Shakespeare Academy graduates charge the stage thru Saturday

From left, Kendall Kent, Kimberly Colisch, and Julian Cividanes star in Shakespeare Theatre Academy's Macbeth/Shakespeare Theatre Co.

Two Shakespeare plays for $40! Unbelievable!

Almost as unbelievable as the dazzling acting seen on the Shakespeare Theatre Company's Klein Theatre. 

But hurry! Remaining tickets are few.

 

They are the ending performances by graduates of the Master of Fine Arts program the Shakespeare Theatre Academy offers in conjunction with George Washington University.

 

“If music be the food of love, play on!” They did.

From left, Bridget Campbell, Robert Kittler, and Michael Girts star in Shakespeare Theatre Academy's Twelfth Night/Shakespeare Theatre Co.

The graduates are completing their year of extensive training in the fine arts of stage combat, classical language, acting, text, voice, speech, movement and combat experience, taught by accomplished actors and trained crew.

Lest anyone think these are amateurish shows because they are performed by “new” graduates,  not only have these students graduated college with each boasting a string of performances ranging from off Broadway to local companies to regional theatres throughout the U.S., they are, in the words of Malvolio:

 

“not afraid of greatness” for 

“some are born great, some achieve greatness, and some have greatness thrust upon ‘em.” 

They all perform in both the comedy, Twelfth Night and the tragedy, MacBeth and who's to say which is better?

The sets are minimal, the costumes (by Cidney Forkpah, assisted by Lily Komarov) are contemporary, but the sounds, the sounds!  (By Matt Nielson who composed original scores) are outstanding: 

The thunder!  

The clashing of helmets! 

The lightning (sound?), 

The waves crashing upon the shore while the Twelfth Nighters bend from their waists and sway with the waves before the shipwreck off the coast of Illyria and the ensuing mix-ups. (In Shakespeare?  Mix-ups? ‘Tis cannot be!) 

The scariest ghouls made up in the most divine (?) ways! They move, they float, they come at your throat!  

(The orchestration of the stringed instruments was most pleasing to the ear.)

Puppet Designer Ksenya Litvak’s puppets are magnificent. (Andrey Stuurman was consultant.)

 

And who can pass up opportunities to hear words of the master spoken on stage as in:

“O, full of scorpions is my mind!”

“Out, damned spot! out, I say!”

“Double, double, toil and trouble;
Fire burn, and cauldron bubble!”

“Fair is foul, and foul is fair, hover through fog and filthy air.”

 

The graduates are Bridget Campbell, Julian Cividanes, Kimberly Colisch, Kira Cornell, C.J. Craig, Michael Girts, Sofia Hernandez Morales, Claire Hilton, and Cameron Holder.

Also, Kendall Kent, Robert Kittler, Anna Marzullo, and Lenny Mendez Terceros, Matilda Musser, and Olivia Potter.

 

Jess Chayes directs Twelfth Night; Alec Wild, Macbeth.

 

Other artistic team members are:

Minjoo Kim, lighting; Robb Hunter, fight director; Bess Kaye, intimacy coordinator; Lisa Beley,
voice and text coach; Cammiel Hussey, Twelfth Night, and Katie McDonald, Macbeth, assistant directors; Maddie Caldis, production manager; Regina Vitale, stage manager; Maria Mills,  
assistant stage manager.  

Applause to all, especially to Emma Crane Jaster, movement director.

 

Remember, there is always: 

“To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.”

And

“What's done, is done”

What:  Twelfth Night and Macbeth

 

When:  In repertory through Saturday, July 25, 2026 at 7:30 p.m. and one Twelfth Night matinee at 2 p.m., July 25.

 

Where:  Shakespeare Theatre Company, Klein Theatre, 450 7th Street NW, Washington, DC 20004

 

How much:  $25 each performance or $40 for both

Duration:  Twelfth Night runs almost three hours with one intermission; MacBeth, about 2.5 hours with an intermission.

