Our Play is Preffered: Best Ensemble

Last night, Richmond Shakespeare was proud to sit with the theatre community of greater Richmond and celebrate the achievements of our colleagues. We were also honored with three nominations, including Rebecca Cairns and Annie Hoskins--nominated again for Best Costume an award they won last year.

This year we had two award-winners: a special recognition for Vanessa Passini's terrific fight work in Henry V [The History Cycle], and the company of actors from A Midsummer Night's Dream, who won as a cast for Best Ensemble. Those actors are Sandra Clayton, Brandon Crowder, Kerry McGee, Stacie Rearden Hall and Adam Mincks.

This recognition in particular was satisfying for me, as we set out many years ago to craft a company in which the collective efforts of actors, designers, directors, musicians and volunteers all work together; perhaps more so than any other, the theatre is a collaborative art form.

I first saw the five-actor format (yes 5) of performing William Shakespeare in the early 1990's at the University of Richmond: a program called Actors from the London Stage. Five gifted players create all the roles in a given Shakespeare. My first experience was with As You Like It, which was honored last year in several categories. It's a thrilling challenge, to craft more than one role, often alternating between them onstage—few challenges in the acting world can match it (solo shows of 'full commitment' come to mind), and I'm very grateful these lovely actors were so recognized.

They, and the supporting team behind them were indeed the best ensemble: Andrew Ham, Bryan Laubenthal, Jake Allard, Holly Harris, Holly Lucas, Richard Moxley, David White and J. David White, Rebecca Cairns, Annie Hoskins, Flora Vassar. Congratulations to each and all.

Not a word of me. All that I will tell you is that the duke hath dined. Get your apparel together, good strings to your beards, new ribbons to your pumps. Meet presently at the palace. Every man look o'er his part. For the short and the long is, our play is preferred.

Phil Brown, 2009

May 10 - Have you seen the 'countdown clock?' It faces Broad Street between 6th and 7th, hung on the construction trailers at Richmond CenterStage. All of us at Richmond Shakespeare are enormously excited about our new theatre---opening in very short time! In fact, I have a little miniature version of the clock on my desk and today, both of them read 124 Days.

In two days, on May 12, at 7:30pm we'll hold our last event of the indoor season at 2nd Presbyterian, a staged-reading of Cymbeline, about which you may already have heard. Daryl Clark Phillips (Falstaff '07 and '08) leads a stellar cast including Ray Bullock, Richard Koch, Vicki McCleod, David Janeski, Billy Christopher Maupin, Asher Nicholson, Brad Tuggle, Lucas Hall, Alan Sader (Exeter in Henry V), Ally Wepplo, and James Wingo. Cymbeline is directed by David White and produced by Liz Blake. Catch Liz herself in this summer's reprsise of Hamlet.

This fall (in four months!), Richmond Shakespeare will indeed move our indoor season to the new Gottwald Playhouse inside Richmond CenterStage. Look for an inaugural season announcement (it's also our 25th Year) right at the start of the summer Richmond Shakespeare Festival.

Those performances come first---we'll continue to bring great summer shows to marvelous Agecroft Hall, beginning this 12th annual festival with the performances we've all been waiting for: Phil Brown's Henry V and the return of Jeff Cole's Hamlet. Sandwiched in between, I'm happy to annouce another return--for a limited run--of Andrew Hamm's critically acclaimed production of A Midsummer Night's Dream.

Just prior to the summer festival on Saturday, May 23, I invite you to our first public "Mission Meeting." We'll gather at Agecroft Hall, from 1-4pm, to re-craft, re-dedicate and help to re-write the mission of Richmond Shakespeare. To RSVP and to receive more information, e-mail us at MissionMeeting@RichmondShakespeare.com. Come be a part of charting our next 25 years.

Thank you for joining us on this adventure, and be sure to keep in touch! Call, write, and comment or e-mail me here. Of course, you can always just catch my arm at a performance of Richmond Shakespeare.

