Announcing the cast of "Amadeus"

Antonio Salieri - Andrew Hamm
Wolfgang Amadeus Mozart - Mike Hamilton
Constanze Weber - Liz Blake
Emperor Joseph II - Cynde Liffick
Count Johann Killian Von Strack - Katie Ford
Count Franz Orsini-Rosenberg - Jamie Reese
Baron Gottfried Van Swieten - Joseph Sultani
Venticelli - Jake Allard and David Janosik

Richmond Shakespeare is proud to announce the cast of our next production, Peter Shaffer's modern masterpiece Amadeus, directed by James Alexander Bond. The company is a mix of veterans and newcomers, continuing our commitment to introducing Richmond's theatre scene to fresh talents and developing the artists we have with challenging pieces and roles.

Richmond Theatre Critics Circle Award nominees Andrew Hamm and Liz Blake share the stage for the fourth time (The Taming of the Shrew, Measure for Measure, and Hamlet previously), alongside longtime Richmond Shakes veteran Cynde Liffick (more shows than we can count). Three actors are making their second appearances for the company: Katie Ford (Hamlet), Jake Allard (As You Like It) and David Janosik (The Compleat Works of Wllm Shkspr, Abridged). Jamie Reese makes his memorized-role debut for the company, having appeared in December's staged reading of A Midsummer Night's Dream, and Mike Hamilton and Joseph Sultani once again remind us of how powerful an influence VCU's theatre department is on our local culture.

James Alexander Bond (as seen on Letterman) is directing his fifth production for Richmond Shakespeare, having orchestrated some of the most compelling work the company has ever produced: Julius Caesar, Henry IV Part 1, Measure for Measure, and Henry IV Part 2. He will be returning in the summer to direct Henry V, a unique opportunity for a director to tackle the entire Henriad. Costumes for the show will be designed and constructed by RTCC award-winning (As You Like It) designer Rebecca Cairns with Anne Hoskins.

Amadeus, by Peter Shaffer, will be performed by Richmond Shakespeare from February 12 - March 8 as part of the "Acts of Faith" Festival.

Stay tuned for updates and blogs!

The Play(ing)'s the Thing

Catherine Bryne said something at Hamlet rehearsal last night that I think a lot of us are feeling: "I feel terrible saying this, but I didn’t realize how much I would enjoy playing this character."

You would expect that getting cast in a play with the reputation of Hamlet (um, okay, perhaps there’s only one play in that category) would bring a serious actor a lot of joy. But it seems that I’m not the only one around suffering from Paul Rudnick’s Disease (a serious psychological disorder characterized by an illogical, unnatural dislike or distaste for the greatest play in the history of blanket statements). Since writing the first-read-through post below, I have had several people whom I didn’t even know read blogs remark on how much they enjoyed reading it, how they have similar feelings about Hamlet.

It turns out that there are more than a couple of us with similar responses to the play, and especially to being part of it. I generally prefer tackling lesser-known works like Richard II and Measure for Measure, where the audience knows of the play more than they know it, and where the preconceptions are less likely to be obstacles for them to accept a bold acting or directing choice. (And we certainly made our share of those in Measure.) But Hamlet is more than a play, it's a fixture in the canon of world literature, it's scripture, it's pop culture. It's all those famous speeches and moments and scenes. And it's locked in the collective subconscious in a certain way: Gertrude is a certain way, Ophelia is a certain way, Hamlet is a certain way.

So it's a thrill to talk to Catherine, and to other actors, about the discoveries they're making with characters so deeply rooted in our cultural literature that they may as well be pure tropes. It's a delight to see some non-traditional casting (Prasad Tupe and Katie Ford's Rosincrance and Guildensterne) bear great fruit, and my favorite part of the night is when Jeff Cole and Liz Blake come rushing up to me individually or in a pair, thrilled to share what they've discovered about the extremely dynamic relationship they have developed between Hamlet and Ophelia. As for Horatio, well, let's just say that the "loyal friend" stereotype doesn't quite satisfy me as an actor, and that I'm working hard below the surface.