For more information:  Box Office, 202-547-1122, 12 – 6 p.m. and open until curtain on show days.

Patricialesli@gmail.com

Make haste! Bold 'Othello' departs June 28

 

From left, Ben Turner is Iago and Wendell Pierce is Othello at Shakespeare Theatre Company/Photo by Theresa Castracane


The acting is as superb as all that’s been told.

After the performance, a father and daughter told me that they couldn’t wait to bring other family members to the show.

Wendell Pierce is the Broadway star who is Shakespeare Theatre Company’s Othello, a bold showman whose role in the first act is moderate compared to the demands of the second.

And whatever act it is, the dastardly Iago (Ben Turner) commands the stage, a forceful and stronger villain than other Iagos I have witnessed.

Casting director Danica Rodriguez took no shortcuts choosing the actors for one of the bard's best.

Iago is angry that he’s been overlooked for a promotion by General Othello who chooses Cassio (Lucas Iverson) for the position, and what’s this? Has the general has been trifling with Iago’s wife, Emilia (Melanie Field)?

All the more reasons to act on Iago’s suspicions!

Says Iago to Othello: "O, beware, my lord, of jealousy! It is the green-eyed monster which doth mock the meat it feeds on."

Iago unceasingly feeds hints of imaginary betrayal to Othello by his wife, Desdemona (Olivia Cygan), a frail and delicate flower who never professes anything but faithfulness to her husband.

She has eloped with Othello, much to the shock of her father, Brabantio (Joey Collins) who disowns his daughter and hints of future infidelity to his new black son-in-law.

Alas! When it came to the marriage bed, I did indeed think Othello had smothered Desdemona in the lifelike murder scene when Desdemona fights for life under the sheets, kicking her legs and wailing, Othello’s heart having turned to stone.

Melanie Field is Emilia the handmaid for Desdemona (Olivia Cygan) in Othello at Shakespeare Theatre Company/Photo by Theresa Castracane

The victim’s handmaid, Emilia, in a spellbinding delivery, comes to the aid of her mistress too late! Emilia berating her deplorable spouse, she soon to be slain when the truth is revealed before the star kills himself.

So little time, so many murders.


Scenic designer Susan Hilferty places the few props in strategic locations, more, unnecessary since the play’s jealousy and revenge are all consuming, leaving audience members who eavesdrop on Iago’s plans, breathless and tense, most already aware of the outcome.


Daniel Velez, Todd Schofield, Derek Garza, Giovanna Drummond are other cast members with the Ensemble: Jon Beal, C.J.Craig, Sofia Hernandez-Morales, Claire Hilton, Anna Marzullo, Vish Shukla, Cole Sitilides, James Whalen, Em Whitworth.

STC's artistic director, Simon Godwin, directs the play in a tight presentation.  It's Othello, after all.


The artistic team includes Shiloh Coke, composer; Hilferty and Sarita P. Fellows, costume designers; Amith A. Chandrashaker, lighting; Christopher Shutt, sound; Jonathan Goddard, choreographer; Everett Judd, assistant director; Laura Smith, production stage manager; Robb Hunter, fight choreographer.

Royal Shakespeare's outstanding 'Hamnet' at Shakespeare Theatre Company

 

Rory Alexander and Kemi-Bo Jacobs as William and Agnes Shakespeare in Hamnet at Shakespeare Theatre Company/Photo by Kyle Flubacker

Attention, theatre-lovers: For the best acting you'll see anywhere, the Royal Shakespeare Company and Neal Street Productions' Hamnet onstage now at Washington's Shakespeare Theatre Company is a must.

The show sold every seat and broke box office records in Stratford-upon-Avon before it crossed the pond to run in Chicago, Washington, and San Francisco, the only U.S. venues.  

Most of the original cast came with it. 

The play is based on Maggie O'Farrell's bestselling historical fiction, adapted by Lolita Chakrabarti.

