by providing a wholly unique and unexpected perspective on Pontius Pilate, the man responsible for authorizing the crucifixion of Jesus Christ.

Produced by recent George Washington University graduate-turned-producer Amanda Rhodes, Ecce spotlights the internal conflict Pilate contends with as he contemplates his decision about whether to put to death a known murderer who has won public support or an innocent man who has become the subject of despise. Unlike classic accounts of the event, which portray Pilate as arrogant and over-confident, however, in Ecce, Playwright AP Carroll characterizes him as a man who must balance his fears with a deep desire to serve the public good. However, it’s this intense fear, along with self-doubt, that wreaks havoc with his decision-making abilities. He understands that there will be personal consequences for doing “the right thing,” but he struggles with what the threshold for that is.

“I hope audience members will see in this modern Pontius Pilate someone they can relate to. It is easy to look at him and dismiss him as weak or cruel – one or the other – and while that’s not completely invalid, underneath his weaknesses lies a man who just really wants to help people,” explains Carroll. “Unfortunately, the pressure on Pilate builds and builds, as he has to contend with expectations coming from different directions, and not only does it starts to cloud his judgment, but his fear makes him jettison his ideals, and he loses his direction.”

In addition to the modified characterization of Pilate, the play transports the well-known Biblical story into modern political times and presents hard-hitting subject matter through a humorous yet thought-provoking script. Robes and sandals have been substituted with suits and ties, and thees and thous have been replaced with contemporary, aggressive “business man to business man” lingo between Pilate, Caesar, Caiaphas, and King Herod. The result is a play that provokes both laughter, as well as contemplation.

Rhodes was first introduced to the original play while she served as Student Theater Counsel President. “As soon as I read the script, I was blown away. Not only did I recommend that it be produced at GW, but I was determined to produce it in a professional theatrical setting because it was a story I believed needed to be told.” She was so sure, in fact, that soon after graduating, she launched her production company AJ Rhodes Entertainment to take on the production. “The script was amazingly well-written, and I knew that if I selected great actors to carry it out, it would be a play that would resonate with audiences.”

She, along with Director and George Washington University Theater Student Ed Churchill, will have the chance to find out if the prediction rings true when Ecce opens at the Capital Fringe Festival on Thursday, July 19th.

Show Dates & Times: Click on these performances to purchase tickets.
Location:
Warehouse Theatre (located inside The Passenger Bar and Lounge)
645 New York Ave, NW
Washington, DC

Tickets:
Purchase tickets
By phone: 1.866.811.4111
Online at Ecce‘s Capital Fringe show page.
In person:
Fort Fringe
607 New York Ave,
Washington, DC 20001

For more information about Ecce, visit the website.
July 3, 2012