Monthly Archives: July 2017

THE WOMEN WHO STAGED THE IRISH EASTER RISING (LISTEN NOW ON BBC RADIO 3—LINK BELOW) ·

(Listen at: http://www.bbc.co.uk/programmes/b074z972 )

Broadcaster and journalist, Marie-Louise Muir, examines the role theatre played in radicalising the Irish women who fought in the 1916 Easter Rising.

As she pieces together their largely forgotten stories through archives at Dublin’s Abbey Theatre and visits key locations associated with the insurrection, Marie-Louise asks what happened to these women and their radical ideals.

Producer: Conor Garrett.

Illustrations: Maire Nic Shiubhlaigh (Irish Times)

ITALY’S ELITE LA SCALA APPALLED AT OPERA GOERS TURNING UP IN T-SHIRTS, MINI-SKIRTS AND FLIP-FLOPS ·

(Nick Squires’s article appeared in the Telegraph, 7/14.; via the Drudge Report.)  

As one of the world’s most celebrated opera houses, La Scala in Milan expects a certain degree of decorum, but guardians of the elite institution have been appalled at the shabby state of audiences this summer.

Instead of donning jackets and evening dresses, ticket holders are turning up as if dressed for the beach, as temperatures reach 95F or more during one of Italy’s hottest summers for years.

The worst culprits are normally foreign tourists but even Italians, who are normally renowned for their stylish dress, are not averse to arriving in shorts, mini-skirts and sandals.

(Read more)

http://www.telegraph.co.uk/news/2017/07/14/italys-elite-la-scala-appalled-opera-goers-turning-t-shirts/

 

SHAKESPEARE’S CURE FOR XENOPHOBIA ·

William Shakespeare. Portrait of William Shakespeare 1564-1616. Chromolithography after Hombres y Mujeres celebres 1877, Barcelona Spain

(Stephen Greenblatt’s article appeared in The New Yorker, 7/10-7/17; via Pam Green.)

What “The Merchant of Venice” taught me about ethnic hatred and the literary imagination.

I attended university in a very different world from the one in which I now teach and live. For a start, Yale College, which I entered in 1961, was all male. Women were not matriculated until five years after I had received my B.A. degree. Among the undergraduates, there were only a handful of students from Asia, Africa, and the Middle East, and very few African-Americans, Asian-Americans, or Hispanics, unless one counted a couple of prep-school-educated heirs to grand South American fortunes.

The Yale that I attended was overwhelmingly North American and white, as well as largely Protestant. It was difficult for the admissions office to identify Catholics, but applicants with conspicuously Irish, Italian, or Polish names were at a disadvantage. For Jews, there was a numerus clausus, not even disguised by the convenient excuse of “geographical distribution.” And the whole system was upheld by a significant number of legacies, along with a pervasive air of privilege and clubbiness. To display too much interest in one’s studies or a concern for grades was distinctly uncool. This was still the era of what was called the “gentleman’s C.”

(Read more)

http://www.newyorker.com/magazine/2017/07/10/shakespeares-cure-for-xenophobia?utm_source=wordfly&utm_medium=email&utm_campaign=ShakespearePlus12Jul2017&utm_content=version_A&promo=

JAMES FRANCO SHUTS DOWN OFF-OFF-BROADWAY’S ‘JAMES FRANCO AND ME’ ·

(Joe Dziemianowicz’s article appeared in the Daily News, 7/12; via Pam Green.)

James Franco, the actor, Oscar nominee, author, poet and professor, is now a showstopper — and not in a good way.

“James Franco and Me,” a play set to run next month at the Peoples Improv Theater on E. 24th St., has been cancelled after getting a cease and desist letter from the 39-year-old star’s lawyers.

Kevin Broccoli, who wrote and acts in the two-character play seen last year in an Epic Theater Company run in Rhode Island, where the troupe is based, told Broadway World about the cancellation.

(Read more)

http://www.nydailynews.com/entertainment/theater-arts/james-franco-shuts-off-off-broadway-james-franco-article-1.3320677

Photo: TV Guide.

 

FOR DISABLED ACTORS, MEMORIZING THE PART IS ONLY THE BEGINNING ·

(Erik Piepenburg’s article appeared in the 7/10 New York Times; via Pam Green.)