Hamnet was the only son of William Shakespeare (1564-1616) and Anne Hathaway (1556-1623) who was born with his sister, Judith, a twin, in 1586. 

Shortly after their birth, William Shakespeare (Rory Alexander) left his wife (Kemi-Bo Jacobs) and family to pursue writing and acting in London.

When Judith (Saffron Dey) suddenly became ill with plague symptoms when the twins were 10 or 11, a  message was rushed to their father who hurried home.

But by the time he got there, Judith had recovered and Hamnet (Ajani Cabey) lay ill or had already died, likely before his father arrived. 

To escape the suffering and grief, Shakespeare returned to London and continued his career. 

After his death, the parents took solace knowing their son would live on in his father's works.  

At the time of Hamnet's death, Shakespeare was writing comedies which he continued for several years until he began turning out his greatest tragedies, Hamlet, Othello, Macbeth, King Lear, Julius Caesar and others. In them scholars find links to Hamnet.

 

William and Anne whose name is changed to Agnes in the novel and in the play, married in 1582 when Anne was pregnant with Susannah (Ava Hinds-Jones), their oldest child.

 

Most sources say they didn't have a good marriage, and naturally, the fault is Anne's since evil rests with women, believed by some then and now. (See Eve in the Garden of Eden.) 

Anne was eight years older than William, and it is suggested that she and her family trapped Shakespeare who was abused by his own father (forcefully played by Nigel Barrett). 

For those who have never had a baby, Ms. Jacobs delivers three times in excruciating agony. The play centers on her emotional and mental turmoil which Ms. Jacobs performs with conviction and credibility.

  

Tom Piper's set design of scaffolding on three levels recalls the outlines of 16th century English Tudor housing, looking like the house where Shakespeare was born, with a loft which becomes a bedroom. 

Like mice scurrying from place to place, it's mostly women who come and go, quickly changing the scenes by moving a rectangular table back and forth on the first level.  

Every so often birds sing (sound by Simon Baker), reflective of Anne's love of them, their freedom and their homing return like William makes it from time to time.

Heard in the final act: "Let us eat and drink for tomorrow we die."

Others in the cast are Penny Layden as William's sympathetic mother, Mary, while Troy Alexander is Agnes's understanding brother, Bartholomew who rescues his sister more than once. Also, Elizabeth Connick, Heather Forster, Karl Haynes, Nicki Hobday, Matilda McCarthy, and Bert Seymour (the last two, the dance and fight captains, respectively). 

Oğuz Kaplangi’s  captivating music, mostly heard during scene changes, foreshadows the tension and conflict.

Prema Mehta's variable lighting techniques contribute to the sad environment and mood. 

The artistic team includes the director, Erica Whyman, the RSC acting artistic director; fight director, Kate Waters; movement director, Ayşe Tashkiran; and stage managers, Marius Arnold-Clarke, Chloë Forestier-Walker, and Laura Smith.

About 2.5 hrs. with a 15-minute intermission.

Special performances are:

Audio Description - Saturday, April 4, 2p..m

Open Captioning - Wednesday, April 8, 12p.m. | Thursday, April 9, 7:30 p.m.

Shakespeare Theatre Company, Harman Hall, 610 F St., NW, Washington, DC 20004. Now through April 12. Tickets start at $39 with discounts for those 35 and under.  Enter code 26U35 in the promo code box; subject to availability.

Phone: 202-547-1122.

patricialesli@gmail.com

Shakespeare's 'On Beckett' is Oh, Beckett!

 Bill Irwin is Samuel Beckett in Shakespeare Theatre Company's On Beckett/ by Craig Schwartz

 Bill Irwin is a Tony Award winning actor, director, writer, choreographer, star of stage and screen, and devotee of Irish author Samuel Beckett (1906-1989) whom Irwin portrays in a solo performance at Shakespeare Theatre Company. 