Strong, bold choices are growing all across the board, from 'Rick Gray (the Ghost), Margie Mills (Voltemand, etc.), Tim Sakiavicus (Claudius), and Jonathan Adams (Polonius), and the fight between Jeff and the wonderful Joe Carlson (Laertes) is looking fantastic even in early stages. Vanessa Passini's fight choreography is a wonderful mix of the urbane and desperate, and the actors have such a long stage to work on that it should be absolutely epic. Hamlet is shaping up to be unexpected and thrilling.

One actor asked me when I cast him in the show, "Andrew, are you sure I can do this?" I say to them all: Yes, you can. We can do this. We're doing it. As long as we treat this play like a play and not like a dusty, holy museum piece, we can do anything with it.

This is the Big One.

It begins tonight with the first read-through.

Richmond Shakespeare begins our fourth season of the Richmond Shakespeare Theatre at Second Presbyterian Church with a little-known work called Hamlet, Prince of Denmark. A cast of eleven makes the largest ensemble we have yet assembled for our downtown space. It seemed only fitting to give this grand play an epic-sized (comparatively) cast.

I'm sure Grant, who's directing (his first time directing a Richmond Shakespeare production in three years), will have some very interesting perspectives on the show. I'm also sure they will be much smarter than mine. But I'm in the cast, and I'm going to write about that point of view.

My secret shame is that I've never been terribly crazy about this play. I have always preferred the antics of A Midsummer Night's Dream, the poet-politics of Richard II, and lately the raw passions of Measure for Measure. It's not exactly that there's anything wrong with Hamlet, it's just that other plays speak more to me. I'm more moved by King Lear's intensity and As You Like It's love-devotion than by Hamlet's inner struggle.

I think we all have an idea of what Hamlet is. It's "To be or not to be." It's "O, that this too, too solid flesh would melt" (also a Dream Theater lyric, by the way). It sure as heck is a bunch of "Words, words, words;" it's a long, long play. It's a guy in black with ruffles about his neck complaining and procrastinating. It's a play that could be over in ten minutes if Hamlet would just get up off his butt and do something, right? Take the Olivier picture here for example. This is just everything people who hate Hamlet hate about Hamlet.

I've acknowledged to myself recently that maybe this is the problem: I don't dislike Hamlet, I just don't love the idea of what I remember Hamlet to be. So I'm looking at it with fresh eyes as we begin this process, throwing my preconceptions aside, open to finding the wonder that the world has seen in this play for 400 years.

We're fortunate in this production to have a Hamlet named Jeff Cole to breathe his own kind of life into the role. Jeff is a dear friend of mine from years past, and he brings an openness and honesty to the role that I think we'll find refreshing in the shadow of our ideas of the play's awe-inspiring intellectual poetry. He's also a great guy and a blast to work with.

The late, great Dr. James Parker, who shared my passion for the History Plays, and in particular Richard II, once spoke to me of Hamlet. We were sitting in his cave-like office in the VCU Performing Arts Center discussing Shakespeare and musicals, and he intoned like a religious pronouncement: "Andrew, Hamlet isn't about procrastination. It's about waiting for the right moment."

Richmond Shakespeare is no longer waiting for the moment to produce Hamlet. We start tonight. And while I don't get to say any of the Dane's famous lines, I do get Horatio's gorgeous "Good night, sweet prince, And flights of angels sing thee to thy rest." No small peanuts. That would be the best last line ever if Fortinbras didn't walk in. Rewrite!

Richmond Shakespeare Auditions March 16

Auditions for the 2008 Richmond Shakespeare Festival and the 2008-2009 Richmond Shakespeare Theatre will be held on Sunday, March 16 beginning at 2:00 PM at Second Presbyterian Church (5 N. 5th Street). Callbacks will be held later that evening.

Shows include:

The Compleat Works of Wllm Shkspr (Abridged) – June 12-29
As You Like It – July 3-13
Henry IV, Part 2 – July 17-August 3
Hamlet – October 2008
Other shows in 2009 TBA

Actors should prepare a one-minute classical monologue, bring a resume and headshot (if available), and be prepared for movement and cold reading. Some roles have already been cast. Most roles are non-union, but a limited number of Equity contracts are available.

