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2010-06-02T13:19:00.001-05:00

Lysistrata On Line Review BroadwayWorld.com

2010-03-08T12:29:00.003-05:00

- by Brent Englar

Officially, the latest production by the Chesapeake Shakespeare Company is called Lysistrata, but the show is actually a clever melding of two comedies by the Greek playwright Aristophanes. Only Act II resembles the Lysistrata typically seen in theaters—a wicked satire in which the eponymous heroine ends the Peloponnesian War by organizing a mass boycott of sex. Act I follows the plot of the lesser-known The Assemblywomen, about a group of Athenian women who take over their city’s government to establish a proto-socialist paradise in which all wealth is held in common and all sex is free (provided you first offer your services to someone old and ugly).

In his program notes, director-adapter Ian Gallanar explains that his goal in merging the comedies was “to expand the recognizable elements of plot and character while trimming much of the ritualistic aspects of the plays. It’s hard for rituals to have meaning if they are, in fact, no longer rituals for anyone.” To this end, he has replaced the traditional Greek choruses with a mixed bag of contemporary songs, both borrowed—the company grooves to Eurythmics, Aretha Franklin, and Barry White—and original. (The second act opens with an especially witty tune titled “The Greeks Didn’t Have An Intermission.”)

Combining The Assemblywomen with Lysistrata is an inspired choice—both plays feature charismatic women rallying to save Greece from the stupidity of their farting, fornicating, warmongering husbands. In Gallanar’s adaptation, the disgruntled housewife Lysistrata first leads a coup on Parliament; when the outbreak of war thwarts her plans to remake society, she devises a new stratagem: force peace by depriving men of the one thing they love more than fighting.

Considering the large cast of characters—a total of 14 actors and several puppets (including a towering, dreadlocked Dionysus) play nearly 30 roles—it is perhaps unsurprising that the production is sharpest in its quieter moments, when the performers have more opportunity to relate to each other and develop the humor beyond mere pratfalls and sight gags. With only three men in the cast, Gallanar must fill out the crowds and battle scenes with women in false moustaches; the game actresses hurry onstage and off, but inevitably someone drops her manly swagger or enters without her beard, and the final scenes have a sloppiness to them that I am unaccustomed to seeing in a CSC production. At times actors struggled to remember their lines, leaving me unsure whether certain bits were improvised or simply executed without confidence.

In contrast, the less crowded stretches of gossip and plotting consistently build to hilarity. Michele Massa plays Lysistrata as a natural leader whose no-nonsense brand of idealism is frustrated by weaker mortals on both sides of the gender line. Her banter with her husband (a commendably unselfconscious Scott Alan Small) and his buddies (Gregory Burgess and Frank Mancino, equally willing to make asses of themselves) bounces nimbly between Massa’s paeans to her matriarchal utopia and the men’s earthier fixation on what it will mean to their sex lives. (The ensuing “Shadow Orgy,” which features gyrating men and women and one unsuspecting sheep, provides an emphatic answer.)

Even funnier is the scene in which Lysistrata proposes her revolutionary boycott to her sex-loving countrywomen. Led by the lusty Calonice (Jenny Leopold), who spots something predictably off-color in Lysistrata’s “big” and “weighty” plans, the women vow to do whatever it takes to end the war … and they are horrified to learn this means abstinence. Particularly horrified is the voluptuous Lampito (Bridget Garwood), whose breasts, everyone agrees, are spectacular. Garwood’s characterization—think Marilyn Monroe, only breathier—is comic gold, and it’s a shame that Gallanar does not find more ways to incorporate her into the action.

The other women in the cast—including Elizabeth Darby, Nancy Flores, and Charlotte Moran, along with CSC company members Jennifer Crooks, Rebecca Ellis, and Lorraine Imwold (who also designed the puppets)—give uniformly solid performances, though none create characters as distinctive or memorable as Garwood’s Lampito. Shannon Listol and Santina Maiolatesi join with Garwood to lead the occasional music numbers, which include an opening “prayer” to Dionysus that morphs into a rap. The trio sings and dances skillfully, but the rap is uninspired and not funny enough for parody—it seems instead like an awkward attempt to make these ancient plays more contemporary and “relevant.” The same might be said about the puppets, who represent gods and demigods watching the action but crack jokes like amateur comedians.

These unnecessary bits of padding add perhaps fifteen minutes to the show’s running time and help push it over the two-hour mark—dangerous territory for a farcical comedy. A faster, tighter play would likely have been funnier.

Dan O’Brien’s set and lighting designs make efficient use of the long performance hall in Oliver’s Carriage House, where the CSC stages its winter productions, though a few too many speeches are shouted from high balconies. Costume designer Kristina Lambdin drapes the women in a colorful array of toga-like dresses; the men make do with drabber garments. Fight choreographer James Jager delivers a crisp, climactic battle between the valiant women and their pitiful male counterparts.

Lysistrata is playing at Oliver’s Carriage House, located at 5410 Leaf Treader Way in Columbia, on Thursday and Fridays at 8 P.M. and Saturdays at 2 P.M. and 8 P.M., through March 6. Tickets are $15-$30. For more information, go to www.chesapeakeshakespeare.com or call 866.811-4111. Groups of 10 or more should call 410-313-8874.

CityPaper Enjoys Lysistrata

2010-03-08T12:29:00.002-05:00

Pussy Whipped

Women take over in Aristophanes' bawdy play

Michele Massa opens her mouth and closes her legs.

By Lee Gardner | Posted 3/3/2010

Lysistrata

By Aristophanes; Adapted by Ian Gallanar

Through March 6 at Chesapeake Shakespeare Company.

Shakespeare never dropped the f-bomb, and any cunnilingus references he may have made were smuggled in discretely among the iambs, which perhaps helps explain the stony faces on some of the more patrician-looking ticketholders at a recent performance of the Chesapeake Shakespeare Company's Lysistrata. But Western culture doesn't get much higher--or lower--than Aristophanes' classic Greek comedy of sex and politics. If CSC's current production isn't a complete success, it does provide some laughs and a welcome reminder of why the play's still worth mounting, seeing, and thinking about several millennia later.

CSC's Lysistrata is, in fact, two Aristophanes plays in one, company artistic director Ian Gallanar having adapted and combined the title work with the less-renowned The Assemblywomen. After a comic prologue featuring history and shtick from enormous god and demigod puppets suspended from the balconies of Columbia's rustic Oliver's Carriage House, the women of Athens filter in one by one, wearing their husbands' clothes (in this case, overcoats and combat boots). Their leader, Lysistrata (Michele Massa), has hatched a plan: If the women dress as men and act like men (this involves fake beards and a lot of spitting and harrumphing and talking about their penises), they can infiltrate the patriarchal city assembly and sneak through a measure giving control of Athens to the women, who are better qualified to run things anyway.

The plan works, and Lysistrata enacts reforms that would terrify today's Right, with money, land, and food held in common and benefiting all equally. The distribution of sex is likewise liberalized, with men able to sleep with any pretty young thing they want--as long as they sleep with an older, plainer woman first. The men, led by Lysistrata's oafish husband Blepyrus (Scott Alan Small), are warming to this new regime when their ongoing war with Sparta calls them away. Act II picks up with Lysistrata's original plot, with another Lysistrata plan: convince the men to end their wars by withholding sex until they do. The women of Greece occupy the Acropolis and bar the men from entering there, or anywhere else. Extreme horniness and unhappiness ensues among both genders.

Audience members take their seats for the show to the sounds of Digital Underground's "The Humpty Dance" booming over the speakers, establishing both its pop-culture friendliness and the crotch-level baseline at which the evening operates. Small spends much of the first act squeezing out sound-effect flatulence, and a shadow-play orgy brings on intermission. Massa spends the first part of Act II brandishing a sizable sausage, and the male characters parade about with priapic balloon-animal phalli. Gallanar, who also directed, strips away many of the classical Greek trappings and forms in favor of air kisses, a classical rap, a Magic 8 Ball, and a rendition of "Sisters Are Doin' It for Themselves."

But, as the old saying goes, tragedy is easy, comedy is hard. There are laughs to be had here, especially courtesy the Greek women--Lorraine Imwold's Judy Holliday-esque delivery, Rebecca Ellis' timing of an especially effective anal-sex joke, Bridget Garwood's second-act impression of Scarlett Johansson with a lobotomy. Gregory Burgess, playing another of Athens' put-upon, id-ridden males, also has some fun with a recounted argument consisting of nothing but "fuck you"s. Yet overall, the show lacks the snap and polish that might help its jokes zing and its satire truly bite. Staged with minimal lighting on a long stretch of carpeted floor between two banks of seating and on the balconies on each end of the space, the show feels fragmented and loose, high energy but unfocused.

Lysistrata is a fascinating relic, nonetheless. It only took Western civilization the better part of 2,400 years to catch up to Aristophanes' understanding that women's sexual desires can be every bit as powerful (and absurd) as men's. As for an equitable society where all are provided for and an end to war, sexually enforced or otherwise, we're still waiting. And if nothing else, Lysistrata reaffirms the fact that people have always laughed at fart and dick jokes.

Lysistrata Review

2010-03-08T12:28:00.001-05:00

Theater Review: A lighter look at 'Lysistrata'

Chesapeake Shakespeare gives its own sitcom polish to Greek farce

By Anthony Sclafani

Posted 2/25/10

(Enlarge) Michelle Massa leads a wives' revolt in "Lysistrata," continuing through March 6 at Oliver's Carriage House in Columbia. Co-starring in the Chesapeake Shakespeare Company adaptation is Scott Alan Small, left. (Photo by Teresa Castracane)

One reason the works of Shakespeare have aged so well is because they present three-dimensional characters whose motives seem borne of human nature. To contrast the Bard's great skill at crafting characters with those found in an ancient Greek farce like "Lysistrata," which opened last Friday at Oliver's Carriage House, is to note the advances in theatrical art over the centuries.

This new adaptation of "Lysistrata" by the Chesapeake Shakespeare Company lifts the basic structure from two separate Greek plays: "The Assemblywomen" and "Lysistrata." The first concerns a group of women who seize their town's political system. The second and more famous of the two looks at how the women persuade their men to stop fighting wars by threatening to withhold sex.

The sum of these plays, unfortunately, comes off as something less than the two parts because director and adapter Ian Gallanar tends to lean too heavily on stereotypes and forced slapstick gags.

The production opens promisingly with three mimed scenes evoking an array of classic Greek works, such as "Oedipus Rex," mostly using physical humor. Once the real action gets under way, however, that prevailing sense of visual wit and pithiness is quickly squandered.

We first meet Lysistrata (Michele Massa) as she instructs a group of women to dress up as men so that they can invade the governing assembly and vote themselves into power. "Does this beard make me look fat?" one of the women asks at one point.

Their intentions are reiterated when they break into an original song composed for the play, "We Are Men." This chanted composition mocks the habits of the male half of the species, which sets the satirical tone for the production.

Next we meet Lysistrata's husband, Blepyrus (Scott Alan Small), who awakes in the night alone. Without Lysistrata, it seems, Blepyrus is so helpless he has trouble figuring out how to go to the bathroom. His restroom issues extend into a 15-minute, sound effects-laden comedy sketch that goes on long past the point of tedium.

Small plays Blepyrus like Ed O'Neill played the doofus Al Bundy on TV's "Married With Children," but without any irony. Massa's Lysistrata, meanwhile, comes off as the type of shrill, humorless talking head you see on Sunday morning political television panels. Because both characters lack dimension, it's hard to invest much in their story.

Some of the supporting players do manage to imbue their roles with humanity. Most notable is Gregory Burgess, who plays Blepyrus' best friend, Chremes. Burgess's line readings have a resigned, realistic tone to them that help highlight some of the text's more serious concerns, so when he plays it funny, the juxtaposition is hilarious.

Similarly, Bridget Garwood got lots of laughs for her portrayal of the ditzy blonde Lampedo, for which she pushes the breathless Marilyn Monroe routine to the nth degree.

As the play unfolds, Lysistrata informs her husband that the roles of men and women will be changing and that he "won't be the provider for this family" any more. This gives the female ensemble a reason to launch into the 1985 Eurythmics-Aretha Franklin empowerment anthem "Sisters Are Doin' It for Themselves," which seems more silly than stirring, thanks to the overwrought choreography.

The good news for the male characters is that with the new laws they also get to share the women and indulge in orgies. That makes them happy, at least for a short while. The play's orgy scene and much of the dialogue is strictly adult rated, as the playbill warns.

Toward the end of the second act, the women conspire to deny all sexual favors to their men, and the double-entendres abound. At Friday's show, some in the audience seemed taken aback by the rawness of the language and risqué props.

Ultimately, the play sides with the prevailing sitcom bias against men as beastly, sex-crazed oafs incapable of doing even the most basic of tasks and in constant need of "mothering." That obscures "Lysistrata's" original message about men being warmongers. Dumbing-down the characters ultimately weakens the play's political statement, turning it more into an episode of "The Family Guy" or something closer to a Jud Apatow film.

The Chesapeake Shakespeare Company continues its production of "Lysistrata" through March 6 at Oliver's Carriage House, 5410 Leaf Treader Way in Columbia's Town Center. Show times are Thursdays-Fridays at 8 p.m., Saturdays at 2 and 8 p.m. Admission is $25 general on Thursdays and Saturdays at 2 p.m., $30 on Fridays and Saturdays at 8 p.m. Senior citizens are $22, with anyone 25 or younger $15. For more information, call 866-811-4111 or go to www.chesapeakeshakespeare.com.

CNN Covers Maryland Theater

2009-12-16T08:40:00.002-05:00

Best of Maryland Theater 2009

Unlike the District of Columbia's tight knit theater community, Maryland's collection of theaters tend to be more scattered. Maybe it's a result of the rivalry between Baltimore and Washington (the one where Baltimore fights to keep up with DC while DC barely knows that Baltimore exists). Also, the rest of Maryland lacks a Helen Hayes Awards, or the Washington League of Theatres to link them together. Maryland doesn't have an organization that binds theaters together. Still, there is a collection of very strong theaters across the state and with the geography, most people can reach any of the major theaters with a not-too-long of a drive.

Here are my picks for the ten best stage productions of 2009 in the State of Maryland.

1. The Importance of Being Earnest- Centerstage

I believe it to be the best production of the season. Certainly the costume design and the scenic design were the best we've seen locally in some time. Centerstage regular Laurence O'Dwyer steals the show with his hilarious performance of Lady Bracknell. When Centerstage gets it right, they get it right. With this snappy production of the Wilde masterpiece, Irene Lewis and Centerstage get it right. I strongly believe that they (and Artistic Director Lewis)are at their strongest when they take on theater "chestnuts" like Importance of Being Earnest, Who's Afraid of Virginia Wolfe, The Matchmaker and Arsenic & Old Lace. They brought new life to all of them. Their Earnest is smarter, funnier and snappier than the usual production you may have seen of Wilde's popular romp.

2. The Mystery of Irma Vep - Everyman Theater

Bruce Nelson seems to be everyone's favorite local actor- and for good reason. At his best, this actor is ridiculously good. On occasion, his performances are a bit too far of a stretch (his recent performance as Hamlet's King Claudius comes to mind). But, when he's in his comfort zone, he's terrific. In Irma Vep, he's funny, full of energy and extremely likable. In larger than life plays like The Mystery of Irma Vep, he shines. He is a man of a thousand faces in this well directed play. This production was a lesson for other theater companies in how to stage a campy, zany affair and do it sharply.

3. The Puppetmaster of Lodz- Performance Workshop Theater

This piece gets produced often in Baltimore by the Performance Workshop Theatre. Although the play might be better suited as a one act (the story gets a bit thin), the performance by Marc Horwitz is terrific. He does an outstanding job of recreating a difficult role- of the not- likable title character. This little theater group left their tiny theater in Federal Hill for the only slightly larger Baltimore Theater Project space. I hope they don't move it to a larger space- I think it is very suited to an intimate performance space. Look for its revival in a few years- and don't miss it.

4. Hysteria - Rep Stage

Rep Stage's strongest outing of the year. This production was a shining star from beginning to end. The area's steadiest theater company can play it a little too safe- not solely with their stagings but also with their choice of material. That's why it's fun to have them select some more risky material. If there was one production to see this year on this list it would have been this one. Not because it was the best, but because it was so unique. Bruce Nelson in another one of the best plays of the season- and largely because of another one of his excellent performances. His Salvador Dali wasn't so much Dali as an interesting invention, but it worked. It was fun to watch the whole way through.

5. Cyrano de Bergerac - Chesapeake Shakespeare Company

This production sort of ran under the radar. By the time I had even heard that it was being produced, it was closing weekend. It was imperfect, but its highlights were remarkable. How can you mount a production of Cyrano with a so-so performance in the leading role and still have the production be so glorious? Yet this production stays in my memory months later. Possibly it was the magnificent outdoor setting, the epic direction of the piece or the incredible visuals of the production. Regardless, it was one of the most exciting productions of the year. Shame about the uneven performances. An outstanding outdoor theatrical experience from Ellicott City's best kept secret.

6. The Cherry Orchard -Everyman Theatre

Baltimore's favorite theater company occasionally ventures into pre-modern theater and mostly it's not their forte. But this production of The Cherry Orchard was surprisingly fresh. Maybe it's because the play feels so modern. Deb Hazlett and Wll Love were particularly strong in this earnest production. Director Vincent Lancisi's played it very straight- and that was refreshing for this play that seems to attract directors who want to "fix" the play. Some of the younger actors prevented the production from soaring, but still - a strong outing from Baltimore's favorites.

7. Sweeney Todd- Toby's Dinner Theater

Cannibalism is not the first subject matter that comes to mind when thinking of dinner theater material, but here it is. Toby Orenstein shows her skill at mounting musicals that please audiences. It's great to see her when she takes on a more challenging piece like Sweeney Todd. And although the production was hardly groundbreaking in nature, Russell Sunday gave one of the strongest performances of the year. Lynne Sigler is awfully good too. I could never figure out why Sweeney has an American accent though.

8. Eurydice- Round House Theatre

An uneven production from Bethesda's Round House theatre yet there are enough interesting things in this production to make it a bright spot in the theater scene. Eurydice was one of the daughters of Apollo and married Orpheus and has been the subject of many works o art over the years. The latest is a post-modern fable of sorts. The strength is Sarah Ruhl's fascinating script and very strong performances by Jenna Sokolowski and Adriano Gatt. Clint Ramos' set is terrific, but the direction of the play seems inconstant and the play wavers from sublime to adolescent. Still, it's great to see daring work like this.

9. The Wild Duck- Single Carrot Theatre

This young company gets a lot of attention- and I'm not always sure why. They're hungry enough and they take risks and that's commendable(!), but they don't often do it successfully. Still I admire their energy and determination. Maybe it's that every other theater company in town is so...old- and the contrast is so apparent. On occasion I think their work shows hints of great things to come. Their production of The Wild Duck was their best. The cast is strong and the direction is capable and the storytelling aspects of the production are first-rate. Plus, how often do you get a chance to see The Wild Duck?

10. Spring Awakening- The Hippodrome

Not produced by a Maryland theater company, but I've included it anyway. It's a wonderful production. The ensemble was particularly strong. The plotline of Spring Awakening focuses on a group of adolescents from the generation fated to become the parents of the Nazis. Their lives are none-too-enjoyable, what with sexual oppression, suicide, teen pregnancy, abortion and parents raping their children. Hardly the subject matter for a conventional musical. Still, the production was enormously moving, the acting top notch and the music was highly original.

Best Theater News

Anne Cantler Fulwiler, saved the Theatre Project from extinction. Things looked awfully grim at the start of the year, but through perspiration, ingenuity and grit, Ms. Fulwiler was able to keep the doors open on this Baltimore arts landmark. We're the better-off for it. They say the recession is over. Let's hope so.

In addition to the theater companies whose shows are represented in the article, Maryland is home to a number of fine theater companies like the famous Olney Theater Center, Frederick's Maryland Ensemble Theater, summer theater Cockpit in Court in Eastern Baltimore County, Annapolis' Bay Theater and Hamden's Baltimore Shakespeare Festival and Mobtown Players as well as the 93 year old Vagabond Players.

Broadway World Covers CSC's Julius Caesar

2009-10-27T08:58:00.001-05:00

A Haunting CAESAR at the Patapsco Ruins

- by Brent Englar

Shakespeare’s Julius Caesar contains so many famous speeches—most of them filled with weighty words such as Freedom, Justice, Honor—it is easy to forget how much action the play packs into its tight structure. Easy, that is, unless one has recently come from the Patapsco Female Institute Historic Park in Ellicott City, where the Chesapeake Shakespeare Company is staging the great tragedy around that venue’s “Haunted Ruins.” And I do mean around.

You see, in this production—as in last season’s acclaimed Macbeth—the audience moves with the actors. Waiting “outside” the theatre for the play to start, we are surrounded by costumed people cheering Caesar’s latest military triumph, and suddenly, wonderfully, we are part of the mob—a point reinforced by the hurried entrance of two Roman senators, who accost us for our unruliness as we jostle past. Later scenes unfold before a balcony, beneath a tent, in an open field; Marc Antony delivers his funeral oration for Caesar—whose bloody assassination by Brutus, Cassius, and the rest of the conspirators plays out in a coldly lit courtyard—upon a flight of stone steps framed by huge columns.

The cumulative effect—even accounting for the inevitable, awkward transitions that occur when several hundred people squeeze simultaneously through narrow corridors—is to create one of the most intimate, riveting theatrical experiences I have ever had. Director Frank B. Moorman has trimmed the text to a crisp two hours, yet nothing seems to have been lost; the psychological complexities of Caesar, Antony, Cassius, and especially Brutus—Shakespeare’s first tragic hero who turns inward, and a crucial step toward Hamlet—are coherent and vividly brought to life by the first-rate cast.

Scott Alan Small’s Brutus and Michael P. Sullivan’s Cassius cut the most imposing figures, whether clad in soldier’s garb or in top hats and ties. (Costume designer Karen Eske sets the play in an apparently Victorian universe—the actual effect is less incongruous than it sounds, and perhaps it makes the characters a bit more accessible than if they’d simply worn togas.) These are strong, physical men, whose barely restrained power seems always on the verge of breaking through the checks forged by civility and intellect. “Brutus and Caesar,” tempts Cassius, “what should be in that ‘Caesar’? / Why should that name be sounded more than yours?” Watching Small and Sullivan chafe under their perceived bonds, we cannot help but agree.

Few conspirators in history are more notorious than Brutus and Cassius—Dante places them with Judas Iscariot in the bottommost depth of his Inferno—yet Shakespeare’s play is most compelling as it gradually reveals the friendship that cements (and is cemented by) their conspiracy. Small and Sullivan are equally affecting in this light, particularly when set against the more obvious marriage of convenience that exists between Octavius, Caesar’s great-nephew (and the future emperor), and Antony, Caesar’s favorite. Octavius and Antony win the battle that concludes the play, but Brutus and Cassius win our sympathy … and possibly our admiration.

That said, Antony’s is easily the flashier role—when well delivered, his “Friends, Romans, countrymen, lend me your ears …” is one of the most exhilarating speeches ever written. And when the time comes for him to mount those stairs and command our attention, Daniel Corey is sensational. One hopes in a few years the Chesapeake Shakespeare Company stages Antony and Cleopatra, so that Corey has an opportunity to complete the great warrior’s own tragic arc.

Kevin Costa’s smirking Casca stands out amongst the conspirators. Rebecca Ellis is poignant in her lone appearance as Brutus’s wife, Portia; in contrast, Bridget Garwood’s voice is somewhat overwhelmed by the outdoor space, limiting her effectiveness as Caesar’s wife, Calpurnia. The same might be said of James Jager’s Octavius. As for Caesar himself, Frank Mancino seems mostly puffed with hot air—though the effect is funny, Mancino never quite locates the mighty heart that still beats in the aging body.

Moorman and set and lighting designer Dan O’Brien make efficient and occasionally ingenious use of the space—the simple strobe effect that O’Brien creates for Caesar’s ghost is particularly chilling. Fight choreographers James Jager and Eric Lund stage a crisp battle of Philippi, though I can’t explain why properties designer Kristina Lambdin equipped some of the soldiers with swords and others with shovels.

Julius Caesar closes November 1^st. Don’t miss the chance to see it.

Julius Caesar is playing at Patapsco Female Institute Historic Park, located at 3691 Sarah’s Lane in Ellicott City, on Thursdays, Fridays, and Saturdays at 8 PM and Sundays at 6 PM, through November 1^st. Tickets are $25-$30 for adults, $22 for seniors, and $10 for students 21 and under. For more information, visit www.chesapeakeshakespeare.com or call 866-811-4111. Groups of 10 or more should call 410-313-8874.

Baltimore Sun's Music Critic Covers Julius Caesar

2009-10-27T08:56:00.000-05:00

Plucky 'Caesar' troupe carries on in downpour

Chesapeake Shakespeare Company performs amid ruins of Patapsco Female Institute

Jose Guzman, left, and Scott Alan Small perform in Chesapeake Shakespeare Company's production of "Julius Caesar" amid the ruins of Ellicott City's Patapsco Female Institute. (Baltimore Sun / October 26, 2009)

By Tim Smith | tim.smith@baltsun.com

October 27, 2009

You've got to admire the mix of imagination and chutzpah behind the Chesapeake Shakespeare Company, which last year tried out the concept of an outdoor production that includes nearly as much action on the part of the audience as the cast.

That first "Movable Shakespeare" venture, "Macbeth," has been followed this season by a "Julius Caesar" that spreads all over the cool ruins of Ellicott City's historic Patapsco Female Institute, where "the deep of night is crept upon [their] talk."

On Friday, the seep of rain crept in, too - poured in, even, as the last scenes were played on a grassy knoll. That gave a new twist to the line, "The storm is up and all is on the hazard." But the actors soldiered on gamely; so did the spectators. (Act 5 was condensed because of the weather.) In retrospect, the "ill beginning of the night" - the first, brief rainfall delayed the start of the play - could be viewed as one more portent in a play partly fueled by portentous signs.

The Ides of October didn't really dampen things too much. Given the intriguing surroundings and the overall spirit of the actors, it was pretty easy to overlook any unevenness of talent and simply go with the unusual flow.

Caesar's murder was carried out in an intimate room of the roofless structure, inches away from some of those watching. Mark Antony asked for the lending of ears while standing on the building's imposing front staircase as angry Roman countrymen mingled with the audience to shout out reactions; everyone then trudged up those steps and moved through spooky corridors as sounds of an uprising against the assassins filled the damp air.

Director Frank B. Moorman reveals a knack for effectively keeping the play in motion. The production gets a 19th-century look from the costumes by Karen Eske, neatly matching the environs - the Patapsco Female Institute opened in 1837.

Exterior scenes can't help but be tricky acoustically. On Friday, some things couldn't be heard clearly by those not standing, sitting or leaning up close. (Concern for audibility presumably accounted for the way almost all the lines were shouted, reducing possibilities for nuance.)

The most persuasive acting came from Scott Alan Small, who caught the intense convictions of Brutus; Michael P. Sullivan, who revealed similar passion as Cassius; and Daniel Corey, whose Mark Antony exuded an affecting blend of fear and courage. Sturdy contributions came from Dave Gamble (Decius Brutus) and Kevin Costa (Casca). Frank Mancino needed more authority and personality for the title role.

If a certain collegiate level of acting flavored the rest of the cast, the overall commitment of the participants carried the day - and the appropriately volatile night.

"Julius Caesar" will be performed at 8 p.m. Thursday through Saturday, 3 p.m. and 6 p.m. Sunday at PFI Historic Park, 3691 Sarah's Lane, Ellicott City. Tickets are $10 to $30. Call 410-313-8874 or go to chesapeakeshakespeare.com.

Twelfth Night

2009-07-13T09:51:00.000-05:00

Theater Review: 'Twelfth Night' is still tops among comic romps

By Anthony Sclafani

Posted 7/09/09

(Enlarge) Jenny Crooks, left, as Viola in her ruse as a man, gets a hearing by Lisa Hill-Corley in â€œTwelfth Nightâ€ by the Chesapeake Shakespeare Festival.

When William Shakespeare wanted to get serious, tragedies like "Macbeth" and "Hamlet" ensued. But when he was in a silly frame of mind, he could be unbelievably ridiculous, as evidenced by "Twelfth Night," being staged locally by the Chesapeake Shakespeare Company through July 19.