It’s not as rare as it used to be for disabled actors to play disabled characters, but they rarely are at center stage as much as in “Cost of Living,”Martyna Majok’s play at Manhattan Theater Club. Katy Sullivan, a bilateral above-the-knee amputee since birth, portrays the loudmouthed Ani, who loses her legs in a car accident. Gregg Mozgala has cerebral palsy, a condition he shares with his character, John, a testy Princeton graduate student.

Manhattan Theater Club needed only minor accommodations to mount the play, according to Stephen M. Kaus, the associate artistic producer. (There were “zero budgetary implications,” he added.) The theater installed two ramps backstage at City Center Stage 1 to help performers get from the house to backstage and from the green room to the stage level. By installing the ramps, the theater also anticipated understudies who might have different disabilities, and helped guests with disabilities who wanted to greet the cast.

(Read more)

https://www.nytimes.com/2017/07/10/theater/for-disabled-actors-memorizing-the-part-is-only-the-beginning.html

SHERMAN YELLEN’S OWN LIFETIME (iii): WRITING TIPS FROM THE WINNER OF TWO EMMYS, DEALING WITH HARD KNOCKS IN SHOW BIZ, AND WHAT HIS MEMOIR ‘SPOTLESS’ IS REALLY ABOUT ·

(SHERMAN YELLEN WILL BE INTERVIEWED ABOUT “SPOTLESS,” BY DONNA HANOVER, ON CUNY TV IN THE “ARTS IN THE CITY” SHOW.  THE PROGRAM FIRST AIRS ON FRIDAY, JULY 14TH, AT 10 A.M.  THE EPISODE WILL SUBSEQUENTLY BE SHOWN SEVERAL TIMES DURING THE MONTH—THE OFFICIAL SCHEDULE IS: 2ND AND 4TH FRIDAYS IN JULY, AT 10 A.M., 3 P.M., AND 8:30 P.M. THE SHOW THEN CAN BE SEEN THE FOLLOWING SUNDAYS AT NOON.  SHORTLY AFTER THE FIRST AIRING, THE INTERVIEW WILL BE ONLINE AT WWW.CUNY.TV. CLICK ON ARTS, SCROLL DOWN TO “ARTS IN THE CITY,” AND THERE THE SHOW WILL BE.)

Sherman Yellen was nominated for a Tony Award for his book for the 1970 musical The Rothschilds, with a score by Fiddler on the Roof songwriters Jerry Bock and Sheldon Harnick, which he and Harnick have recently reimagined as Rothschild & Sons. Sherman wrote the libretto for the Will Holt and Gary William Friedman musical Treasure Island, winner of the Broadway World Best Regional Musical Award (2012). Among his many theater works is his satirical sketch “Delicious Indignities,” which appeared in the New York and London revue Oh! Calcutta! His straight plays on and off Broadway include New Gods for LoversStrangers, and December Fools.

Sherman was librettist and lyricist for Josephine Tonight, an original musical he wrote with the late composer Wally Harper, about the early life of Josephine Baker, which The Chicago Sun-Times called “a shining new musical” and which the D.C. press praised for being “so hot that it sizzles.”

In his youth he worked as a librettist with legendary composer Richard Rodgers. Together with Sheldon Harnick they recently revised the Rodgers-Harnick musical Rex about Henry VIII. This new version had a successful premiere in Toronto.  Yellen’s teleplays have won him two Emmy Awards and a Peabody Award, first for his John Adams, Lawyer in the PBS series The Adams Chronicles, and later for An Early Frost, a groundbreaking drama about AIDS in America broadcast on NBC, as well as an Emmy Nomination for his Hallmark Hall of Fame version of Beauty and the Beast starring George C. Scott. Sherman’s screenplay adaptations of classic novels range from Great Expectations to Phantom of the Opera. He has received awards in Arts and Letters from Bard College, and he is a frequent contributor of essays on the arts, literature, and politics to online publications such as The Huffington Post.

Sherman recently published his autobiographical novella Cousin Bella–The Whore of Minsk, available in a volume, which also includes his holiday short story A Christmas Lilly,” and a collection of three plays, December Fools and Other Plays (December Fools * Budapest * Gin Lane).  Sherman is married, the father of two sons, Nicholas and Christopher, and has three much loved granddaughters. He has lived in London and Los Angeles, worked in Berlin and Budapest, but home was, is, and always will be New York City.

Sherman Yellen talks, with SV’s Bob Shuman, about his new memoir Spotless: Memories of a New York City Childhood.  The final part, of this three-part interview, will appear, 7/5.

