Othello: The Remix @ The Westside Theater (Upstairs)

In recent seasons where hip hop seems to be dominating musical theater, The Q Brothers’ Othello: the Remix fits right in. But these brothers are no strangers to infusing the style into their work.  In the past decade and a half, the production group has created several hip hop adaptations of Shakespeare’s most famous works: The Bomb-itty of Errors, Funk it Up About Nothing, Q Gents, and I <3 Juliet have been produced around the country and Off-Broadway. John Leguizamo’s presentation of Othello the Remix brings the Q Brothers back to New York.

The re-imagining presents Othello (Postell Pringle) as a hip hop mogul, about to embark on a cross country tour to promote the new album for pop-rapper Cassio (Jackson Doran). Fellow artist Iago (GQ) feels betrayed to be the “opener for the opener” on the tour, and sets out to get revenge by ruining Cassio’s career and Othello’s new marriage. Though the plot is modernized, Shakepeare’s themes of jealousy and betrayal are still very apparent.

The Q Brothers incorporate a unique style of comedy into their work. Like a sketch group, there are many characters played by the company of four actors. Wigs, shirt fronts, and hats are used to differentiate the characters. Like an improv troupe, the actors break the fourth wall and make out-there jokes that incite heavy laughs. But where they differ: they do all this in the middle of catchy beats and smart rhymes, just like a hip-hop crew. Move over Hamilton, looks like you have some competition.

JQ stands out as the character actor of the production. In 80 minutes, he becomes tennis-obsessed record producer Loco Vito, Rosie Perez-like groupie Bianca, and lovesick Dungeons & Dragons player Roderigo. Doran’s Cassio is an endearing comic relief: the guy you want to laugh at and feel bad for at the same time. GQ’s Iago is earnest and jealous; he’s the puppet master villain who you almost want to see succeed. Pringle carries the show as leading man Othello, and your hearts breaks right along with him.

Equal parts Shakespeare, Hip hop, and sketch comedy doesn’t sound like a formula that should work. Oh but it does. Even the elderly ladies in the front row were raising the roof.

Othello: The Remix performs at the Westside Theater.

Review By: Kelcie Kosberg
Photos By: Carol Rosegg

The Comedy of Errors @ The Shiva Theater @ The Public Theater

Have you ever been mistaken for someone else? Have you ever gone looking for something? Have you ever been in love? These are the questions the audience is asked before the show begins. The Public Theatre’s production of The Comedy of Errors was a contemporary look at the Shakespearean classic filled with a lot of life, love, and as the title implies- comedy. 

Comedy of Errors follows two sets of identical twins who are separated at birth. Antipholus of Syracuse and his servant Dromio of Syracuse arrive in Ephesus where they are mistaken by the townspeople (including Antipholus of Ephesus’ wife Adriana and her sister Luciana) for their identical counterparts, Antipholus and Dromio of Ephesus. This is the ultimate case of mistaken identities, wrongful accusations, and slapstick humor. 

Each Antipholus is played by Bernardo Cubría, with Lucas Caleb Rooney taking on each Dromio. Baseball caps for the boys from Syracuse and cowboy hats for the two Ephesus twins were used to help the audience distinguish between the characters. These two actors are exquisite, able to effortlessly transform between each twin within seconds, making them distinct and captivating. While the entire cast is marvelous and hysterical, these leading men really stand out and are commendable for their portrayals of the twins.

The Shiva theatre is a small intimate space, and the show uses this to its full advantage. The actors interact with the audience, sitting next to them, delivering soliloquies to them, and sometimes even bringing them onto the “stage” to be a part of the action. Seating is general and in the round, but no seat is a bad seat- you are right there with the performers. The only set provided is a square of grass and dirt, with a border-line painted between Syracuse and Ephesus. This allows the audience to really focus on the superb acting and the poetry of the language.

            When faced with a Shakespeare show most worry over the long hours they are about to endure, but there is no need to worry here: Running at 90 minutes with no intermission and constantly filled with infectious energy and fun the show breezes by- You can’t help but have a smile on your face for the entire hour and half.

This unique production is part of the Public’s Mobile Shakespeare Unit, which travels the five boroughs (and more) providing free entertainment to those in prisons, homeless shelters, and community centers. Director Kwame Kwel-Armah’s version is filled with contemporary references (border patrol officers, cell phones, etc.) that make it relevant to today and destroy the notion that Shakespeare is something “superior” that not everyone can understand. As is their mission, this production proves that Shakespeare is for everyone, and makes it enjoyable along the way. Now done touring, it is playing at the Public Theatre on Lafayette Street until November 22. If you’re looking for an evening filled with laughs and merriment make your way to The Comedy of Errors!