In "Twelfth Night," the Bard touches on all of his favorite comedy standbys. The play has twins, mistaken identity, and a pompous character or two who very much play the fool. There are even ill-fated love affairs — although rendered with a much lighter touch than in, say, "Romeo and Juliet."

The action in "Twelfth Night" kicks off with a woman named Viola (Jenny Crooks) washing ashore in a strange land after being shipwrecked. Viola needs a job and since women's lib won't happen for another few hundred years, she disguises herself as a man.

Sure enough, the ploy works, and Viola is soon working hard for the money of the debonair Duke Orsino (played by Michael Boynton). But the Duke doesn't have Viola doing any real kind of meaningful work; instead, she's dispatched to seek out Orsino's longtime crush, Olivia (Laura Rocklyn), and trying to help Orsino make a love connection.

You can pretty much guess that when Olivia sees Viola gussied up like a man, she gets an instant crush on her -- er, make that "him." Viola, meanwhile, is anguishing over her own secret crush on Orsino.

Director Jenny Leopold sets the action in the early 1960s, which might have you searching for an undercurrent of politics. But while some issues about women in the workplace are emphasized by Leopold and Kristina Lambdin's period costumes, what really seems to be brought out is how romantic relations between the sexes haven't really changed much, whatever the time period.

The play's subplot gets most of the attention, and for good reason. It concerns the classic Shakespearean character Malvolio, who serves as the head of Olivia's household.

This character has thrived through the ages as the prototype of virtually every pompous know-nothing who gets a rise out from audiences out of his complete, comical lack of self-awareness.

Dave Gamble gives the character a particularly compelling haughtiness, especially when he's forced to match wits with another one of Shakespeare's most inspired creations, the ridiculous Sir Toby Belch (played with Bill Murray-like deadpan wit by Jared Mercier).

The romantic complications are pushed further when the honorable Mr. Belch sends his boyish surrogate, Sir Andrew Aguecheek (Brandon Mitchell), to win over the sought-after Olivia.

"Twelfth Night" has become a favorite template for any madcap romp that gets people laughing simply because of the hectic pace of its silliness. Leopold siezes on the idea and has the various characters race on and off designer Heidi L. Castle-Smith's set as if to underscore the ridiculousness of the premise.

The only time the audience gets to catch its collective breath, it seems, is during Dan O'Brien's made-to-order songs, sung here with tongue-in-cheek earnestness by Steve Beall. Romance and song, the play seems to say, bring out both the pain and joy in life.

"Twelfth Night" by the Chesapeake Shakespeare Company continues through July 19 at the Patapsco Female Institute Historic Park, located at 3691 Sarah's Lane in Historic Ellicott City. Performance times are Fridays-Saturdays at 8 p.m. and Sundays at 5 p.m.

Admission is $25 Fridays, $30 Saturdays-Sundays, with senior citizen tickets running $22-$27, and students under 22 just $15. Children under 18 are free with a paying adult. An extended version will be staged Friday, July 17. For information go to www.chesapeakeshakespeare.com, or call 866-811-4111 or 410-313-8874 for group sales.

Howward County Times Cover CSC

2009-06-11T11:29:00.001-05:00

Thinking Outside the Bard

Outdoor theatre

By Anthony Sclafani

Posted 6/03/09

With 'Cyrano,' Shakespeare troupe hopes to win by a nose

Nearly every weekday, Ian Gallanar makes his way up the hills to the ruins of the old Patapsco Female Institute in historic Ellicott City. There, in the expansive outdoor setting, the long-time theater director is taking on his most challenging mission to date.

Along with some 30 actors and assorted technical crew, Gallanar is mounting his biggest production yet with the troupe he co-founded over half a decade ago. The Chesapeake Shakespeare Company revival of "Cyrano de Bergerac" opens Friday, June 5 and will be nothing if not ambitious.

"The thing is huge," laughs Gallanar, who also serves as the troupe's artistic director. "There are over 40 roles in this play. There are about 80 costumes, and they're all period costumes, so it's not like you can put a brown suit on somebody.

"It's five acts, and each act is set in a completely different location," continues this Laurel-based director. "So it's a big, gigantic piece. You can't just go to any theater and sayy, I think I'd like to do 'Cyrano de Bergerac!'"

Over the past few years the company has gone from an upstart troupe to being one of the most critically acclaimed purveyors of Shakepearean drama in the state. It has received several Greater Baltimore Theater Awards, and in 2007 was the only Maryland drama troupe invited to perform in the prestigious Shakespeare in Washington Festival.

For the first time, Gallanar and company have looked away from the troupe's namesake for their signature summer offering (although they have staged a non-Shakespearean title or two in winter months). This time, instead of sticking with the boy who brought them, they've strayed off into untested territory with an oversized antique by French one-hit wonder Edmond Rostand.

Is this the time to take artistic risks?

"You know why we're doing it?" asks Gallanar with a rhetorical flourish worthy of Cyrano himself. "Because we can."

And he's not kidding.

"We talked it over and we looked at our budget. And we looked at our audience and thought, since we're in our seventh season, it's time to introduce something besides Shakespeare."

That meant a stretch in more ways than one. Gallanar had to hire more actors. Washington-area stage veteran Frank B. Moorman, who plays the title role, had to enroll in fight choreography classes to navigate through the play's many swordfights and physical challenges. And marketing director Rebecca Ellis had to come up with a large prosthetic nose realistic enough to turn Moorman into a believably authentic Cyrano.

It's "Cyrano," after all -- and everyone will be coming to see the man with the long nose.

The main man

"Cyrano de Bergerac," as most folks will remember from high school English class, is a romantic tragedy about a famed soldier and poet with an oversized proboscis who unfortunately is carrying a torch for the fairest maiden in France, Roxanne.

Things get complicated when Roxanne falls for Cyrano's fellow soldier, Christian de Neuvillette, who is too prosaic and tongue-tied to master the language of love. So Cyrano volunteers to be Christian's invisible surrogate and speech writer in the campaign to win Roxanne. As expected, he succeeds only too well for all involved.

First performed in 1897, the play has been rediscovered and adopted by virtually every generation since. It is periodically revived on the professional stage, and enjoyed a mainstream retelling in 1987 when comic Steve Martin wrote and starred in a movie update titled "Roxanne."

Gallanar says the play first got his attention in a cartoon version he saw in his youth. "It was a 'Mr. Magoo' cartoon," he confides. "For some strange reason in the mid-1960s, they made a series of 'Mr. Magoo' classics - cartoon renditions of classic plays like 'A Christmas Carol.'

"What appealed to me was the story. You see this basic story a lot -- in sitcoms, in movies -- it's everywhere."

The same mix of comic and tragic elements that has fueled the play's popularity through the years poses a special challenge for any director attempting to revive it.

As he gets set for another evening of running cast interference and untangling the text's mixed messages, Gallanar reflects on the obstacles already met.

"We have a variety of different actors. Some of them are kids, some of them are interns and some of them are professionals."

Notably included among the smattering of children are Gallanar's own daughter, Isadora Gallanar, as well as Addison Helm, the son of co-star (and managing director) Lesley Malin.

"When you're dealing with so many different kinds of actors, you have to talk to everybody differently."

Altogether, the summer production is another key step forward for a troupe that has been stepping up for some time. Even in a harsh economic environment, when people have notably less discretionary income for tickets, the company sold out its October run of "Macbeth" and had its second-highest attendance records for its outdoor productions last summer, despite near-continuous rainfall.

The troupe's last production, "The Country Wife," also sold out, even though it was a little-known Restoration comedy. Word of mouth about the company's quality has clearly gotten around -- and rave reviews from a variety of the region's media can't have hurt at all.

"It's the largest cast we've ever assembled. It's huge," Gallanar emphasizes, then ends with a wry note of understatement. "But it's great fun, like herding cats."

The company will also present "Twelfth Night" beginning June 26 and that production runs weekends to July 19. There will be a marathon double-header production of both plays Saturday, June 27.

DC Theater Scene Reviews Cyrano

2009-06-11T11:25:00.000-05:00

Cyrano de Bergerac

June 10, 2009 by Steven McKnight
Filed under Features, Our Reviews

Howard County Times Reviews Country Wife

2009-03-02T18:49:00.001-05:00

Theater Review: Living for today, 'Country' style

Chesapeake Shakespeare Company has its way with Wycherley

By Mike Giuliano

Posted 2/26/09

William Wycherley's "The Country Wife" was written in 1675, but the Chesapeake Shakespeare Company's production of this English Restoration comedy is easy to follow in 2009.

You'll readily adjust to the play's stylized language and customs, because amorous intrigue never goes out of style. As for the three-hour running time: It flies by like a breathlessly paced sitcom in which every marriage just seems like an excuse to commit adultery.

"The Country Wife" is a zesty reminder that 17th-century England was a tumultuous place. The Puritans had banned theater, but they fell from power with the restoration of the monarchy in 1660. Whatever one might say about the ensuing Restoration theater, it was not puritanical. It celebrated life with such bawdy glee that you still sense the playwrights' excitement at being able to freely express themselves again.

The near-manic quality of such theater also conveys the feeling that these stage characters are vigorously living for today, because yesterday was grim and there's no guarantee that there will be a tomorrow. Quickly made references to war, smallpox and other life-shortening things in "The Country Wife" are reminders that there's no point delaying either a marriage or an adulterous affair.

Wycherley's play is predicated on the basic social assumption that marriage is a contract based on financial advantage, social position, and just possibly genuine affection; those who are married have no qualms about having affairs on the side. Not every character in this densely plotted play totally agrees with that assumption, which is one reason why their varied responses to it result in a three-hour play.

This story is brimming with innuendo-laden conversations whispered behind hand-held fans, characters hidden behind large screens, and passionate affairs that go postal with every letter sent to an eager recipient.

The complexities of that plot are best discovered for yourself, but they all spin off of the bawdy scheme that immediately gets the play going. Harry Horner (Scott Alan Small) is a swaggering London playboy whose curly wig is kept in motion by his pursuit of women. He hatches a plot to pretend that he's impotent, thereby making husbands trust him in the company of their wives. The duped husbands will assume Harry is just visiting to play cards, for instance, without realizing that he's playing another game.

Harry is a city slicker whose sly tactics are aimed at targets including a country couple, the stuffy Jack Pinchwife (Keith E. Irby), and Pinchwife's sweet-natured new bride, Margery (Rebecca Ellis). All three actors persuasively embody their roles, with Irby especially impressive owing to the fervor of his authoritarian pronouncements.

The large cast generally meshes well under director Heather S. Nathans, even though a few performers seem all too eager to mug. Among the actors doing fine work are Dave Gamble, Scott Graham, Frank Mancino, Jeri Marshall and Anastasia Wilson.

Surely the real star of this production, however, is costume designer Kristina Lambdin. There are so many beautifully designed costumes on men and women alike that the show becomes a lavish immersion in 17th-century society.

These characters love to adorn themselves with dainty lace, flashy jewelry and elaborate wigs. Their sartorial philosophy seems to be that you must love yourself before you can love anybody else.

Chesapeake Shakespeare Company's production of "The Country Wife" runs through March 1 at the Howard County Center for the Arts, at 8510 High Ridge Road in Ellicott City. Performances are Thursday, Friday and Saturday at 8 p.m., Sunday at 2 p.m. Tickets are $25, $22 for senior citizens, $15 for students younger than 22. Call 866-811-4111 or go to www.chesapeakeshakespeare.com.

Baltimore Sun Reviews The Country Wife

2009-02-24T15:44:00.001-05:00

The Country Wife': Low comedy in high style
Chesapeake Shakespeare Company ably pulls off 17th-century play

By Mary Carole McCauley | mary.mccauley@baltsun.com
February 12, 2009

"The Country Wife"

Lesley Malin (left) and Scott Graham star in "The Country Wife" at the Howard County Center for the Arts through March 1. (Photo by Kitty R Photography / February 10, 2009)

The ambitious Chesapeake Shakespeare Company spent more than six months putting together its current production of The Country Wife - much of it mastering the intricate movement style required of Restoration theater.

And every single minute of the troupe's hard work shows in this glittering version of William Wycherley's bawdy comedy from 1675.

Restoration theater is among the most difficult acting styles to master, but what's most impressive isn't the way the performers flip their fans or mince around stage with their feet turned out. Under Heather Nathans' sure direction, the mannerisms never overwhelm the acting.

This is a production that holds its own, ounce for ounce, with the big fish in the classical pond - Washington's Shakespeare Theatre, which last fall staged a different Restoration comedy, William Congreve's The Way of the World. It's as if the Aberdeen IronBirds were to tie the Baltimore Orioles in an exhibition game. It's not an impossible feat by any means, but it's certainly unexpected, since the major-league team has all the advantages.

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The Chesapeake company is composed of actors who also have day jobs and, not surprisingly, its bench isn't as deep as that of the fully professional Washington troupe. Performances falter in a few, smallish roles. But the local production is the clearer and more accessible of the two, and - perhaps because it is staged in a 100-seat black-box theater - the more intimate.

That said, Restoration comedy is a bit of an acquired taste. It can be too convoluted and clever by half, too enamored of its own wordplay. It's to the actors' credit that the dialogue generates lots of laughs.

In Wycherley's sex farce, the aptly named Horner pretends to be impotent to gain access to the wives of men he plans to cuckold. The newly married Pinchwife is wise to Horner's scheme, and keeps his wife a virtual prisoner to prevent her from being seduced. Meanwhile, Pinchwife's sister, Alithea, is determined to honor her engagement to a fop, though she loves another suitor.

Rebecca Ellis is a hoot as the willful and impetuous title character, who constantly blurts out whatever is on her mind - and who is just as constantly being shushed. It's great fun to see conflicting urges battle it out on Ellis' expressive face.

Scott Alan Small is virile and charming as the rake, Horner. Fresh performances also are supplied by Lesley Malin, as the all-too-conscientious Alithea (though it would be nice to see more of the character's inner struggle); by Scott Graham as her smitten suitor; and by Annie Grier as a saucy maid.

It's instructive that the most broadly comic roles result in both the strongest and weakest performances. As the fop, Sparkish, Frank Mancino is the human equivalent of meringue - all fluff - while Dave Gamble is a fatuous delight as the easily hoodwinked Sir Jasper Fidget.

Mancino and Gamble's portrayals are every bit as over the top as are those of their less-effective colleagues. So why are the former believable, while the latter (who shall remain unnamed) are not? Perhaps it's because Mancino and Gamble seem physically relaxed. They never screw up their faces, or seem to strain, or subliminally express reservations about their own performances.

I doubt that Kristina Lambdin had $1 million to spend on her sumptuous costumes, but she makes it appear as though that was her budget. When upon occasion the script gets too arch, you can momentarily tune out, and watch those gorgeous garments shimmer and gleam.

if you go
The Country Wife runs through March 1 at the Howard County Center for the Arts, 8510 High Ridge Road, Ellicott City. Tickets are $15-$25. Showtimes are 8 p.m. Thursdays-Saturdays; 2 p.m. Sundays. Call 866-811-4111 or go to chesapeakeshakespeare.com.

Baltimore Sun reviews Macbeth (in the Ruins)

2008-10-20T09:44:00.001-05:00

Macbeth' action, unusual set give you a workout

By Karen Nitkin |Special to The Baltimore Sun

October 19, 2008

The Chesapeake Shakespeare Company's production of Macbeth will make your heart pound, and not just when Macbeth wields bloody daggers after murdering Duncan, or when Banquo rises, eerily, from the dead.

Like other CSC productions, Macbeth is staged at the skeletal ruins of the Patapsco Female Institute, set on an appropriately spooky Ellicott City hilltop.

But this time, instead of sitting on folding chairs, the audience walks up and down stairs, climbs hills, peers through darkness, moves from one unheated roofless room to the other, and stands outside for much of the performance.

"We think of this as eavesdropping on the Macbeths," artistic director Ian Gallanar told members of the audience before the show began.

It's a neat idea, and one particularly suited to this ghost-filled, pre-Halloween production and its spooky setting. The logistics have been carefully thought out, and as the audience is guided from one setting to another, marketing director Rebecca Ellis leads the way, saying things like "Let's go see what Lady Macbeth is doing now."

But a little restraint would have gone a long way. Instead of changing locations a dozen or so times, the audience might have been better served with just two or three scene changes. Each shift in location takes more than a few minutes and requires audience members to find new places to stand or sit so they can see the action.

Though some rooms have chairs, and one outside scene offers picnic tables so audience members can feel as if they're part of a celebratory feast, the production, at 2 1/2 hours, requires a lot of standing time and stamina. And when the scenes move out into the dark night, following the action of characters dressed in dark clothing can be challenging at best.

The fine acting all around, particularly by Lesley Malin as Lady Macbeth and Scott Alan Small as the ambitious Macbeth, may make you forget about tired feet and the chilly October night. When Macbeth returns to his wife carrying blood-soaked daggers after murdering Duncan, the king of Scotland, the adrenaline and tension are palpable.

"I have done the deed," Macbeth confides, barely able to believe it himself.

The affection between the scheming Macbeth and his equally ambitious wife is also palpable, and when he calls her "my dearest love" his words contain an implied caress. Later, when she tells her husband to "screw your courage to the sticking place, and we will not fail," we can see him gaining quiet confidence from his beloved's words.

One centerpiece of "the Scottish play," as it is known, is the great banquet scene in which Macbeth, riddled with guilt and sinking into madness, sees Banquo rise from the dead after Macbeth arranged for his murder.

The company stages the banquet at outdoor picnic tables, even asking a member of the audience to pour wine into the newly crowned king's goblet. When Banquo, played by Colby Codding, emerges from the shadows with blood on his forehead, a frozen smile on his face and a blank look in his eyes, Macbeth's first reaction is to find someone other than himself to blame.

"Who has done this?" he asks, terrified, then speaks directly to Banquo: "Thou canst not say I did it. Never shake thy gory locks at me."

Like all Shakespeare productions, CSC's Macbeth is best appreciated by people who are familiar with the play. But the excellent acting brings all the terror, raw ambition and scheming of the play alive, even to those who are new to it.

Plus, it may be the only production of Macbeth that gives your body and your mind a workout.

WYPR- FM reviews Macbeth

2008-10-20T09:42:00.003-05:00

Here is the transcript:Grown-up drama now on 88.1 I’m Sheila Kast. If you’re going to the Chesapeake Shakespeare Company’s Macbeth, be sure to wear comfortable shoes and warm clothes as this outdoor production draws the audience into the thick of the action. The theatre critic Martha Thomas who saw the play said braving the elements is worth the experience. Here’s her review.

The Chesapeake Shakespeare Company has transferred last year’s straight- forward production of Macbeth to a new setting and in the process has created a whole new play. The group is remaining at its summer home, the grounds of the old Patapsco Female Institute for this first production of the winter season, taking advantage of the warm evenings of October. But instead of sitting on folding chairs or picnic blankets the audience becomes part of the action, traipsing after the actors as they wend their way through the ruins.

The result may be the most exciting production of the Scottish play you’ll ever see. In some cases, we’re incorporated into the production, standing on a hillside at the end of the battle, as guests at table during the banquet. We feel as if we’ve traveled in time to a Scottish castle in order to witness this grisly drama unfold. The company makes good use of its surroundings, the ruins of a pre-Civil War era school for girls. Macbeth first appears atop a sweeping stone staircase, the great hall with the fireplace becomes the interior of the castle open to the inky sky. Actors appear on second floor galleries and leaning through windows. The opening night audience was double that anticipated and actors did an admirable job of staying in character as spectators often spilled into playing areas.

One of the most dramatic settings is a cramped room off the basement chapel, where Macduff learns that his family has been brutally murdered. Actor Patrick Kilpatrick is lit only by harsh work lights and his shadow looms large against the stone foundation as he rages in his grief while we, the audience, are pressed against the walls or huddled on the dirt floor. Lesley Malin’s Lady Macbeth wanders amid columns in the chapel, swatting her hands to rid them of imaginary spots of blood, while her doctor stands in an opening above to witness her madness.

If you’re keen to hear every word and see every facial expression, this isn’t the play for you. It moves at a pretty pace with audience members jockeying to find the best vantage point for each scene, sometimes unable to see the actors faces or even hear their lines. Cut to compensate for the time required to relocate an entire audience every scene or two, this production depends on broad brushstrokes. Its focus is Macbeth’s rise and fall and many details, like the Macduff story for example, have been eliminated.

It’s held together by the drama of the setting as well as by a powerful performance by Scott Alan Small. His fearsome Macbeth intensifies before us, even as his deeds bear down on him. When Macbeth sweeps into a room or locks eyes with an apparition, we are drawn to follow him. In the final scene Macduff and Macbeth battle it out on top of a hill. The two men race at each other across the grass, grunting, bashing, and clanging their swords. It’s a well choreographed fight that feels authentic in its force and physicality. And it’s a scene like none I’ve seen, with only the trees silhouetted against the starry sky as backdrop. You could just as easily be at the edge of the Birnam Wood as here in Ellicott City.

CSC on CNN

2008-09-16T17:01:00.002-05:00

The Chesapeake Shakespeare Company got a nice mention in a CNN story about the top counties in the US to live a healthy, long life. Click here to see the article

The Howard County Times Reviews CSC's The tempest

2008-06-26T11:28:00.003-05:00

Review: Chesapeake Shakespeare's 'The Tempest'

Comedy reigns in the ruins of the PFI

By Mike Giuliano

Posted 6/26/08

Theater review

Considering that it is set outdoors and has many scripted references to wilderness, it's only natural that "The Tempest" is one of the Shakespeare plays most frequently performed on a lawn during the summer. The Chesapeake Shakespeare Company has the added advantage of staging it against the imposing backdrop of the stabilized ruins of the Patapsco Female Institute in Ellicott City.

This enjoyable production makes the most of its pastoral setting through such staging tactics as the recorded sound of thunder so persuasive it might have you scanning the sky for signs of a real thunderstorm. Although a recent performance on a beautifully clear night never provided genuine reason to worry about rainy weather, that recorded thunder did underscore the extent to which Shakespeare's story relies upon stormy weather.

Prospero, the former Duke of Milan, lives in exile on a desolate island with his daughter, Miranda, who has had such a literally sheltered existence that she's never seen other people. The only exception, if you can call it that, are the two creatures who are subordinate to Prospero's magical power: Ariel, a lively spirit, and Caliban, a monstrous malcontent.

Deposed from his position in Milan by an aristocratic conspiracy, Prospero engineers his revenge by magically orchestrating a storm that causes a shipwreck involving villains from Milan and their equally conniving collaborators from Naples.

Much of the story involves the strange encounters on Prospero's island between its inhabitants and the shipwrecked party. It takes most characters awhile to get a secure grasp on who is who and who is still alive.

Shakespeare adds an affecting romance to give this mostly comic tale a sentimental quality, and he also gives it an ethical quality by transforming the revenge-driven plot into what's ultimately a story about forgiveness.

Most of the leading roles are smartly cast with actors who slip naturally into their roles. As Prospero, Michael P. Sullivan has a commanding presence that makes him fully capable of using magic to alter the course of events. A deft bit of staging occasionally finds Prospero looking down on the action from the second level of the Patapsco Female Institute. He's the master of this particular universe.

As Miranda, Annie Grier seems as sweetly innocent as one expects, and she's truly endearing when she gushes about her attraction to Ferdinand (Shaun Gould), the handsome and good-natured son of one of the villains, Alonso, the King of Naples (Gregory Burgess).

Among Prospero's less than human servants, Wayne Willinger is as filthy and hunched over as you want the bizarre Caliban to be, and he also roams off the stage often enough to turn the lawn into Prospero's domain.

This production effectively adheres to the outdoor custom of having performers romp down a grassy aisle as if it were Shakespeare Street, but director Patrick Kilpatrick should do even more of it with a play like "The Tempest." It would be a slightly scary treat for young kids in the audience, for instance, if Caliban were to get a little closer to them.

The only principal actor whose performance seems ill-considered is Ashly Ruth Fishell as Ariel. Her highly theatrical delivery sounds mannered, with diction so crisp and forceful that it hurts the play's lyrical flow. Although Ariel admittedly isn't happy about being under Prospero's spell and has spirited lines to that effect, Fishell's delivery is too strident.

The large supporting cast humorously makes this nearly deserted island suddenly seem overpopulated. Among the most engaging performances is by Colby Codding as the jester Trinculo. When he and Alonso's butler, Stephano (Jamie Hanna), verbally spar, it's like an eternally funny vaudeville act.

Storms wreck ships in "The Tempest," but the play's comic tone is like a gentle breeze wafting through the hills above Ellicott City.

The Chesapeake Shakespeare Company performs "The Tempest" in rotating repertory with "The Comedy of Errors" through July 13 at the Patapsco Female Institute Historic Park, at 3691 Sarah's Lane, in Ellicott City. Performances are Fridays and Saturdays at 8 p.m., Sundays at 5 p.m. Tickets are $25, $22 for seniors and free for children 18 and younger when accompanied by a paying adult. Call 866-811-4111 or go to www.chesapeakeshakespeare.com.

WYPR-FM reviews The Comedy of Errors

2008-06-24T07:07:00.001-05:00

Listen to Martha Thomas' review

The Tempest Reviewed in The Baltimore Sun

2008-06-24T06:08:00.000-05:00

Shakespeare's comic storm

By William Hyder |special to the sun

June 20, 2008

The Tempest opens with a storm at sea. Everyone on the ship is seemingly lost, but later, one after another, they all turn up on the same island.

The Chesapeake Shakespeare Company shows what happens next in an enjoyable outdoor production running through July 13.

The storm, the audience learns, was caused by a sorcerer named Prospero. Formerly Duke of Milan, Prospero was deposed years before by his evil brother Antonio, with the connivance of Alonso, king of Naples. With his infant daughter Miranda, he was sent to sea in a dilapidated ship.

Luck spared the two from drowning, and they found refuge on an island. Here Prospero studied books of magic left by a resident witch. With the powers he acquired, he freed a captive spirit named Ariel, gaining its help and loyalty, and enslaved the witch's monstrous son, Caliban.

Now, 16 years later, he is using his magic to regain his dukedom. He has brought his enemies and their retinues onto the island, and we see him achieving control over them with the aid of Ariel. He plans to consolidate his power by marrying Miranda to Alonso's son Ferdinand.

Miranda grew up knowing no men save for her father and the repulsive Caliban. At 19, she is ready to fall for the first new man who comes along. Thanks to Prospero's magic, it turns out to be Ferdinand.

Also saved from the storm are Trinculo, a jester, and Stephano, a butler. (Their occupations have to be learned from the program. The late-19th-century costumes designed by Kristina Lambdin give the audience no hint of who they are.)

The two men are urged by the vengeful Caliban to kill Prospero. The drunken Stephano will thus become king of the island; Caliban will gain his freedom. This is conceived as a comic situation, and Colby Codding (Trinculo) and Jamie Hanna (Stephano) make the most of it.

In another plot, Sebastian (Frank Mancino) conspires to kill his brother Alonso, king of Naples, with the aid of Antonio (Ben Fisler). Although meant to be serious, this situation too is played for comedy.

Three male characters become female in this production. Ashly Ruth Fishell is a pert and graceful Ariel. Adrian, a courtier (Rebecca Ellis), has hardly any lines, but Gonzalo, "an honest old Counsellor," is a major character. As played by Jenny Leopold, Gonzalo is an energetic and businesslike woman in the prime of life.

She and Ellis are charmingly and irrelevantly dressed in the style of 1912, with long, narrow skirts and what used to be called picture hats.

Wayne Willinger makes a splendid Caliban, a hairy, hostile creature with a necklace of teeth, resentful that his island has been stolen from him. Gregory Burgess is a sad and dignified Alonso.

As Miranda and Ferdinand, two young people overwhelmed by the wonder of first love Annie Grier and Shaun Gould get many sympathetic laughs from the audience.

Director Patrick Kilpatrick presents the show as a romantic comedy with a generous dash of fantasy. It is more than that. The script cries out for an ethereal atmosphere, an aura of wonder and illusion.

Prospero, after all, is playing God. In the end he forgives his enemies, and there is nothing more Godlike than that. Michael P. Sullivan's Prospero has authority but lacks any sense of the otherworldly.

The script calls for many effects the director does not attempt: spirits take on weird shapes; a banquet appears on stage and disappears uneaten.

The Tempest contains some of Shakespeare's best-known song lyrics, meant to be sung by Ariel and a few other characters. In this production some of the lyrics are recited, others sung in vague chants improvised by the actors. Real tunes could have added to the show's charm, and maybe given an opportunity to some local composer.

