MUCH ADO ABOUT NOTHING
Director: Grant Mudge
Tuesday and Wednesday, August 4th and 5th, 630-930pm, at Tabernacle Baptist Church, 1925 Grove Avenue. (at Meadow & Grove)
Auditions for Much Ado About Nothing, the inaugural production in the Gottwald Playhouse at Richmond CenterStage, will be held Tuesday and Wednesday, August 4 and 5, from 630-930pm in the Richmond Shakespeare offices, located at 1925 Grove Avenue. Entry is off the alley behind Tabernacle Baptist Church. Director Grant Mudge seeks 13 men and 4 women, ages 20-70. Experience with Shakespeare is required. Those auditioning will be asked to present a monologue (under 2 mins) and to read from the script. An appointment is required. Please call 804-232-4000, e-mail at info@richmondshakespeare.com or direct-msg via Twitter: RichmondShakes. Performers paid. Some academic internships available.
Rehearsals begin August 24. Previews start October 1, and the show will run Thurs-Sun from Oct 3-25. (Performances are Ths-Sat at 8pm and Sundays at 2:30pm, with some weekday matinees.)
List of primary roles
1. Don Pedro, Prince of Aragon
2. Benedick
3. Beatrice, Niece of Leonato
4. Hero, Daughter of Leonato
5. Leonato, Duke of Messina
6. Antonio, his brother
7. Balthasar
8. Claudio
9. Conrade
10. Borrachio
11. Don John, Bastard Brother of Don Pedro
12. Margaret
13. Ursula
14. Friar Francis
15. Verges
16. Sexton
17. Dogberry, a Constable
Friday, July 31, 2009
Wednesday, July 29, 2009
Too Like the Lightning
After thirteen years, you'd think I'd get accustomed to rainouts. On average, we lose three (3) performances per summer. At that rate, for 2009, we're officially done with 'em. Someone please tell the weather deities.That said, I love all the weather references in the first 20 minutes of Midsummer, besides "I will move storms;" there's
We'll be back for more tonight.
"Brief as the lightning in the collied nightand, upon being asked why her chekk is so pale, Helena responds, "Belike for want of rain(!), which I could well beteem them from the tempest of my eyes!" Will's was an open-air playhouse---these lines can't be mere coincidence; they help bond us together----actors and audience in one experience. Magic.
That, in a spleen, unfolds both heaven and earth
And ere a man hath power to say 'Behold!'
The jaws of darkness do devour it up,"
We'll be back for more tonight.
Sunday, July 19, 2009
Timeless 'Hamlet' has modern feel
SUSAN HAUBENSTOCK SPECIAL CORRESPONDENT
Published: July 19, 2009
Like your "Hamlet" to have a colloquial, of-the-moment feel? The revamped Richmond Shakespeare production at Agecroft Hall has a Hamlet whose manner is so contemporary, you expect at any moment to see him texting Horatio.
There's no effort here to change the period of the tragedy, which is probably the 17th century, but Becky Willet's lovely costumes are not tied to any particular age. What's notable is the 21st-century sensibility -- lots of sarcasm and heavy irony in the line readings, and Jeff Cole's thoroughly extroverted Hamlet, with many modern mannerisms.
Grant Mudge directed both this and last fall's indoor-season version of the tragedy, and there are some differences. Jay Banks' Horatio is just as intelligent as Andrew Hamm's, but he's not the staunch friend Hamm's was. There's less romance and more insanity between Cole and his Ophelia, Liz Blake. And the production works better overall because of the more conventional thrust stage at Agecroft; Mudge can move his actors naturally, without the constraints of the long rectangle he had for a stage in the fall.
All the best elements of the production remain: high-quality spoken verse (Rebecca Jones was text and verse consultant), Blake's touching vulnerability, Cole's unflagging intensity. Timothy Saukiavicus is an even more craven Claudius than he was before, and Joseph Anthony Carlson is magnetic as Laertes -- his execution of Vanessa Passini's fabulous fight choreography includes a full-out leap that left audience members gasping.
A three-piece ensemble provides lovely background music, and the summer stage makes possible some effective stagecraft, like the entrance of Ophelia on her bier, hauntingly lit by designer J. David White.
In the customary Richmond Shakespeare style, 11 actors play 22 roles. But most of the principals play only one apiece, which leaves Katie Ford, 'Rick Gray, Shirley Kagan and LaSean Green playing 13 parts, and they do admirable work.