Cheers,

Grant Mudge
Artistic Director

Jackie Jones on 'Midsummer!'

Local and beloved actor Jackie Jones (also a baker of muchly sought goodies), saw A Midsummer Night’s Dream recently and sent this lovely e-mail:

One is A MIDSUMMER NIGHT'S DREAM at

http://www.richmondshakespeare.com/

Andrew Hamm's Dream cast IS a dream cast and

does the show in all its Shakespearean bawdiness.

Each of the cast portrays numerous characters to

definite distinction. This production really gives its

audience members the flavor of Shakespeare's

fun with words (be forewarned: no joke is left

unturned) without any of the stuffiness sometimes

used to cover it up! I'd say this would be great for

highschoolers, and middle-schoolers - and maybe

even precocious upper-elementary with the right

homework in advance. And there is original (and

traditional) music!

You’ve only five (5) chances left to catch it at

2^nd Presbyterian’s perfectly Elizabethan chapel!

Richmond Shakespeare
804-232-4000 Admin
804-232-4400 Fax
www.richmondshakespeare.com

NOW PLAYING
APR16.09 to MAY10.09 – A Midsummer Night's Dream, by William Shakespeare

ONE NIGHT ONLY
MAY12.09 - Cymbeline, by William Shakespeare (Staged Reading)

Style Weekly

Do you have your tickets yet?

Issue Date: April 22, 2009, Posted On: 4/21/2009 STYLE Weekly review of 'A Midsummer Night's Dream' The cast of Richmond Shakespeareare's "A Midsummer Night's Dream," at rest. Clockwise from top, it's Brandon Crowder, Stacie Rearden Hall, Adam Mincks, Kerry McGee and Sandra Clayton.

There was a moment during Richmond Shakespeareare's "A Midsummer Night's Dream" when I literally could not stop laughing. Near the play's end, the sheer lunatic brilliance of director Andrew Hamm's off-kilter rendering of the Shakespeare classic reached such a fever pitch that I found myself lost in the sea of silliness. I would have been more embarrassed about my guffaws if there weren't several others in the audience doing the same thing. Possibly the Bard's most endearingly romantic comedy, Midsummer's plot involves fairies, love potions, a man semitransformed into an ass, and quite a bit of mayhem. As if that were not enough, Hamm's inspired cast pushes every envelope available. Sensual interludes between lovers stray into serious PG-13 territory. Characters who are supposed to be bad actors are hilariously horrendous. Some of the physical comedy looks downright painful, thanks to fight choreography help by David White. Ensemble members throw themselves into multiple roles with abandon. Brandon Crowder leads this rowdy band, effecting breakneck changes between the regal Duke of Athens to the almost aggressively swishy Flute and eliciting laughs with as little as a well-placed glance along the way. Adam Mincks chews the scenery ravenously as donkey-eared Bottom, who attracts the affection of Fairy Queen Titania (Stacie Rearden Hall) thanks to the juice of a magical flower administered by Puck (Kerry McGee). Hall's lusty looks are bracing while McGee is alternately fervent as the love-struck Hermia and delightfully impish as Puck. Sandra Clayton rounds out the crew ably with several small but vital bit parts. It seems peckish to note that some of Shakespeare's lyrical language gets lost in modernisms such as "Sweet!" and "Awesome!" But Hamm makes up for it by inserting charming musical interludes into the action with a cast (particularly Hall) in spectacular voice. For a show not billed as a musical, this "Dream" sings. David Timberline "A Midsummer Night's Dream" plays at the Second Presbyterian Church, 5 N. Fifth St., through May 10. Tickets are $13-$26. Call 1-866-BARD-TIX or visit www.richmondshakespeare.com.