Quibbles aside, the CSC production offers an entertaining story, written by a master dramatist and vividly acted. It will provide its audiences with an entertaining evening.

The Chesapeake Shakespeare Company presents The Tempest tonight and June 27, 28, 29, July 4, 5, 11 and 13 at the Patapsco Female Institute, 3691 Sarahs Lane, Ellicott City. Performances are at 8 p.m. Fridays and Saturdays and 5 p.m. Sundays. The Friday, July 4, performance will begin at 5 p.m. Saturday, June 28, will be a doubleheader: The Comedy of Errors at 5 p.m. and The Tempest at 8 p.m.

Free parking in the Howard County Courthouse lot on Court House Drive. Tickets: 866-811-4111 or www.chesapeakeshakespeare.com. Information: 410-313-8874.

A Baltimore Sun review of The Comedy of Errors

2008-06-20T07:12:00.001-05:00

Comedy of Errors

By Mary Carole McCauley |Sun theater critic

June 11, 2008

Actors wearing suits the shade of egg yolks cruise down a stage on scooters. Balloons bob on the breeze. There's a line of Keystone Cops, and performers silently mime bits of slapstick during scene changes.

Director Ian Gallaner has festooned his Chesapeake Shakespeare Company production of The Comedy of Errors with trappings designed to make the show feel buoyant and swift, but unfortunately, the actors can't pull off the kind of high style he has in mind.

I couldn't help wishing that Gallaner had devoted less time and effort on what essentially are garnishes, and focused instead on developing even a single compelling performance on the stage at the Patapsco Female Institute's historic ruins.

Granted, The Comedy of Errors lends itself to a farcical treatment. The Shakespearean story about mistaken identity features two sets of identical twins separated at birth. Mayhem ensues when, unbeknownst to one another, they all end up in the same small town.

The comedy arises when the characters act on a set of assumptions that the audience knows to be false. But though the world that the play creates is outlandish and absurd, it seems to hold serious consequences for the characters. From their point of view, they are confronted by philandering spouses, thieving servants and children so ungrateful that they won't ransom a father from certain death.

We know that the actors are in a comedy; they think they're undergoing a tragedy.

Experienced actors talk about how their minds know that they're feigning, but their bodies do not. Even after a performance is completed, they have to cycle through the physiological states that occur when people are very angry, frightened or sad: The actors' hearts pound, their cheeks flush and their sinuses may clog.

But in Errors, there is a curious disjunction between what the actors are saying, their facial expressions and their body language.

Thus, when a character wanted to show that he's really mad, he screws up his mouth as though he'd just tasted something awful, but his eyes remain blank. When another character pounds on a locked door, his arms and shoulders flail away, but his hips are relaxed. Parents who have just been reunited with their children after an absence of decades casually leave the room where their sons remain without as much as a backward glance.

Well, at least Marilyn Johnson's costumes are worth looking at. She adorns her characters in a fruit-flavored palette of banana, kiwi and tangerine; the fuchsia and lime wigs worn by the two leading ladies are particularly fetching. Johnson also makes clever use of hoop skirts, in particular, to indicate that a slender actress is supposed to be round.

Heidi Busch's set has the same playful feel, from the giant polka dots adorning a stage wall to the noodles commonly used as beach toys, which are balanced on their ends on the building's roof. They sway in the breeze and beckon to passers by like the fingers on a hand.

In addition, the schtick that Gallaner inserts between the scenes, including such classic bits as a fat lady who drops a handkerchief and finds herself unable to pick it back up, adds a charming touch.

Also in the troupe's favor is the effort it makes to be accessible to kids, from providing a page for coloring in the program, to inviting youngsters on stage during intermission to learn the Bunny Hop. Children younger than 18 even are admitted free to all performances.

All of this is admirable, but it can't compensate for mediocre acting. An audience would willingly trade the most elaborate sets and costumes ever devised for one heartfelt moment on stage.

Columbia Flier Previews 2008 Summer Season

2008-06-06T08:31:00.001-05:00

Shakespeare cast tackles text under the stars

By Anthony Sclafani

Posted 6/05/08

Theater preview

It has been six years since Howard County's Chesapeake Shakespeare Company began staging its outdoor "Shakespeare in the Ruins" productions at the site of the old Patapsco Female Institute. For the past three years, the troupe has mounted two alternating productions in that historic Ellicott City location, and this year will carry on that tradition.

This year's edition could be subtitled "Shakespeare - First to Last," since it will showcase what is considered the playwright's final play, "The Tempest," along with one of his earliest, "The Comedy of Errors," which opens the festival Friday, June 6.

The double shot of classic literature is a good way to get a feel for the scope of Shakespeare's works, says troupe founder and artistic director Ian Gallanar, who is directing "The Comedy of Errors."

"We feel like we're doing the gamut of the Shakespeare canon," he explains. "Every summer when we do the two shows we look for contrasting pieces. And I think that 'The Tempest' and 'Comedy of Errors' are very different kinds of plays."

Gallanar has re-envisioned the silly romantic mix-ups in "The Comedy of Errors" as a sort of futuristic circus, while the company's associate director, Patrick Kilpatrick, is bringing the moody father-daughter allegory "The Tempest" into the Edwardian era.

Presenting the two plays in repertory means the same group of actors will be performing both shows. It's a difficult undertaking, but one that has its advantages, Gallanar explains.

"We like to do is put somebody in a large role in one play and a small role in another," he says. "We get really strong actors in some of the small roles, and personally, I think that's a real key to a strong production.

"(Shakespeare's) large roles are very well written, but if you put all your strong actors in the well-written roles and then you put you weaker actors in the smaller roles, you haven't got a very good balance in your production. And when we do rep, that's one of the things we get to address."

The downside is that the paid actors have to make a major time commitment to the project.

"We start rehearsing in March and we close July 13," Gallanar notes. "So people really have to give up a large chunk of their life for three and a half months."

It all appears to be worth it, though, if you look at the numbers. In the past three seasons, the company has grown its audience by more than 300 percent - a huge number considering the troupe is competing not only with other drama organizations such as the Baltimore Shakespeare Festival, but with massive electronic-age distractions.

How did they achieve that?

"We made an effort as an organization early on that we want to grow -- and we want to grow fast. We want as many people as possible to come see our shows, because we want to share our point of view about Shakespeare.

"It was very important to us that this project be embraced by the community and be a part of the community. So we made a lot of efforts early on to work with people, have conversations, find out what they needed and wanted, do outreach programs."

Making the outdoor productions into events didn't hurt, either. Again this year, the company will offer pre-show entertainment by local musicians, jugglers and variety acts. The acts perform for picnickers who arrive early to partake of the many dinner options offered. This year's picks include Southwest flank steak wrap and a Greek vegetarian delight, among other things.

The fact that the troupe is also continually reviewed in a positive light and was picked as a "best bet" in regional papers also helped the troupe to attract the top-ranked talent it takes to grow artistically.

Just don't expect the troupe to explore the nuances of the Bard's odder works here, the way it does the rest of the year in its home at the Howard County Center for the Arts. Instead, it looks forward mainly to generating some outdoor fun.

"Summer shows are big events," Gallanar observes. "We try to produce plays people are familiar with."

The Chesapeake Shakespeare Company will present "The Comedy of Errors" Friday-Saturday at 8 p.m. and Sunday at 5 p.m., June 6-8, 15, 21-22, 27-28 and July 6, 10 and 12. There will also be a Thursday, July 10 staging of "The Comedy of Errors" at 8 p.m.

"The Tempest" can be seen Friday-Saturday at 8 p.m. and Sunday at 5 p.m., June 13-14, 20, 28-29 and July 4-5 and 11 and 13. A "double-header" performance of both plays takes place Saturday, June 28 at 5 p.m. The Friday, July 4 "Tempest" will start at 5 p.m.

All performances are at the Patapsco Female Institute Historic Park, 3691 Sarah's Lane, in Historic Ellicott City. Admission is $25 general, $22 for seniors and students younger than 22. Admission is free for anyone under age 18. For tickets and dinner information, call 866-811-4111 or go to www.chesapeakeshakespeare.com. Groups of 10 or more should call 410-313-8874.

Baltimore Sun Covers CSC

2008-06-02T16:16:00.004-05:00

By Courtney Pomeroy |Sun Reporter

June 1, 2008

Ian Gallanar has spent his career trying to make the theater a more exciting experience for a wide array of audiences. More than a decade ago he conceived, wrote and directed Where in the World Is Carmen Sandiego Live!, one of about a dozen plays he's written for kids.

With help from the truthful nature of children, he says those plays have taught him what an audience really wants in a performance.

As artistic director of the Chesapeake Shakespeare Company, he will put this knowledge to good use on Friday by leading the cast of The Comedy of Errors into its first performance of the summer.

The show will not be in a theater but rather at the Patapsco Female Institute Historic Park in Ellicott City, an outdoor venue that Gallanar says contributes to the playfulness of the company's performances.

IN HIS OWN WORDS // One of the really fun things about putting the show together was we're doing a lot of people on wheels and things. We bought them those "Heelys" -- the shoes with wheels on them -- and we also had them on pogo sticks and scooters. We set the play in sort of a fantasy world, sort of a modern circus world, so we are creating sort of a unique style with the way the characters move.

LEARNING FROM THE KIDS // What you learn from working in children's theater is that kids don't care about the rules of theater. All they want to do is be engaged. They don't sit there and go, 'Well that's not a very good actor,' or, 'That set doesn't look very good' or anything like that. They sit there and they say, 'Am I engaged in this experience?' That's the big challenge of classical theater ... -- to take this material that's 400 years old and still use these great works to engage people. The other thing about it is -- children's theater can and often does use a lot of interaction between audiences and performers, and that's what, particularly, Shakespeare does. It was a great way to hone that and learn about that.

BREAKING THE FOURTH WALL // In Shakespeare, there's a technique called direct address. It's when characters talk directly to the audience. It's something that we embrace and use as much as possible to just sort of interact with the audience as much as we can. In theater culture, you don't allow yourself to be seen in costume by the audience except for in the play. What we actually do is we have our actors hanging out with the audience if they care to, in costume if they care to, just to sort of be able to chat with people before and during and after the show as well.

GOING OUTSIDE // These plays were originally performed outdoors. So they lend themselves to that. I don't know that I would do Neil Simon or Tennessee Williams outside. On a bet I might. But Shakespeare plays really are sort of created for that venue. Also, what I love about performing outdoors is it eliminates that sort of stuffiness ... of going into a darkened theater and sitting in your sometimes uncomfortable seats and waiting for the lights to come on or the curtain to raise, and then you sort of have this experience with these performers who are kind of behind ... some barrier. Everyone's sort of in it together, and that aligns a lot with our mission, which is connecting the work to our audience and our community.

OUTDOOR PERILS // So you've got rain, there are trains and planes that go by from time to time making a lot of noise. ... During the big cicada year, we had to delay our shows for a week because otherwise we would've been fighting cicadas all day. So you know, all that kind of stuff ... you can either view that as a problem or an obstacle, or you can sort of embrace it and have it be sort of the excitement of it.

courtney.pomeroy@baltsun.com

The Washington Post Reviews CSC's A Doll's House

2008-02-26T11:31:00.000-05:00

A Melodramatic 'Doll's House' With A Solid Foundation

Chesapeake Effort Shows a Few Cracks

Christina Schlegel as Nora and Patrick Kilpatrick as Torvald in Chesapeake Shakespeare Company's take on Ibsen's classic tale of feminist awakening. (Kitty R Photography -- Chesapeake Shakespeare Company)

By Nelson Pressley

Special to The Washington Post
Thursday, February 14, 2008; Page C05

Melodrama can make people uneasy, and the audience shifts a bit during the Chesapeake Shakespeare Company's straightforward, fervent production of "A Doll's House."

"Nora, you're hiding something," a character suggests to the play's heroine.

"Does it show?" Nora asks, and the panicked spin Christina Schlegel gives the line earns a nervous titter from the crowd.

It's not that director Kevin Costa's actors chronically overdo things in the Howard County Center for the Arts Black Box Theatre, where the shoestring production seems generally well judged (smartly tailored costumes, spare period settings). In fact, there is much to admire in Schlegel's flighty, immature take on Nora, the desperate housewife who learns during the nerve-racking events of her 1879 Norwegian Christmas how unbearably childlike her marriage has been.

Schlegel's generally chipper cadences nicely suggest practiced routine. Mollifying her husband and happily blathering to her friend, Schlegel's Nora has the charm of a superficial hostess, which is a good starting point for Ibsen's great play of feminist awakening.

Better yet is Patrick Kilpatrick as Torvald Helmer, an abrasively conservative husband played here with unusual intellectual and even sensual appeal. (Helmer's ugly side is compelling, too: An early fit of temper blows hot indeed, with Schlegel bowing her head quietly, as if against a familiar wind.) And Kathryn Kelly offers a calm, centered turn as Kristine, the friend whose cool practical experience stands apart from Nora's reckless bravery and naivete.

Still, things are slightly off, tilting the balance away from melodrama's strengths -- familiar characters caught in an ever-tightening vise of plot -- and toward its weaknesses, overstatement and cliche. Schlegel plays Nora's vanity too mindlessly, with no suggestion that beauty is a shrewdly used tool in the Helmers' marital games. Torvald's pet names for his wife sound inane no matter how smoothly Kilpatrick delivers them. And Charlie Mitchell, as the terminally ill Dr. Rank (the couple's friendly neighbor), speaks splendidly but is bizarrely robust for a man about to die.

"A Doll's House" feeds on melodrama before totally subverting it. Nora has a noble secret she must keep from Torvald, whose career and reputation will be ruined if anyone discovers that she forged a signature for a loan that saved his life.

Supercharged as this is, the motivations are realistic and the psychology is lush, preparing the ground for the landmark conversation at the end that's ruthlessly logical and still deeply affecting. Costa and the cast clearly get this; the production is nothing if not earnest and firmly grounded. Yet too often it's propelled by sheer vigor when it should be attuned to nuance.

A Doll's House, by Henrik Ibsen, translated by Paul Walsh. Directed by Kevin Costa. Set and lights, Dan O'Brien; costumes, Kristina Lambdin; sound design, Courtenay Moon. With Scott Alan Small, Jan Boulet, Brennan Johnson and Allie Hough. About 2 hours 40 minutes. Through March 2 at the Howard County Center for the Arts, 8510 High Ridge Rd., Ellicott City. Call 866-811-4111 or visit http://www.chesapeakeshakespeare.com.

BroadwayWorld.com reviews CSC's A Dolls House

2008-02-24T11:34:00.000-05:00

Henrik Ibsen caused quite a stir with his late nineteenth century play, A Doll's House. Not only did the playwright usher in the use of modern, realistic language in plays, but he dared to end his play with no less than a revolutionary ending – an unhappy woman leaves her husband and family to "find herself." Yes, those final moments caused demonstrations, refusals by actors to perform the play as written, and probably helped with the international women's movement. (Wouldn't it be great if theatre had that kind of power again?) Such a classic is a perfect fit for the Chesapeake Shakespeare Company, which presents such "Classics in the Box" each winter at its space at Howard County's Center for the Arts. Director Kevin Costa makes an impassioned, if measurably hyperbolic pre-curtain speech about the timelessness of the play (this production uses a newer translation by Paul Walsh) and how it "speaks to those of us who feel we are living a [pre-determined] life." The play does touch upon such issues as "being kept," spousal abuse, and the role of women in society. Regardless of how meaningful the play remains, it is a classic, and presented here, is a superbly staged and acted evening of entertaining theatre.

A Doll's House is the story of Nora Helmer and her picture perfect marriage to Torvald, their two child and a nanny family, and their friends, a Dr. Rank and Kristine Linde. Dr. Rank, a lifelong friend of Torvald's visits daily, and suffers from a disease that will kill eventually kill him, but he is a happy man, thankful to be alive and to see Nora every day. Kristine, a childhood friend of Nora's is recently returned to town after losing a husband, and with two sons taking care of themselves. The nanny, who had a child herself but gave her up for adoption to pursue the "opportunities" of nannydom, was nanny to Nora and is so now to Nora's little ones. Clearly, we have women and men here representing different things: women are happily married mothers, widows free only because their children have gone, and unwed mothers given the "opportunity" to give up their children and be servants. The men are successful, morally upright, and only mildly plagued by their pasts – Dr. Rank is a respected, wealthy man despite the fact that he has this disease because his parentage involved sexually transmitted disease – and yet, as the play unfolds, a woman's indiscretions, no matter how honorable the intention, are met with banishment and hate. The third man, Nils, offers the catalyst for all of the conflict and drama – he is known as a dishonorable man for something he did in the past, and is slowly working his way back up the societal ladder. It turns out, Torvald, now in a position of power, is going to show this dishonorable man the door, but is ignorant to the fact that Nils has a powerful secret to hold against his wife.

If all of this sounds a bit soap opera-ish, by today's standards it is, but I don't necessarily mean this in a bad way. No, in fact, the slight bent toward melodrama (both in the script and in the direction of this production) heightens the situation enough to allow the audience to remove itself from it as far as any personal responsibility goes and to allow it to simply observe, taking from it lessons learned. The acting style and direction are very heightened, but carefully engineered so as not to go overboard. The result is characters we care about, an antiquated plot we can buy into and an absorbing few hours of theatre.

Staged with seats immediately adjacent to the set on three sides (much like Broadway's Spring Awakening) the audience is clearly being set up to observe – to peer into – the carefully orchestrated lives of the characters. The doll/dollhouse metaphor of the title pervades the production, far beyond the literal, which has husband treating wife like a toy. The furnishings of Dan O'Brien's spare, but elegant, setting are definitely like life sized versions of dollhouse Victorian miniatures, as are the doors, props and even the small Christmas tree. Kristina Lambdin's lush, detailed costumes also suggest doll's clothing, perfectly pressed, never mussed, and as they don't change clothes over the three day period of the play (except party garb for a few), Miss Lambdin subtly suggests that these people are dolls – the kind with one outfit and simple accessories. Dr. Costa's staging makes full use of the space, with the halls and rear door of the space utilized to full effect, so that we often hear who is coming, and more significantly, going. On stage, there is an air of precision and purpose to each and every movement, again suggesting a slightly heightened reality, as if the characters are being manipulated like toys. Whether that was the director's specific choice, I don't know, but it is a fitting explanation for the manner in which the show is staged, and it really works.

Across the board, the company of actors is excellent. As the children, Brennan Johnson and Allie Hough are sweet and cute – exactly what the script calls for. Their charm and innocence work well in the mix of the plot and acting. Similarly, Jan Boulet as the Nanny/Maid does credible work, exuding a warmth and clear sense of duty. A small role, Ms. Boulet makes a good impression, particularly as she remembers the sacrifice she made in giving up her own child.

Charlie Mitchell, as Dr. Rank, is blustery and good-natured, kind of loud when up against his friend, Torvald. In short, he is just what you'd expect from a man's man – buddy buddy. It is when he shares some genuine emotion and quiet time with Nora that Mr. Mitchell is at his best, though. The love in his eyes is sweet, the fear in his eyes at his impending death is touching, and the resolve in his eyes in his final scene gives the entire play a real sense of strength. His supporting role mirrors the appearance versus reality theme that pervades the script, and Mr. Mitchell goes far with that point to the benefit of all.

It is difficult to play the "bad guy" in a play full of "practically perfect" people, especially when what has allegedly made the character "bad" is, by today's standards, almost trivial, if still not legal. Still, the role of Nils, undertaken by Scott Alan Small flourishes in the actor's care. He is at once a seething, spiteful man, angry at the world and sorry for himself. But, as the layers are peeled away each time Mr. Small takes the stage, you almost find yourself rooting for the guy to succeed. He really isn't just what he seems to be. That Mr. Small has found ways to "mix it up" and avoid an easier one dimensional portrayal makes what ultimately happens to Nils appropriate and satisfying.

Kathryn Kelly's take on Kristine comes across as a bit abrupt, even mannish at first. She is a no nonsense woman, at on her own, but still mindful of her place. That colder side to the character really warms, though, as you begin to realize that she is, in many ways, the antithesis of Nora, who comes on strong from the start. And like Mr. Small, Ms. Kelly's slower reveal of the intricacies of her character really pay off in her ultimate scene as well.

Of course, A Doll's House really has no chance of working in this day and age without a good Torvald and Nora. And in Patrick Kilpatrick and Christina Schlegel's more than capable hands, this show really takes off. Mr. Kilpatrick has the difficult task of portraying the kind of husband that (at least publicly) does not exist any more. He is complete master of the house, and his wife and children his prized trophies of a life well-earned. He is also saddled with most of the play's most laughable lines – he calls Nora by such third person names as The Squirrel, The Songbird, etc. – constantly objectifying his wife, glorifying his manly accomplishments, and lording over her by scolding her like a child and treating her like a pet. She is the doll to his house, and he likes it that way. Of course, if you know Mr. Kilpatrick's work at all, you know that he continually finds ways to convey nuances to any role, and here, he is simply glorious at that. Whether it be by using his larger body to will himself to Nora, or by the sneer on his face when he chastises her, you never doubt that he holds all the strings. And in one sharp, quick glance, we see an instance that shows us that perhaps, unchecked, Nora should actually fear him. It is a fleeting, but poignant moment. His final scene is surprisingly touching as he nearly wordlessly crumbles apart, realizing too late that maybe he treated her wrongly. That look of abject horror is replaced by his tearful pleas for her forgiveness. A powerful performance, indeed.

But the real star of the evening is Christina Schlegel as Nora, who bursts onto the set from the opening moments and rarely leaves it. Hers is a completely commanding performance – she is bubbly and effervescent to almost irritation, and her broad smile makes your teeth ache for all of its sweetness, as is her delightful delivery of every single line. All of that makes the moment when you realize that there is one hell of a strong woman underneath all the smiles, hair curls, and chirpy talk the better. She captivates the audience from her first line and you probably want to cheer for her in the last, historic moment of the play. Everything about her performance builds a complete character that other actresses might easily have lost in just trying to convey her outward loveliness. She and Mr. Kilpatrick have chemistry to spare and like a real husband and wife say as much to each other with a look as with a hundred words. But CSC has a goldmine in this young woman, who can play it all – comedy, drama, ethos, pathos. Hers is a performance that, even this early in the year, people will and should talk about.

Nearly a hundred and thirty years ago when this play was first, I am sure many of the lines were greeted by knowing nods from the gentlemen, frustration from their wives, and later, collective gasps, when Nora finally takes charge of her own life. And while there is no doubt a serious drama going on in front of us here, many of the lines were greeted on opening night by hearty laughs and quiet giggles. And I am certain that originally, there were not laughs to that extent. I found myself wondering if the cast was prepared for such a response. Thankfully, it was quite obvious that the audience's laughter was not at the actors, but at the now ridiculousness of they way husband treats wife.

It also sprang to my mind that in many ways we were watching a very serious episode of I Love Lucy. Now before you send me nasty emails, let me explain. I Love Lucy, like A Doll's House, is an all-time classic about domestic life between two happy, loving people and their close friends. I Love Lucy, for all of its comic genius is also a sharp look at the dynamics between husband and wife, and how they appear, versus what really makes them tick. For like Lucy, Nora is a very intelligent, if naïve wife, totally devoted to her husband and children. She, like Lucy, knows how important it is to bolster her husband as he climbs the ladder of success, and to, regardless of any arguments or problems, appear happy at all costs. And like Lucy, Nora must make do with an allowance and a somewhat tight-fisted husband to run a household. As a consequence, Nora has had to manipulate her money, and in a very dire circumstance contrive to get more. When Nora/Lucy displeases her husband, she gets a tongue lashing, but then all is forgiven. In A Doll's House, Nora is confronted with a situation that requires quite a bit of Lucy-esque scheming. With that as a comparison, it is easier to see the now quaintness of such a dynamic relationship, and thus we laugh. But just like with I Love Lucy, under it all, in A Doll's House, we cheer for our heroine who puts one over on the man she loves, even as he tries to control her too much. That TV program fits roughly in the middle between Ibsen and today, and both remain popular and relevant. I guess the universality of the play is indeed as the director enthused at his pre-curtain speech.

CSC's production of A Doll's House continues through March 2. Nora is woman we should all get to know, and this is a fine production to meet her in. Don't miss it!

PHOTOS courtesy of CSC, by Kitty R Photography. TOP to BOTTOM: Christina Schlegel as Nora; Christina Schlegel and Scott Alan Small as Nora and Nils; Kathryn Kelly and Christina Schlegel as Kristine and Nora; Christina Schlegel and Patrick Kilpatrick as Nora and Torvald

Baltimore Sun Reviews Macbeth

2007-11-16T13:35:00.000-05:00

Macbeth's dark future

Chesapeake's production is able, straightforward

"Double, double toil and trouble;/Fire, burn; and, caldron, bubble."

The Chesapeake Shakespeare Company is presenting Macbeth through Dec. 2 at Howard County Center for the Arts.

In the public mind, the three witches have almost become comic characters. Stirring their steaming brew and chanting their imprecations, they are ideal subjects for comedy sketches and magazine cartoons, not to mention informal gags at the kitchen range.

But if an audience can immerse itself in the idea that people in Shakespeare's dark, savage Scotland believe seriously in mystic forces that can shape their lives and forecast their destinies, the play will unfold in all its power.

Macbeth is the central victim of these forces. We see him and a fellow general, Banquo, returning with honor from a battle in which they defeated a rebellion against their king, Duncan.

The witches, whom they come upon unexpectedly, make unsettling predictions about Macbeth's future. The first hails him as Thane of Glamis. That makes sense; it is Macbeth's title.

The second hails him as Thane of Cawdor. Macbeth wonders how this can be. He knows Cawdor; the man is alive and well.

The third witch proclaims that Macbeth will be king.

Unlikely as they are, Macbeth cannot put these predictions out of his mind. Already he is acting deceitfully, pretending to Banquo that he does not take the witches' words seriously.

Then the king, discovering Cawdor to be a traitor, transfers his lands and title to Macbeth as a reward for his service.

Two out of three! And only one old man between Macbeth and the throne! Evil ambition is born in his heart.

Seeing clearly what horrors he could unleash, he is inclined to suppress his impulses, to draw back from doing anything rash.

But his wife, Lady Macbeth, is ambitious too -- and practical. It is simple, she says. Just do it.

Together they plot to murder Duncan in his sleep and put the blame on his attendants. The plan succeeds, and Macbeth becomes king.

Although horrified at what he has done, he cannot turn back.

More murders are needed to solidify his position. Encouraged by further predictions by the witches (which turn out to be deceptive), he pursues his evil course. Inevitably his bloody deeds catch up with him.

In this production, Scott Alan Small is a forceful Macbeth. Lesley Malin plays Lady Macbeth, not as a heartless shrew but as a woman ambitious for her husband, urging him on, now in an insinuating tone, now in a scolding one.

Others in the huge cast include Wayne Willinger (Banquo), Charlie Mitchell (Macduff), Tami Moon (Lady Macduff), Frank B. Moorman (Duncan), Vince Eisenson (Malcolm) and Frank Mancino (Lennox).

Ian Gallanar provides his customary able direction, making a few cuts in the script and dropping several characters. In a program note, he says he decided to mount a straightforward production, with no directorial flights of fancy. His performers turn in performances appropriate to this plan.

Some of them, unfortunately, speak so rapidly and indistinctly that many of their words are lost. Shakespeare's poetic images and ruminations, couched in the language of 400 years ago, are often hard to grasp. The audience needs to comprehend every syllable.

The witches (Jenny Leopold, Jenny Crooks, Lorraine Imwold) and their chief Hecate (Santina Maiolatesi) deserve mention for their clear enunciation. In this production, they are not the usual old crones but seductive young women, given to sinuous, choreographed movements. Hecate, in addition, displays a good singing voice.

Designer Laura Ridgeway gives them colorful, picturesque costumes reminiscent of the Gypsy style. By contrast, most of the Scottish noblemen and officers are dressed in a drab mixture of contemporary and archaic garments.

This gives the production a timeless, universal air, but the sameness of the costumes makes it difficult to tell the good guys from the bad, and hard even to identify some of the individual characters.

The action is effectively played against an austere set consisting of a few pillars. Gallanar's sound effects -- soft drums, subtle music -- create an appropriately sinister atmosphere, and his special effects -- Banquo's ghost materializes, and so do some other apparitions -- are nicely managed.