Last Saturday night's crowd at On Beckett enthusiastically welcomed Irwin's Beckett show, Beckett's large photograph making up a big chunk of the initial black backdrop. 

For all those who know something and more about Beckett and for those who want to know more, it is an evening of pleasure.

Beckett was born in Dublin, Ireland, the winner of Nobel Prize for Literature in 1969, a modernist writer of all things bleak, sad, tragic, and absurd who wrote in English and French and is best known for End Game (1957) and Waiting for Godot (1952) from which Irwin read excerpts and periodically presented brief biographical Beckett sketches. 

"We have time to grow old.  The air is full of our cries.  But habit is a great deadener." 

Irwin also quoted from Beckett's Texts for Nothing about old men searching for new meaning in new places.

"Yes, I was my father and I was my son. I asked myself questions and answered as best I could....the same old story I knew by heart and couldn't believe, or we walked to each in his world, the hands forgotten in each other."

Irwin, who bears a striking resemblance to his subject, created the show which he complements with clown antics (he studied at Ringling Brothers and Barnum & Bailey Clown College) and bigger pants, jackets and suspenders he puts on.

In keeping with the minimalist Beckett content, the stage (by Charlie Corcoran) was the same with bench and podium (from which sprouted an unruly microphone) which became a screen for Irwin's ascents and descents. (You have to be there.) 

James Joyce was Beckett's mentor and friend who often wore a bow tie (he gave one to Beckett), a cravat Irwin wore, too, with, at times, a bowler hat, and a cane.  

Irwin, 75, is the first performing artist to be awarded a five-year MacArthur Fellowship. 

The performance lasted about 90 minutes and seemed much shorter. 

Michael Gottlieb's excellent positioning of  spotlights and lighting from above and behind the audience cast Irwin's shadow on the backdrop. 

Other creative team members: Martha Hally, costumes; M. Florian Staab, sound; Lisa McGinn and Natalie Hratko, stage management.

Special performances include:

Open captioning: 2 p.m., Feb. 21; 12 p.m., Mar. 4; and 7:30 p.m., Mar. 5

Audio description:  2 p.m., Feb 28

Young Prose Night (under 35): 7:30 p.m., Feb. 20

What: On Beckett

When: Now through March 15. 2026 

Where: Klein Theatre, Shakespeare Theatre Company, 450 7th Street, N.W.

Tickets: Start at $35

Box office:  202-547- 1122

The show is an Irish Repertory Theatre production made in association with Octopus Theatricals.

(Of note:  Google no longer permits links to Wikipedia.) 

patricialesli@gmail.com

Shakespeare's 'Wild Duck' is must-see

Melanie Field is Gina Ekdal and Nick Westrate is Hjalmar Ekdal in Shakespeare Theatre Company's The Wild Duck/By Gerry Goodstein

Do you reveal the truth to those around you, thinking it will help when it's none of your business?

When "the truth" may set you free but may make matters worse and upset family dynamics?

Do I tell my best friend her husband is having an affair with her next door neighbor? Or that I heard from medical team members that her mother's cancer has returned and it's terminable?

Is it up to me?

The second act of The Wild Duck caused my hand and fingers to stop moving.

I was hypnotized and my notetaking ceased, overcome by Shakespeare Theatre Company's Henrik Ibsen's The Wild Duck, "rarely performed" and likely the only time I'll see it, according to program notes by the theatre's artistic director, Simon Godwin, who directs.

Not one sneeze, one cough, or one dropped program by audience members sounded in the auditorium of several hundred.

We were breathless, unable to break the total silence which engulfed the venue.

But lest I go hyperbolic, do go prepared. Read a synopsis beforehand, but even that won't prepare you for this spellbinding performance.

The first act is the calm before the storm, the explosion of the second act when Gina (Melanie Field), a mousy wife we are led to believe, evolves into a forceful dynamo to stand her ground and make her pleas that she is a loving wife, no matter what has happened in the past, but husband, Hjalmar (Nick Westrate), refuses to accept her arguments when she begs for forgiveness and acceptance of the past.