Zany Cast Makes 'Dream' a delight

Richmond Shakespeare’s season finale a fun one

JULINDA LEWIS SPECIAL CORRESPONDENT
Published: April 19, 2009

“A Midsummer Night's Dream," Richmond Shakespeare Theatre's final production of its indoor season under the direction of Andrew Hamm, roars delightfully into its raucous conclusion, which includes a play within a play and a wedding celebration.

There is something old (the play by William Shakespeare), something new (the cast and the indoor location at Second Presbyterian Church), something borrowed (costumes and props from previous "Dream" productions), and something . . . (well, there's got to be something blue in there somewhere).

With costumes and set kept to a bare minimum, the cast of five takes on 21 roles, resulting in effects and situations that might have surprised the Bard himself.

This "Dream" features a tight-knit and lovable ensemble. Some of the casting contrasts are startling and ingenious. Sandra Clayton is the elitist Egeus as well as the simple carpenter; Peter Quince, leader of the local community of actors, also known as the Mechanicals; Brandon Crowder is both the noble Theseus, Duke of Athens, and Francis Flute, the bellows mender who plays the role of Thisbe in the play-within-a-play.

And while it is not unusual for men to play women's roles in Elizabethan theater, Crowder's over-the-top Thisbe, dressed in a contemporary beauty queen evening gown and some killer black stilettos, leaves an indelible impression.

Kerry McGee gives Robin Starveling, the tailor member of the acting troupe, a round-shouldered, slumped posture, slow movements and delayed reactions that suggest poor Starveling may have either mental or chemically induced challenges.

The cast is rounded out by Stacie Rearden Hall, who plays Demetrius's lover Helena as well as three other roles, and Adam Mincks, who plays Demetrius, as well as Nick Bottom, who, as the unfortunate object of Puck's prankishness, ends up with a donkey's head and the magically induced love of the fair queen, Titania.

Shakespeare's words, juxtaposed against modern-day clothing and props, and in the hands -- and mouths -- of this enthusiastic and zany cast made 2½ hours in uncomfortable chairs in an overheated chapel fly.

A Midsummer Night's Dream opens next week!

A Midsummer Night's Dream opens next week, with performances Friday and Saturday at 8pm and Sunday at 2:30. (Check out the discounted preview on Thursday, 8pm.)

The actors are (clockwise from Sandra Clayton at top left, Brandon Crowder, Stacie Rearden Hall, Adam Mincks and Kerry McGee. Directed by Andrew Hamm , with costumes by Rebecca Cairns.

April 16 - May 10
Tickets: http://www.richmondshakespeare.com/

Two Sets of Auditions

A MIDSUMMER NIGHT’S DREAM
Director: Andrew Hamm Saturday, February 21, 1pm., at Tabernacle Baptist Church, 1925 Grove Avenue. (at Meadow & Grove) Those auditioning should prepare a 1-minute monologue, and come prepared to move. Seeking women, aged 20-60, for the downtown season finale. Experience with Shakespeare required. Show runs at 2nd Presbyterian Church April 16-May10. Phone 804-232-4000 or E-mail info@richmondshakespeare.com for an appointment.

HENRY V (The History Cycle)
Director: James BondMonday & Tuesday, February 23 and 24, 6-9pm, at 2nd Presbyterian Church, 5 North Fifth Street. (A few steps up from Fifth & Main) Those auditioning should prepare a 1-2 minute monologue. Seeking men, aged 20+, for the summer festival opener. Rehearsals start April 27, and the show opens at Agecroft Hall June 12. Phone 804-232-4000 or E-mail info@richmondshakespeare.com for an appointment.

"Unprecedented Feet"

It's been six (6) years since last we produced The Compleat Wrks of Wllm Shakspr (Abridged), and lately I've been asking myself why we waited so long. True, those six years have been blindingly fast, but this is a show that our audiences and artists alike just both seem to love.