Susan Haubenstock is a freelance writer and editor based in Henrico County. Contact her at shaubenstock@gmail.com
Richmond Times-Dispatch
Published: July 19, 2009
Like your "Hamlet" to have a colloquial, of-the-moment feel? The revamped Richmond Shakespeare production at Agecroft Hall has a Hamlet whose manner is so contemporary, you expect at any moment to see him texting Horatio.
There's no effort here to change the period of the tragedy, which is probably the 17th century, but Becky Willet's lovely costumes are not tied to any particular age. What's notable is the 21st-century sensibility -- lots of sarcasm and heavy irony in the line readings, and Jeff Cole's thoroughly extroverted Hamlet, with many modern mannerisms.
Grant Mudge directed both this and last fall's indoor-season version of the tragedy, and there are some differences. Jay Banks' Horatio is just as intelligent as Andrew Hamm's, but he's not the staunch friend Hamm's was. There's less romance and more insanity between Cole and his Ophelia, Liz Blake. And the production works better overall because of the more conventional thrust stage at Agecroft; Mudge can move his actors naturally, without the constraints of the long rectangle he had for a stage in the fall.
All the best elements of the production remain: high-quality spoken verse (Rebecca Jones was text and verse consultant), Blake's touching vulnerability, Cole's unflagging intensity. Timothy Saukiavicus is an even more craven Claudius than he was before, and Joseph Anthony Carlson is magnetic as Laertes -- his execution of Vanessa Passini's fabulous fight choreography includes a full-out leap that left audience members gasping.
A three-piece ensemble provides lovely background music, and the summer stage makes possible some effective stagecraft, like the entrance of Ophelia on her bier, hauntingly lit by designer J. David White.
In the customary Richmond Shakespeare style, 11 actors play 22 roles. But most of the principals play only one apiece, which leaves Katie Ford, 'Rick Gray, Shirley Kagan and LaSean Green playing 13 parts, and they do admirable work.
Susan Haubenstock is a freelance writer and editor based in Henrico County. Contact her at shaubenstock@gmail.com
Richmond Times-Dispatch
Friday, July 17, 2009
'Midsummer' Gets Final Added Performance
We had hardly communicated the addition of July 29 when it became clear it well sell out---in less than five days, there are now only two (count ‘em, 2) remaining seats for that Wednesday added show.
As such, I’m pleased to announce a final additional night (once it’s gone, folks, there will be no more) of A Midsummer Night’s Dream on Tuesday, July 28, 2009. Visit the website below and click on tickets---before someone else grabs yours.
Catch the fastest-selling show in town….before it’s gone.
Grant Mudge
Artistic Director
Richmond Shakespeare
804-232-4000 Admin
804-232-4400 Fax
http://www.richmondshakespeare.com/
NOW OPEN! – the 2009 Richmond Shakespeare Festival
THRU JUN28.09 – Henry V [The History Cycle]
JUL2-12.09 – A Midsummer Night’s Dream (Seven Shows Only!)
JUL16-AUG2.09 - Hamlet
As such, I’m pleased to announce a final additional night (once it’s gone, folks, there will be no more) of A Midsummer Night’s Dream on Tuesday, July 28, 2009. Visit the website below and click on tickets---before someone else grabs yours.
Catch the fastest-selling show in town….before it’s gone.
Grant Mudge
Artistic Director
Richmond Shakespeare
804-232-4000 Admin
804-232-4400 Fax
http://www.richmondshakespeare.com/
NOW OPEN! – the 2009 Richmond Shakespeare Festival
THRU JUN28.09 – Henry V [The History Cycle]
JUL2-12.09 – A Midsummer Night’s Dream (Seven Shows Only!)
JUL16-AUG2.09 - Hamlet
Monday, July 13, 2009
Richmond CenterStage - Performing Arts Center
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Wednesday, June 17, 2009
"RS has done [Henry V] proud..a fine evening of entertainment." Review, STYLEWeekly
King Me
Richmond Shakespeare’s “Henry V” proves sequels can improve on the originals. by Mary Burruss
Princess Katherine (Sarah Jamillah Johnson) is wooed by Henry (Phillip James Brown) and his authentic English accent in “Henry V.” Photo by Bruce Parker
Anglophiles, history buffs and drama nerds rejoice! It is summer and the long-awaited Richmond Shakespeare production of “Henry V” has opened. For those of you not listed in the aforementioned categories of the anticipatory, the excitement is akin to the release of the next “Harry Potter” or “Twilight.” But unlike some sequels, this production is wonderful.