Their daughter, Hedvig (Maaike Laanstra-Corn) is a clingy type, torn by her dad's anger and her blood curdling screams typify the tragedy which I joined in mourning. (Had I not been "prepared," no doubt I would have been sobbing with the woman behind me.)

The first act's gentle husband becomes a possessive spouse/louse, urged on by the devil incarnate, Gregers Werle (Alexander Hurt), always wearing black and spouting the same, trying to "do good," or is he?

Can't you realize, Hjalmar, what's happening? But, Hjalmar is blinded by passion and the past.

David Patrick Kelly is Old Ekdal in Shakespeare Theatre Company's The Wild Duck/By Hollis King

The acting is superb, none finer than that by David Patrick Kelly, the slow and bent grandpa who has a relationship, too, with the arrogant and conceited patriarch (Robert Stanton) who has relationships with everybody, including his disaffected son who resist his father's moves and money.

Alexander Sovronsky is the music director who, with sound designer Darron L. West, has composed a beautiful and unforgettable score of 19th century Norwegian folk and classical music which Sovronsky plays on various instruments between scenes.

It is David Eldridge’s version of Ibsen's play, the place, Norway in the 1880s.

Ibsen is often referred to as the "father of modern drama" and, according to Wikipedia, "the most important playwright since Shakespeare" who influenced, among others, George Bernard Shaw, Oscar Wilde, Eugene O'Neill, and James Joyce.

Some consider Wild Duck the most complex and Ibsen's finest work, the first modern masterpiece in the genre of tragicomedy, but writing about it, the humorous parts totally eclipsed me who found it somewhat sexist.

In program notes, Drew Lichtenberg quotes Ibsen: Wild Duck "will certainly provoke discussion, but it cannot possibly give offense to anyone." I beg to differ.

Cast members include Katie Broad, Mahira Kakkar, Bobby Plasencia, and Matthew Saldivar.

Other creative team members are Andrew Boyce, scenics;
Heather C. Freedman, costumes; Stacey Derosier, lighting;
Jacob Grigolia-Rosenbaum, movement and fight director; Andrew Wade, voices; Satellite Wigs; Jonno Knust, properties; Laura Smith, production stage manager; Dayne Sundman, assistant stage manager.

Produced in association with Theatre for a New Audience, this makes Ibsen STC's second most-produced playwright after ...

What: The Wild Duck

When:  Through Nov. 16, 2025 at 7:30 p.m. with weekend matinees at 2 p.m.

Where: Shakespeare Theatre Company's Klein Theatre, 450 7th St., NW, Washington, DC 20004

Tickets: Start at $39

Audio Description: Saturday, Nov. 8, 2pm 

Open Captioning: Wednesday, Nov. 12, 12 p.m., and Nov. 13, 7:30pm

Audience: For adults and mature children 

For more information: Call the Box Office at 202-547-1122, seven days a week, 12 – 6pm which remains open until curtain time. ShakespeareTheatre.org.

Duration:  About 2.5 hours with one intermission  

Metro Stations: Gallery Place, Archives, Metro Center

patricialesli@gmail.com 

Shakespeare's 'Merry Wives' will show you a good time

From left, Shakespeare Theatre Company's Merry Wives are Mrs. Ford (Felicia Curry, left,) and Mrs. Page (Oneika Phillips) separated by the conniving Falstaff (Jacob Ming-Trent)/by Teresa Castracane

It's a comedy tonight!

And the wildest, funniest contemporary Shakespeare version I have seen, and the crowd roared with me. 

Shakespeare Theatre Company presents the adaptation, Merry Wives by Jocelyn Bioh which she wrote for NYC's 2021 Shakespeare in the Park, all about West African immigrants and cultures in present-day Harlem.

And a boisterous, rowdy lot they are, indeed! 