So I hope you're ready to laugh. Because the new production is just as funny as anything we've ever done. We've assembled a terrific team under the expert guidance of Matthew Ellis (Visiting us from the University of Oklahoma where he specializes in movement and clown work: if you missed his weeklong Clown intensive last week, you missed a tremendous exercise for actors and a hilarious final performance), but after two weeks of "Compleat Wrks," I wanted to share with the Blog readers how much fun the audiences at Agecroft Hall are having. ---Heck, so am I. Even during their rehearsals, one night I laughed so hard I could no longer see straight; the tears were rolling down my face.

You know the feeling---when your eyelids close so tightly they bend backward on themselves?

What an absolute delight.

Jeff Clevenger is an actor I've long wanted to bring to the Richmond Shakespeare stage and here he leads a cast of three in the astounding feat of this show: Perform the entirety of Shakespeare's plays in a single evening. David Janosik and LeSean Green bring a terrific comedic camaraderie to the group; thus far they seem to me to be having more fun than human beings should be allowed to have.

Of course, it's also very physical---that's hard work, nailing all these laughs. But they've really hit their stride: the last two nights have been large, near-capacity crowds and both have graced the trio with standing ovations. Bring a picnic, bring your stadium cushion, bring your kleenex, bring your friends, your co-workers, your kids.

The show runs tonight and for just four more performances: Thursday through Sunday next week. It must close June 29.

Next up: Andrew Hamm's expanded cast production of As You Like It takes the stage; you don't want to miss either one.

For longtime fans, here's a quick shot of our original production in 2002; the show performed both at Agecroft Hall and on a floating stage down on the Canal Walk.

The 2008 company has earned two great reviews for their delightful production. Scroll on down to read the perspectives of Ms. Haubenstock and Mr. Timberline.

See you all out at Agecroft Hall.

-Grant Mudge

Times-Dispatch: Andrew Hamm is "Cultivating Richmond Theater"

From the Richmond Times-Dispatch:

Cultivating Richmond theater
An insider is devoted to fostering a vibrant local art scene

Sunday, Apr 13, 2008 - 12:03 AM

By CELIA WREN
SPECIAL CORRESPONDENT

"There's no shame in wanting to be a big fish in a small pond," observes Richmond Shakespeare's new associate artistic director, Andrew Hamm, "if you recognize that a big fish in a small pond has big responsibilities to care for the pond."

An intense 35-year-old with a shaved head, glasses and an earring, Hamm is sitting in the theater company's quiet office in the Fan, drinking coffee and discussing, among other matters, the importance of nurturing a vibrant local theater scene. It is a subject he feels strongly about: His voice is emotional, almost tremulous, as he deplores the inclination of certain big fish (talented Richmond thespians) to relocate to a larger pond (New York City).

"Smaller-city and small-town art scenes need great artists to stay there: That is what makes art healthy," the Virginia native stresses.

Since he began working with Richmond Shakespeare in 2004 -- his first freelance assignment was to supervise music for a production of "A Midsummer Night's Dream" -- Hamm has done his part to cultivate the pond that is Richmond theater.

For 18 months, until his promotion in March to associate artistic director, he served as Richmond Shakespeare's director of training, coordinating career-enrichment classes (such as the upcoming clowning intensive) aimed at local actors. "I felt a responsibility to do what little I can, not only to put on a good show, but to help the other artists in town to put on good shows," he says, explaining his perspective on the job.

He has also directed for the company, most recently mounting "As You Like It," running at the Second Presbyterian Church through April 20. Hamm has followed the five-actor template that's a Richmond Shakespeare hallmark: Between a clothes rack and a flower-draped piano, the performers ricochet from character to character, frantically donning hats, aprons and the like to signal their identity.

"I've been calling it a love letter to the five-actor format," says Hamm. "We're not trying to hide the costume changes or the character changes -- we're absolutely glorifying in them!"

All the same, he'll be expanding the cast, to a dozen or so, for the comedy's run at Agecroft Hall July 3 through July 13.