View ‘Spotless’ on Amazon: https://tinyurl.com/y7hp725x 

Sherman Yellen was nominated for a Tony Award for his book for the 1970 musical The Rothschilds, with a score by Fiddler on the Roof songwriters Jerry Bock and Sheldon Harnick, which he and Harnick have recently reimagined as Rothschild & Sons. Sherman wrote the libretto for the Will Holt and Gary William Friedman musical Treasure Island, winner of the Broadway World Best Regional Musical Award (2012). Among his many theater works is his satirical sketch “Delicious Indignities,” which appeared in the New York and London revue Oh! Calcutta! His straight plays on and off Broadway include New Gods for LoversStrangers, and December Fools.  

Sherman was librettist and lyricist for Josephine Tonight, an original musical he wrote with the late composer Wally Harper, about the early life of Josephine Baker, which The Chicago Sun-Times called “a shining new musical” and which the D.C. press praised for being “so hot that it sizzles.”

In his youth he worked as a librettist with legendary composer Richard Rodgers. Together with Sheldon Harnick they recently revised the Rodgers-Harnick musical Rex about Henry VIII. This new version had a successful premiere in Toronto.  Yellen’s teleplays have won him two Emmy Awards and a Peabody Award, first for his John Adams, Lawyer in the PBS series The Adams Chronicles, and later for An Early Frost, a groundbreaking drama about AIDS in America broadcast on NBC, as well as an Emmy Nomination for his Hallmark Hall of Fame version of Beauty and the Beast starring George C. Scott. Sherman’s screenplay adaptations of classic novels range from Great Expectations to Phantom of the Opera. He has received awards in Arts and Letters from Bard College, and he is a frequent contributor of essays on the arts, literature, and politics to online publications such as The Huffington Post.

Sherman recently published his autobiographical novella Cousin Bella–The Whore of Minsk, available in a volume, which also includes his holiday short story A Christmas Lilly,” and a collection of three plays, December Fools and Other Plays (December Fools * Budapest * Gin Lane).  Sherman is married, the father of two sons, Nicholas and Christopher, and has three much loved granddaughters. He has lived in London and Los Angeles, worked in Berlin and Budapest, but home was, is, and always will be New York City. 

Sherman Yellen talks, with SV’s Bob Shuman, about his new memoir Spotless: Memories of a New York City Childhood in the interview’s final installment.

View ‘Spotless’ on Amazon: https://tinyurl.com/y7hp725x 

Best time of the day for you to write?

I rise at five or six and I write early in the morning.  Walk my dog at eight, and go back to work later that afternoon.   I love mornings when the world is beginning to awaken.  Living in NYC, the early mornings allow me to hear birdsong from the warbler who is sitting on the fire escape outside my window.   Stillness and quiet give me a blank page for thinking. 

Best piece of writing advice you can give someone?

To playwrights or memoirists?   Do not be afraid to produce a terrible first draft.  Be the totally driven writer, not the destructive self-critic when you start on a project.  Let the critic in you come out in your revisions, your subsequent drafts–but get that first draft down–and be generous with yourself as you start to work.  The ruthlessness can be put off for later.  And read–read plays–read Ibsen, read Dickens–just read during dry periods–and the company of a great book or a great writer will urge you to go on. 

What was the easiest part of writing Spotless?  The hardest?

The easiest part of writing Spotless was dealing with my mother’s early life on the Lower East Side, her life as a runway model, and her meeting with my father.  She had told me enough during my childhood to give me the material I needed.  And being a curious child I never stopped asking questions about the past.  As I note in the book she was an intelligent woman totally lacking in imagination–so she spoke the plain truth and although she had risen in the world from the worst poverty to affluence–mainly through her astonishing beauty–she felt no shame about her humble origins.   It was harder for me to write about my father.  I knew that I didn’t love him as a son should–because of his intermittent rages and the violence that often accompanied them, and I was afraid that I would demonize a man who was at his core decent and loving.   No, I did not love him in life and yet writing this book allowed me to look closely at his life and my own early years, so, strange as it may seem, I came to love him, if only posthumously.    Spotless also allowed me to live again with those I deeply loved, my late sister and my mother, and all the odd uncles and aunts who are long gone.  Although it is an intensely personal book ,so many readers of different backgrounds and religions tell me that they found their own past in mine, so it confirms my belief that the universal lives in the particular.  