Chesapeake Shakespeare Company presents Macbeth at 8 p.m. Fridays and Saturdays and 2 p.m. Sundays through Dec. 2 at Howard County Center for the Arts, 8510 High Ridge Road, Ellicott City. Reservations: 866-811-4111 or www.ches apeakeshakespeare.com.

Howard County Times Reviews Macbeth

2007-11-16T13:29:00.001-05:00

Classic troupe stages a spot-on 'Macbeth'

William Shakespeare may not have written many significant roles for women, but the Chesapeake Shakespeare Company's forceful production of "Macbeth" proves that when he did write female-friendly roles, he went all- out.

Actor Lesley Malin made the role of the guilt-ridden Lady Macbeth the central focus of the new production that opened Friday at the Howard County Center for the Arts. Malin was, by turns, aggressive, sexy, desperate, controlling and finally, suicidal.

It's a performance that will have you wondering if Shakespeare shouldn't have called this show "Lady Macbeth."

Director Ian Gallanar eschews high concepts and gimmicks in favor of allowing his troupe of mostly veteran actors to concentrate on the script and the characters. It's a back-to-basics approach that can't really be faulted -- though it can't be called brilliant, either, like the troupe's audacious "Comedy of Errors."

The word-heavy production engages the intellect, all right, but it would be all the more effective if it better engaged the emotions.

Most folks know the story about a Scottish king convinced by his power-seeking wife to slay another king, Duncan, and grab the throne of Scotland. Macbeth gets what he wanted (a victory), but loses any hope of tranquility as supernatural forces prey upon his guilt.

Scott Alan Small makes Macbeth all aggression and rage, getting the most out of his many confrontational scenes. By contrast, Frank B. Moorman plays his nemesis, Duncan, as a model of level-headedness. Small shows his range by ably transitioning from his floor-stomping showcases into the touching romantic interludes with Lady Macbeth.

One thing that really angers the king is a trio of witches that always seem to portend trouble. Well, what did you expect from witches, Halloween candy? Played by Jenny Leopold, Jenny Crooks and Lorraine Imwold, the trio's movement-heavy scenes add an intoxicating otherworldly element to the proceedings.

Reality is hammered home in the battles that ensue. Before you know it, Macbeth has ordered the killing of his former friend Banquo (Wayne Willinger) and wiped out the family of Macduff (Charlie Mitchell), including his visibly pregnant wife (played by visibly pregnant actor Tami Moon).

The murders take their toll on the upwardly-mobile Macbeths. Lady Macbeth seeks to appease her husband with the admonition that "a little water will clear us of this deed," and she's right because clearly no one in Shakespeare's time could have foreseen DNA collecting at crime scenes.

But the psychological ramifications of murder leave Lady Macbeth worse for wear. Before we know it, she's wandering around, looking like a shadow of her former self and muttering the classic line "Out, damn'd spot! Out, I say!" It's a riveting scene, displaying range unforeseen from longtime company member Malin.

Good old Macbeth returns to the witches for guidance. Maybe he should have consulted instead with another roving female, Hectate, the goddess of the moon (played by Santina Maiolatesi). At least she could have sung an operatic interlude, like she skillfully does in one of the production's other memorable scenes.

Equally as intriguing as the action of this production is director Gallanar and lighting designer Dave Eske's decision to keep the stage darkly lit. While this makes the unfolding drama suitably ominous, it also dulls the intensity, robbing the audience of witnessing the immediacy of the fight scenes and reading the nuances on actors' faces.

Finally, a word needs to be said about the use of teenage actors: Chesapeake Shakespeare mixes them in comfortably here, setting an example as to how professional troupes can and should blend underage actors in their shows. The trio of Daniel Swann, Megan Lentz and Brennan Johnson work well with their Actors Equity counterparts, bringing an authenticity to the youthful roles that would have seemed forced if played by older actors.

Maybe that's one reason the lights were so low: You don't want young 'uns witnessing all that violence!

The Chesapeake Shakespeare Company continues its production of "Macbeth" Friday-Saturday 8 p.m., and Sunday 2 p.m., Nov. 15-18 and Nov. 30-Dec. 2, in the Howard County Center for the Arts' Black Box Theatre (8510 High Ridge Road, Ellicott City). Admission is $25 general, $15 for seniors and students younger than 21. Call 866-811-4111 or go to www.chesapeakeshakespeare.com.

Howard County Times Covers Macbeth

2007-11-09T10:55:00.001-05:00

Lust! Power! Betrayal!

11/08/07
By Tony Sclafani

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On a cold, rainy Thursday night inside the Howard County Center for the Arts' Black Box Theatre, swords are clanking and voices are being raised. Anyone accidentally overhearing the proceedings might think war has been declared.

They would be half right: A battle is in the works, but it's a make-believe one, nestled in the second scene of the fourth act of William Shakespeare's "Macbeth," being rehearsed by actors in the Chesapeake Shakespeare Company. The Howard County-based professional ensemble is readying the production as the Friday, Nov. 9 opening attraction in its sixth season.

"This is the killing of the Macduff family," explains company member Frank Mancino, alluding to the mayhem on stage. "Macbeth is mad because Macduff ran off to England and left his wife and kids in the castle. So Macbeth sends us to murder them."

"He can't get Macduff, so he wipes out his family instead," adds fellow company member Jenny Leopold, who has both acted and directed for the company before. "This is the big final battle you're getting to see."

One thing you learn while hanging around the actors of the Chesapeake Shakespeare Company is that the troupe lives up to its name. They take the Bard very seriously. They know the classic British playwright's verses, plots and history like Britney Spears knows how to make headlines.

The knowledge has served them well. In just a few years, the company has gone from fledgling upstart to one of the most critically lauded drama groups in the state. In addition to winning several Greater Baltimore Theater Awards, it was the only Maryland troupe invited to take part in the prestigious Shakespeare in Washington Festival earlier this year.

King of tragedies

The accolades all become academic, though, as the actors prep for a brand new production. While "Macbeth" is one of Shakespeare's best-known plays, it amounts to a hefty bundle of pages, with literally thousands of lines spoken by nearly a dozen main characters. Loosely based on a historical account of King Macbeth of Scotland, it tackles such characteristic Shakespearean themes as lust, power and betrayal.

"I think Macbeth gets to the very core of some really important human issues," says troupe founder Ian Gallanar, who is directing this production in a sparse, back-to-basics style. "It's about more than ambition. Will we become impure to get something? I think Shakespeare says it in 'Macbeth' better than anybody's said it before or since."

While this is the first time the company has attempted the tragedy, Gallanar and "Macbeth" go back far enough that it takes him a while to remember his first encounter.

"My very first exposure to 'Macbeth' was in the fifth grade. I played Banquo. What appealed to me then was I got to play a ghost. I got to wipe some ketchup or something on my face. The whole idea of scariness and that kind of stuff was intriguing and interesting."

The experience may have indirectly led to his lifelong infatuation.

"What it did for me at an early age was that it made Shakespeare something that was fun, interesting, and something that I liked -- rather than something that was unapproachable, intangible or difficult," he notes. "So when there were opportunities to perform Shakespeare, I didn't shy away from them. I remembered having all that fun at an early age."

Reaching out

Gallanar is still having fun but it's also a lot of work. Besides staging "Macbeth" in the troupe's usual space, he decided to branch out and mount it at two private schools and at the Patuxent Institution, a state psychiatric facility.

"One of the reasons we're called the Chesapeake Shakespeare Company is because we've thought of ourselves as a regional company, not just one located in a city for that city alone," he explains. "We did huge amounts of strategic planning this year. What came across was that we really wanted to spend some serious time and effort with our education program."

As such, Gallanar and company decided to stage productions in schools where troupe members work. They'll be mounting "Macbeth" at the McDonough School in Owings Mills, where Kevin Costa is on the faculty, then take it to the Episcopal High School of Alexandria, Va., where Chuck Leonard teaches.

Each production will draw on a handful of local students for the smaller roles. Also, both teachers will play the part of the Porter in their respective schools; for the Howard County performance, longtime troupe member Patrick Kilpatrick will play that role.

"We wanted to spend a couple of weeks having a big impact, not just going and doing a performance and then leaving," recalls Gallanar. "We wanted to spend time with the kids and have them get their fingers in the mud, as it were, of Shakespeare and the play we're working on."

The Patuxent Institution gig came about almost by accident, with a stray phone call. "Somebody who was with the chaplain's office called. The warden had been looking to do something like this for a while," he says.

Gallanar and company found the idea irresistible. "Community is a very important part of our values, and here was a part of our community nobody ever thinks about."

Lines and angles

Back in the rehearsal hall, actors Scott Alan Small and Lesley Malin are milling about, waiting to run through their lines. The two seasonsed actors are playing the lead roles of Macbeth, Thane of Glamis, and Lady Macbeth, his wife.

Small and Malin interact playfully, conversing like a long-married couple, before the conversation turns to the nuts-and-bolts of touring.

"It's the same actors, pretty much," says Small, "but it will mean different entrances and exits at the other locations. We have all the same set pieces, so we'll have that familiarity. But we don't have the same opportunity to rehearse on other stages, so we'll have to make those connections in our head."

"It's a challenge for everybody," adds Malin, who is also the troupe's managing director. "It's great to work on those creative muscles a little bit and try some new places. The two private schools have some beautiful theaters. I think everyone's looking forward to having those big theaters with lots and lots of people in them."

Both actors say they have their methods of memorizing the dozens of intricate lines contained in Shakespeare's plays.

"It's easier with a Shakespeare play because he wrote in verse. And one of the reasons he wrote in verse is because it's easier to remember," Malin quips.

Adds Small: "She pays more attention to the verse, where I try to break the verse down in my head."

"That's wrong, you shouldn't do that," interrupts Malin with a laugh.

"What connects it for me is seeing the blocking and seeing this person across from me. Learning dialogue really needs that back and forth with another person," says Small as director of programming Tami Moon calls for the players to assemble for a run-through.

"I can sit at home and run my lines in my head," adds Small by way of a final word, "but I really have to see what I'm doing in order to remember what I'm supposed to be saying."

The Chesapeake Shakespeare Company will present "Macbeth" Fridays and Saturdays at 8 p.m., and Sundays at 2 p.m., Nov. 9 to 18 and Nov. 30 through Dec. 2, in the Howard County Center for the Arts' Black Box Theatre (8510 High Ridge Road, Ellicott City). Admission is $25 general, $15 for seniors and students younger than 21. On Sunday, Nov. 11, one child will be admitted free with a paying adult. Call 866-811-4111 or go to www.chesapeakeshakespeare.com.

Washington Post Video on Prison Performance

2007-11-09T10:51:00.000-05:00

Washington Post Covers CSC Show at Patuxent Institution

2007-11-09T10:48:00.000-05:00

Bard Behind Bars
All the World's a Stage, Including an Inmates' Gym at the Patuxent Institution

By William Wan
Washington Post Staff Writer
Monday, November 5, 2007; Page B01

There was an air of uncertainty yesterday in the prison gym as the witches of Macbeth took to the stage.

Finally -- after the correctional officers had cataloged every piece of equipment, after the actors had been patted down and buzzed through steel doors, after a makeshift stage had been set up and secured -- Shakespeare was about to make his debut at the Patuxent Institution, a penitentiary housing hundreds of violent crime convicts.

It was the first time in Maryland history, as far as anyone knew, for such a performance in a maximum-security facility. And how exactly would the Bard of Avon play in prison?

For the occasion, the Ellicott City-based Chesapeake Shakespeare Company had chosen his shortest tragedy: Macbeth, a play full of bloody murder, betrayal and regret.

"I wonder about the violence and how that will go over with the inmates," said Charlie Mitchell as he prepared for his role as Macduff, a force of vengeance in the play. "It feels odd to perform acts of violence in front of people who were sent here in many cases for those very same acts."

For weeks, the performers had prepared for their visit to the institution in Jessup, halfway between Washington and Baltimore. Many adjustments had to be made to meet the penitentiary's strict regulations: Stainless steel swords were ruled out as a security hazard, so the stage crew used wooden sticks for the play's climatic duel. Two parts normally played by child actors were written out over safety concerns. And correctional officers, imagining all that could go wrong during a 10-minute intermission, insisted that the performance be break-free.

Despite the restrictions, organizers hoped Shakespeare's centuries-old words and themes would strike a chord.

"His work is universal. I mean, who else still has his stuff being performed 400 years later?" said Warden John Wilt, a longtime fan of the bard's who had come up with the idea.
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A large grizzly bear of a man, Wilt has the graying beard and gruff manner of a man who has spent 37 years in prisons. But all those years, he apparently was nurturing a soft spot for Shakespeare. Every year, he observes the writer's birthday on April 23 by talking about his plays to anyone who will listen. At home, he keeps a journal full of his favorite Shakespeare quotes.

"Shakespeare puts into pithy words what I feel in everyday life," Wilt explained, rattling off a string of obscure lines. One night, driving home from work, Wilt saw a sign advertising the local Shakespeare company and asked inmates and staff how they felt about bringing a little literature into the prison. Twenty years ago, he told them, he had brought a play into a minimum-security facility with mostly positive results. Why not try it here?

Many, especially among the inmates, were surprised. But if it could work anywhere, it would work at Patuxent Institution, said Randall Nero, a psychologist in charge of the prison's operation.

The facility is set apart from other Maryland prisons, with its own parole board and structure, he noted, which allows Patuxent to emphasize treatment rather than punishment for its 812 convicts. Although almost half of the inmates in Maryland's other prisons are rearrested within three years on parole, Patuxent has a zero percent recidivism rate in that period, Nero says.

Lessons about decision-making and consequences are injected into almost every facet of prison life, he said, so a play exploring murder and its consequences would fit right in.

The committee of inmates in charge of organizing the event decided to charge $5 admission to raise money for a worthy cause: a scholarship for students to attend historically black colleges.

But in prison, where inmates make about $20 a month in various jobs, $5 can be asking a lot. To drum up interest, some prisoners drew posters. Others, such as Albert Tasker, 24, and Jarreau Newton, 30, made rounds throughout the housing units to talk up the play.

"But when the younger guys started asking us a lot of questions, like what the play's about, we didn't know what to say," Newton said with a sheepish laugh. "I mean, I don't know too much about it myself."

So instead, he and Tasker tried appealing to prisoners' altruism.

"A lot of us took something from society," said Tasker, who has been locked up since he was 15 for second-degree murder. "This scholarship is a chance for us to give something back."

Over in women's housing, Shiva Dayani, 25, was one of the few inmates who actually knew what Macbeth was about (albeit through a comic book version she had borrowed from one of the prison's college instructors).

"I tried to sell it like a movie," said Dayani, who is serving a 45-year sentence for second-degree murder. "I told them there's violence, witches, swords and kings. That it's like life but to the extreme. That in the end it's about the things people will do to get what they want and what that does to them."

Their efforts seemed to pay off. More than 150 inmates bought tickets for yesterday's performance, and each was allowed to bring in two family members or friends. About 200 visitors showed up, and their mere presence, several inmates said, turned out to be one of the highlights of the event.
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Many prisoners draped their arms around girlfriends and wives as though they were out on the town while they watched Macbeth hatch his murderous plot. Other inmates whispered reactions to their mothers and fathers as they witnessed Lady Macbeth's mind unraveling before them.

There was no stage lighting, which complicated some scenes because the dead had to walk or be dragged offstage rather than surreptitiously removed. And the prison's poor acoustics garbled many of the lines. Still, as the play's climactic fight unfurled, ending with Macbeth's demise, the audience began chattering excitedly.

"I never seen anything like it," said inmate Vouthynor Sovann, 27, at the play's conclusion. "I mean, it's nothing like TV or cable, you know? It's a whole nother level when it's live."

One mother, Veronica Tasker, 59, who had watched the play clasping her son's hand, smiled despite the gruesome ending. It had been a hard eight years since her son was locked up on murder charges, she said. Sitting there watching the play with him, she had seen clear parallels between her son's troubled life and Macbeth's tragic fall.

"What Macbeth did was he listened to the wrong people and did the wrong thing because of it," she said.

Soon after the actors took their curtain call, the correctional officers began ushering everyone out. Tasker hugged her son goodbye, kissed him on the cheek and walked out ruminating on the moral of the play.

Although there were no witches or Scottish armies involved in her son Albert's crime, he, too, had been blind to the consequences until it was too late, she said. "He doesn't have to end up like Macbeth did, though."

Tragedy might make for good Shakespearean drama, but for her son's story, she was hoping for more of a comedy.

Baltimore Sun Covers CSC Show at Patuxent Institution

2007-11-09T10:45:00.000-05:00

Inmates get a visit with the Bard, behind bars

'Macbeth' is brought to Jessup prison

By Arin Gencer | Sun reporter
November 5, 2007

Yesterday, William Shakespeare slipped into Jessup's Patuxent Institution.

The Bard made his way through the security gate, then traveled down several long halls of the red-brick, maximum-security prison, before stepping inside the cinderblock walls of a gym that would serve as a temporary Globe Theatre.

One of his most notorious characters trudged in behind him: Macbeth.

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Patuxent inmates and their guests spent yesterday afternoon watching the schemes of the ambitious, murderous Scottish lord -- many for the first time -- as performed by the Ellicott City-based Chesapeake Shakespeare Company.

"It helps with the morale of the institution," Jarreau Newton, 30, an inmate at Patuxent for about 12 years, said of such events. The cultural opportunity gives inmates "something different to look at."

Warden John Wilt concurred. "It's an intellectual stimulation as well as a stimulation of imagination. ... There aren't an awful lot of recreational outlets for inmates in prison."

The audience of 300 or so ventured into the world of toil and trouble, horrible hags and bountiful bloodied daggers for charity as well as entertainment: The $5 admission would go to the Thurgood Marshall Scholarship Fund, to which inmates regularly contribute.

But unlike past doughnut sales and other efforts, yesterday's event was a first for the prison, whose population hovers around 800 inmates, said Judy West, executive assistant to the director.

The inmates' crimes run the gamut, including rape, homicide and drug-related offenses, said Mark Vernarelli, director of public information for the Maryland Department of Public Safety and Correctional Services.

West said that inmates at Patuxent stay an average of 25 years.

Not all inmates were allowed to attend yesterday's show. Only those in Patuxent's youth and eligible-person programs, as well as some Division of Correction inmates, qualified, provided they had been infraction-free for a year, said Randall Nero, the institution's director.

Wilt, a Shakespeare aficionado, proposed the idea after seeing a sign for the Shakespeare company's forthcoming run of Macbeth. He had some experience bringing actors before inmates at another facility: In the 1980s, he had asked actors from the University of Maryland, Baltimore County to perform A Midsummer Night's Dream at Brockbridge Correctional Facility, also in Jessup, Wilt said.

The Patuxent performance had launched "an awful lot of activity to study both the play and Shakespeare in general," he said.

Artist inmates designed posters -- which hung around the gym yesterday -- advertising the play. Extra copies of Macbeth were added to the library. One therapist read and discussed the story with the inmates in her group, Wilt said.

The troupe had to make its own adjustments for its prison debut, said Tami Moon, director of programming for Chesapeake. Real swords and daggers were replaced with wood and plastic, respectively, she said.

"It'd be great if this could encourage more groups to come in," Moon said.

The irony of Macbeth -- a blood-drenched story of greed and guilt -- being performed in a prison was not lost on inmates or institute officials.

"Most of what goes on in this play isn't, in some sense, unfamiliar to people here," Wilt said, adding that ambition, impatience and guilt probably weren't foreign concepts to the inmates. "It should resonate with more than a few."

"It's a play that existed for hundreds of years and, I think, captures the emotions that people deal with and cope with in life," Nero said.

Evoking such themes "might be a good thing, too," said Albert Tasker, 24, who has been at Patuxent for 7 1/2 years. "It might help people question their character."

And, on a practical level, Wilt added, as one of the Bard's more straightforward plays, Macbeth would likely be easier for Shakespeare novices to follow.

Several inmates said they enjoyed the afternoon theater.

"I would like to see it outside," to experience Macbeth without the inherent restrictions of a prison performance, Newton said.

Jamal Sells, 28, who sat between his mother and aunt as he watched the play, said he was intrigued by the story.

"It was cool," Sells said. "I might read the book now."

Baltimore Examiner Covers CSC Show at Pauxent Institution

2007-11-06T10:41:00.000-05:00

‘Macbeth’ enthralls inmates
by Laura Duffy, The Examiner
BALTIMORE (Map, News) - Patuxent Institution inmates enjoyed one of the finer things in life this past weekend: a performance of Shakespeare’s “Macbeth.”

“I’m excited to see the play,” said inmate Jarreau Newton. “We raised money for the institution to donate towards the Thurgood Marshall Fund.”

For $5, 114 inmates and two guests were entertained by the Chesapeake Shakespeare Company. The male and female inmates were selected based upon their good behavior.

“We’re exposing inmates to the classics,” said Eric Schaffer, associate director of behavioral sciences. “This is one of our long-term therapy programs. People grow up within our systems, and a play like ‘Macbeth’ features aspects of life that are familiar to the inmates.”
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“I read Shakespeare plays in high school, but I am excited to see a play,” said inmate Bronwynn Myers. “This whole experience is endearing to me because I want to participate and give back to the community.”

Cleaning bathrooms and scrubbing kitchens generated proceeds designed to benefit the black community through the Thurgood Marshall Fund.

“These people are a part of our community,” said Tammy Moon before performing as Lady McDuff. “The institution wanted to ‘Macbeth’ regardless of the play’s violence.”

The violence and life lessons of Macbeth relate to the inmates, said artistic director Ian Gallanar. “It’s great to have such success and be so involved with the therapy and rehabilitation of the inmates.”

Patuxent Institute — well known for its experimental treatment methods — is the second prison in 20 years to invite actors behind bars. In an echoing auditorium, inmates sat on orange chairs with loved ones and watched the tragedy of Macbeth unfold.

“I asked the inmates if they would be interested in fundraising for a play,” said warden John Wilt, originator of the first production at Brockbridge Facility more than 20 years ago. “It’s an opportunity to give back to the communities from which they have come.”

Reading classics like ‘Macbeth’ is just one of the rehabilitation services offered at the institution. Others include gardening, quilting and a barber shop.

“Every inmate goes through extensive behavior modifications,” said Mark Vernarelli, director of public safety. “We want to acclimate inmates back into society.”

An Interview with Three CSC Actors

2007-06-26T08:28:00.000-05:00

New to CSC: 3 Local Actors Take on Shakespeare Times 2
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Monday, June 25, 2007; Posted: 4:47 PM - by James Howard

Heat, humidity, and not a few summer storms might keep a lesser group down for the season, but not the Chesapeake Shakespeare Company. Every summer, they produce one of the most anticipated theatre events of the season, Shakespeare in the Ruins. For several years now, this company of local, professional-grade classics lovers gathers every summer to present William's best (and sometimes under-produced) works at the Patapsco Female Institute Historic Park in Ellicott City, Maryland. Hallmarks of these productions include the fact that, like the Elizabethans, we audience members get to enjoy the theatre outdoors, the plays are opposites - this year's As You Like It is a comedy, while Henry V is a history, and the plays are done in true repertory, with the same cast performing roles in both plays. This season, CSC has really upped the ante. They are presenting these plays under the auspices of the internationally renowned Shakespeare in Washington Festival.

Several of the area's best actors are CSC regulars, including Patrick Kilpatrick, Ashly Ruth Fishell and Wayne Willinger. But, CSC regularly brings in the best of local talents that are new to the area or perform in the DC area exclusively. It is always exciting to see these new faces. This season, three of those standout actors, Colby Codding, Vince Eisenson and Lindsay Kitt Wiebe are delighting audiences with their own exciting brands of theatricality and broad scope of talent. All three excel, whether in major supporting roles or blending into the ensemble, whether being broadly comic or heartbreakingly serious, or whether displaying fine physical acting or sublimely detailed and nuanced speeches. Recently, I had the opportunity to ask this talented trio a few questions.

FOR THE COMPLETE INTERVIEW CLICK HERE

Maryland Mornings on WYPR-FM

2007-06-18T13:10:00.000-05:00

click on the link to hear Artistic Director Ian Gallanar's appearance on Maryland Mornings

WYPR-FM Review of As You Like It

2007-06-15T08:19:00.000-05:00

click on WYPR logo to hear the review

Baltimore Sun calls it "A Bold Presentation of Henry V"

2007-06-15T07:36:00.000-05:00

A bold presentation of 'Henry V'

Chesapeake's outdoor production runs through July 6

By Williams Hyder

special to the sun

Originally published June 15, 2007

Shakespeare's Henry V is probably best known from the film versions starring and directed by Laurence Olivier (1944) and Kenneth Branagh (1989).

The Chesapeake Shakespeare Company tackles the show boldly and comes off with credit.

The outdoor production is being presented through July 6 at Patapsco Female Institute in Ellicott City, alternating with As You Like It.

Does Henry V have a right to invade France? That's the great question facing the young king. For private reasons, the Archbishop of Canterbury tries to convince the king that he does.

Henry is undecided until he receives an insulting message from the dauphin, son of the king of France, mocking his youth and inexperience.

The dauphin has sent a gift of tennis balls, implying that Henry should stick to sports and games and not pretend to the maturity of a king.

Shakespeare's audiences, who had seen Henry IV, Parts 1 and 2, knew what the dauphin meant. While his father was alive, Prince Henry had been a playboy, fond of carousing and low company.

Now, facing the responsibilities of kingship, he is a changed man. He has renounced his former drinking companions, chief among them old Sir John Falstaff. Unwilling to overlook an insult to his crown, he orders his followers to prepare for war with France.

The fortunes of Henry's campaign swing back and forth, the scenes alternating between the English camp and the French court and camp.

Bad weather and sickness weaken Henry's outnumbered army, but he refuses French messages urging him to surrender.

He rallies his men - "We few, we happy few, we band of brothers" - to one final effort, and the French are defeated.

Patrick Kilpatrick is a strong and energetic Henry, but he delivers his speeches - stirring, defiant, thoughtful, determined - with an impassive face. Frank B. Moorman gives a human spirit to his uncle, the Duke of Exeter.

The arrogant, conceited dauphin is portrayed by Colby Codding; the mature and confident constable of France by Nathan Thomas.

Steve Beall gives a boisterous performance as Fluellen, a brave Welshman who insists on parading his knowledge of military history and tactics before his fellow officers.

Laura Sicari, as Katharine, the French princess, and Lesley Malin, as her lady in waiting, cleverly put over a comic scene spoken in French.

Several characters from the Henry IV plays return in Henry V. Dame Quickly (Christina Schlegel) and Falstaff's servants Bardolph (Kevin Costa) and Pistol (Michael P. Sullivan) are joined by a new character called Nym (Codding).

The three men provide most of the show's low comedy. They go to France with the English army but make sure to stay out of danger. All of them come to bad ends.

The chorus, a narrator who introduces the play and returns occasionally to fill in background information, is forcefully portrayed by Lindsay Kitt Wiebe. Traditionally, the chorus remains outside the action, but director James Ricks has chosen to have Wiebe blend occasionally into the show.

With no change of costume, she morphs into the bishop of Ely, Sir Thomas Erpingham and finally the Duke of Burgundy. This is certain to bewilder audience members not familiar with the play.

Several other actors handle multiple roles more comprehensibly. Chief among them are Frank Mancino (the king of France and Williams, a common soldier) and Costa (the Archbishop of Canterbury, Bardolph and a soldier called Bates).

Pageantry, battle scenes, the grandeur of Shakespeare's conception - these things are hard to get across with limited forces on a bare stage. It helps if the audience brings its imagination to the production, as Shakespeare's audiences did. As the chorus puts it, "Piece out our imperfections with your thoughts."

Broadway World Raves About As You Like It

2007-06-14T16:08:00.000-05:00

With the opening last weekend of As You Like It (soon to be in repertory with Henry V), Chesapeake Shakespeare Company brings back a lovely tradition of outdoor theatre in the summertime. The atmosphere of the historic ruins in Ellicott City – high on a hill overlooking historic Ellicott City and against a backdrop of history (the ruins are those of a former girls school) – is conducive to a carefree good time of picnicking, community and darned good live theatre. More importantly, with As You Like It, CSC re-establishes itself once again as the area's best provider of Shakespeare for the masses. To a person, this entirely gifted company of actors, under the loving, creative hand of director Ian Gallanar remembers that Shakespeare need not sound like a foreign language. They speak with clarity and such a deep understanding of what they are saying that it is nearly impossible not to fully understand what is going on. Couple the speech with meaningful gestures and reactions and one could be deaf and still get much from this company. Completely absent are those almost laughably overblown theatrics associated with SHAKESPEAREAN ACTING, replaced instead with passionate, real performances, where the actors are in love with the poetry they speak, not their love of their ability to speak it. Bravo, CSC.