To make a reservation or ask questions, contact Andrew Hamm at 232-4000 or Andrew@richmondshakespeare.com.

Style Weekly: "Measure for Measure" is "Bracing" and "Gratifying"

From this week's Style Weekly:

Quick-Change Artists
Actors make the most of multiple roles in “Measure for Measure.”
by David Timberline

Richmond Shakespeare Theatre’s practice of “doubling” — having each of its actors play two or three roles in a show — has always led to some interesting juxtapositions. Its current production of “Measure for Measure” may present the most fascinating and artistically rewarding combinations yet.

In this complex consideration of moral gray areas, Andrew Hamm portrays both the strict Duke’s deputy, Angelo, who must crack down on the reprobates of Vienna, and the unfortunate gentleman Claudio, who gets cracked down upon. Both of these characters are fraught with inner conflict, and it’s a tribute to Hamm’s considerable skills that he is able to make each man’s trajectory riveting and distinct. He even throws in for good measure an amusing comic turn as an elderly constable.

Hearing that Claudio has been sentenced to die, his novitiate sister, Isabella, leaves the nunnery to plead for his life. Angelo makes her a devil’s bargain: If she sleeps with him, he’ll free her brother. As Isabella, Liz Blake is convincingly enchanting and proves her acting mettle in the extreme emotional rollercoaster her character must ride.

Spurring the plot into greater complication is Vincentio, the Duke (David White), who disguises himself as a friar to spy on the proceedings. White doesn’t quite do enough to differentiate the Duke from the pimp Pompey, but he salvages his performance in some exceptional final scenes.

In other supporting roles, Julie Phillips makes her biggest impression as the bawdy Mistress Overdone, and while John Moss’ near-farcical take on the opportunistic Lucio sometimes seems to belong in a different play, it’s also consistently hilarious.

As is befitting one of Shakespeare’s “problem” plays, this production has some issues with the mix of comic and melodramatic elements. But the overall effect is a bracing — and gratifying — journey down a murky moral path.



Great to hear such praise from Style Weeky! And our review appears directly beneath the review of Doubt, making this "Nun Week" at Style.

If I may be so bold, I need to point out that this show has grown tremendously in the two weeks since the Thursday preview that Mr. Timberline saw. All five actors have really deepened their connection to their roles. If you saw the show early, it's worth coming back to see it again.

There are only two more weeks of Measure for Measure. Don't miss this show!

Times-Dispatch: "Measure" "Offers Much to Chew On"

From the Richmond Times-Dispatch:

A comedy wrestles with morality
Richmond ensemble takes on tangled plot of Shakespeare play
Sunday, Feb 10, 2008 - 12:08 AM Updated: 02:49 AM
By SUSAN HAUBENSTOCK
SPECIAL CORRESPONDENT

Richmond Shakespeare's entry in the Acts of Faith Festival, Shakespeare's comedy "Measure for Measure," offers much to chew on in the areas of morals and ethics.

The Duke of Vienna has been lax in applying stringent societal laws; he pretends to head out of town and gets his deputy Angelo, a much tougher enforcer, to take his place while he's gone. Angelo promptly condemns one Claudio to death for fornication -- a crime that has typically gone unpunished by the duke.

Claudio's sister Isabella, a novice nun, begs Angelo to let Claudio off, but deceitful Angelo is willing to do so only if Isabella sleeps with him (with Angelo, that is -- confused yet?). The duke is hanging around Vienna disguised as a friar, and when he learns of Angelo's treachery he devises a plot by which Angelo will be tricked into thinking Isabella has submitted to him. So Angelo has sex with a substitute girl, but he still demands Claudio's death. The execution is faked, the duke reveals the truth and metes out justice, and then he asks Isabella to marry him.

It's fairly complicated, morally as well as plot-wise, and Shakespeare has blended serious matters with comic ones throughout. No one is quite blameless here, though several characters are shameless, or hiding their shame.

In Richmond Shakespeare's production, director James Alexander Bond upholds the company's high standard of spoken verse and pulsing energy as realized by a terrific five-actor ensemble.