You don’t seem to have been deeply religious, but how important is being Jewish, identifying as Jewish to you today?  Did it become more so as you wrote The Rothschilds?

I was raised as a cultural Jew.  That meant that in our house bacon had undergone a religious conversion together with milk accompanying meat, so that my mother’s two skinny children could put on some weight.   I had to do much research into Jewish life in the 18th and 19th centuries in writing The Rothschilds, since I decided only to use the first few pages of Fred Morton’s wonderful biography of the family as my material.   As readers of Spotless will discover in the last chapter, “An Italian Table Cloth” I came to understand the meaning of being born a Jew through life itself.   

How do you recover from failure?  Or the failure of not seeing your favorite works produced and embraced?  

The first answer is just keep working–you train yourself to live in the day and let go of the past failure, as best you can, or of the lost work that you loved.   Easy to say.  Hard to do. Not so sure I can ever do that with my musical Josephine Tonight or with my play Budapest–the best of my unproduced dramas –but I have the plays published in the book December Fools and Other Plays so if they do not reach the stage as I want them to do, they can reach the minds of readers.  

Spotless seems to be about New York, as much as its characters.   How hard would it be for you to leave it–or would that be easy for you to do?

For years NYC was my base.  I worked in London, Budapest, Berlin, but NYC was always my home.   Summers were spent in a ridiculously cheap farmhouse in Bridgehampton when it was a world of potato farmers and fishermen.  And there was a lost decade in Los Angeles when I worked in TV, writing the scripts that would allow me to pay for college for my sons.  But I am in love with my city and the people in it. Leaving it is inconceivable–certainly not at this stage of my late life.  Hell, I am eighty-five, still working, still hoping, still walking, still loving my family and friends and the world I inhabit. 

No, I do not leave NYC these days–not even for weekends.  The city has become one of my best late-life friends–and I assume that it would strongly object should I abandon Central Park and my surviving friends and family even for a weekend.  Spotless is more than about NYC–I think it is NYC.   At the end of the day it is not so much the story of a precocious child in an odd family but a love story between that child and the city of his birth. 

Thank you so much for this interview.

(c) 2017 by Sherman Yellen (answers) and Bob Shuman (questions). All rights reserved. 

Read Part 1 of this interview at: http://stagevoices.com/wp-admin/post.php?post=10594&action=edit

Read Part 2 of this interview at: http://stagevoices.com/wp-admin/post.php?post=10694&action=edit

Read Part 3 of this interview at: http://stagevoices.com/wp-admin/post.php?post=10782&action=edit

View ‘Spotless’ on Amazon: https://tinyurl.com/y7hp725x

Photograph permissions

Yellen photos courtesy of Sherman Yellen: (top to bottom) Sherman Yellen’s twin granddaughters; Sherman and collaborator Wally Harper; himself at age 40; Sherman’s wife, Joan.

SUMMER IS THE TIME FOR STRETCHING ·

(Dave Itzkoff’s, Erik Piepenburg’s, LauraCollins-Hughes’s, and Sophie Haigney’s article appeared in The New Yok Times, 6/28; via Pam Green.)

Relaxing on the beach? Dozing by the pool? Not these writers and performers, who are using the warmer months to take some risks, test themselves and expand their talents onstage.

Brad Hall

Over a span of some four decades in which he helped found Chicago’s Practical Theater Company, with an ensemble that included his future wife, Julia Louis-Dreyfus; acted for two seasons on “Saturday Night Live”; created the TV sitcoms “The Single Guy” and “Watching Ellie”; and wrote comedy movies including “Bye Bye Love,” Brad Hall says he has few career regrets.

“That’s because I have a selective memory,” Mr. Hall joked in a recent phone interview. A bit more sincerely, he added: “Those regrets that I do have are, exclusively, not doing plays that I wish I had done. So now I decided to say yes when people ask me to do them.”

Among the opportunities that Mr. Hall has embraced in this more receptive mode is the Gloucester Stage Company’s summer production of “The Effect,” by the British playwright Lucy Prebble.