 

Mr. and Mrs. Ford (Nick Rashad Burroughs and Felicia Curry) own a laundromat while their friends, the Pages (JaBen Early and Oneika Phillips) have a hair salon.

Amidst an elegant setting of a three-story building at a subway stop, the haughty and laughable Falstaff (Jacob Ming-Trent) is hungry for all kinds of treasures and sets his sights on two wealthy women whose possessions he is in need. 

Like many lovers who screw up when more than one is involved, Falstaff is a prime contender. 

"Setting the attractions of my good parts aside, I have no other charms," he says, most assuredly with high confidence he'll succeed in his quests.

Alas, if you can imagine a mixup in Shakespeare: Falstaff sends both of his targets the same love letter!

But, being the savvy sisters they are, Ms. Page and Ms. Ford soon grasp what Falstaff is all about and they plan revenge. Saith Madam Page:  "Wives may be merry, and yet honest too."

Time and again, the wives play tricks on the slobbery, wobbly Falstaff from the laundry room to the hair salon to the woods amidst spectacular sets by Lawrence E. Moten III.

The ladies lean, they twist their bodies and a few words.

Their husbands soon join the party, Mr. Page who says: "I do despise a liar as I do despise one that is false, or as I despise one that is not true" while the jealous Mr. Ford (Mrs. Ford will learn 'em!) claims it is "better three hours too soon than a minute too late." 

Meanwhile, several suitors chase the Pages' daughter, Anne (Peyton Rowe), none more entertaining than the good Dr. Caius (Jordan Barbour) whose exaggerated antics made me laugh often. 

Others in pursuit of the young lass are Fenton and Slender (Latoya Edwards in both roles).

Anne has her favorite, and so did I who could have watched Shaka Zu, an ensemble member, dance the night away. 

Taylor Reynolds directs. Other cast members are Bru Aju, Kelli Blackwell, Rebecca Celeste, Sekou Laidlaw, Craig Wallace, and Tyrone Stanley. 

The artistic team included Ivania Stack, costumes; Jeanette Oi-Suk Yew, lighting; Mikaal Sulaiman, sound; Nikiya Mathis, wigs and hair; Ashleigh King, choreographer; Nadia Guevara, associate director; Laura Smith, production stage manager; 
Jazzy Davis and Stephen Bubniak, assistant stage managers.

Scholars say Shakespeare wrote the Merry Wives of Windsor to answer Queen Elizabeth's request for more of Falstaff, this time in love.  Ms. Bioh's rendition keeps almost all of the original script first published 400 years ago. (Classics last!)

STC will have a special evening on Friday, Sept. 26 at 7:30 pm for guests to "mix, mingle, and be merry" at Harman Hall for Akwaaba Night with the show, cast and cultures.

What: Merry Wives

When:  Through Oct. 5, 2025 at 7:30 p.m. with weekend matinees at 2 p.m.

Where: Harman Hall, Shakespeare Theatre Company, 610 F Street NW. Washington, DC 20004

Tickets: Start at $35

Audience: For adults and mature children 

For more information: Call the Box Office at 202-547-1122, seven days a week, 12 – 6pm. The Box Office windows remain open until curtain time.

Duration:  Almost two hours without intermission 

Metro Stations: Gallery Place, Archives, Metro Center

patricialesli@gmail.com 

'King John' is another Shakespeare to see before you die

Charles A. Buchel (1872-1950), Herbert Beerbohm Tree (1852–1917), as King John in 'King John' by William Shakespeare, Victoria and Albert Museum/Wikipedia

Australia's national Shakespeare theatre company, Bell Shakespeare calls William Shakespeare's King John, one of his five most underrated plays "to see before you die," and lucky for those of us in the DMV, there's still time to see it before the play closes July 26 at Washington's Shakespeare Theatre Company.