Each actor plays at least three roles, and all the characters are well-distinguished. Liz Blake plays Isabella, lovely and innocent, brave and outraged. Andrew Hamm, as Claudio, has a classic scene with her in which he begs her to sacrifice her virginity for his life. He's also perfectly tuned as hypocritical Angelo.

John Moss is amusing and animated as Lucio, Claudio's friend, and Julie Phillips is strong in several smaller roles. David White does a fine job with the role of the duke. It's a lively performance that lends heart to the production.



Thank you to Susan Haubenstock! One of the great things about doing plays with universal lighting is seeing Ms. Haubenstock's mysterious Mona Lisa smile in the audience during a show.

Matinee today at 2:30. Come out and join us!

"Measure for Measure:" February 7 - March 20

Next up at the Richmond Shakespeare Theatre:


Directed by James Alexander Bond, who brought you Richmond Shakespeare's critically-acclaimed productions of Julius Caesar and Henry IV, Part 1, featuring the acting talent of Liz Blake, Andrew Hamm, John Moss, Julie Phillips, and David White, costumes by Rebecca Cairns and stage managed by Heather Johnson.

Death! is the sentence for impregnating a woman before marrying her, and even though Claudio does intend to marry his Juliet, he’s in a heap of trouble! The good Duke of Vienna has taken a break from royal duties, handing the reins of government to the strict conservative Angelo, who is tempted by Claudio’s sister Isabella, a nun’s novice; if Isabella will yield to Angelo's desire, he'll spare Claudio. Confused yet? Even though appearances in Shakespeare have a way of unraveling and all might end well, someone will be put to death, someone else spends a reckless night alone with a woman he cannot see, the clowns of Vienna will howl and the city itself could crumble. Be careful who you judge, as judgment might be passed on you!

Richmond Shakespeare's contribution to the Acts of Faith Festival, Measure for Measure is a story of passion and prayer, lust and restraint, sin and virtue, offense and forgiveness. One of Shakespeare's last comedies, the play is in many ways one of his most rich and complex, with broad bawdy humor alternating with theology and philosophy centuries ahead of its time. "The tempter or the tempted: who sins most?"

Mature themes but appropriate for age 14 and above.

Show times are Thursday, Friday, and Saturday nights at 8:00 and Sunday afternoons at 2:30. All performances are in the chapel at Second Presbyterian Church (5 North 5th Street). Click here for directions!

Click here for tickets!

Now Playing: "A Christmas Carol for Two Actors"

In case you didn't know, the Richmond Shakespeare Theatre is now presenting A Christmas Carol for Two Actors.

Check out the beautiful poster design by Jamin Hoyle, who has done all of the poster art for the Richmond Shakespeare Theatre since Fall 2006.

The script is from Dickens' novel, adapted by Grant Mudge and Cynde Liffick and performed by Grant and the amazing Julie Phillips. Grant, of course, is our Artistic Director, and Julie has held several positions with the company, as Master of Verse for Doctor Faustus and The Tempest, box office manager last year, and multiple roles in Richard II.

It's a really special show, as full of warmth and spirit as all your memories of A Christmas Carol are, and wonderfully acted by Grant (Scrooge) and Julie (pretty much everyone else). If you think you've seen this show before, think again. This is Julie's first year playing the parts, and she's a very different presence than the previous (wonderful) performances from Cynde, Molly Hood, and Jennie Meharg. I'm especially fond of her facial expressions as the Ghost of Christmas Past listens to Scrooge's vacillations in the bedroom, and her character voice work is spectacular. I've known Julie for a few years now, and she's one of my favorite theatre artists in the world, absolutely one of Richmond's best. Grant is pretty darn fantastic, as usual, as well.

The show plays Thursday through Friday nights at 8:00 and Sunday afternoons (except December 9) at 2:30. We perform in the chapel at Second Presbyterian Church, 5 N. 5th Street, just down the block from Penny Lane Pub. (Mmmm, Penny Lane Pub!)

Come early on Friday and Saturday nights and join the Christmas carol sing-along beginning at 7:40, led by yours truly (Andrew).

Tickets are available at http://www.richmondshakespeare.com/ or by calling 1-866-BARD-TIX (1-866-227-3849). $24 for adults and $13 for students and seniors.