Continue reading the main story

SIMON GODWIN’S ‘MEASURE FOR MEASURE’ AT THEATRE FOR A NEW AUDIENCE–ONLY UNTIL JULY 16 (REVIEW FROM NEW YORK) ·

By Bob Shuman

In his staging of Measure for Measure, from Theatre for a New Audience, now playing at the Polonsky Shakespeare Center until July 16, Simon Godwin takes his time in getting to the Bard. His production opens the problem play (Shakespeare places us in  a decadent Vienna), written circa 1603, with a brothel tour, one curated seriously, as if it’s part of a downtown gallery exhibit (the scenic and costume design is by Paul Wills; the light designer is Matthew Richards).  The director comes at us from a different direction, later, too, by placing the audience in a country-western bar, where an up-and-coming Linda Ronstadt might be singing. (Jane Shaw composed the music and designed the sound; the musicians are Drew Bastian, Robert Cowie, and Osei Essed.)  Whether he is laughing behind our backs or not, trying to prick the bourgeoisie, by letting subscribers peruse, among others, dildos, ben wa balls, S&M masks, handcuffs, and even a Donald Trump sex toy, Godwin is not merely a smooth, hip director. 

He also allows the audience to see the play’s confrontations with serious intellectual intent, as he explores Shakespeare’s scene work, as well as his language and storytelling—asking us to find our way into them, unrushed, almost in the way he might have asked himself and his actors to analyze and interpret during rehearsals.  Unpretentiously, they have found original, defensible characterizations, which may seem completely new.  Notable among them is the work of Thomas J. Ryan, who shows Angelo to be a boring, awkward bureaucrat (he may even be banal and evil)–yet his likes are found in thousands of offices every day—here, the character compulsively grabs for the Purell.  Jonathan Cake is not the partying jock he played as the lead in Antony and Cleopatra at the Public in 2014—now he is paler, a wild aristo before decline, hiding behind glasses that are too big.  Perhaps his character will remind of Hal in  Henry IV, Part 2–a work that is believed to be written earlier than this one, in 1596.   More recently, Prince Harry has stated, relevant to this discussion, that no one in his family really wants to be King, “but we will carry out our duties at the right time.”  That, of course, is the story of  the aforementioned Henry play and Measure for Measure—Cake does play his Duke as a modern British royal, one who is aware of what all his training and position mean (down to where and how to place his feet and hold his hands at the back); he also knows how to find the mellifluous meter of the Bard. Cara Ricketts makes an impressive Isabella because she concentrates on the character’s essence and heart (some consider the character cruel, but does anyone think a nun, the bride of Christ, would enter into the bargain Angelo is asking her to be part of?).

By taking his time with Shakespeare, walking with him and letting him take his own time, Godwin creates new interest in the play, even if he also shows the Bard’s warts and beauty marks.  For example:

  • Information can be repeated (Claudio’s execution)
  • One wonders why there is so much concern with this one criminal and crime, when there must be other, more dangerous activities happening in this depraved city
  • The Duke takes time to act on a problem that he is sympathetic to. Like Glinda in The Wizard of Oz, he could set everything right immediately, but he waits
  • Isabella seems to be allowed to stay away from her convent and keep her own hours, as if there are no internal rules for her order
  • There’s the obvious sexism of the bed trick
  • Among other issues.

Godwin must also deal with the problem of anachronism—Mariana (Merritt Janson) is introduced as a modern, independent woman, but, by the end of the play, she contorts into a submissive wife, as does Kate in The Taming of the Shrew or even Katharine Hepburn in many of her star vehicles. Whatever he can’t do to help Measure for Measure, however, Godwin should be commended for creating a true color-blind production.  Actors of different races may be used to show how progressive a company is regarding diversity, often in order to make a political point.  Although a more practical reason may be that actors of different backgrounds can help the audience keep characters straight, Godwin isn’t holding up casting choices as a shield or to telegraph his political correctness.

Perhaps one of the larger problems the director encountered with Measure for Measure, is the fact that the play insists that every character is obstructed and must be hyper-alive to choices that cannot be postponed.  There is no normal in the drama (perhaps this is what the Duke is trying to figure out)—and there is no one who can be identified as normal either (to put the dilemma in terms of Hamlet, there is no Horatio in this play). What was once considered status quo is no longer, as the Austrian laws have changed for the whole citizenry.  Meeting only those living on the edge, the audience may decide the work oddly reflects the current state of the U.S. and the West, whether they are flag-waving or not (and those who see this Measure for Measure will be able to actually do this if they want).  The play is such a perennial for simplified, unnuanced summer stages that viewers may have become inured to its complexities, dissonances, and differences: Measure for Measure, for example, is Shakespeare where a male spends most of the play in disguise. Godwin, treats the work as unusual, intellectual, suitable only for an unusual production, underplayed and stimulating, sexual or not.  