In addition to directing "As You Like It," Hamm has written the production's incidental music, and he serves as pianist for the montage of 1980s pop songs (Cyndi Lauper's "Time After Time," etc.) that introduces Act I. "Once alternative and grunge became mainstream, you couldn't have love songs without irony," Hamm said, of the choice of tunes.

"The '80s were really the last time in history where you could have love songs that were really just kooky love songs." (His Virginia Commonwealth University graduate thesis was a theater piece built from Joe Jackson albums.)

As if he didn't have enough to do, Hamm also depicts Hymen in the production, adding that tiny role to a list of previous Richmond Shakespeare acting credits.

"He has a great energy," said James Alexander Bond, the New York-based artist who directed Hamm in "Measure for Measure" and in "Julius Caesar."

"He does his work fast and well, and if something's not going in a direction that feels right, he has no problem letting go and trying new things. He's very specific -- and the more specific a character is, the better it is."

Grant Mudge, the company's artistic director, is equally enthusiastic. "He can work as a teaching artist, he can work as an actor -- his versatility is incredibly valuable to me, " he said. "At any small not-for-profit theater company, if you've got someone who can handle more than one area of emphasis, that's incredibly valuable."

If Mudge sounds a note of pragmatism, Hamm takes an idealistic view of his work. "I view this thing of art-making as mission and vocation," he said.

And for that mission, he thinks, Richmond is an ideal location. "You can perform in front of bigger houses if you wish, in bigger towns," said Hamm. "But I guarantee: You're going to touch people so much more deeply here."

Style Weekly: "As You Like It" is "vibrant, witty"

From Style Weekly:

Contract of Breeches

The Richmond Shakespeareans sign up for a lot of costume changes in a play already full of mistaken identities.

by Mary Burruss

I confess: Richmond Shakespeare’s concept of five people playing all the parts in a Shakespeare play is often distracting, and at times I find the prop/costume changes awkward. But the five-actor version of “As You Like It,” playing at Second Presbyterian Church, has made me a convert to this type of production.

Director Andrew Hamm has done a masterful job of choreographing a vibrant, witty homage to this prototype of romantic comedy. The transitions were seamless, and the onstage costume changes mostly worked well.

The many characters who romped through the forest of Arden, celebrating the rites of spring with music and dance, could threaten to get mixed up — especially considering the multiple identities already at work within the story — but there was an ease and confidence to the production that precluded any disorientation.

Hamm warmed up the audience with a piano-accompanied set of contemporary love songs. It set the tone for a breezy show, delivering a cast of characters that exuded playfulness. Frank Creasy (as Charles, the Duke’s wrestler) pushed the limits of kayfabe during the better-than-WWE wrestling scene with Patrick Bromley’s Orlando.

Sunny LaRose was adorable as the love-struck Rosalind (disguised as the youth Ganymede in the forest). LaRose’s onstage relationship with Julia Rigby’s Celia portrayed a connection whose bond was “stronger than that of sisters.” And despite the wonderful silliness of Creasy’s dancing and Bromley and Adam Minks in women’s roles, the gender-bending performances of the two natural girls were the strongest overall.

The beautiful costumes designed by Rebecca Cairns blended soft, earthy tones of creams, gold and floral prints that intertwined through all the costumes like ivy on a tree trunk. The effect was a cohesive, well-tailored look that added a dash of sophistication and sumptuousness to the show. Cairns not only designed a whimsical collection of costumes, but also managed to define characters with minimal pieces that functioned well for those quick transformations.

Times-Dispatch: "This is as I like it."

From the Richmond Times-Dispatch:

A rollicking version of 'As You Like It'
Saturday, Mar 29, 2008 - 12:08 AM
By SUSAN HAUBENSTOCK
SPECIAL CORRESPONDENT

It was when Adam Mincks went to put on the tulle skirt that things went over the top.

Shakespeare's "As You Like It" depends on gender switching (the heroine, Rosalind, disguises herself as a man), and Richmond Shakespeare often depends on a tiny cast to portray multiple characters without regard to their sex.