As You Like It, thoughtfully transported to late 19^th Century France, points up the love of people, nature and good wine, all three of which flow freely in this lush performance. One of Shakespeare's comedies, you know going in that despite any number of plot twists and contrivances, our heroes will eventually win the love of their beloved and peace will replace any enmity in the land. With the Bard, it is the journey, not the destination that offers the fun and surprises. As You Like It offers many such delights.

Under Gallanar's mostly tight direction, the evening fairly flies by, with Act Two being particularly brisk. He and his company of game actors soar in the highly comic sections of the play, wrestling (yes, wrestling!), singing (yes, singing!) and disguising (naturally!) themselves with glee. Clearly staged with care, these scenes are thrilling to watch and quite funny. And on the whole, the entire evening is a veritable study in how to make the most use of a theater space creatively and always with an eye in creating interesting stage pictures.

Among the actors who really standout (and not one person in the entire 23 member cast does less than an excellent job) in these comedic roles are Steve Beall and Joel Ballard as the wrestlers, both looking expert and buffoonish simultaneously. The always wonderful Bob Alleman makes the most of the relatively small role of Silvius, and takes the "blank look" to new comedic heights. The object of his affection is played by another favorite, Ashly Ruth Fishell who explodes onto the stage in act two like a wild pony finally frrun throughout the land. Her doe-eyed exuberance is infectious as she loudly proclaims her dislike for Silvius and love for another (Rosalind disguised as a man).

Another trio of CSC regulars have (not surprisingly) brought their A-game to the stage in Howard County. Frank B. Moorman is a hoot as the servant Adam who begs, pleads and even sings to be included in the travels of his master, and Jenny Leopold is downright frightening (in that Wicked Witch of the West kind of way) as the furious and imperious Duchess, who banishes our heroes, and starts the ball rolling, plot-wise. And Patrick Kilpatrick (soon to be the title player in Henry V) shows once again his impish, little boy-like sense of humor, making the most of a small, but very funny role (let that be a surprise to you!).

And as wonderful as it is to see the CSC members together year after year (think a family reunion); it is always a delight each summer to discover a new talents in the fold. This year, Vince Eisenson and Lindsay Kitt Wiebe are those new discoveries. Mr. Eisenson has an impressive resume of roles under his belt, and fairly oozes charm and charisma with his formidable stage presence. In a dual role, he makes the most of each of his scenes, always in the scene, whether front and center singing a tune or acting in a pantomime or to the side observing the action while nibbling and apple. Ms. Wiebe also has an impressive list of credits both onstage and in the classroom. Her love-sick character, Audrey, is played with delightful physical comedy – she marches, stomps and falls allover herself with expert timing and a witty delivery of everything from a line to a guttural moan. I look forward to seeing both of these fine actors in the future.

The other half of the dramatic equation here is the romantic part of "romantic comedy," which is also quite good, if not quite as easy and carefree as the comedy part. Some of that has to do with the play itself, where longer, more poetic and romantic sections are hindered by repetitive dialogue (need 100 ways to say "I love you"? Look no further than As You Like It). Some of it also has to do with the delivery of those lines, some of which were stumbled over somewhat frequently by Christina Schlegel as Rosalind. Much to her credit though, Miss Schlegel never once broke character and nearly made it work as if it were a quirk of her character. Perhaps, as sometimes happens when one stumbles, she became perhaps a little too guarded and slightly stiff. Fortunately, those spurts of stiffness don't last long.

Much more sure of her lines and in full command of her character was Rebecca Ellis as Rosalind's best friend and confidante, Celia. Strong enough to defy her mother the Duchess and witty enough to stave off the debauchery of men, Ellis' Celia is very much a modern woman, fiercely loyal and totally in charge of her own life. The man of her dreams (as she comes to find out at the end of the play, anyway) is the enemy brother of Rosalind's beloved. Played with a swaggering machismo by Michael P. Sullivan, his take on Oliver is both villainous and romantic – not in easy combination to convey.

Just about any play Wayne Willinger is in, it seems, is bound to be good, and with him in the leading role, one would hope for nothing less than theatrical excellence. Is he good? You bet he is. Is he great? No. But the reason really has less to do with him than with a role that doesn't offer this extremely gifted actor much to chew on or work with. He and Miss Schlegel look terrific together, and in the up close, personal scenes there are hints of sparks. But other times Mr. Willinger appears to be walking through the role – is he just getting through it, not sure of himself? Is he bored? He doesn't even do much with the purposely awkward scenes where Rosalind, dressed and acting like a man, and says that he, Orlando, needs to learn methods of courting, and demands that Orlando call "him" Rosalind, and kiss "his" hand. Instead of mining these obvious scenes for comedic and dramatic gold, Willinger comes out sort of flat. All of that said, it is a testimony to his strength and innate abilities that Mr. Willinger is still quite good.

Finally, and pleasantly, as always, the technical folks have combined to make this terrific production look fantastic. Dan O'Brien, Michelle Datz and Heidi Busch (set designers and decorators) have used the historic backdrop of the ruins to their fullest advantage creating a lovely background for the goings on. In fact the scene change from the court to the Forest of Arden, offers one of the evening's hardiest laughs – the entire cast running around like keystone kops decorating every level and opening with a variety of potted shrubbery and plants. How clever and creative! CSC's best kept secret is, however, the magic that Kristina Lambdin creates with her beautiful, detailed costumes. Somehow, she manages to create a palette of lively color while keeping both the characters and the actors playing them in mind.

This weekend, the second summer show at CSC will open – Henry V. In a rare opportunity (in this area, at least) to see true repertory Shakespeare. The same gifted company that has breathed joyous life into As You Like It will also be performing in Henry V! That's right – they have learned two completely different roles in two vastly different plays. That alone is applause-worthy! You've done it again, CSC!

By James Howard

Henry V Part One!

2007-06-12T07:36:00.000-05:00

Monday, June 11, 2007; Posted: 4:20 PM - by James Howard

In the interest of the safety of the actors (many of who were wearing metal or holding large metal swords) and the patrons at Friday's opening of Henry V, the Chesapeake Shakespeare Company called a halt to the show just before the end of Act One. A pesky and long coming thunderstorm was rapidly approaching the ruins high upon the hill overlooking historic Ellicott City. Winds were whipping the trees, leaves were flying and lighting was visible all around. Thankfully, wise heads prevailed and the show was halted. Such is the chance one takes when presenting plays outdoors during a hot, steamy early summer evening. One can imagine similar circumstances halting shows at The Globe centuries ago.

As I will be unable to attend the rest of Henry V until July 1, just a week before it closes, in the interest of promoting this wonderful theatre company and its (so far) terrific performance, I offer my thoughts up to the calling of the show.

Directed by CSC newcomer James Ricks, Henry V offers a few challenges. First, as one of the histories, it is not as commonly performed as Shakespeare's comedies or tragedies, making the general audience less familiar with the piece. Second, there is an unusual amount of exposition beyond the Prologue, which can be deadly to stage and to keep the audience interested. Old William wanted to make sure his audiences understood his take on history – both his point of view on it, and the liberties he'd be taking. Finally, this play in particular has moments of high drama, broad comedy (including some pretty racy dialogue), and not a few battles. For the most part, Ricks does quite well handling those challenges in Act One, particularly in his play to the strengths of his chosen cast.

Things begin briskly enough with the vastly talented Lindsay Kitt Wiebe as the Chorus. Wiebe wends her way through several tricky tongue-twisters of speeches, making the meaning of each crystal clear and even exciting, with her enthusiasm, smart acting choices and deft movement. In the short space of two weekends, this talented actress has made quite a local showing. Later, Kevin Costa, as the Archbishop of Canterbury, also contributes nicely to the start of the show with his impassioned and conniving speeches to convince the young King Henry that he must show his might by invading and taking over France, thus establishing him as a King of power, thus erasing his playboy image from his youth.

Ricks' staging then sort of grinds to a halt as the new King (Patrick Kilpatrick) takes the throne and hears about the state of the nation, contributing his own lengthy oratory, all of which adds up to a bunch of historical context. The entire scene, as well spoken as it is, comes across as drudgery for all concerned, with Kilpatrick adopting a strange drone to his voice as he plows through line after tedious line. Having seen this talented performer many times, and judging from the rest of his performance here, I'm willing to bet he has either not found an internal "hook" to this section of text, thus enriching his performance, or he, and director Ricks aren't entirely sure what to do here. The scene, courtly as it is, is static. There is very little movement for several minutes, and what is being said is really not all that interesting. Also, as staged, nearly half the audience is looking at the side of the King's face, losing much of his volume and facial expression.

From there, however, Mr. Ricks and Mr. Kilpatrick lead the audience on a provocative thrilling race through history. Kilpatrick's Henry grows on you as he gradually overcomes his reputation as a player and becomes a ruthless and powerful risk-taking leader. In particular, during a scene when Henry must confront friends who become traitors to him, you can see the hurt shoved to the edges by the anger and cunning he is about to unleash. The traitors (Joel Ballard, Vince Eisenson and Jamie Hanna) are played with subtle duplicity by the three actors, first agreeing with their King that no mercy be shown to another courtier. Then, Kilpatrick, with equal subtlety and power destroys the three by revealing that he knows of their traitorous ways and convicts them using their own logic against them. All four actors contribute nicely to a scene that really establishes Kilpatrick's Henry as a force to be reckoned with.

Comic relief, at least thus far, comes in two quantities, both very funny and timed with the sharpness of a sword by all involved. First, the common comic trio of Pistol (Michael P. Sullivan), Bardolph (again Kevin Costa) and Nym (the amazingly versatile Colby Codding) enters with, um, flair, as Codding, drunk, enters singing and promptly urinates on the set. Sullivan's Pistol, aptly named for his quick temper and Codding's Nym are immediately at each other's throats (over a woman, naturally), with Costa's Bardolph as peace maker. They are a riot as they Three Stooges/Marx Brothers-like fight with swords, daggers and bent metal. Adding to the fun is a gleeful, bawdy turn by Christina Schlegel as The Hostess (what an astonishing change from her character in As You Like It!) and the effervescent Ashly Ruth Fishell as The Boy, delivering bad news about the unseen Falstaff. This boisterous scene offers a nice counter point to the serious and violent scenes that surround it.

The other comic relief, thus far, concerns the French Princess (played with a joyous earnestness by Laura Sicari) learning English words from her lady in waiting (played with equal hilarity by Lesley Malin). In one of Shakespeare's more pointed and decidedly dirty sequences, he uses word play in translating words such as "foot" and "elbow", and a few other words, that if mispronounced in English are profanity in French.

It is at this point the performance was called. In exiting, I got to mingle with some of the company, who were very disappointed that they could not get to their favorite scenes. That kind of excitement over work to come only bodes well for the rest of this already fine performance.

Finally, as mentioned in my review of As You Like It, it is always a joy to discover new talent. Henry V really brings two more great players to the stage. First is the previously mentioned Colby Codding, who is a scream as Nym. His facial expressions are priceless and his drunken delivery is superb. Making that character even more exciting is that in the very next scene and within seconds, Codding reappears as the nasty, bratty Dauphin. He sneers and cajoles his way around the stage with an arrogance and swagger that is as excellently performed as it is perplexing to watch in action. (I will admit I was lost at first when he made his entrance as different characters in back-to-back scenes, but within seconds the two characters were as easily told apart as if two actors were playing the roles!) The other new talent found here is the director, James Ricks, who, that long expository scene aside, has a real grasp on what could have been an unwieldy production. He is equally at home staging drama as he is comedy and physical comedy as he is stage combat (with CSC member Christopher Niebling).

As You Like It with Energy & Enthusiasm- Baltimore Sun

2007-06-08T06:14:00.001-05:00

As You Like It,' with energy and enthusiasm
Gallanar's inventive direction makes production stand out
By William Hyder
special to the sun
Originally published June 8, 2007

In As You Like It, Shakespeare takes an amused look at how men and women behave when they're in love. The romantic comedy is being presented by the Chesapeake Shakespeare Company through July 8 at Patapsco Female Institute in Ellicott City, alternating with Henry V.

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Shakespeare knew a plot was necessary, but he was more interested in the love stories he wanted to tell. For a framework, he used a common theatrical situation -- a duke is overthrown and banished by his jealous and power-hungry younger brother.

The duke and some loyal followers take refuge in the Forest of Arden. There was a real Forest of Arden near Shakespeare's hometown of Stratford-on-Avon, but in this play he moves it to France and stocks it, improbably, with palm trees and lions. He is telling us not to take the show too seriously.

Several other characters, for one reason or another, also flee to the forest. The duke's daughter, Rosalind, arrives with Celia, her cousin and best friend, and a clown called Touchstone.

Later comes young Orlando with his servant Adam. Rosalind and Orlando had fallen in love with each other before coming to the forest, but she has now disguised herself as a boy called Ganymede. Shakespeare asks us to accept the notion that Orlando does not recognize her. We have to swallow that if we want the rest of the show to make sense. Rosalind, brilliant, witty and emotional, is one of Shakespeare's most interesting heroines. The fun she has with Orlando, playing him along and then reeling him in, form the heart of the play.

In the current production, Christina Schlegel is an energetic Rosalind and Wayne Willinger an earnest Orlando. Rebecca Ellis, as Celia, lends cheerful and sometimes sarcastic support to Rosalind's schemes.

Three other love affairs add to the romantic atmosphere. The wisecracking Touchstone (Kevin Costa) pursues a countrywoman called Audrey (Lindsay Kitt Wiebe), though he cannot help putting her down to get laughs.

A simple-hearted shepherd named Silvius (Bob Alleman) falls for a fiery shepherdess, Phebe (Ashly Ruth Fishell). Rosalind, ever the busybody, tries to break down Phebe's resistance to Silvius. This only makes things worse: Phebe, thinking she is a boy named Ganymede, falls in love with her.

Rosalind needs all of her considerable wit to get out of that mess.

Celia, who has patiently watched others fall in love, is finally fixed up with Orlando's brother, Oliver (Michael P. Sullivan).

Shakespeare restores the duke to power with a few perfunctory strokes, and the show ends with four couples heading for the altar.

Frank Mancino portrays a gentle, benevolent duke. As the melancholy Jacques, one of his loyal followers, Nathan Thomas is more irritable than melancholy. (It is traditional to pronounce his name JAY-queez, but in this production it is Zhock.) Others in the huge cast include Vince Eisenson (Le Beau), Colby Codding (Jacques de Bois and Corin), Frank B. Moorman (Adam) and Steve Beall (Sir Oliver Martext).

Director Ian Gallanar takes a free hand with Shakespeare's script, rearranging scenes for the sake of simpler set changes, bestowing names on some of Shakespeare's anonymous lords and pages and splitting one character, Charles the wrestler, into a pair of brothers (played by Steve Beall and Joel Ballard).

The duke's usurping younger brother, Frederick, is changed to a younger sister, a self-styled duchess (portrayed by Jenny Leopold with hard face, stiff posture and stern voice).

For reasons he explains in the program, Gallanar sets the play in France's Belle Epoque -- around 1890-1900. French cafe music, heavy on the accordion, punctuates the action. Except for that and some of the costumes, however, traces of the period are hard to find in the performance.

There have been more subtle and polished productions of As You Like It, but Gallanar's inventive direction and his enthusiastic cast give the audience an enjoyable evening.

Towson Times/Baltimore Messenger/Howard County Times Review of As You Like It

2007-06-07T10:21:00.000-05:00

Shakespeare cast offers lots to 'Like'

06/06/07
By Tony Sclafani

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**Christina Schlegel stars with Wayne Willinger in the Chesapeake Shakespeare Company’s production of “As You Like It,” continuing through July 8.**

The Chesapeake Shakespeare Company made a wise move in employing a core group of actors for its productions. The repertory-approach has allowed the Ellicott City-based theatrical troupe to develop a register of familiar faces who provide a real sense of expectancy whenever they appear.

The excitement was in the air Friday when the 5-year-old company opened its outdoor production of "As You Like It" as part of the Shakespeare in Washington Festival. As soon as the recognizable visage of troupe regular Wayne Willinger appeared stage left, knowing audiences were craning their necks to see "What will he do this time?"

Willinger brought his trademark hyper-physicality to the character of Orlando, jumping onto the stage and wrestling actors Joel Ballard and Steve Beall to the ground. When he returns in the play's second act with his arm in a sling, you might assume he was injured in the fighting (it's just a ploy, so relax).

Another troupe mainstay, Rebecca Ellis, brings her well-honed sense of deadpan sarcasm to the role of Celia, the world-weary older sister of romantic lead Rosalind. As in past productions, Ellis spits out her lines with ever-so-subtle eye rolls and body language.

Such performances go a long way in adding humor to perhaps the least consequential of all the Bard's comedies. "As You Like It" might touch on many weighty issues, but director Ian Gallanar and cast work to bring out its full comic potential.

Female lead Christina Schlegel is all frills and flirtations in the role of Rosalind, a woman who eventually disguises herself as a man in order to trick the oblivious Orlando into liking her. Once Schlegel transforms into a male character, her demeanor becomes all awkwardness and nerves and she seems hilariously uncomfortable in her own skin.

To keep the action fast enough for a modern audience, Gallanar has condensed the play's five acts into two. Less understandable is why he has moved the play's action from Elizabethan England to 19th-century France. It adds little emotional resonance and doesn't help at all to frame the motivations of the characters.

In any case, it's romance and not history that is at issue here. The would-be affair between the lanky, deadpan Bob Alleman (as Silvius) and the pint-sized, manic Ashly Ruth Fishell (as Phebe), is particularly funny. Alleman's attempts to woo the distracted Fishell are a study in subtlety that could have been achieved only by actors who have gotten used to working together.

One high point comes when Fishell's Phebe falls for Rosalind-in-drag and throws herself at "him." The notion of gender-bending for laughs was not pioneered in the 20th century.

Yet another familiar face, Nathan Thomas, orates the iconic "All the world's a stage" speech in his role of Jaques. The classic actor's mastery of his craft is on full display in this short segment.

"As You Like It" also contains several songs given makeshift, Elizabethan-styled melodies by the actors here. Newcomer Vince Eisenson does such a good job wringing the irony out of these tunes that you wish he were given more.

As with any outdoor production, the players are at the mercy of various aural distractions. Passing trains and planes didn't distract the actors, but there was no way they could ad lib around the night's multiple blackouts and misfired sound cues. Eventually the show had to be stopped so the tech crew could get to the bottom of the glitches.

Considering that the troupe is staging its productions in the ruins of the Patapsco Female Institute, director Gallanar and his crew rallied to the challenges surprisingly well. The director mounted the stage and called upon kids to tell silly jokes. The silliness not only fits the merry mood of the proceedings, it also demonstrates the play's thesis that "the whole world is a stage."

Baltimore Examiner Pleased with As You Like It

2007-06-05T06:51:00.000-05:00

The Ellicott City-based Chesapeake Shakespeare Company kicked off its 2007 summer season on June 1 with the romantic comedy “As You Like It.” The CSC aims to produce Shakespearean plays that are entertaining and accessible to everyone, and Friday night’s performance was no exception.

Many people would balk at the idea of abandoning the air-conditioned theater to watch a Shakespearean play performed live outdoors. But set among the historic stone ruins of the Patapsco Female Institute Historic Park, the CSC has arguably one of the best and most unique performance venues around. Audience members can either sit in padded folded chairs, spread out on blankets or rent a candlelit table for two.

Actors frequently acknowledge and interact with the audience, at times speaking to them directly or asking them to carry props. The beginning and intermission of the play are signaled by an actor holding up a sign with exaggerated boredom. And it’s the players themselves who change the sets.

Christina Schlegel, who plays Rosalind, unquestionably gives the best performance in the play. She speaks her lines clearly and with emotion, successfully avoiding the annoying hoity-toity voice that so many actors adopt when performing Shakespeare. It’s obvious that Schlegel understands Rosalind’s role as the voice of reason and intelligence in a play where almost every other character is an idiot.

Wayne Willinger plays a solid Orlando, seemingly lovestruck for Rosalind but clueless about women, feelings and love. But at times it seemed that Willinger was more concerned about the audience hearing his lines than being in character, which proved distracting and took away from the character’s authenticity.

Rebecca Ellis’ portrayal of Rosalind’s cousin, Celia, was entertaining and spirited. She frequently garnered laughs from the audience with her comedic timing and makes it seem as if speaking in iambic pentameter is perfectly normal.

Frank B. Morman, who plays Adam, Orlando’s faithful manservant, is hilarious, using physical comedy to punch up his role.

The company will produce alternating performances in repertory of “As You Like It” and the historic play “Henry V” through July 8.

Citypaper has mixed feelings about As You Like It

2007-06-04T12:07:00.000-05:00

By John Barry

In As You Like It, Arden is a forest where people go to live together on equal terms. The protocol of the upper crust and the inheritance squabbles of the royal families don't apply here and, ultimately, people get to talk to one another on their own terms. The play isn't supposed to leave the audience roaring with laughter, but it is supposed to gently lure people of different classes and persuasions onto the same wavelength. Consider it a commune.

As You Like It is also about the joys of exile. When the play begins, Orlando (Wayne Willinger) realizes that he's being squeezed out of his inheritance by his older brother Oliver (Michael Sullivan). Then he finds himself in a wrestling match with two heavyset gentlemen (Joe Ballard and Steve Beall) who have been told to grind him to a pulp. A memorable bout follows--and it's one of the play's highlights, since Ballard was actually a professional wrestler in a former life. Then Orlando falls in love with Rosalind (Christina Schlegel), and he's given a few weeks to get out of town.

Then the fun begins. Orlando finds himself banished and wanders through the forest with his trusty servant Adam (Frank Moorman). He meets up with a small government in exile, chaired by the Duke (Frank Mancino), who has also been kicked out of his homeland after being usurped by his daughter.

And everyone follows. Rosalind follows him, pursued shortly by Celia (Rebecca Ellis). They find themselves in a strange, exhilarating new world where barriers have been broken down. Rosalind's temporary cross-dressing is more than a convention; it's an opportunity for her to offer advice and counsel to Orlando that she won't be able to later.

That's just a bare-boned version of a fairly complex plot line. You don't need great acting to tackle Shakespearean comedy, but in Arden, especially, you need to see the forest for the trees. That doesn't happen in Chesapeake's competent but somewhat distant version. It gets off to a bad start with the decision to place this play in turn-of-the century France. The Belle Epoque costuming only adds another degree of separation to performances that look unsure about why this play was a comedy in the first place. The occasional attempts to rush into the audience, along with a few other extras, are almost pleading for participation.

That shouldn't stop people from bringing wine and cheese to the sylvan wonderland of the ruins of Ellicott City's Patapsco Female Institute (one of the region's most pleasant venues), but it may cause people to think of Shakespeare comedy more as atmosphere than an event. Admittedly, given the large audience, complete with picnic baskets, that could just be the grumpy take of someone who didn't bring his own bottle of wine.

The play, indeed, has its bright moments. The wrestling match at the beginning, as previously stated, is a highlight. As Rosalind and Celia, Schlegel and Ellis maintain an interesting symbiosis. Ashley Fishell gives a very funny performance as Phebe, the peasant girl who goes for the gold when she should take what she gets. Kevin Costa channels a Belle Epoque George Costanza in his version of Touchstone the clown. As Silvius, Bob Alleman is the ultimate boneheaded lover.

In the end, though, the entire production gets lost in the forest. The abstracted delivery gets a little annoying; so does the leisurely, somewhat torpid pacing. Just because there's no tragedy here doesn't mean there's no urgency. Arden is a window of opportunity for people who need to act quickly or not at all. Even at the end, when characters' exiles are brought to a close, there's a sense of regret that, after all this, they're actually going to return to the kingdom they were booted out of.

This production hasn't had the time to figure out why Shakespeare himself needed the forests of Arden and what he found there. You can only speculate, but the schedule is a little demanding. Asking any full-time ensemble to juggle Henry V and As You Like It in one summer is asking a great deal.

Our Shakespeare in Washington Year

2007-05-17T09:14:00.000-05:00

Baltimore Sun Reviews Front Page Favorably

2007-02-16T09:57:00.000-05:00

By William Hyder 2/16/2007

A rare chance to see a great American play is being offered by the Chesapeake Shakespeare Company. The Front Page, written in 1928 by Ben Hecht and Charles MacArthur, is running through Feb. 25 at Howard County Center for the Arts. The Front Page takes us back to the 1920s, a time when a major city could support seven or eight newspapers.

Reporters were badly paid and had no regular hours. If they were married, they didn't get home much. They were hard and cynical, with no respect for authority figures such as politicians or police, and they were not overly scrupulous about facts.
This is the world Hecht and MacArthur celebrated, and lovingly exaggerated, in The Front Page.
The action takes place in the pressroom of the Criminal Courts Building in Chicago (vividly staged by set designer Dan O'Brien). It is a bare, messy place, with battered tables and chairs, a battery of telephones (the old, upright style) and, usually, there's a poker game in progress.
Seven reporters are awaiting the hanging in the courtyard below of a drab little man called Earl Williams (movingly portrayed by Reece Thornbery). Williams has been convicted of killing a black policeman and -- even worse in 1920s Chicago -- is suspected of being a political radical.
Hildebrand (Hildy) Johnson comes into the pressroom to say goodbye to the boys. He has quit his job with the Herald and Examiner -- in fact he picks up a phone and says a few choice final words to his managing editor, Walter Burns.
Johnson is planning to take a train to New York that night with his girlfriend and her mother, get married and go into advertising. Unfortunately, Johnson cannot resist a breaking story, and when Williams escapes Hildy gets right on the job. He spends the rest of the play working with Burns to get the story and beat out the other reporters, all the while frantically trying to pacify the two women.
Burns, at the same time, is scheming to keep Johnson on the staff and knock all this nonsense about marriage and advertising out of his head.
Hildy is a high-energy role, and Charlie Mitchell gives it everything he's got. Steve Beall as Walter Burns is domineering, scheming, single-minded.
The reporters are Wilson of the American, played by Jose de la Mar; Endicott of the Post, played by Jacob Rothermel; Murphy of the Journal, played by B.J. Gailey; McCue of the City News Bureau, played by Patrick Kilpatrick; Schwartz of the Daily News, played by John Sadowsky; and Kruger of the Journal of Commerce, played by Dan O'Brien.
The playwrights have not given the reporters much individuality. The only one who stands out is Bensinger of the Tribune, a hypochondriac and hygiene fanatic portayed amusingly by Scott Alan Small.
The boastful, bumbling sheriff and the smooth, shifty mayor are beautifully played by Don Edward Black and Frank Mancino, respectively. Their scenes together are comic highlights.
Rebecca Ellis gives a strong portrait of Mollie Malloy, a prostitute who has befriended Williams. Jim Raistrick, as a German-born policeman the reporters call Woodenshoes, perfectly conveys the earnest innocence the script demands.
Heather Whitpan gives some interest to the role of Hildy's girlfriend, Peggy Grant. Carol Randolph has more to work with as Mrs. Grant, her confused but spunky mother. She plays the part to the hilt.
Wayne Willinger is effective as Diamond Louie, a small-time hood on Walter Burns' payroll. Mr. Pincus, a guileless bureaucrat who holds the key to the play's climax, is winningly played by Joel Ballard.
Stephanie Roswell gives a forceful portrayal of Mrs. Schlosser, the neglected wife of an absent reporter, and Lorraine Imwold makes some amusing appearances as Jennie, a cleaning woman.
Several factors have discouraged theaters from producing The Front Page -- coarse language, racial epithets, a mostly male cast. Perhaps most difficult are the racial attitudes of the 1920s, which Hecht and MacArthur depict frankly. Director Ian Gallanar leaves these in, but in softened form, to give an accurate picture of the period.

Howard County Times Smiles Upon The Front Page

2007-02-15T20:05:00.000-05:00

2/15/07

Theater was making itself relevant long before Hollywood, and it will be there again, if the Chesapeake Shakespeare Company has any say in it. While too many recent Hollywood productions have taken to revisiting the past to build a case for how history should have been, the Chesapeake troupe has brought back a vintage American play that only wants us to see it the way it was.