“No, I defy all counsel, all redress,
But that which ends all counsel, true redress.
Death, death, O amiable, lovely death!
Thou odoriferous stench, sound rottenness,
Arise forth from the couch of lasting night,
Thou hate and terror to prosperity,
And I will kiss thy detestable bones,
And put my eyeballs in thy vaulty brows,
And ring these fingers with thy household worms,
And stop this gap of breath with fulsome dust,
And be a carrion monster like thyself

So speaketh Constance (Molly Malone), the mother of Arthur (Sadie O'Conor), lamenting his death and her own reasons for dying when she succumbs to "madness."

King John hosts matters from its 13th century timeline to today by way of power and the begetting of more. 

Arthur was the nephew of King John (Eric Lane) who went to battle with the French King Phillip II (Amber Mayberry) who thought the English throne belonged to Arthur. King John, a suspected interloper to the crown, thinks France belongs to him. 

Enter the Pope's Cardinal (Maryanne Henderson), the church angry with John over his refusal to acknowledge the Archbishop of Canterbury and excommunicates the king, siding with Arthur's claim to the throne. 

John's mother, Queen Eleanor of Aquitaine (Tracy Coffey) is a powerful women who dies and so does Arthur, leaping (or thrown a la Russia?) from a castle's walls after his capture by John. 

At the urging of the Cardinal, the French Dauphin Louis (Reese Cowley), who has married John's niece, Blanche (Layali Aljirafi) attacks England. John becomes ill from poisoning (by a monk) and hides in an abbey where his son, Prince Henry (Alex Ross) arrives to witness his father's death and be crowned king amidst peace.  

Got all that?  Good.  

There's lots more to the story, of course, and director Aaron Posner brings out the best in his King John  students from the Shakespeare Theatre Company Academy, a stunning class of soon-to-be graduates of the Master of Fine Arts program STCA conducts in conjunction with George Washington University. 

The performances belie the short time, one year, the students have spent at STCA.

Throughout the production, interjections of lively choreography (by Nikki Mirza) with lip syncing and mime to contemporary music (by Matt Nielson and others) mixes today with yesterday and desired appeal to a younger audience. 

Be great in act, as you have been in thought, King John encourages his nobles to act and not let dreams wander  without action. 

King John's tomb in Worcester Cathedral, England/Greenshed at English Wikipedia

The play is presented in repertory with The Taming of the Shrew,  the final acts for the students in the program. 

Other in the cast are Elizabeth Loyacano as Hubert; Michael Burgos, Lord Bigot; Cammiel Hussey, Angiers citizen and Pembroke; Edie Backman, Earl of Salisbury and executioner; and Sydney Sinclair, Chatillion and Count Melun; and Ali Karambash, Duke of Austria.

Minjoo Kim's lighting is especially effective. The set is the useful remains from STC's Frankenstein. 

Others on the creative team include Renea S. Brown, assistant director; Becca Janney, costumes; Lisa Ann Beley, props; Robb Hunter, fight director; and Bess Kaye, intimacy director. 

What:  King John

When:  Through July 26, 2025 at 7:30 p.m. with weekend matinees at 2 p.m. 

Where: Klein Theatre, Shakespeare Theatre Company, 450 Seventh St., NW, Washington, DC 20004

Tickets: $20 

Audience: For adults and mature children 

For more information: Call the Box Office at 202-547-1122, seven days a week, 12 – 6pm. The Box Office windows remain open until curtain time.

Duration:  About 2.5 hours with intermission 

patricialesli@gmail.com

Super-humans dazzle at Shakespeare

7 Fingers in Duel Reality/Photo by Zemi Photography

Unless you’ve lived with monkeys, you have never seen dance, acrobatics, leaps and bounds like this.

The gasps filled the hall at Shakespeare Theatre Company where members of the 7 Fingers troupe flew through the air hanging onto chains, ropes, poles and each other.

Breathtaking! 

Thrilling! 

Unbelievable! 

I have never seen anything like it: performers flying, quoting Shakespeare on the swing and soaring up, up and up to take flight, and they did! 