But this five-actor "As You Like It" includes enough gender-bending to spin your head around.

It's the tale of Orlando, who falls in love with Rosalind just before she's banished from her uncle's court. She and her cousin Celia flee in disguise to the forest of Arden, where Rosalind's father is in exile.

There they meet various rustics, the clown Touchstone and the sentimental Jacques, as well as Orlando, who escapes to the forest when he learns that his brother is planning to kill him.

Everyone falls in love in the forest, and all ends well (but that's another play).

In this version, the comedy is amplified by quick changes of role that result in, for instance, bearded Patrick Bromley playing a country maiden and Julia Rigby as a lovelorn shepherd.

In Rebecca Cairns' endlessly versatile and lovely costumes, they add a cap here and a wreath there to mark the characters, with the actors' skills making the transformations magical.

As is the company's frequent practice -- at least for its indoor season -- costume pieces are hung in plain sight, so that when Mincks, hilarious here in numerous roles, goes for that skirt, we know that something even more delicious is coming.

Director Andrew Hamm (who is onstage as accompanist) has infused the production with physicality and music, his trademarks.

There's so much roughhousing that a fight choreographer (actor Frank Creasy) and a fight choreography consultant (David White) were needed to plan the action.

And Hamm has provided pleasant melodies so his cast can sing as appropriate. With nonstop energy and an approach to language that is colloquial and deceptively relaxed, Hamm has created a rollicking version of this classic.

Every actor is superb, especially considering the demands of their many roles. Rigby has less flashy parts such as Celia and Silvius, but she is charming. Bromley is romantic as the lovelorn Orlando and ridiculous as the silly goatherd Audrey.

Sunny LaRose is a marvelous Rosalind, brave and emotional and admirable, even when disguised as Ganymede. Creasy is a marvel as he morphs from aged servant Adam to wrestler Charles to emotional Jacques. Creasy is an actor who is always fully committed.

Mincks has a breakthrough performance here as he achieves perfection in a fistful of roles -- Oliver, the cruel brother who has a change of heart; the foppish courtier LeBeau; the dignified Duke Senior; the clown Touchstone; and the tulle-skirted Phoebe.

Mincks changes accents and attitudes with seeming ease; he even appears to change height. This is as I like it.

Richmond Shakespeare's Spring Acting Class

"Building Characters"
with Andrew Hamm
Mondays, March 31 - May 5, 7:00-9:30 PM
at Second Presbyterian Church (5 N. 5th Street)
$150

“Don’t let anyone tell you to go from the inside out – or the outside in. It’s a circle.”
–Joseph Chaikin

Modern actor training is largely focused on the “inside-out” approach pioneered by Stanislavski, but that’s not the only way to find a character. Sometimes an “outside-in” technique is needed to add distinctive details, and external choices can even be an actor’s primary means of character development.

This class is designed for experienced actors in search of tools for making character choices. We will focus on several techniques of physical and vocal acting designed to build unique and unforgettable performances without requiring that you re-experience personal tragedies to feel like you’ve done good work. Each class session will be a self-contained unit focusing on a specific topic in physical-vocal acting, including Alba Emoting, character voice and body, qualities of movement, and image-building. You may be surprised along the way at how much the external acting choices affect the internal.

Instructor Andrew Hamm has been building characters for longer than he cares to admit at VCU, Off-Off-Broadway, and now as director of Richmond Shakespeare’s Training Department.

Spaces are limited. Call 232-4000 to make your reservation today!

Coming Attractions: "As You Like It"

Overlapping with performances of Measure for Measure, we're now in full-time rehearsal mode for the beloved comedy As You Like It, opening March 28.

Directed by Andrew Hamm, with costumes designed by Rebecca Cairns, the show stars Patrick Bromley, Frank Creasy, Sunny LaRose, Adam Mincks, and Julia Rigby. Frank is a mainstay of our stage, having appeared in A Midsummer Night's Dream, Twelfth Night, and The Tempest, the latter which also showcased Patrick's comedic skills. It's been a decade since Sunny has played with Richmond Shakespeare, and Julia and Adam are both making their debuts with us.