The play is Ben Hecht and Charles MacArthur's 1928 newspaper comedy "The Front Page," a work we recall today mostly from Tinseltown's sanitized movie versions. The local acting company has unearthed an original text that director Ian Gallanar rightly says contains the "rough and sometimes ugly words that gave the play an edge."

The company has even posted a warning in the lobby of the Howard County Center for the Arts about the play's use of politically incorrect terms like "bohunk," "fairy" and "wop." There's talk of Bolsheviks and prostitutes amid the wisecracks, and the whole plot hinges on a city hall more concerned with getting "the colored vote" than in seeing justice done.

Hecht and MacArthur had both lived in Chicago and knew how the game was played there. They wanted to take a DNA swab from the mouths of the hypocrites, connivers and bribe-takers that might help identify the disease; the team had little interest in sparing the feelings of special interest groups.

A faithful staging of the play today amounts to a cross-section of a modern American city in the full, boisterous expression of its basic human right to be -- well, basically human. It's not a comedy in any current sense. In fact, this may be the play that popularized the term "gallows humor."

It's set in the press room overlooking the Chicago prison where a convicted cop killer is set to be executed at 7 a.m. Periodically, there is the sound of a trap door being sprung to test the gallows, which barely fazes the little band of journalists griping about pulling another all-nighter.

Their main complaint is that the mayor should have agreed to "jerk" the condemned at 5 a.m. so they could file their stories and get out of there earlier. Their fondest desire? That the execution be interrupted by a protest riot that can be chalked up to "the red menace."

The whole first act sets the scene and is like a window on that eerily familiar world. Eventually, we witness two escape attempts: One is by the condemned prisoner, who somehow gets a gun and shoots his way past his guards; and the other is by hotshot journalist Hildy Johnson, who thinks he has found a way to break away from the pack and leave behind the world of editors and deadlines forever.

What is fate to do with two such dreamers?

Chesapeake's huge cast of some 20 actors is mostly excellent and rarely less than believable. As with all big ensembles, though, they need time to meld into one complex organism. On opening weekend, they were still in the process of gelling. The first act in particular needs to be lightning-paced, but here too often the actors seemed to be waiting for cues instead of fully inhabiting their moments.

Charlie Mitchell portrays Hildy Johnson as more of a narcissistic lug than as a conventional leading man. Think of Charles Foster Kane romping with his paramour. But giving him feet of clay just makes it all the sweeter when we watch him squirming through the plot's wringer.

Other solid character portrayals are turned in by Frank Mancino as the corrupt mayor -- the very embodiment of a well-greased cog in a big-city machine -- and Don Edward Black as the flatfooted sheriff with too much half-baked residue in his brain pan.

Steve Beall is the icing on this production's cake as managing editor Walter Burns, a natty and supremely confident executive type. Joel B. Ballard also makes an indelible comic impression in the small role of a windy city Guildenstern.

The linoleum-floored pressroom set by Dan O'Brien and all the period niceties and costumes assembled by Ian Belknap and Kristina Lambdin are top-notch. After four years, of course, news of good production values and fine acting by the Chesapeake players is hardly any reason to stop the presses.

Front Page Reviewed by Judy Rousuck

2007-02-15T09:26:00.000-05:00

'Front Page' still newsworthy

Theater: J. Wynn Rousuck

Originally published Feb 15, 2007

Ben Hecht and Charles MacArthur would probably have been amused to know that their work was being performed by a Shakespeare company. The two former Chicago newspapermen plumbed their own printers' ink-stained experiences for the raw material for The Front Page.

The dialogue, laden with politically incorrect 1920s slang, isn't exactly Elizabethan verse, and the characters are far from princes ("lousy, daffy buttinskis" is the way the play's star reporter describes the distinguished members of his profession). But, there Front Page is, ensconced between Love's Labor's Lost and Henry V in the Chesapeake Shakespeare Company's fifth season.

The company is using a rediscovered version of Hecht and MacArthur's original 1928 script, edited by Columbia resident George W. Hilton. But while the text may be painstakingly authentic (right down to the racial slurs), some of the performances by director Ian Gallanar's large cast feel less so.

Instead of appearing comfortable with the period material, for example, a number of the younger ensemble members give the impression that they are dressing up in their father's - or grandfather's - suit jackets and fedoras.

This isn't the case with Charlie Mitchell's portrayal of the protagonist, hotshot reporter Hildy Johnson, who's leaving the newspaper racket to settle down, get married and work in advertising. The actor looks fine and dandy sporting spiffy two-tone shoes and a natty walking stick. But almost the entire production is performed at too high a pitch, and Mitchell's performance is partly to blame. With the temperature elevated from the beginning, neither he nor the rest of the company has enough heat left when the sparks - or in this case, gunshots - start flying.

Those gunshots are heard when Earl Williams, an anarchist and convicted murderer, escapes on the eve of his hanging. Reece Thornbery delivers a first-rate, measured portrayal of this frightened convict.

Equally notable are Don Edward Black as the bumbling sheriff; Steve Beall as Hildy's editor, who will stop at nothing to keep Hildy on his staff; and Heather Whitpan as Hildy's exasperated fiancee. Carol Randolph as his future mother-in-law and Joel Ballard as a sheepish messenger also distinguish themselves in smaller roles.

Seeing Front Page after the hit Broadway revival and Oscar-winning movie version of Kander and Ebb's musical, Chicago (based on a 1926 play by another former Chicago reporter), increases your appreciation of the way crime and yellow journalism fed off each other in this tarnished bygone era. Cynics might say nothing's changed, which partly explains why the play has resurfaced in so many incarnations.

An equally valid reason, however, is that - as even this frequently excessive production proves - the humor Hecht and MacArthur found in their former profession still tickles the funny bone almost a century later.

The Front Page runs through Feb. 25 at the Howard County Center for the Arts, 8510 High Ridge Road, Ellicott City. Tickets are $20. For more information, call 410-313-8874 or visit chesapeakeshakespeare.com.

2006 Greater Baltimore Theater Awards

2007-01-26T13:44:00.000-05:00

Outstanding Play King Lear
Outstanding Actor BJ Gailey Taming of The Shrew

Baltimore Broadway World 2006 Year End Accolades

2007-01-26T13:32:00.000-05:00

Baltimore Broadway World Names CSC in it's best of 2006

Outstanding Production of a Play Taming of the Shrew

Outstanding Lead Actor in a Play BJ Gailey, Taming of the Shrew

(Honorable Mention) Outstanding Lead Actor in a Play Jacob Rothermel, Love’s Labor’s Lost

(Honorable Mention) Outstanding Lead Actress in a Play Tami Moon, The Imaginary Invalid

Outstanding Supporting Actor in a Play Wayne Willinger, King Lear

Outstanding Supporting Actor in a Play Christopher Niebling, King Lear

Outstanding Supporting Actress in a Play Karen Beriss, Love’s Labor’s Lost

Outstanding Supporting Actress in a Play Valerie Fenton, King Lear

Outstanding Supporting Actress in a PlayAshly Ruth Fishell, Taming of the Shrew

(Honorable Mention) Outstanding Direction of a Play Patrick Kilpatrick, Taming of the Shrew

(Honorable Mention) Outstanding Direction of a Play Jenny Leopold, Love’s Labor’s Lost

Outstanding Costume Design of a Play Kristina Lambdin, Taming of the Shrew

Up and Comers 2006: New & Nearly New Faces in Charm City- Broadway World

2007-01-03T19:36:00.000-05:00

By James Howard

Every year, hundreds of shows, and thousands of actors, directors, technicians and the like converge on Baltimore’s many theatre spaces. And every year, a new crop of folks debuts, branches out into new areas or simply flourishes after years in the background. Here, in alphabetical order, are the 12 men and women who really distinguished themselves onstage or behind the scenes this year. Some literally made their debut, while others showed Charm City audiences what they could do over the course of the year

INCLUDED WERE:

Ashly Ruth Fishell, Actor (Chesapeake Shakespeare Company: The Imaginary Invalid, Taming of the Shrew, King Lear, Love’s Labor’s Lost): Ms. Fishell has had the fortune of being cast in every production of CSC’s in 2006. And she does it all – from stylized comedy (Invalid), ensemble acting (Lear), and developed supporting characters (Love’s Labor’s) to a star-making turn as Kate’s sister Bianca in Taming of the Shrew. In Shrew, Fishell was absolutely riveting and very funny. She’s one of those actors that when you see her onstage, you can’t take your eyes off of her. I, for one, can’t wait to see what she comes up with next!

AND

Jacob Rothermel, Actor (Chesapeake Shakespeare Company: Taming of the Shrew, King Lear, Love’s Labor’s Lost; BPF: SOD): Speaking of charm and charisma, CSC company member Jacob Rothermel got to do a lot of both this year in a variety of roles, be they comic – Love’s Labor’s Lost, dramatic – Lear, or some of both – SOD. This young actor, like his fellow CSC member Ashly Ruth Fishell, commands whatever stage he is on without ever going overboard.

Greater Baltimore Theater Awards

2006-12-13T14:47:00.000-05:00

The 2006 Greater Baltimore Theater Awards came out and CSC received five nominations:

Outstanding Play: King Lear
Outstanding Actress: Val Fenton- King Lear
Outstanding Actor: BJ Gailey- Taming of the Shrew
Outstanding Costume Design: Kristina Lambdin - King Lear
Outstanding Experimental Production: Love's Labor's Lost

Columbia Flier Likes Love's Labor's Lost

2006-11-13T10:53:00.000-05:00

By Tony Sclafani

One reason William Shakespeare's works remain eternally popular is that they have much to say about the human condition. That timelessness is especially evident in the Chesapeake Shakespeare Company's brilliant new production of his comedy "Love's Labor's Lost," now at the Howard County Center for the Arts.
With some clever staging techniques by director Jenny Leopold, this production uses the play's battle-of-the-sexes premise to make all sorts of observations about modern-day American society. Its look at class differences most likely would have been heavy-handed and obvious coming from today's playwright. But by updating the 16th-century work, Leopold and her cast remind us why Shakespeare will never seem out of style.
Right off the bat, audiences sense the ridiculousness of a scheme agreed to by a quartet of men to swear off women for a full three years so they can dedicate themselves to their studies. When King Ferdinand (Jacob Rothermel) starts to wax idealistic about the idea of retiring to an all-male retreat, his buddy Biron (Bob Alleman) cynically moans, "O! these are barren tasks, too hard to keep -- not to see ladies, study, fast, not sleep."
Eventually Biron succumbs, and the friendly bickering between Rothermel and Alleman becomes one of the production's best pleasures. Both actors do an excellent job of humanizing their characters and communicating the word-heavy text.
The character pecking order is revealed when a hapless rural drifter named Costard (Scott D. Farquhar) is arrested for breaking an unspecified rule. Leopold fashions Costard as a Southern working-class man, replete with overalls, work boots and a Jeff Foxworthy drawl. The king's buddies, on the other hand, sport smart suits and sunglasses.
Costard comes complete with girlfriend Jaquenetta (Rebecca Ellis), who enters wearing a semi-revealing top and flaunting her tacky manners. By contrast, the royal female entourage arrives dressed for career success and exuding the confidence of the well bred. In a clever touch, they spend their first few minutes on stage snapping their own pictures with cell phone cameras.
Director Leopold underscores class differences in American society wherever she finds them. Some of the play's best moments come when one of the play's royals makes a grand pronouncement only to have some underling undercut it with a rolling of the eyes or a snide retort.
The royal women are led by the pampered Princess of France, who is given a humanistic reading by Anne Nottage. Eventually, the royal men meet up with the royal women, and the proverbial sparks fly.
The outgoing Biron is surprised to find the wittiness that works so well with his buddies (played by Scott Allen Small and Jim Raistrick) failing with the woman of his dreams, Rosaline. Diana Cherkas imbues Rosaline with the chilly grace of a supermodel. Her friends, played by Ashly Ruth Fishell and Charlene V. Smith, find her posturing funny, but Biron's fatigued post-conversation demeanor makes it clear that he has met his match.
Ferdinand fares little better with the princess. In fact, his dialogue comes off as the kind of empty posturing best suited for office gatherings. The men's real feelings toward the women are revealed in facial expressions shown only to the audience. We know they won't be able to keep their desires for these attractive women in check for long.
Watching the inevitable play out is half the fun, especially when one of Shakespeare's trademark "disguise" scenes is presented with slapstick abandon. More fun is offered by Karen Beriss, who steps out of her role as Moth (a page) to perform an impromptu comedy-and-magic routine between acts.
The play's unconventional set -- a mere two ladders -- is also a testimony to Leopold's trust in her cast's ability to pull off the playwright's illusions without benefit of props or set pieces.
"Love's Labor's Lost" is considered one of Shakespeare's lighter works, yet the Chesapeake Shakespeare Company makes it into one of the most entertaining and accessible works yet attempted by this local troupe.
"Love's Labor's Lost" continues Fridays and Saturdays at 8 p.m., Sundays at 2 p.m., through Nov. 19 at the Howard County Center for the Arts, 8510 High Ridge Road, Ellicott City. Admission is $20 general, $18 for senior citizens, and $15 for those under 18.Ê Everyone under age 18 is admitted free on Sundays.Ê For information, call 866-811-4111 or log onto www.chesapeakeshakespeare.com.

BroadwayWorld.com Loves Love's

2006-11-13T10:45:00.000-05:00

By James Howard

I have said it before, and I will say it again. No one locally produces Shakespeare for the masses better than the Chesapeake Shakespeare Company. No one else really comes close, and their current production of the comedy Love’s Labor’s Lost is proof. Often, otherwise extremely bright theatergoers will resist seeing Shakespeare for fear of not being able to understand what they are seeing and hearing. That is most definitely not the case with this production. Billed as a Shakespeare Workshop production – read: the play, not the costumes and sets are the thing – the company once again shows an amazing ability to create the Bard’s plays within a context, and more importantly, within acting styles that are accessible to any and everyone. So, if Will’s work makes you nervous, try CSC – you’ll be the better for it.
Directed with a keen eye, swift pace, and comic flair by Jenny Leopold, a first time CSC director, Love’s Labor’s Lost charms and enthralls as it rushes fleetingly by. The action is non-stop, the plot relatively uncomplicated. Clearly, Ms. Leopold knows a thing or two about staging a play, debut or not. Not one second of the staging feels labored or static, and she is always mindful of keeping the focus where it needs to be, without sacrificing interesting stage pictures. (A few other local directors might attend to see what efficient staging looks like.) Setting the play at a Western ranch resort in modern dress proves to be an inspired choice as it gives the audience easily understood context for the plot, and gives the characters a reasonable need to be in this place without stretching the bounds of believability. This updating is not a case of the all too often shoehorning of a classic into an ill-fitting concept. For a production that touts its lack of attention to the technical details, all of the elements sure are top notch. The costumes (uncredited for design) are a hoot, from the corporate “Team Navarre” shirts worn by the four gentlemen to the ZZ Top/ Day Spa “disguises” worn by the men and women, respectively. The lighting, which is merely and on/off, bright full stage wash is exemplary in setting the tone and cheeriness of the play and is of note also for its evenness – companies with far larger budgets may want to consult with designer Dan O’Brien for tips on how to avoid shadows. O’Brien is also responsible for the bare bones set – a wide open prairie in the back, and two strategically places ladders – which do more for the show than some of the more expensive things I’ve seen recently.
Even though technically the production is spare but first rate, true to the Shakespeare Workshop concept, Love’s Labor’s Lost is truly actor-centric. This battle of the sexes is set up nicely from the get go, as each actor has a firm grasp on his or her role and its place in the grand scheme. And from lead role to walk on, every actor has brought his/her best skills to the stage. As CSC is an acting company, the same actors regularly appear in their productions, and it is fun to see what they will be asked to do with each outing. CSC also makes a habit of infusing new blood in each show as well, and in this case each newcomer acquits him/herself quite well.
In the supporting roles, several cast members really stand out. Steve Beall does a funny send up of a Spaniard without being a stereotype, and as Moth, the Spaniard’s page, Karen Beriss practically steals the show. A trained magician, she does tricks aplenty, but the best trick she pulls off is as the androgynous Moth – well-spoken and delightfully delivered lines make Ms. Beriss a name to look for in the future. Shakespeare has set up this battle with two leaders and three sidekicks apiece. All six actors in the side kick roles are delightful to watch and listen to as they each create very distinct characters, and yet manage to create a unified front a la The Three Stooges and perhaps Charlie’s Angels. The men (Bob Alleman, Scott Alan Small, Jim Raistrick) are hilarious as they bumble their way through love, machismo and disguises. Similarly, the ladies (Diana Cherkas, Ashly Ruth Fishell, Charlene V. Smith) relish in using their femininity, guile and considerable charms. Adding to the fun in smaller turns, but adding much humor and color to the proceedings are Kelli Biggs, Lorraine Imwold, Bernie Noeller, Scott D. Farquhar, and Rebecca Ellis as various servants and townies. It really says something about the level of professionalism, direction and attention to detail of a show when even the smallest roles stand out as they do here.

Two of my favorite CSC actors, Jacob Rothermel and Bob Alleman are in the central roles of Ferdinand, King of Navarre and Biron, respectively. As befitting his character’s station, Rothermel commands the stage and his subjects with zeal, and infuses just enough self-deprecation to make the plottings of this “man’s man” both realistic and humorous. He also exudes a quiet, yet confident sexuality that makes the King’s lust for the ladies interesting and just a shade naughty. Rothermel does so with such subtlety that one wonders if this is the character entirely or a bit of the actor shining through. The always reliable Alleman is simply terrific here. His natural ease, charm and wit are used to full effect here. His delivery of often complex language is effortless and perfectly timed, adding to each and every scene, while aiding the less Shakespeare-friendly audience members in understanding. In this play, his stature is such that he is slightly awkward, and his face paints a picture of affable silliness. Alleman is the total acting package here, using voice, physicality and facial expression to create a well-rounded, delightfully funny character.

On the distaff side, Rothermel and Alleman are ideally paired with actresses who hold their own against them. The high level of give and take and easy banter of complex word play between them suggests years of working together – the kind of chemistry they have is a director’s dream – something you can’t force or create, it just is. One can only imagine what they’d do with the 4 central roles in Guys and Dolls. As Ferdinand’s female counterpart, the Princess of France, Anne Nottage exudes the same qualities – a smart, witty sexual woman who lives and loves on her own terms. There were several moments when I wondered if it was intentional that both actors were so similar. And as Rosaline, Diana Cherkas delivers a beguiling performance that requires her to be the comic equal to Alleman and a touching ingénue. That is not to say her Rosaline is a withering female, not at all. She, too, has created a full woman – fierce and strong, but smart enough to know when to use her feminine wiles to full advantage.
One suspects Shakespeare would have been pleased with these performances. CSC has done the work a great service by making it so immediate and unburdened, and has gotten its 2006 – 2007 season off to a terrific start.

Maryland Theatre Raves on King Lear

2006-06-13T11:24:00.000-05:00

By Roxeann Knight

King Lear, Written by William Shakespeare, Directed by Ian Gallanar
June 18, 2006
The Chesapeake Shakespeare Company takes on King Lear as the second piece of their summer of repertory. It's a tough play and not many take it on in a season of "festival Shakespeare." I'm encouraged to report that they do a fine job.

The actors take on this play. There are unique performances all around. Frank B Moorman, in the title role leads the cast with a fully realized performance. He seems a bit healthy and young for the role, but what he lacks in age, he makes up for in energy. This is no moping Lear, but rather more like the tempest that follows him around during the middle of the play. This Lear truly rages against the dying of the light.

The daughters all make sense of their world. Lesley Malin as Goneril is a calculating devil while Jenny Leopold's Regan has the right level of sadism and seduction. Valerie Fenton gives a tender performance as the youngest Cordelia.

Wayne Willinger and Christopher Niebling as the two sons of Gloucester give youthful, exuberant performances. It is a particular pleasure to see Mr. Willinger take the stage as "poor Tom." He has great charisma and oozes it during his performance. Chris Graybill as their father gives us a very sympathetic Gloucester. Regret takes over and when he shows us glimpses of it, it can be heart-breaking. Steve Beall gives us a strong Kent and Bob Alleman does the trick as Lear's Fool and Brandon Shaffer brings a nice touch to the performance with his live percussion work.

A warning: The first fifteen minutes or so of the production are dangerous. It's dry and stagey and not much happens beyond a reading of the play. It does little to prepare you for the rest of the evening. It's almost as we're seeing two different productions. A wag of the finger to director Ian Gallanar (also the Artistic Director of CSC) for that misstep. Because the rest of the show is terrific. It is high-stakes drama, nicely acted, nicely paced and deeply human.

Aside from the beginning of the play, I don't have any qualms with this production. The Chesapeake Shakespeare Company bills themselves as "Maryland's Leading Classics Theatre." I would certainly agree with that in terms of the quality of their work, but I also would like to see them lead. This summer's productions of Taming of the Shrew and King Lear are very good, but neither challenge us. They are pretty traditional approaches to the plays and give us little new to think about. Directors Ian Gallanar and Patrick Kilpatrick show that they are good craftsmen, but what about big ideas? That's what really makes art special and while these shows are well-done, they hardly contain any big ideas. As they get ready to join the spotlight with national theaters, they will need to do more than be the Best of Baltimore, they will need to have some big ideas.

The technical elements were very strong without being overbearing (Set Design- Chuck Leonard, Costume Design-Kristina Lambdin, Lighting Design- Dave Eske, Sound Design- Ian Gallanar). I especially admired the ability of the Chesapeake Shakespeare Company to perform without amplified voices. Many outdoor Shakespeare use mics and it is always detrimental to the production. Not all companies should try it without, you have to have well trained voices. Thankfully, CSC does. It makes the experience all the more intimate.

There is also a feeling of watching a company on the verge of something exciting- there is so much interesting about this production and so much energy. They seem like they are truly having the time of their lives and it is contagious. If this is representative of the work of this company, they simply need to get a little more experience and tighten up bit and I think they could do some extraordinary work.

Howard County Times Approves of King Lear

2006-06-11T11:21:00.000-05:00

Rep pairing crowns a royal 'King Lear'

by Tony Sclifani

It has been close to 400 years since William Shakespeare published his tragic version of the "King Lear" tale. And while the drama still offers lots of food for thought, modern audiences might find two especially relevant messages in it: Don't play favorites with your children and think twice before inviting senile parents to move in with you.

The Chesapeake Shakespeare Company's outdoor staging of "King Lear" makes clear how family squabbles can lead to inordinate amounts of chaos.

The production gets to the meat of the matter in the first few lines, when the titular king (authoritatively played by Frank B. Moorman) decides to divvy up his kingdom to test the loyalty of his daughters.
"Which of you, shall we say, doth love (me) most?" he queries.
Right there you know the gray-bearded Royal One is going to wind up with even more gray in his whiskers before the night is through.

Daughter Goneril, played by Lesley Malin, gushes that she loves her divisive old dad "more than words" and "beyond all manner." You get the feeling that she's probably the type who not only brings her teacher apples, but polishes them, too.

Lear's other daughter, Regan (Jenny Leopold), compares herself to Goneril, and kisses up to the old man even more, if that's possible. That leaves the third sister, Cordelia (Valerie Fenton) to bring up the rear in the admiration sweepstakes.

"I love your majesty according to my bond," she sniffs. "No more, no less."

That's all it takes to send the old guy into a fit of blinding rage and set the wheels of tragedy in motion.

"So young and so untender!" he screeches, disowning Cordelia after admitting that he "loved her best." This brings up the question of why he bothered to test them in the first place: Why not just bequeath everything to Cordelia and preserve the peace?

Ol' Bill Shakespeare left that question unanswered, and it has puzzled scholars ever since. We can only guess at Lear's deeper motives, though it's clear from what follows that he was already pretty close to losing his marbles.

In any case, that's what Lear does after Cordelia splits town for a life of well-prepared snails and croissants with her new hubby, the King of France, played by BJ Galley. If there had been such a thing as Dr. Phil back in 1602, perhaps this family could have been patched up.

Unfortunately, Lear is left without the benefit of pop psychology to help him navigate through the rough emotional landscape that awaits. That rocky terrain can be best summarized as: "going to live with your children when you're a cranky old man." (It doesn't turn out any better here than it did centuries later for TV's "Sanford & Son.")

After fighting with both Goneril and Regan (and learning that perhaps they didn't love him as much as they said), the good King is thrown out of both their homes. He then finds himself out on the street accompanied by his loyal Fool (Bob Alleman) and faithful servant, Kent (Steve Beall). The enthusiastic Alleman is a barrelful of monkeys as the Fool and elicits some genuine belly laughs with his lame attempts at poetry and song.

But Lear needs more than chuckles to get over his faithless daughters' abandonment. Soon enough, his life crashes into characters involved in their own subplots (always a bad sign, even in sitcoms).

One subplot involves the Duke of Gloucester (Chris Graybill) and his two sons, Edmund (Christopher Niebling) and Edgar (Wayne Willinger), two ne'er-do-wells who are into things like wearing disguises and gouging out their dad's eyes. We learn this gruesome twosome (excellently played by the two veteran actors) are actually half-brothers, with one being illegitimate.
Leaving aside the issue of how exactly people determined paternity before DNA tests, the family feud of the Gloucesters leads up to the play's final scenes, where Cordelia finds out the hard way that honesty isn't always the best policy.

Kidding aside, this troupe has put together a time-bomb of a production that convincingly explodes into fury at just the right times, especially when Moorman is on stage. Since Moorman is all-too-believable as the addled king, the dramatic elements easily fall into place.
Unfortunately, the setting's natural elements cause glitches. Since it's an outdoor production, actors often have to compete with the sounds of birds, police sirens and even distant live music. Sometimes Mother Nature conspires to drown out some crucial lines.

On the other hand, the ruins of the Patapsco Female Institute make for an appropriately ominous backdrop for this play. When the sun goes down at the end of the first part, the gloomy, hulking building sets a somber tone better than any chintzy indoor design. Director Ian Gallanar makes the most of the surroundings by having the actors enter and exit from unexpected spots in the area around the stage.

One final note: If a few lines of this play sound strangely familiar to pop music fans, it's because they were used in a Beatles song. A live BBC radio feed of "King Lear" was piped into the fadeout of the Fab Four's "I Am the Walrus" - the flip side of the No. 1 1967 single "Hello Goodbye." It's dialogue from Act IV, scene VI that made it into the record, and Beatle fans who see this play should find it a revelation to finally hear those lines spoken in context.

This, again, speaks to the omnipresence of this play. Lots of playwrights produce great works, but only Shakespeare's most acclaimed tragedy wound up in millions of homes on the B-Side of a top-selling single by the world's most celebrated pop band.

BroadwayWorld.com doesn't Approve of King Lear

2006-06-10T11:19:00.000-05:00

It is an interesting choice to have King Lear on the stage around Father’s Day. As played by the Chesapeake Shakespeare Company, the show is a not too gentle reminder to dads everywhere not to play favorites, and not to count on your kids as you get older. Unfortunately, some of the sting of that message gets lost in an unusually (for CSC, anyway) under prepared, plodding and somewhat miscast production.

Doing shows in repertory, especially Shakespeare, must be an incredibly daunting task to undertake. Rehearsing two shows at once, all the costuming, technical issues, etc. is an organizational nightmare, I’m sure. And it is both a blessing and a curse – a blessing in that it gives actors (and audiences) a chance to stretch. It is really interesting to see the same actor in two wildly different roles, and for some it makes one appreciate even more their skills. It can be a curse, too, though, because (at least in this case) the weaknesses of one are magnified by the successes of the other. Whereas Shrew was so ready when it opened that the company was able to perform in a tent after two interruptions, Lear has the air of desperation that seemed to plead with the weather, “Please don’t rain! If we stop, what will we do?” (The look of relief and just a tinge of displeasure on some of the actors’ faces during curtain call also betrayed this sense of ill-at-ease, too.)

Similarly, where Shrew moved at a lively, brisk pace, the three-plus hour endeavor that is Lear felt even longer, a real devil of a thing when seated on the ground or in lawn chairs. And while it may be said that the pacing of a comedy is vastly different than a tragedy (I disagree wholeheartedly), a tragedy certainly cannot have the pacing of a mudflow, either. The delivery of the goods here is the responsibility of its director, Ian Gallanar, and with that responsibility, so must the blame be laid at his feet. Sadly, the directorial issues of the production do not end with poor pacing. Often the blocking is such that the actors are delivering lines upstage, or worse, directly into the ruins themselves.