Cast in Duel Reality's "Romeo and Juliet"/Photo by Zemi Photography 

Flipping over and under, somersaulting, hanging upside down while they joined each other in air, zipping up and down as if they were monkeys swinging high on banana trees. 

The performers were ice skaters without ice, ballet dancers in the air, dancing pas de deux, ending with "Romeo and Juliet" (Gerardo Gutiérrez and Michelle Hernandez) as peace enveloped them and they moved back and forth on a swing, high in the air, their silhouettes contrasted against a sunset backdrop, a romantic ending after they had enraptured the audience who breathed a sigh of relief that no one had fallen, lost a limb, or stumbled (well, a teeterboarder a time or two for extra thrills).  

7 Fingers in Duel Reality/Photo by Emmanuel Burriel

The scariest of the performances had to be the "teeterboard" (or seesaw to those who teetered on them as children), the board bouncing back and forth as a man on each end leaped in the air somersaulting, maybe, 50 feet high before landing on the board again, his weight propelling the other man up into the great blackness of the stage.

Being off a millisecond can spell immediate injury; the hours spent rehearsing can only be guessed. (Teeterboarders in the troupe are Nino Bartolini, Einar Kling Odencrants, and Carlos Francos Péré.)

Notwithstanding (!) the greatest hula hooper you will ever see, Ashleigh Roper who, at one point twirled (I think it was) six hoops (I lost count) around her waist, her arms, her legs and standing on one foot, twirling, twirling the hoops nonstop.

To the outstanding show, Colin Gagné's original music added depth and emotional enjoyment, sometimes with a single piano key joined by a bass or violin, guitar, sometimes a harmonica to create tension and expectation. 

I don’t usually care too much for audience participation (I'm coming to be entertained, after all, not to be the entertainer) but the number which introduced Duel Reality was all right: Upon entering Harman Hall, we were given red or blue wristbands to support the red or blue team on stage and shout encouragement as a judge determined the winner of each match. 

We threw our wristbands towards the stage to show our favs, and in the end, we all came together in a show of unity (reminiscent of but, sadly, not realistic of the current political state of affairs in the U.S.A).  

What better place to mix Shakespeare than at the Shakespeare Theatre Company? 

Duel Reality is part of the DC International Theatre Festival and a small portion of the repertoire of 7 Fingers, a Canadian company founded in 2002 by seven circus artists. 

But these perform without nets!

They come from all over the globe, many who began their training while still in single-digits.

Other members of the ensemble are Daniela Corradi, Adam Fullick, Vitor Martinez Silva, Miliève Modin-Brisebois, Anton Persson, Méghane Poulet, Santiago Rivera, and Colin Vuillème.

Members of the artistic team: Shana Carroll, director, writer, choreographer;  Alexander Nichols, lighting; Camille Thibault-Bédard, costumes;  Maude St-Pierre, production; Simon Carrière and Audrey Belzile, technicals; Anna Kichtchenko, assistant to the artistic director; and Francisco Cruz, acrobatic coach.

WHAT:  Duel Reality by 7 Fingers

WHEN:  Through July 20, 2025 at 7:30 p.m. Tuesday through Saturday; 2 p.m. matinees, Saturday and Sunday; and 1 p.m. matinee, Wednesday, July 16, 2025.  

Special performances: Open captions, 2 p.m., July 12, and 7:30 p.m., July 17. Audio-description, 2 p.m., July 19. Audio-enhanced system available at all performances.

WHERE: Harman Hall, Shakespeare Theatre Company, 610 F Street NW, Washington, DC 20004

HOW MUCH: Tickets start at $39 (with fee included). 

AUDIENCE: For ages 6 on up although I dare say, younger children will be mesmerized, too.

FOR MORE INFORMATION: Call the Box Office at 202-547-1122, seven days a week, 12 – 6pm. The Box Office windows remain open until curtain time.

DURATION:  About 80 minutes without intermission (but the time seemed half that).

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