“Henry V,” the fourth installment of Shakespeare’s tetralogy chronicling the reigns of Richard II, Henry IV and Henry V, is the best of the four and Richmond Shakespeare has done it proud. Director James Alexander Bond has selected a stellar cast of local actors and directed deftly around the central figure, played by London-based actor Phillip James Brown, who returns to Richmond for the third summer to take his crown as King Henry (the sovereign formerly known as Prince Hal). The actors are planets that revolve around Brown’s handsome sun. He makes as fine a warrior motivating his troops in the famous St. Crispin’s Day speech as he makes a nervous beau courting Princess Katherine.
In sharp contrast to Brown’s regal Henry is Bob Jones’ equally savvy incarnation of the comedic Captain Fluellen. Jones makes the larger-than-life character believable and multifaceted, while including wild gestures and a hilarious overblown Welsh accent, making Shakespeare’s jibe on Welshmen all the funnier.
Joseph Carlson masters his portrayal of Pistol this season, deftly executing comic bits and pouncing about the stage in Vanessa Passini’s excellently choreographed fight scenes. He has matured as an actor in the past year, turning last year’s great performance into an outstanding one this season.
This play has something for everyone: humor, battle scenes, romance and a winning underdog. “Henry V” is a fine evening of entertainment for anyone who can stay up past 10:30. “Henry V” plays June 11- 28, Thursday-Sunday at 8 p.m. at Agecroft Hall. Tickets are $13-$25. Visit http://www.richmondshakespeare.com/ or call 866-BARD-TIX.
Richmond Shakespeare’s “Henry V” proves sequels can improve on the originals. by Mary Burruss
Princess Katherine (Sarah Jamillah Johnson) is wooed by Henry (Phillip James Brown) and his authentic English accent in “Henry V.” Photo by Bruce ParkerAnglophiles, history buffs and drama nerds rejoice! It is summer and the long-awaited Richmond Shakespeare production of “Henry V” has opened. For those of you not listed in the aforementioned categories of the anticipatory, the excitement is akin to the release of the next “Harry Potter” or “Twilight.” But unlike some sequels, this production is wonderful.
“Henry V,” the fourth installment of Shakespeare’s tetralogy chronicling the reigns of Richard II, Henry IV and Henry V, is the best of the four and Richmond Shakespeare has done it proud. Director James Alexander Bond has selected a stellar cast of local actors and directed deftly around the central figure, played by London-based actor Phillip James Brown, who returns to Richmond for the third summer to take his crown as King Henry (the sovereign formerly known as Prince Hal). The actors are planets that revolve around Brown’s handsome sun. He makes as fine a warrior motivating his troops in the famous St. Crispin’s Day speech as he makes a nervous beau courting Princess Katherine.
In sharp contrast to Brown’s regal Henry is Bob Jones’ equally savvy incarnation of the comedic Captain Fluellen. Jones makes the larger-than-life character believable and multifaceted, while including wild gestures and a hilarious overblown Welsh accent, making Shakespeare’s jibe on Welshmen all the funnier.
Joseph Carlson masters his portrayal of Pistol this season, deftly executing comic bits and pouncing about the stage in Vanessa Passini’s excellently choreographed fight scenes. He has matured as an actor in the past year, turning last year’s great performance into an outstanding one this season.
This play has something for everyone: humor, battle scenes, romance and a winning underdog. “Henry V” is a fine evening of entertainment for anyone who can stay up past 10:30. “Henry V” plays June 11- 28, Thursday-Sunday at 8 p.m. at Agecroft Hall. Tickets are $13-$25. Visit http://www.richmondshakespeare.com/ or call 866-BARD-TIX.
Sunday, June 14, 2009
"The Peak Theatrical Experience in Richmond Is Back" Henry V Review, Richmond Times Dispatch
‘Henry V’ ends cycle on passionate, comedic note
HENRY V
Theater review
At: Agecroft Hall, 4305 Sulgrave Road Through: June 28 Tickets: $25 (16 and under $13) Info: 866-BARDTIX
SUSAN HAUBENSTOCK SPECIAL CORRESPONDENT
Published: June 15, 2009
The peak theatrical pleasure to be had in Richmond is back: summer Shakespeare at Agecroft Hall.
It's a happy mystery how hot, humid days can switch to cool evenings just as the Elizabethan verse gets going, but it seems to happen every time.
This season's opener is "Henry V," the culmination of three years pursuing the Henry cycle. James Alexander Bond has directed all three plays, and Phillip James Brown has played the younger Henry throughout, granting audiences a marvelous artistic continuity.