I have gone on record many times to say that upstage delivery is just fine by me, but here it is to the detriment of the entire production. It happened so often in act one that I had to review the plot synopsis in the program for clarity throughout, which is not a good thing, and I know this play. Gallanar’s uneven direction is further compromised by the unintentional show within the show, the combat and torture scenes, masterfully choreographed by Christopher Niebling, which are vastly superior to most of the rest of the show. Only when swords (large sticks, too) are in play, or tortures are about to be inflicted is there a wonderful sense of danger and excitement. And most tellingly, it is during these scenes that actors involved are full to the brim with confidence – they know what they are doing so well that any unnatural care taken to deliver lines just seconds before is swept aside the most natural and realistic moments of the play. Nowhere is this more apparent than in the performance of Chris Graybill, who mumbles unintelligibly through the entire first act (at least speak up, please). But, get him to the scene where his Earl of Gloucester is betrayed and his eyes are realistically ripped from his head, leaving bloody holes, and Graybill is a new man! His act two performance is so vastly improved over the first, it was as if two actors were playing the part. He is so good in act two, in fact, that he helps bring the proceedings up a few notches all by himself.

This Lear most suffers from a poorly cast King Lear. Frank B. Moorman seems to be lost at sea trying to get a handle on the character. Is his Lear crazy? Old? Suffering from Alzheimer’s? Drunk? Or just stupid? He was in trouble from the start, though, when Lear shocks the kingdom with his plan to divide the land upon his abdication. From his performance you get zero sense that he has plotted and planned this to skew favor in the direction of his favorite daughter, Cordelia (a stunning portrayal by the lovely Valerie Fenton – more on her in a minute), little sense that he thinks less of his other two daughters, or that he knows (and Lear would) that the other two are blowing smoke up his nose with their insincere speeches of devotion. Without this firm base, the rest becomes a game of catch up, and Moorman never really does. Well, that’s not exactly true. When he carries in the body of his beloved daughter, one gets the sense that he understands the pain and torment a mourning father might go through, and the truest moment of his entire performance is the look on his face as he takes his last, literally heartbroken, breath. Mr. Moorman’s characterization issues are further exacerbated by a lack of knowing his lines. Many, many times throughout the evening, he stumbled through lines, stepped on other actors’ lines and stopped and restarted speeches. (Considering the miniscule size of his role in Shrew, Moorman has no real excuse here.) With a role the size and magnitude of Lear, surely some of the rest of the cast must be looking to him for some leadership – an anchor to the production, if you will.

And when that anchor is not there, some cast members seem to be suffering from a lack of confidence, while others seem to try to be compensating for his weaknesses. The result further points up the unevenness of this production. Fortunately, the poor confidence seems to have been left with the smaller supporting roles, because those in the major supporting roles are giving some of the finest performances of the year. As Goneril and Regan, Lesley Malin and Jenny Leopold, respectively, give deliciously bone-chillingly evil performances. The gasps of displeasure as the two actresses seduce multiple men, and the almost delight of the audience at their deaths are a testament to the power of their performances. They are both so cunning and nasty they’d give Lady Macbeth a run for her money. Best of all, neither resorts to mugging or scenery chewing; in fact, it is their subtlety that makes these performances terrifyingly real. In sharp contrast, and beautifully so, is Valerie Fenton, as the fallen from favor daughter. While her line delivery is exquisite, it is her face and demeanor that tell the real truths of her character. The instant look of resignation and loss that crosses her eyes when she realizes that her father has banished her is heartbreaking, and the love in her eyes for that same father when she returns to save him is equally moving. Sadly, Ms. Fenton only appears a few times (really, Mr. Shakespeare!).

As far as the supporting men go, there are several standout performances, and one that is so stunning and magnificent, I see many awards in his future. First, Scott Graham, so deliriously funny in Shrew, here shows a dark, evil side that is equally as terrific – this man can act! His Cornwall is the perfect, nasty compliment to Ms. Leopold’s Regan (if they can sing, they’d be a great Sweeney Todd and Mrs. Lovett!). As The Fool, Bob Allerman gives a masterful performance – veritable actor’s primer for how not to create a one-note character. He aptly plays the comedian, the sidekick, and the power behind the throne. He is a delight. And Jacob Rothermel is pure nastiness as the conniving servant Oswald.

It is the power and interesting depth of character in the performances of the Gloucester/Edmund/Edgar subplot that actually makes this more the center of the production. Never before have I seen a production of King Lear that may have been more aptly titled The Tragedy of Edmund and Edgar. As Edmund, the bastard son of Gloucester, Christopher Niebling does some magnificent, riveting work. He, too, resists the urge to go vaulting over the top, and instead shows Edmund’s manipulative skills and cunning in much more low-key, and ultimately more effective ways. He is both disgusting and clever, and the audience hangs on the actor’s every word and action. The real find of this production, however, is the brilliant performance of Wayne Willinger, as wronged brother Edgar. The character goes through some incredible changes, and Willinger is more than up to the task of each and every twist and turn in the journey. Edgar’s travails are so wonderfully layered on by the actor – no nuance in the role is left un-played – he is brilliant sad, mad, angry, joyful or triumphant. He builds and builds, and it is, simply put, the best performance by a supporting character of the local season the entire year. One can only hope the actor gets the accolades he is due. Further, one hopes that at some point, perhaps when CSC gets around to Lear again, that Mr. Willinger gets the title role – I can only dream of the pleasurable night of theatre that performance would bring.

While this is a far from perfect Lear, it is most definitely worth seeing for the work of the supporting cast. Perhaps as the play runs and the actors get more comfortable, the pacing may improve some, and the King will find his character.

Shrew- best of Summer 2006, BroadwayWorld.com

2006-06-09T11:15:00.000-05:00

By James Howard

The best kept secret in theatre in the Baltimore/Washington area is about to go national, and their current production of The Taming of the Shrew stands as a loud, funny testament as to why. This time next year, the Chesapeake Shakespeare Company will again be presenting 2 plays in rep at the ruins, but next year it will be under the national spotlight of the Shakespeare in Washington festival. As that draws thousands from all over the world, I suspect tickets will not be easy to come by. If there is any justice (and the weather gods cooperate) tickets this summer will be just as scarce.

In company tradition, CSC offers a truly “no 4th wall” approach to theatre, and it was fun to watch combat rehearsals (for King Lear, opening this weekend), chat with the actors and creative staff and take in the outdoor ambience of the beautiful Patapsco Female Institute ruins. The stone walls, doorways and windows offer a beautiful backdrop to the show and have been fully incorporated in the design of the show (designed by Chuck Leonard) and are creatively used throughout by the cast. Kudos are also due to costume designer Kristina Lambdin, who has created a visual feast of texture and layers, mixed with practicality. One imagines the costumes won’t be too bad the balmy days of midsummer.

This was Shakespeare done as it was meant to be, in the closest approximation to the open air Globe Theatre I’ve attended locally. Of course, it opens up the possibility of rain outs. Opening night did not have the full cooperation of the weather. Did it matter? No, I am thrilled to report. And about 25 minutes into Act One, it started to rain, causing the stage to become unsafe. So, the show stopped and we were all guided to a large tent set up outside the stage area. There it was nice to commune a little more with the actors and the rest of the audience. As luck would have it, the rain stopped, and back we went. (In true company spirit, it was wonderful to see leads and ensemble and staff and crew working hand in hand to ready the stage for the rest of the show.) A brief announcement that we got our intermission early and that the cast might slow down a little, and on with the show. Then, just as everything was ready to come to a climax, the clouds again opened up! We were one scene away from the end, but then the creativity of CSC really came to the fore, as we all - cast, crew and groundlings alike - ran to the tent, and the performance finished, in modified blocking, of course. They went effortlessly into character, and improvised blocking that was so smooth and appropriate it was astonishing. And, as is the hallmark of this classics-only company, their “make it accessible to everyone” philosophy informed the entire production to such an extent that not one word was lost, unable to be understood, and even the little girl who sat wide-eyed in the tent as Bianca sat right next to her to do a bit, knew exactly what was going on.

Other local companies attempting Shakespeare really need to take a look at this way of doing things. When an 8 year old can follow the entire plot and not one actor chewed the scenery or showed of his/her “acting Shakespeare” technique, something right is going on here. And lest the Shakespeare literati get their upturned noses in a twist, this production is also impressive for its authenticity and artistry. Why is it that only CSC consistently remembers that Shakespeare wrote for the masses, not for Harvard post-grads?

Oh! How was the show? Well, it was just terrific! And I have to give director Patrick Kilpatrick much of the credit. His company was so well-prepared; they could have done it in the parking lot in shorts and t-shirts! He has created a more traditional Shrew, fast paced, physical and romantic. Interestingly, this is the first production of it that I have ever seen where the Bianca and her suitors storyline has been given equal weight to the Kate/Petruchio story. The result isn’t a tamer Shrew, but a more antic, funnier and more romantic production. It also made the production less ho-hum – everyone knows the story of the crude Katherine – but I’d be willing to bet most of the crowd was surprised at just how much Kate’s sister figures into it all.

Most productions seem to forget that the whole reason there is a need to tame a shrew is because Bianca can’t get married until Katherine is married first. Here, Bianca’s travails are just as important (and rightly so). The result is a much more full-bodied evening. Credit here must also be shared by the four main actors in this love rectangle – BJ Gailey as Petruchio, Kate Michelsen-Graham as Katherine, Ashly Ruth Fishell as Bianca and Scott Graham as Lucentio. Each gives an amazing performance – any time they are on stage you are riveted by their every move and word.

The haughty arrogance of Gailey’s Petruchio emulates a masculinity that is a powerful match for the screams and tormented wails of Michelsen-Graham’s infuriatingly misunderstood Kate. Both give these time worn characters a surprisingly modern edge and spar like pro boxers (I can only imagine the bruises each has to nurse after each performance) and for once, you actually wonder if maybe this time Kate will win the battle. And thank Thespis, we finally have a Bianca that isn’t played like a vapid Barbie doll. Miss Fishell has created the most fully realized Bianca I have ever seen. Here, Bianca isn’t a withering flower waiting to be wooed. She is as aggressive as her sister (I wouldn’t want to meet this Bianca in a bad mood on a dark street), but effuses such charm and grace, and a subtle sexuality that it is hard not to join the long line of suitors. Fishell is a little tornado of energy that is magnetic. Whether she is center stage or in the background she is totally in character and mesmerizing to watch. And Graham’s Lucentio, is love-struck, but thankfully, not a boorish boob of slack jawed stupidity as the character is often portrayed. This may be the first time I’ve seen a Shrew where I totally believed that Bianca would fall for Lucentio. All of this makes the final moments all the more fun and satisfying. Both couples are so right for each other and so realistic that their verbal sparring is a treat, and as fast-paced and thrilling as any of the physical shtick earlier in the play. Shakespeare was a feminist! These women are their men’s equals in every way - and what a great message for young and old alike.

The rest of the cast is uniformly excellent, and many are the very embodiment of the old saying “there are no small parts, only small actors”. Each has created distinct characters that are fun to watch and entirely appropriate – not a scene stealer among them. Kevin Costa as Grumio, Petruchio’s servant, is absolutely delightful, playful, very funny and the perfect foil to his master (I’d like to see what Costa and Gailey could do with The Odd Couple). Jacob Rothermel as Hortensio is a scream as Bianca’s love-struck suitor in disguise as her music tutor. He has priceless facial expressions, and the dry delivery of his lines is a riot.

Jennifer Crooks as Trania, Lucentio’s servant who must disguise herself as Lucentio, also gives a masterful (no pun intended) performance, equally convincing as a lovely young woman and a man’s man. What gives her performance such fullness is the fact that she never forgets (and never lets the audience forget, either) how hard it is to maintain a disguise, especially a gender-bending one. The fleeting looks of panic in her face every time she almost gets caught in the act, and the determined look in her eye remind us that she knows that lives hang in the balance by her success or failure. Of course, it is touching, too, that she plays it such that we know she does this selfless act out of love for her master. Lastly, in the small ensemble of servants that populate Padua, Christopher Niebling and Valerie Fenton are delightfully funny, as they, like everyone else in the play have “found love” and pop up all over the place smooching and pawing each other. It is yet another example of the completeness of director Kilpatrick’s vision. Such a unity of concept is difficult to achieve, and he has succeeded in every way.

Get thee to this Taming of the Shrew! And look for my review of King Lear this time next week!

Columbia Flier's Review of Taming of the Shrew

2006-06-08T11:12:00.000-05:00

By Mike Giuliano
Young women were able to receive an education at the Patapsco Female Institute in Ellicott City in the 19th century, even though it would be many decades before women realized something approaching equality in American society. That makes the school's stabilized ruins and historic park a striking setting for the Chesapeake Shakespeare Company's "Taming of the Shrew."
This early Shakespeare comedy centers on a swaggering man who teaches a shrewish young woman how to behave in a manner suitable for 16th-century society. The bawdy play is not a feminist favorite, to put it mildly, but its headstrong heroine does score a few intellectual points along the way.

In any event, its battle of the sexes arguments are still good for a laugh. Couples in the audience could be seen nudging each other during some of the more charged exchanges, and one husband knew he would get a reaction from his wife when he said to her with mock seriousness: "Those were the days."

The lighthearted audience response seems appropriate for a production that goes for, er, broad effects. Director Patrick Kilpatrick and his lively cast make the most of an entertaining play that hardly ranks among the Bard's greatest comedies.

The actors immerse themselves in intrigues arising from a simple situation: Multiple suitors want to marry the sweet Bianca, but her father, a Lord of Padua named Baptista, won't allow Bianca to wed until her older and terrifyingly outspoken sister, Katherine, is wed. An enterprising young rake named Petruchio is in love with the considerable dowry that comes with Katherine, and he's up to the challenge of taming her wildly independent ways.
Assorted suitors and servants engage in complicated disguises and other scheming that's certain to lead to a happy conclusion in which people are matched with the suitable partner. There is so much frustrating romantic plotting that a TV sitcom version of "Taming of the Shrew" could be called "Desperate Household Suitors."

The well-cast Chesapeake Shakespeare Company production features Kate Michelsen-Graham as Katherine. Her sturdy yet beautiful build is just what you'd expect for Katherine, because she needs some presence when she engages in fights with Petruchio that are as physical as they are verbal. Whether crossing her arms in stubborn anger or charging across the several platforms that comprise the set, this actress is forceful.

Katherine will need all the energy she can get, because B.J. Gailey's Petruchio sports a self-confident smile as he transforms Kate into an obedient wife. His invitation to "Kiss me, Kate," is an order, and it's significant in the play's progression that Kate eventually does so willingly - an amorous victory perhaps too easily achieved in this production.

The other major roles also are capably filled. As Kate's sister, Bianca, Ashly Ruth Fishell stands in petite contrast to Kate's looming stature. She makes Bianca lovely in a perky sort of way, so you can understand why more than one fellow would like to marry her. And as the sisters' father, Baptista, Steve Beall has the right blend of authoritative pronouncement, agitated bewilderment, and affectionate regard for his daughters.

While all the romantic plotting is occupying the main platforms, other characters off to the side are eavesdropping from perches in the Patapsco Female Institute's actual window openings. As these Elizabethan characters are testing romantic etiquette, one imagines the ghosts of Victorian girls eavesdropping in order to further their own education.

And the 21st-century audience will be noting some lines that embody eternal truths and others so dated they're hilariously politically incorrect. For the record, there was only a single feminist hiss heard during the reviewed performance - and even that seemed to be in jest.

Maryland Theater Reviews Taming of The Shrew

2006-06-07T11:06:00.000-05:00

Almost Great - By Roxeann Knight
The Taming of the Shrew, Written by William Shakespeare, Directed by Patrick Kilpatrick
June 8, 2006
This Taming of the Shrew is exhilarating. The actors leap about the stage with such pleasure that you think they may take off. There are hundreds of charming bits of comic business (sometimes happening at the same time). Every character on stage has something that they are trying to achieve. There are hardly any slow moments. The festivities zip along like an amusement ride. Often times Shakespeare comedies aren't funny. Actors and Directors who know Shakespeare, don't always know what's funny. This is a very funny production.

But, This Taming of the Shrew is also spotty. The production loses focus sometimes and you weren't sure what was important and what was incidental. It seems like a Robert Altman movie, but without the benefit of cameras to center the action. Luckily we know all about Taming of the Shrew for its many productions and the many knock-offs, or we might not know what it's about. It is a bit frustrating, because of all that this production has going for it.

The highlight of the production is not the acting, which is fine, but the verve, the dash, the sheer joy of the performances. But there's a drawback to that. Director Patrick Kilpatrick doesn't show much discipline. Therefore, the minor characters seem much more alive and important than in many productions of Taming of the Shrew. The drawback is that the main characters of Kate and Petruchio get less attention. BJ Gailey gives a charismatic, friendly performance as Petruchio. When it requires him to charm all those around him, it works wonderfully. When he is supposed to shock or disorient those around him, it is less convincing. Kate Michelsen-Graham gives us a controlled Kate. It makes her more human, but sometimes less interesting. Also, there are times when jokes fall flat on their faces. It happens more than once.

The supporting cast, led by Scott Graham as Lucentio and Ashly Ruth Fishell bring life to a group of stock characters with great aplomb. There are no spear-carriers in this production, only living, breathing, feeling characters. I am especially delighted to see the actors over the age of 40 giving as much energy to the performance as the younger actors. The technical elements were very strong without being overbearing (Set Design- Chuck Leonard, Costume Design-Kristina Lambdin, Lighting Design- Dave Eske, Sound Design- Ian Gallanar). I especially admired the ability of the Chesapeake Shakespeare Company to perform without amplified voices. Many outdoor Shakespeare use mics and it is always detrimental to the production. Not all companies should try it without, you have to have well trained voices. Thankfully, CSC does. It makes the experience all the more intimate.

Love, Actually Production Finds Romance Among Fortune Lust

2006-06-06T11:00:00.000-05:00

The CityPaper review of Taming of the Shrew

By John Barry
Is Taming of the Shrew a misogynistic rant or a love story? It’s the eternal question, which, in our more enlightened age, any director has to confront. The Chesapeake Shakespeare Company, with this pleasantly comic version of the old standby, leans toward the latter interpretation. Patrick Kilpatrick lays his cards on the table with his director’s notes, where he claims that in the process of production he suddenly realized what Shakespeare’s early comedy is all about: love.
Petruchio (B.J. Gailey) might disagree. When he arrives in Padua, he’s got one thing on his mind: money. He’s just inherited a fortune from his father, and he’s trying to rake in more. When he finds that the shrewish Katherine (Kate Michelsen-Graham) is his route to her family fortune, he takes the requisite steps. Kate’s father, Baptista (Steve Beall), is desperate to get her off his hands, and he gives the bride away without consultation. There’s no courtship. All Petruchio has to do is break the news to Kate. Then he has to break her. Yeah, there’s a dose of tenderness, especially at the story’s end, but then there’s tenderness in The Honeymooners, too. Turning it into a love story requires a little cutting and pasting.

That could be why Kilpatrick leaves out the first two scenes without informing you that they ever existed. Shakespeare’s “Induction” opening involves a drunken bar crawler, Christopher Sly, who gets persuaded, in the depths of an alcohol-induced stupor, that he’s actually a British lord. The pranksters who came up with the ruse wind up performing a “pleasant comedy” for him, as a way of easing him back into sobriety—that comedy is Taming of the Shrew.
Maybe Shakespeare is just fiddling around. You never know. The play goes more smoothly without the induction—but let’s assume that he’s framing the play by getting it performed in an alehouse as a sort of mind game being played on a hapless drunkard. It makes sense then that, uncorked, this is less of a love story than a bawdy romp.

Chesapeake Shakespeare Company’s kinder, gentler version leaves the cork firmly in the bottle. And as the play progresses, it’s clear that this production’s energy is directed toward the eventual resolution of three parallel love stories. The central one involves Petruchio’s conquest of the shrewish Katherine. Lucentio (Scott Graham) finally finds his way into the arms of Katherine’s gentler sister Bianca (Ashly Ruth Fishell). And Hortensio (Jacob Rothermel), after being rejected by Bianca, gets the rich widow he’s been looking for. Rough edges are generally smoothed over, and, by the end, everyone’s happy.

It’s an acceptable interpretation, especially since this accomplished company of actors spends the next month at the ruins in Ellicott City alternating this comedy with King Lear. After watching the emotional dismemberment of an infirm old man, sprinkling a little tenderness into Shrew is certainly an antidote. But something gets lost as well: the cheerfully rambunctious tribute to henpecked husbands everywhere.

If most actresses play Katherine with nails bared, Michelsen-Graham is a little subdued. Katherine isn’t exactly a hellhound, and even the occasional bursts of anger feel a little out of character. If anything, Michelsen-Graham’s Katherine is worried—justifiably, perhaps—that she’s being handed over to a stranger without much of a résumé.

Gailey’s convincing and forceful Petruchio is a pillar of bearded machismo, against whom Katherine doesn’t really stand a chance. He comes and, as promised, he conquers. He’s got money, he wants more, and he’ll do anything to get it.

But the duels between the two couples are a little subdued. Their first meeting is supposed to be an all-out power struggle; here, Katherine grudgingly accepts her fate. This version smoothes over the bawdiness and the mud wrestling and moves to what director Kilpatrick calls the “love” at the heart of the story.

Graham’s Lucentio and Fishell’s Bianca add a comic dimension to the play that is frequently passed over. Lucentio is hopelessly in love with Bianca, and Fishell energizes her, turning the sweet, younger sister into a mischievous, opportunistic cock-tease.
In the end, this unadorned, low-key Shrew might be best looked at as the first half of a doubleheader. With King Lear, many of the same actors will be up to their elbows in blood and eyeballs. It should be an interesting juggling act, as the company alternates these two plays through June and early July.

BroadwayWorld Reviews Imaginary Invalid

2006-03-01T10:48:00.000-05:00

REVIEW: Side-splitting ‘Invalid’ at Chesapeake Shakespeare Company
by James Howard

The Chesapeake Shakespeare Company’s logo says, “exciting…energetic…entertaining.” With its “classics in the box” presentation of Moliere’s The Imaginary Invalid, the company delivers all three with some of each to spare. This sparkling treat has been lovingly guided both on the page and stage by Ken Elston, who is both translator and director. A vanity production this is not, and it is crystal clear from the moment you walk into this fun space (amazing what can be done in a converted elementary school gymnasium!) that Mr. Elston has surrounded himself with a cast and technical staff that has done its homework.

A quick perusal of the director’s notes in the program tells us a bit about Moliere’s style of using interludes which infuse song, dance, and commedia-inspired sketches to comment upon the action taking place. (It also includes the ironic story of Moliere’s own death during the fourth performance of this play about a hopeless hypochondriac, with the playwright himself in the role!) But nothing prepares you for how these interludes will be portrayed in this translation. Like cannon fire from a pirate ship, the show explodes into action from the first second, letting all concerned know that we are in for an evening of self-reverential comedy, that is smart, hysterically funny, and perhaps to the relief of some, very modern. For while the action takes place centuries ago, we know that this classic is being brought into the 21st Century as the cast recites an a stylized unison, the various warnings to be found at the local Rite Aid for certain modern medicines (takers of the infamous little blue pill may be surprised to find that the possibility of a painful prolonged erection may be the LEAST of their worries!) Similarly, while the language of this translation is firmly rooted in the patterns and cadences of classic drama, it is delivered so clearly, and with just the right amount of anachronisms, that even the least experienced theatergoer will have no trouble understanding a moment of it.

Fortunate enough to speak these delicious lines are a uniformly well-cast, well-prepared and confident cast of actors, both company and non-company members. One relaxes when it becomes immediately and wonderfully clear that this play is in capable hands – no opening night jitters here. Each member of the cast is clearly having a ball, and judging from the hearty laughter throughout, the audience is, too. The strenuous (he may be offstage 5 minutes total) title role of the miserly, self-involved “invalid” Argan is played with a Scrooge-like glee by Nathan Thomas, who talks about enemas and pills like they are the keys to Nirvana. As Angelique, the daughter in love with a man who is not the doctor her father wants her to marry, Valerie Fenton scores a comedic triumph in a role that could easily have become a shrill one-note ingénue in lesser-hands. Her mock-opera scene (I won’t even try to explain it here) with the charming Christopher Niebling as Cleante, the real man of Angelique’s dreams is a highlight among highlights and may be the seven funniest minutes of any local production in years. In a sharp departure from his last CSC role (Coriolanus), Patrick Kilpatrick shows that even the handsomest, albeit dullest, knives in the drawer can be a comic goldmine. I hope he isn’t permanently bruised from the beating he takes as he gets alternately smacked and rubbed by, among others, his mother, Mrs. Diaforus, smartly underplayed by Lesley Malin. As the manipulative, sex-crazed young wife of Argan, Rebecca Ellis hysterically plays through several scenarios of how she, Beline, might react to the news of her husband’s “death”. And keeping this part commedia del’arte, part farce, part melodrama frenzy of plot twists and wry social commentary together is the completely winning performance of Tami Moon as maid and confidante Toinette, and who at one point dons the garb of a male physician and a side-splitting sequence that has her running breathlessly around the set playing both parts at once. Every single actor in the smaller supporting roles makes a contribution and great impression and is to be commended. In the small, but pivotal role of Angelique’s younger sister, Louison, Ashly Ruth Fishell is an absolute scream (literally and figuratively) as daddy’s little girl who rats out her sister, thus setting the whole “who will Angelique marry?” plot into a rollercoaster ride toward its predictable, but very welcomed conclusion.

In terms of production values, the design team is equally on top of things. Technical director and set designer Chuck Leonard provides a simple, yet elegant set including a palace of Versailles-like mirror in the back and a hand painted floor. The simple, very effective lighting (designed by Dan O’Brien, with consulting by Dave Eske) highlights both the set and cleverly helps to focus the action from the dream-sequence interludes, as well as a variety of witty character entrances. The dazzling, eye-popping, budget-busting costumes designed by Magenta Brooks do triple duty here – setting a time period, revealing character, and matching any of the written comedy. Particularly humorous and beautiful are the Captain Hook-ish, French Dandy-ish costumes worn by the characters Mr. Bonnefoi and Cleante which may forever be seared into my memory. They are priceless!

At under an hour, the first act is not only short in length, but its pacing is razor sharp and tightly timed. However, at nearly an hour and a half, act two could stand a little trimming, particularly during a prolonged backgammon game which, though very well acted by Mr. Thomas and Frank Mancino as Argan’s brother, brings the show to a grinding halt. (If they were actually playing what they rolled, Mancino was killing Thomas, but I never should have noticed the game…) It is extremely repetitive, and uncharacteristic of the rest of the translation, which otherwise never seems self-indulgent or irrelevant. The surrounding scenes tell us everything that we need to know. Still, that is a relatively small qualm about an otherwise marvelous production.
The Chesapeake Shakespeare Company will present a special family performance of The Imaginary Invalid on Sunday, February 12th at 2PM.

(Photo of Christopher Niebling, Valerie Fenton and Nathan Thomas by Kitty Charlton.)
Moliere’s THE IMAGINARY INVALID presented by the Chesapeake Shakespeare Company at the Howard County Center for the Arts, 8510 High Ridge Road, Ellicott City, Maryland 21043. Performances through February 19, 2006, Fridays and Saturdays at 8PM, Sundays at 2PM. Tickets available online: http://www.chesapeakeshakespeare.com/ or by phone: 866-811-4111

CityPaper unhappy with Imaginary Invalid

2006-02-01T10:17:00.000-05:00

By Geoffrey Himes
Nearly every character in Molière’s The Imaginary Invalid is a liar. Argan, the title character and the patriarch of a posh Parisian home, lies to everyone, himself included, about his health. Beline, his young second wife, lies when she says she doesn’t care about her husband’s will, only his welfare. Angelique, his older daughter, lies when she promises to follow her father’s every command. Thomas, Angelique’s fiancé, lies when he tries to pass himself off as an intellectual. Cleante, Angelique’s boyfriend, lies when he tries to pass himself off as a music teacher. And Toinette, the family maid, lies whenever she praises the wisdom of her master and mistress.
This 1673 comedy can be very funny, but it requires a cast of skilled liars. Unfortunately, most of the actors in the Chesapeake Shakespeare Company’s production at the Howard County Center for the Arts don’t have much of a knack for lying.

