Shakespearean’s version of the Bard comes off as somewhat Monty Pythonesque — we are usually marching along with “Men Men Men.”
Shakespeare’s role in American history is not immediately apparent — at least it wasn’t to me. Part of the considerable pleasure of reading this book is seeing how James Shapiro draws the connections.
Timon is a fascinating, if lumpy and bumpy, black comedy with a nihilistic sting, a lacerating parable about how the worship of gold warps individuals and society.
Shining leads make up for a problem play that, in this production, has been further problematized.
Steven Barkhimer’s mastery of the role’s physicality is the key to his expression of its villainy.
Probably as it should be for a group called the Actors’ Shakespeare Project, the performances in Julius Caesar are the thing.
This exciting look at Shakespeare’s tragedy is a decidedly gothic affair.
So, how do you come away from a lukewarm production with such positive feelings?
American Moor is a terrific meditation on Othello and race.
If the ballyhoo around the Public Theater’s Julius Caesar is a sign of the times, then we have a lot more than Trump to fear.