And again Bond, aided by Master of Verse Cynde Liffick, has brought us a rousing and gripping production, full of action (including Vanessa Passini's fight direction and Cecile Tuzii's movement coaching), passion and comedy.
The formerly roguish Prince Hal is now King Henry, and the English clergy are urging him to seize France as rightfully his. The French dauphin insults him, and Henry prepares for war.
There are combat scenes and interludes of diplomacy; there are remarkable moments when Henry goes incognito among his soldiers on the eve of battle. And there are stirring moments when Henry exhorts his troops -- "Once more unto the breach" and "We few, we happy few, we band of brothers."
Though there are comic and touching diversions, "Henry V" has no Falstaff, so Henry himself is the clear focus -- and Brown is powerful and magnetic enough to keep us riveted throughout. He shows just a few signs of the slacker he was; Brown is regal with a common touch. Wonderfully musical with the verse, he's also an inspiring leader, a steely judge, and a warm and awkward suitor in his final scene with the French princess.
Bond has balanced the production by emphasizing Shakespeare's varied comedic turns. The strongest of these is Bob Jones' Fluellen, the Welsh captain. Jones delights with his mastery of language and his unexpected physicality. Joseph Anthony Carlson, returning as Pistol, is a delightfully comic blusterer, and the pair of Phillip Reid and Thomas L. Cunningham as Bardolph and Nym amuse as well.
The cast of 19 performs 37 roles, with particularly strong supporting performances by Brandon Crowder, Nicholas Aliff, Tim Saukiavicus, Alan Sader, Joseph Sultani, Jamie Rees, Sarah Jamillah Johnson, Jeffrey Cole, Michael Hamilton and Jacqueline O'Connor. J. David White's lighting is dramatic, and the reliable Rebecca Cairns and Ann Hoskins contribute wonderfully detailed costumes.
This "Henry V" is a fully satisfying end to the saga.
HENRY V
Theater review
At: Agecroft Hall, 4305 Sulgrave Road Through: June 28 Tickets: $25 (16 and under $13) Info: 866-BARDTIX
SUSAN HAUBENSTOCK SPECIAL CORRESPONDENT
Published: June 15, 2009
The peak theatrical pleasure to be had in Richmond is back: summer Shakespeare at Agecroft Hall.
It's a happy mystery how hot, humid days can switch to cool evenings just as the Elizabethan verse gets going, but it seems to happen every time.
This season's opener is "Henry V," the culmination of three years pursuing the Henry cycle. James Alexander Bond has directed all three plays, and Phillip James Brown has played the younger Henry throughout, granting audiences a marvelous artistic continuity.
And again Bond, aided by Master of Verse Cynde Liffick, has brought us a rousing and gripping production, full of action (including Vanessa Passini's fight direction and Cecile Tuzii's movement coaching), passion and comedy.
The formerly roguish Prince Hal is now King Henry, and the English clergy are urging him to seize France as rightfully his. The French dauphin insults him, and Henry prepares for war.
There are combat scenes and interludes of diplomacy; there are remarkable moments when Henry goes incognito among his soldiers on the eve of battle. And there are stirring moments when Henry exhorts his troops -- "Once more unto the breach" and "We few, we happy few, we band of brothers."
Though there are comic and touching diversions, "Henry V" has no Falstaff, so Henry himself is the clear focus -- and Brown is powerful and magnetic enough to keep us riveted throughout. He shows just a few signs of the slacker he was; Brown is regal with a common touch. Wonderfully musical with the verse, he's also an inspiring leader, a steely judge, and a warm and awkward suitor in his final scene with the French princess.
Bond has balanced the production by emphasizing Shakespeare's varied comedic turns. The strongest of these is Bob Jones' Fluellen, the Welsh captain. Jones delights with his mastery of language and his unexpected physicality. Joseph Anthony Carlson, returning as Pistol, is a delightfully comic blusterer, and the pair of Phillip Reid and Thomas L. Cunningham as Bardolph and Nym amuse as well.
The cast of 19 performs 37 roles, with particularly strong supporting performances by Brandon Crowder, Nicholas Aliff, Tim Saukiavicus, Alan Sader, Joseph Sultani, Jamie Rees, Sarah Jamillah Johnson, Jeffrey Cole, Michael Hamilton and Jacqueline O'Connor. J. David White's lighting is dramatic, and the reliable Rebecca Cairns and Ann Hoskins contribute wonderfully detailed costumes.
This "Henry V" is a fully satisfying end to the saga.
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