Argan wants to marry Angelique off to a young doctor who could then care for his father-in-law’s imaginary illnesses without charge. Angelique wants nothing to do with the doltish doctor, because she wants to marry the handsome Cleante. Beline wants to send Angelique to a convent so she won’t have any claim on her father’s will. To help out the young lovers and to frustrate their elders, the wily Toinette arranges for a fake doctor, a fake music teacher, and a fake corpse.
In this production, however, Toinette doesn’t seem very wily, the fakes aren’t very convincing, and Argan doesn’t seem to care much one way or another. It’s impossible to imagine how these actors’ lies might fool anyone, and without that the play falls asleep. Moreover, they’re bad liars in very different ways.

Nathan Thomas, for example, is strangely lethargic in the role of Argan. Sitting in an antique wooden wheelchair in a brimless hat, pale pajamas, and red garters, he can’t rouse himself to put much energy into his lies. A hypochondriac such as Argan should exaggerate the supposed pain he’s suffering and should betray the pleasure such exaggerations provide, but when Thomas counts off Argan’s 20 enemas, he looks more like an accountant than a man remembering a finger up his ass.
Tami Moon, by contrast, overstates everything Toinette says and does. With a huge, fake smile plastered on her face, as if she were a beauty contestant, this maid in the black-satin mini-uniform practically delivers every line in air quotes—and then she pauses after each line with a freeze-frame tilt of the head as if adding an air exclamation mark.

As Beline, Rebecca Ellis delivers every line drenched in sarcasm, as if she were a petulant goth girl incongruously decked out in a purple-and-green, boa-lined satin dress from an Old West saloon. Like the disdainful teenager she resembles, Ellis is far less subtle than she thinks she is.
When these three characters share a scene, the performance styles are so out of sync that it’s as if Thomas, Moon, and Ellis had wandered onto the stage from three different plays in three different theaters in the vicinity. The only thing they have in common is their inability to tell a convincing lie. You have to wonder what director Ken Elston was thinking when he watched them rehearse.

The unmusical script for this production of The Imaginary Invalid was translated by Elston, who has added a burlesque prologue of the actors reading the warning off a bottle of medicine. This consists of cheesy prerecorded music, halfhearted dancing, and the stubborn belief that the phrase “erectile dysfunction” is something other than a tired cliché.

In the midst of the play’s wreckage are a few bright spots. Valerie Fenton, who plays Angelique, has larger-than-normal eyes and a larger-than-normal mouth and she uses them for marvelous comic effect whenever they pop open, as they do every time her naive character is surprised. Christopher Niebling has a delightful moment when Cleante improvises an entire opera scene in a frantic effort to prove that he is, in fact, a music teacher.

Best of all is Patrick Kilpatrick, who plays the dimwitted fiancé Thomas. Wearing baggy orange knickers and a schoolboy’s haircut, Kilpatrick comes across as a six-foot-tall 11-year-old boy, even as he clumsily tries to woo Angelique. The harder he tries to come off as a suave lover, while his doting mother whispers tips in his ear, the more he seems a clown. His lies may not fool Angelique, but he has convinced himself, and that makes him funnier and more appealing than anyone else onstage.

The Baltimore Sun's Two Coriolanus Reviews

2005-11-01T12:21:00.000-05:00

WILLIAM HYDER APPROVES OF CORIOLANUS

Shakespeare's Coriolanus, presented by the Chesapeake Shakespeare Company through Nov. 19, is a tragedy about politics and personalities. The title character is a strong man who is destroyed because he won't play the political game.

Director Ian Gallanar, in a program note, says he treated the script the way jazz musicians treat a melody: "riffing on it rather than playing it note for note with technical perfection."
In his version, the dialogue is trimmed, scenes are rearranged, speeches are swapped. Although the production is set in a fanciful present day, we're given elaborately choreographed sword fights, with roaring and screaming and pints of fake blood.

There are sexual situations and a nude scene that aren't called for in Shakespeare's script, plus a few gunshots for shock value. To emphasize all this, the troupe's publicity specifies that no one younger than 18 will be admitted.

Many of the play's subtleties are missing, but the basic story comes across.
Caius Marcius is a Roman general, just back from a successful campaign against the neighboring Volscians. For having captured the enemy city of Corioli, he is dubbed Coriolanus.

He runs for leader of Rome because it is expected of a man in his position. He does not want the job - he is satisfied with being a soldier - but his family and associates urge him on.

Coriolanus fails as a public man because he refuses to strut like a hero and flatter the public. (There's an amusing scene in which he ineptly tries to sell himself to the voters but can't help showing his contempt.) He is brought down by a pair of crafty politicians and is banished from Rome.

Seeking revenge, he joins his former enemies. Volscian General Tullus Aufidius gives him half his army, and Coriolanus sets out to destroy Rome. At the last moment, his mother and wife persuade him make peace. This enrages Aufidius and leads to tragedy.

Coriolanus (Patrick Kilpatrick) and his fellow Roman generals, Cominius (Steve Beall) and Titus Lartius (Michael Sullivan) are portrayed as a rough bunch of men, indistinguishable from one another. Aufidius (Christopher Niebling) is another ruffian, with a deceitful streak that Coriolanus lacks.

Karen Morgan plays Coriolanus' mother, Volumnia, a bloodthirsty supporter of her son's career who becomes an advocate of peace when her city and her life are threatened.

Chris Graybill and Charlie Mitchell offer fine satirical portraits of the tribunes Sicinius Velutus and Junius Brutus, two politicians skilled in manipulating public opinion.

Menenius Agrippa (Paul Danaceau), a wise old friend of Coriolanus, is a prominent character in Shakespeare's play. In this production, he becomes a talking head on a screen. Most of his dialogue is parceled out among several other characters, including a tipsy prostitute (played by Christina Schlegel) invented by the director.

Many of Menenius' words are spoken by Coriolanus' wife, Virgilia (efficiently played by Lindsay Haynes). In the script, she is a retiring person, with only a few lines. That won't do for a production in 2005, so the part has been built up by giving her dialogue borrowed from several other characters.

In Coriolanus, Shakespeare has created a host of memorable small roles that offer opportunities for the rest of the company (Rebecca Ellis, Karen Eske, Jamie Hanna, Lorraine Imwold, Jenny Leopold, Momo Nakamura, John Sadowsky, Heather Whitpan and Wayne Willinger).

Gallanar gives all these minor characters individual personalities, making sure to include a couple of sexy young women. His staging, in keeping with his past productions, is imaginative and detailed. He presents one scene as a TV interview and reinforces his battles with warlike images projected on an upstage screen.

Lorraine Imwold's costumes, dressy for the patricians, grungy for the soldiers and plebeians, create a contemporary feeling. Heidi Busch confines her set to a platform with steps, flanked by banners representing the two armies. Background music, designed by G. Blanston, enhances the moods and the action but tends to obscure the dialogue.

If you buy a ticket for Coriolanus, you won't see classic Shakespeare, but you certainly won't be bored.

The Chesapeake Shakespeare Company presents "The Tragedy of Coriolanus," by William Shakespeare, at 8 p.m. Fridays and Saturdays through Nov. 19 at the Howard County Center for the Arts, 8510 High Ridge Road, Ellicott City. No one younger than 18 will be admitted. Reservations: 866-811-4111 or www.chesapeakeshakespeare.com.

J. Wynne Rousuck would prefer Workshop production to be more cautious

The ancient Roman protagonist of Shakespeare's Coriolanus is a leader in desperate need of an image makeover. Judging from its freewheeling, modern-dress production of the play, the Chesapeake Shakespeare Company clearly felt the same way about this script.

I am hardly one to object to taking liberties with Shakespeare, and few would claim that Coriolanus is one of the Bard's masterpieces (the two other productions I've seen were also updated). But liberties should contribute to, not detract from, the work. In this case, it wasn't just the opening-night glitches in the video sequences that were at fault.

The play focuses on a Roman military hero, Caius Martius, whose victory at Corioli earns him the name "Coriolanus." His battlefield triumph should also earn him political office at home, but Coriolanus is too arrogant and disdainful of the populace to humble himself for their approval. His close friend and defender, Menenius, urges him to change his image by giving the people what they want. But unwilling and unable to pretend to be something he's not, Coriolanus' behavior proves so offensive, he is banished. And, whether out of spite or because war is all he truly knows and loves, he joins forces with his dire enemy, Aufidius, against Rome.

Director Ian Gallanar opens the play with Coriolanus and his wife Virgilia naked in bed. An odd interpolation, it shows the warrior at his most defenseless and introduces his wife a few scenes earlier than Shakespeare does. Gallanar also enlarges Virgilia's role by giving her many of Menenius' speeches. Lindsay Haynes handles this meatier role admirably.

Still, Coriolanus is a character who needs all the friends he can get, and in this production Menenius himself appears only once, and that's on the video screen. Most peculiarly, Gallanar later reassigns some of Menenius' lines to an actress who appears to be portraying a prostitute.
Aside from the liberties with the script (which include additional speech shuffling as well as some modern profanities tossed into the battle scenes), there's a fundamental problem with actor Patrick Kilpatrick's interpretation of the title role. Kilpatrick looks and acts more like a WWE wrestler than a Roman warrior, and his attitude seems more fed-up than arrogant. He and Christopher Neibling (an appropriately hot-headed Aufidius) co- choreographed the fight scenes. But though Coriolanus is supposedly the better fighter, Neibling's nimble swordsmanship seems far swifter than Kilpatrick's.

Chesapeake Shakespeare describes its approach to Coriolanus as experimental and also warns that because of "adult content: some nudity and extreme violence no one under 18 admitted." Yellow "caution" tape decorates the warning sign in the lobby and there's more of the tape on the set. Would that the company had exercised a little more caution with the play.
Coriolanus continues at 8 p.m. tomorrow and Saturday at the Howard County Center for the Arts, 8510 High Ridge Road, Ellicott City. $20. Call 866-811-4111 or visit chesa peakeshakespeare.com.

Citypaper calls Midsummer Nights Dream "an enjoyable Confection"

2005-06-10T12:08:00.000-05:00

By Anna Ditkoff
I’ve seen A Midsummer Night’s Dream a lot, probably because performances of the play are nearly as inevitable as midsummer itself. The Chesapeake Shakespeare Company’s new rendition is set in the 1920s and offers beautiful costumes, amusing props, and fairies dressed as belly dancers and Valentino-style sheiks. Overall, it’s an energetic production with some wonderful scenes, but awkward blocking and some poor casting keep it from being the romp it aspires to be.

Midsummer follows the adventures of four lovers: Lysander and Hermia are in love, but Hermia’s father wants her to marry Demetrius, who has spurned the lovesick Helena. Lysander and Hermia run away, followed by the other two, and they get sucked into a lovers’ spat between Oberon and Titania, the king and queen of the fairies, whose minions use magic to change the lovers’ affections. Meanwhile, a group of tradesmen, called the Mechanicals, have decided to put on a play. They too end up embroiled in the fairy feud when Nick Bottom, one of the actors, is turned into a literal ass and Titania, under a spell, falls in love with him.

Chesapeake’s production takes a while to warm up. Director Ian Gallanar, also the company’s artistic director, uses a peninsular stage. In trying to offer everyone a view of the action, he often provides it to no one. Characters are introduced with their backs to half the audience, actors obscure each other from view, and with all the noise that accompanies an outdoor production, it’s hard to hear much of the cast.

Hermia, played by Aimee Lambing, initially comes off as cloying and self-satisfied, and Rebecca Ellis’ Helena begins the play as a harpy, making it hard to care about either of them, though they eventually turn things around and provide some of the production’s funniest moments. The men are more consistent. Jonathan Judge-Russo’s Demetrius seems to care more for Helena than she does for herself, and Jacob Rothermel is excellent as Lysander, making the most out of every word and reaction. The Mechanicals, often the worst or best part of any Midsummer production, are highly entertaining, especially Patrick Kilpatrick (pictured right, with Bob Alleman) as the obliviously cocky Bottom. Kilpatrick, who is often stiff in dramatic roles, throws himself into the absurdity of his character with gusto. But the play’s standout performance comes from 8-year-old Regan Hall, who plays a beleaguered young fairy. Even without lines, Hall’s expression, as she toils for Titania, steals every scene she is in.

Unfortunately, not everyone does as well. Lesley Malin’s Titania is stiff and lacks the ethereal quality of the fairy queen, and Wayne Willinger’s overly aggressive Puck is more Hulk than mischievous spirit. Still, the chemistry between the actors and the verve they bring to the roles make this occasionally clunky production an enjoyable confection.

Citypaper Sure Likes Dog in the Manger

2005-03-02T14:00:00.000-05:00

By Anna Ditkoff

Dog in the Manger is a clever, energetic, one-liner-filled look at class, love, and what it really means to want what you can’t have. For the Chesapeake Shakespeare Company, it’s an ambitious choice: written not by Shakespeare but by his Spanish contemporary, Lope de Vega, one of Spain’s most renowned playwrights, who has little name recognition in the States.

It was clearly a risk worth taking. Dog in the Manger is the sort of everything-that-can-go-wrong-does love story that sitcom fans and 16th-century theater nerds can’t get enough of. The play centers on Diana, the icy and proper widowed Countess of Belflor. When she discovers that her secretary, Teodoro, has been courting her lady-in-waiting, Marcela, Diana realizes she is in love with him. But it is a love that cannot be, because Teodoro is her inferior. Of course, that doesn’t stop her from messing with Teodoro’s mind by letting him in on her feelings. Teodoro then throws over Marcela and begins fantasizing about becoming a count. But Diana only has two temperatures—white hot, when Teodoro wants to be with Marcela, and ice cold, when he wants Diana to upset her life so they can be together.

Teresa Castracane, the first professional actor to grace a CSC production, does an excellent job as Diana, making her fierce, brilliant, completely controlled, and horribly lost from one moment to the next. Scott Graham runs through the many moods of the fickle Teodoro with ease, and Valerie Fenton’s quirky but savvy portrayal of Marcela nearly steals the show. Jeff Tremper (pictured) plays Teodoro’s servant Tristan, a Shakespearean-style fool who is the smartest one in the group. His delivery is excellent, but he gives his character overly stylized movements that make him seem more lizard than man.

Luscious period costumes by Kristina Lambdin and a pleasantly simple set provide an excellent backdrop for the production. And director Isabelle Anderson makes great use of the space and keeps the action moving at a canter.

But the show’s real star is the new translation, which premieres here, by recent Johns Hopkins University graduate and CSC player Bob Alleman. Feeling that the existing translations of de Vega’s work were too stuffy and British, Alleman created his own. The result is clever, natural, and colloquial without losing the play’s classical style. He only oversteps his bounds once, with a reference to Prozac that rang through the theater like an off-key note.

Modern sensibilities may find the ending a bit unsatisfying, but the combination of outstanding words and excellent performances makes this a production you will be thinking about long after you’ve left the theater.
Email Anna Ditkoff

Potomac Stages Picks Dog in The Manger

2005-03-01T10:41:00.000-05:00

Your first visit to this relatively new company will definitely not be your last: not if you make that first visit during the brief run of this delightful romantic romp. Fresh and energetic performances, clean and intelligent staging, a strong sense of color and atmosphere, and most of all, a delight in the material permeates this production and marks the company as a welcome addition to the Potomac Region's notable collection of companies specializing in quality classical theater. It is directed by Isabelle Anderson who is on the faculty of the Shakespeare Theatre's Academy of Classical Acting in Washington as well as Columbia University, New York University, the Eugene O'Neill Theater Center and institutes in France and Australia.

Storyline: A Countess in 17th Century Naples, despite a bevy of suitors among the gentry at the court, is irresistibly attracted to her secretary, at least as long as he is courting her lady in waiting. When he appears to return the Countess' affection, however, she shuns his attention as unworthy of her high station. The vacillating state of her affections turns the entire court into turmoil as she, like the dog in the manger in Aesop's fable, keeps everyone else from enjoying what she cannot enjoy herself.

The play is one of hundreds surviving from the pen of a remarkable Spaniard of the sixteenth and seventeenth centuries, a man who served in the Armada, wrote poetry as well as plays, had a fabled series of marriages and romances, joined a religious order and has come to be known as one of the two greatest playwrights of Spain. The new translation is the work of local actor, playwright and scholar Bob Alleman, who is a member of the company. He tackled the translation because the company wasn't satisfied with others available, finding them either too formal or too "British." His work is neither. Instead, it is brisk and energetic with a contemporary feel that doesn't negate its age but honors it. The occasional modern reference simply keeps it fresh. Surely Lope de Vaga didn't actually include a reference to prozac, and the dreams of the secretary for marriage to the countess find a distinctly modern sound in phrases such as "I'm down for the Count," but Alleman resists turning the translation into a display of his own wit, focusing instead on that of Lope de Vega.

The text works particularly well as delivered by this cast who enunciate with such clarity but without pretension. The lead lovers, Teresa Castracane as the Countess and Scott Graham as her secretary, are well matched and give carefully modulated performances which keeps the high spots from seeming too manic while providing a good deal of variation and modulation throughout the progress of the show. Two particularly enjoyable performances come from Jeff Tremper as the secretary's lackey - the schemer who puts most of the complicating plot devices into play - and Valerie Fenton as the lady in waiting who unwittingly becomes her lady's rival.
The simple set design of four golden cloth banners before a black platform hints at the sumptuousness of a Neapolitan court efficiently, especially given the nice touch of medallions projected onto two of them. Most of the feeling of courtly opulence comes from the costumes ranging from the Countess' sumptuous gowns to the more restrained but still richly detailed clothes of the servant class.

Written by Lope de Vega. A new translation by Bob Alleman. Directed by Isabelle Anderson. Design: Dan O'Brien (set and lights) Kristina Lambdin (costumes) Tara Garwood and Kristina Lambdin (properties) Nathan Thomas and Ian Gallanar (sound) Nancy Garwood (photography) Mary Hoffman (stage manager). Cast: Bob Alleman, Michael Boynton, Teresa Castracane, Rebecca Ellis, Valerie Fenton, Tara Garwood, Scott Graham, Patrick Kilpatrick, Leslie Malin, Frank B. Moorman, Christopher Niebling, John Sadowsky, Jeff Tremper, Wayne Willinger.

Much Ado About Nothing

2004-07-24T10:44:00.000-05:00

From June, 2004

Scott Graham and Valerie fenton as Benedick and Beatrice

Baltimore Sun reviews Much Ado About Nothing

2004-06-15T10:36:00.000-05:00

Out Chesapeake actors spirited in 'Much Ado'

By William Hyder Special To The Sun June 17, 2004W

We've seen it time and again in Hollywood romantic comedies: A young man and a young woman meet. From the start they're at odds. They quarrel through six or seven reels. Finally, they realize something the audience has known all along - they're in love.

The story is as old as Shakespeare's Much Ado About Nothing, which the Chesapeake Shakespeare Company is performing for the next four weekends in Ellicott City.

Beatrice is a young noblewoman, Benedick an officer home from the wars. Each has a liking for smart remarks and put-downs. Friends and relatives try to bring the young people together, but it takes them (and Shakespeare) a lot of elaborate plotting to accomplish it.

There is another couple: Claudio is Benedick's friend and fellow officer; Hero is the daughter of the local governor and Beatrice's cousin. They love each other and don't care who knows it, but their happiness is threatened when Don John falsely accuses Hero of being promiscuous.
Don John is the illegitimate brother of Don Pedro, Benedick and Claudio's commanding officer. Why is he so evil? Shakespeare provides a reason in a few passing lines of dialogue, but the real reason is practical: He needs a villain to stir up the plot.

Under Ian Gallanar's intelligent direction, the actors deliver Shakespeare's lines (which have been trimmed considerably) in a contemporary style. Their inflections, facial expressions and body language go a long way toward bringing out the meaning of the often archaic dialogue. Comic scenes are played broadly, with plenty of physical action.

Valerie Fenton (Beatrice) delivers her lines as if she were starring in a television situation comedy, and Scott Graham (Benedick) matches her line for line. Frank B. Moorman makes an amiable, fatherly and occasionally boozy Don Pedro.

The actors all turn in lively and enthusiastic performances.

Christina Schlegel and Patrick Kilpatrick play Hero and Claudio. Chris Niebling doubles as Don John and the Sexton. Wayne Willinger is Borachio, who does Don John's dirty work, and Paul Danaceau appears as Leonato, the governor, Hero's father.

Dogberry and Verges - the town constable and his deputy, who expose the villains without understanding how they did it - are among Shakespeare's most famous comic characters.
Their dialogue was considered hilarious by Shakespeare's audiences. It is less funny today. To play the parts successfully, actors have to depend on their own comic personalities. Nathan Thomas (Dogberry) and Thomas Meaney (Verges) work hard in the parts, and the director helps by giving them plenty of knockabout comedy. In addition, Thomas convincingly doubles as the wise and dignified Friar Francis.

Bob Alleman also makes the most of two roles, the uncred- ited messenger and the inept watchman, George Seacole. Greg Cooke has some effective physical humor as Seacole's partner, Hugh Otecake.

This production sets the action in the American South in the 1840s, and Kristina Lambdin's costumes successfully suggest the period. All the military men - Don Pedro, Benedick, Claudio, Don John, Borachio - are dressed alike in white shirts and gray-blue trousers. This makes sense in one way, but it doesn't help the audience distinguish between the good guys and the bad guys.
The stage is brightly illuminated by floodlights, so there is no way to achieve any subtlety of lighting. Quick blackouts between certain scenes, however, might have made the story clearer.
The play, performed outdoors on the grounds of the 19th- century Patapsco Female Institute, makes splendid entertainment for a summer afternoon or evening. Spectators are invited to come early and take a picnic. To entertain early arrivals, a vocal group called Larksong sings music from Shakespeare's day, and some of the actors offer a performance of Tom Stoppard's Fifteen Minute Hamlet.

The Chesapeake Shakespeare Company presents Shakespeare's Much Ado About Nothing at 8 p.m. Fridays and Saturdays and 5 p.m. Sundays through July 11 at Patapsco Female Institute, 3691 Sarahs Lane, Ellicott City. General admission is $20 in advance or at the gate. Free parking is available in the Howard County Courthouse lot on Court House Drive. (Note: It's a long uphill walk from the parking lot to the institute.) Tickets: 877-639-3728 or www.chesapeakeshakes peare.com. Information: 410- 752-3994.
Copyright © 2004, The Baltimore Sun

Chesapeake Shakespeare Company's First review

2003-06-17T09:08:00.000-05:00

Stage | Theater

Love Among the Ruins
Chesapeake Shakespeare Company has a Good Time With a Classic Tragedy

Ill Fate: Patrick Kilpatrick and Valerie Dowdle get their stars crossed.

Romeo and Juliet
William Shakespeare

By Anna Ditkoff

You know the story. Star-crossed lovers from feuding families take their own lives rather than be torn asunder. Sounds awfully depressing, doesn't it? But as anyone who has read or seen Romeo and Juliet can attest, it's not really a bummer until the end. The first half is bawdy, upbeat, and playful. So one of the foremost challenges for any theater troupe attempting Shakespeare's classic tale is to reconcile the tragedy and the comedy. At its inaugural performance at the Patapsco Female Institute ruins in Ellicott City, the Chesapeake Shakespeare Company nails the comedy, offering a vivacious and thoroughly charming beginning. And while the tragedy doesn't fare as well, by the time those silly kids Romeo and Juliet bid adieu, the audience genuinely feels the loss.

If one had to sum up the first half in a word, it would be "energy." It fairly crackles with it, from the kinetic direction to the cast's unwavering zeal. Romeo doesn't walk, he bounds. And Juliet, far from the proper prissy princess she is so often portrayed as, comes across as a willful goofball. Valerie Dowdle's portrayal of Juliet makes her worthy of all the praise Romeo heaps upon her. She practically effervesces, making Juliet both incredibly likable and fatally foolish--the kind of girl who is desperate to be the heroine of her own love story, tragic or no. Patrick Kilpatrick's Romeo isn't quite as strong, and, while he infuses the lover with an effective petulance, other players often overshadow him. Dan O'Brien's Mercutio and Adam Mondschein's Benvolio in particular are such strong and engaging presences that you almost forget Romeo is there. The scenes between the three men are some of the show's most entertaining, and their playful roughhousing is infectious. Mondschein, especially, wrings every drop of humor out of his scenes, and when the play turns tragic he shifts seamlessly.

Director Ian Gallanar keeps the energy flowing by throwing his actors around the multilevel stage and making sure that even the smallest parts have something entertaining to do; for example, Charles Drexler's turn as Peter the servant steals more than a few scenes. Gallanar also smooths the transition from the jovial first half to the ill-fated second by ending the first not with Romeo and Juliet's wedding but with Tybalt's and Mercutio's deaths.

There were a few stumbles early on. The madrigals that performed at the ball where Romeo and Juliet meet slow down the production; Romeo and Juliet spend most of their songs standing with their backs to the audience on opposite sides of the stage, watching the singers. The sword-fighting scenes are pathetically timid. The actors seem to be flinching with each clash of the swords, fencing in unintentional slo-mo. And a scene between Benvolio and Romeo's parents, Montague (Timothy Fowler) and Lady Montague (Karen Morgan), feels staid. The actors stand stock-still in a line, while Fowler and Morgan deliver their lines like they're reading a teleprompter.

Romeo and Juliet thought their parents were dreadful bores, and I have to agree. Only Lesley Malin as Lady Capulet fares well. Mike Keating's Capulet is a millstone around the neck of the play's second half, his awkward performance destroying much of the tension. Fortunately, Dowdle and B.J. Gailey as Friar Laurence are engaging enough for everyone. Dowdle's monologue, before Juliet takes the elixir to make her appear dead, is one of the play's highlights--sad, humorous, and altogether touching. And Gailey brings out the many facets of the conflicted Friar, a man who tries to do the right thing but ultimately paves the way for the lovers' deaths.

Chesapeake Shakespeare Company has the lovely ruins of the Patapsco Female Institute as its background, and its multitiered stage adds depth to the production. But the stage needs to be higher. It's difficult to see all the action from the folding chairs they've placed on the lawn, and often the head of the person in front of you blocks some pivotal scene, especially in the second half when Romeo and Juliet spend much of their time sobbing on the ground. But this first attempt at Shakespeare in the Ruins is a promising start. If this show serves as any indication, the Bard will be well-pleased with his new home.

Email Anna Ditkoff

Chesapeake Shakespeare Company Archives

csc web promo

Lysistrata On Line Review BroadwayWorld.com

CityPaper Enjoys Lysistrata

By Lee Gardner | Posted 3/3/2010

Lysistrata

By Aristophanes; Adapted by Ian Gallanar

Through March 6 at Chesapeake Shakespeare Company.

Lysistrata Review

Theater Review: A lighter look at 'Lysistrata'

Chesapeake Shakespeare gives its own sitcom polish to Greek farce

Posted 2/25/10

(Enlarge) Michelle Massa leads a wives' revolt in "Lysistrata," continuing through March 6 at Oliver's Carriage House in Columbia. Co-starring in the Chesapeake Shakespeare Company adaptation is Scott Alan Small, left. (Photo by Teresa Castracane)

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Twelfth Night

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(Enlarge) Jenny Crooks, left, as Viola in her ruse as a man, gets a hearing by Lisa Hill-Corley in â€œTwelfth Nightâ€ by the Chesapeake Shakespeare Festival.

Howward County Times Cover CSC

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Howard County Times Covers Macbeth

Washington Post Video on Prison Performance

Washington Post Covers CSC Show at Patuxent Institution

Baltimore Sun Covers CSC Show at Patuxent Institution

Inmates get a visit with the Bard, behind bars

'Macbeth' is brought to Jessup prison

Baltimore Examiner Covers CSC Show at Pauxent Institution

An Interview with Three CSC Actors

Maryland Mornings on WYPR-FM

WYPR-FM Review of As You Like It

Baltimore Sun calls it "A Bold Presentation of Henry V"

A bold presentation of 'Henry V'

Broadway World Raves About As You Like It

Henry V Part One!

As You Like It with Energy & Enthusiasm- Baltimore Sun

Towson Times/Baltimore Messenger/Howard County Times Review of As You Like It

Baltimore Examiner Pleased with As You Like It

Citypaper has mixed feelings about As You Like It

Our Shakespeare in Washington Year

Baltimore Sun Reviews Front Page Favorably

Howard County Times Smiles Upon The Front Page

(Enlarge) Jenny Crooks, left, as Viola in her ruse as a man, gets a hearing by Lisa Hill-Corley in â€œTwelfth Nightâ€ by the Chesapeake Shakespeare Festival.