This production celebrates Richmond Shakespeare's (then the Encore Theatre Company's) first-ever Shakespearean production over a decade ago, and is being presented in our trademark five-actor format, complete with cross-dressing and chaos. I've been describing it as "a love letter to the five-actor format." Patrick plays both the romantic Orlando and the love-struck Audrey. Frank begins as the usurping Duke Frederick and finishes the play as the melancholy Jaques, who muses, "All the world's a stage..." Sunny is our story's hero, the brilliant Rosalind, who disguises herself as a boy; she also gives a hilarious turn as the bumpkin William. Adam is our big character actor, playing the flamboyant LeBeau, the wicked older brother Oliver, the clown Touchstone, and the, ahem, "irresistible" Phebe. Julia brings spunk and smarts to Celia and unrequited devotion to poor spurned Silvius.

Somehow, four couples must be married by the end of this show. How that's going to work with only five actors? You'll have to come out and see.

It's a play about love and hate, devotion and despair, brothers and cousins, fathers and daughters, country life versus city life. Mostly, though, it's about a girl dressed as a boy pretending to be a girl. Comedy!

We began the rehearsal process by working with ComedySportz's Christine Walters on improv, then Jill Bari Steinberg on multiple-character skills, and these two ladies have really made their mark on this show. I'm now in the process of composing the music for the show, and I'm pretty excited about finally taking advantage of the fact that our theatre has a Bosendorfer baby grand piano in it...

The show previews on March 27th and opens on the 28th. Don't miss it!

RAPT-urous Music from Liz Blake & Andrew Hamm

This past Monday night was our monthly gathering of voting members and at-large folk of the Richmond Alliance of Professional Theatres (RAPT), of which Christine Walters is president. This was called a Thirteenth Night celebration, held at ComedySportz, Walters' professional improv theatre company/club (RAPT's event has previously been held at Fielden’s on or about Twelfth Night each year). ComedySportz is doing great work there in a leetle hole-in-the-wall place at Staples Mill and Glenside. Really great. We also shared New Year’s Eve with this hilarious troupe, and if you get the chance, check out their shows. (And, see RS actors Pete Schmidt and Stephen Ryan, at ComedySportz on March 6&8, part of "Cousin Sheckie Improv!")

So, before the festivities, RAPT approved an important structure of RAPT’s foundation for Richmond Theatre Artists. Those in our community who fall on the hardest of times, whether due to illness, injury or extenuating circumstances, who have made significant contributions to Richmond’s theatre scene, may apply for financial aid. Artists dealing with life-threatening disease, life-altering circumstances may apply, or others may apply on their behalf, for assistance. It’s a great program, for whom the fiscal agent is Theatre IV/Barksdale; the fund is run through the Community Foundation. Great folks, great oversight, great mission. Win, win, win. Call our offices if you have any questions. (804-232-4000)

We were pleased to pass this policy structure, which was recommended by the Community Foundation, to govern the fund. Thereafter, Richmond Shakespeare offered to host one of the upcoming meetings. (summertime, to help showcase our wonderful summer venue at Agecroft Hall) Richmond artists do indeed take care of their own.

Next, Liz Blake and Andrew Hamm kicked off the entertainment portion of the evening, singing with skill, beauty, pleasure, grace and passion. In a word, they were fantastic. I’m biased, but I love to hear them sing. They kicked off their set (the evening included standup and improv to follow, but these guys were one hell of an opening act) with "Honor Riches Marriage Blessing," the primary song Andrew composed for this past summer’s 2006 production of The Tempest, followed by a song from Measure for Measure, also lyrics-by-Shakespeare-music-by-Hamm. The song, and its placement in the top of our show’s second half are consistently my favorite moments of Measure. They followed this with a piece from Andrew’s graduate thesis adaptation of Grammy winner Joe Jackson’s Night and Day, "Breaking Us In Two," which showed their full harmonic range together and showcased Liz splendidly scoring passionate low, LOW notes with aplomb. They sounded great. Andrew rounded out the evening with a song inspired by his experiences on Measure, and it might have been sung from the perspective of Angelo, “feasting on her eyes.”