© 2017 by Bob Shuman. All rights reserved.

Visit Theatre for a New Audience: http://www.tfana.org/?gclid=CJnqv7zu8NQCFc1XDQodOtEDpQ

Press: Blake Zidell at Blake Zidell & Associates, Rachael Shearer.

MEASURE FOR MEASURE BY WILLIAM SHAKESPEARE

The Cast

OBERON K.A. ADJEPONG (Provost)

JONATHAN CAKE (Duke Vincentio) 

 KENNETH DE ABREW (Froth/Abhorson/Friar Peter) 

 ZACHARY FINE (Friar Thomas/Elbow/Barnardine, Gentleman). 

 LELAND FOWLER (Claudio) 

 MERRITT JANSON (Mariana)

JANUARY LAVOY (Mistress Overdone/Escala/Francisca) 

CHRISTOPHER MICHAEL MCFARLAND (Pompey)

SAM MORALES (Juliet)

CARA RICKETTS (Isabella)

THOMAS JAY RYAN (Angelo)

HAYNES THIGPEN (Lucio)

DREW BASTIAN (Musician)

ROBERT COWIE (Music Director/Musician) 

OSEI ESSED (Musician) 

 

Creative Team

SIMON GODWIN (Director) 

 BRIAN BROOKS (Choreographer) 

PAUL WILLS (Scenic & Costume Designer)

MATTHEW RICHARDS (Lighting Designer)

JANE SHAW (Composer & Sound Designer)

ALISON BOMBER (Voice & Text Coach) 

 ERIC REYNOLDS (Properties Supervision)

JONATHAN KALB (Production Dramaturg) 

MEGAN SCHWARZ DICKERT (Production Stage Manager)

JOE ORTON DOUBLE-BILL: ‘THE ERPINGHAM CAMP’ AND ‘THE RUFFIAN ON THE STAIR’ (LISTEN NOW ON BBC RADIO 3—LINK BELOW) ·

(Listen at: http://www.bbc.co.uk/programmes/b08wn0lm)

Crimes of Passion, a double-bill of Joe Orton plays to mark the 50th anniversary of his death, plus an interview with Kenneth Cranham, a close friend of Orton’s who played several key roles in his plays. The two plays are The Ruffian On The Stair, a Pinteresque radio play about a couple whose lives are disrupted by a young visitor and The Erpingham Camp, Orton’s rambunctious State-of-England farce, set in a 1960’s holiday camp.

The Erpingham Camp:
Erpingham ….. Robert Daws
Riley ….. Jonjo O’Neill
Lou ….. Kerry Gooderson
Ted ….. Samuel James
Kenny ….. Charlie Clements
Eileen ….. Sarah Ridgeway
W.E. Harrison ….. Tom Forrister
Jessie Mason ….. Sanchia McCormack
Padre ….. Simon Ludders
Accordion Player ….. Colin Guthrie

The Ruffian On The Stair:
Mike ….. Gerard Horan
Joyce ….. Sophie Thompson
Wilson ….. Jack Rowan

Producer ….. Mary Peate

The Ruffian On The Stair was Orton’s first play, commissioned by BBC Radio and later adapted for the stage. The Erpingham Camp started life as a TV drama. Both plays were later presented at the Royal Court Theatre as a double bill with the title Crimes of Passion, which marked the beginning of a turn of fortune in Orton’s career as a playwright after the poorly-received first production of Loot. Both the radio and the stage productions of Ruffian on the Stair starred the young Kenneth Cranham, who went on to play Hal in Loot and Sloane in Entertaining Mr Sloane and became a friend of Orton’s. As part of this evening, Matthew Sweet interviews Kenneth Cranham about his friendship with Orton.

POCKET UNIVERSE: ‘JULIUS CAESAR’ NEXT ON THE STAGE VOICES CALENDAR ·

Shakespeare’s epic tale of jealousy and betrayal is re-imagined as a modern-day coming-of-age story in Pocket Universe’s all-female production.

The Bard’s play is reset in an all-girls high school where psychological warfare is unyielding. Six young women portray all the roles in this tragedy, which follows a group of teenagers through their first taste of power, the desire to seize it, and the life and death battle to keep it. 

For information: https://www.caesarbeware.com/