All in all, a great evening. Four chances left to see Hamm & Blake in Measure for Measure.

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!

"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!

Join the New Richmond Shakespeare Street Team!

You can become a part of Central Virginia’s Pollak Award-winning classical theatre company by spreading the word about the shows and helping us grow. Director of Training and Official Cool Guy Andrew Hamm is forging a new group of young theatre enthusiasts into an elite strike force designed to make sure every single person in Richmond sees and loves Shakespeare! (Okay, maybe that’s a bit ambitious, but it’s still going to be awesome!)

By joining the street team, you will be able to:
· earn community service hours for school!
· meet the artists in the company!
· get the first shot at internships!
· get the first shot at being in the Festival Young Company!
· make great contacts in local theatre!
· hang out with your friends!
· eat free food!
· meet other young theatre artists and fans!
· check us out backstage!
· gain many other benefits we haven’t even thought of yet!
· become super-awesome!

NEXT EVENT: A city-wide Measure for Measure poster-hanging party Saturday, January 19 from noon til 3:00. We will meet in the parking lot of Tabernacle Baptist Church (1925 W. Grove Ave.). The parking lot is across Meadow St. from the church building.

Join the street team! Contact Andrew Hamm at 804-232-4000 or Andrew@richmondshakespeare.com

Merry Christmas, Ebenezer!

We closed A Christmas Carol for Two Actors yesterday afternoon, with a delightful audience; Julie Phillip's parents made it, and Dad was tapped to be Martha Cratchit. Delightful. Also seen were several longtime Hoodwinker fans (the official fanclub of alumni"Carol" actor Molly Hood, and first year "Mudgekins," a phrase I'm not sure they even yet knew.

I'd like to take a moment to thank our wonderful audiences for attending; it's for you that we work all year to create our art. Thank you, too, to all of Richmond Shakespeare's artists, staff and trustees for a year of tremendously hard work. From Doctor Faustus to a great summer festival and from Will Power to Youth Richmond to welcoming fantastic new additions like Kerry Hugins, (our new Bookkeeper, whom everyone absolutely loves) it's been a very busy year, indeed. In fact, even though the offices are closed this week, we're looking at posting a bit more of a roundup here as we close out 2007, so check back toward New Year's.

Until then, here are two shots from the closing weekend of "Carol," the first from Andrew and Karen Hamm's Christmas party: that's Julia Rigby, Patrick Bromley (The Temepst) and Frank Creasy (The Tempest, A Midsummer Night's Dream and Twelfth Night), who will all be performing for RS this coming March in As You Like It, with Andrew directing. I'm absolutely thrilled, and very much looking forward to that show--many of you know it's very dear to me, and I can't imagine a more wonderful cast and director to take us into the forest of Arden.

First up, though, is Measure for Measure, part of the Acts of Faith series of professional theatre all across Richmond, and I'm quite pleased to announce here that Julie Phillips will also be performing in Measure, making three in a row for this tremendous actor. That's Julie, below, with yours truly, enjoying a little well-earned holiday cheer at Penny Lane Pub, across 5th street from our Chapel theatre at 2nd Presbyterian. Julie is simply amazing. It's been my absolute joy to work with her, and I'm very grateful for the chance. She's smart, incredibly organized, and one of the warmest people I've ever met. Do come see her in Measure, (It opens Feb 7), after which I promise, she can have a little more than one week's downtime between projects.

Merry Christmas, Happy Holidays, and God bless us, every one.

-Grant