Review By: April Sigler
Photos By: Joan Marcus

Cymbeline @ The Delacorte Theatre w/ Public Theatre

Despite varied reviews on The Public Theatre’s Cymbeline, we were blown away by the whimsy, ingenuity and overall fun of the production. Cymbeline, a play most directors don’t touch with a ten foot pole, was thoughtfully executed capturing the true melodramatic nature of the text and circumstance. Embodied by a fine ensemble of actors and directed brilliantly by  Daniel Sullivan, Cymbeline will tickle your funnybone and touch your heart with its music, aesthetic and of course, message.

While the title refers to King Cymbeline, the real stars of the show are Princess Imogen and Posthumus, who are marvelously brought to life by Tony-nominated (and American Horror Story alum) Lily Rabe and Hamish Linklater. These two simply soar and inject passionate energy every moment they are on stage. Rabe provides a feisty spirit to a character who could veer too prim and proper, all the while still maintaining her innocence that Imogen is noted for having. Linklater is one of several actors who double their roles, as he takes on both Imogen’s lover Posthumus and her betrothed lover/stepbrother Cloten. He effortlessly balances both characters by making them distinctly different (and with the aid of a silly wig reminiscent of Moe a la the 3 Stooges), while also exposing the similarities and differences between the two. This combination provides an intriguing antithesis of each of their relationships with the princess. Linklater is absolutely hysterical as the Queen’s dimwitted son, punching all of the correct moments to elicit laughs, while also sweet, strong, and heroic as Posthumus. His morning woo-ing song left the audience in stitches for a long while!

Raul Esparza is a deliciously evil Iachimo, decked out in a gangster-esque suit at the poker table in Italy. He exudes a despicable and cunning air as he wagers with Posthumus that he can seduce his virtuous and loyal Imogen. Esparza, who has a wide range of credits in theatre, film, and television, is able to show off his extraordinary singing skills thanks to music provided by Tom Kitt (Next to Normal). 

This adaptation of Cymbeline is driven by its modern folk rock score which kept your feet tapping the entire duration of the play. Mimi Lieber choreographs bright and bonnie dances that mirror the lighthearted nature of this melodrama. Overall, Sullivan has  assembled and directed an amazing team of actors and coached them brilliantly to bring to light one of Shakespeare’s “problem pieces”. It was certainly melodramatic, all the while seeing two sides to every story from the way he doubled the characters. The play is about forgiveness and trust and we certainly saw that culminate through all the journeys reaching their end at the conclusion of the play.

When one thinks of Shakespeare the likes of Romeo and Juliet or A Midsummer Night’s Dream usually come to mind. The late-romance of Cymbeline is not as well-known, and yet this production has gotten one of the most well-received reactions from an audience we have ever experienced. The laughs were long and constant and everyone rose to their feet in the concluding dance of an amazing evening. Head on over to the Delacorte and share the joy of love and language! 

Review By: Brittany Goodwin

Photos By: Michelle V. Agins

Two Gentleman of Verona @ The Polonsky Shakespeare Center @ The Theatre for New Audience

Two Gentlemen of Verona is a pastel, hipster worshipping, indie contemporary version of an already shallow classical piece full of misogyny befitting the era.

Walking into the Polonsky Shakespeare Center, one is guaranteed an almost perfect view, unless one of course is banished to the top balcony, and then in that case, you won’t see half the play anyway without dangling over the edge. Nevertheless, we move on. The FIASCO Theatre Company could have examined Shakespeare’s arguably more immature work, heavy laden with the classism and sexism of its time and turned it on its head by a subjective interpretation that battled the flimsy plotline and two dimensional characters. Instead, the audience is left with a overbearing dosage of sugar and nothing of substance.

A comedy, Two Gentlemen of Verona asks the “serious” questions of youth through tales of first love’s woe, and friendship betrayal with all the flirty whimsy of nothing being quite too serious.  When performed by what looks like a cast in their forties, it becomes a farcical mid-life crisis with a heavy dose of melodrama and none of the tender compassion that adults view childish behavior spurred by first love’s thorny kiss. A piece of eye candy to be sure, with their pretty indie guitar playing and pastel costumes, this piece tries to modernize Shakespeare by turning it into another shallow RomCom.

Zachary Fine’s Valentine is stilted at times, but his stint as a dog pulls laughter with well timed grins and begging. Actors Paul Coffey and Andy Grotelueschen steal the show with their portrayals of all of the secondary characters. Thank goodness for without them, I fear myself and the audience would have continued to sit in the awkwardness created by the interactive group.

Alas, the set as beautiful as it was, could not be enjoyed from the upstairs or at any sort of angle other than directly in front of. So please, if you do make the trek to Brooklyn, do yourself a favor and don’t buy the cheap seats. As is with all shallow pretty things, they’re enjoyed, but you’re left none the wiser, nor the better.

Two Gentlemen runs through May 24th.

Review By: Aziza Seven
Photos By: Sara Krulwich

Hamlet @ Classic Stage Company

    Classic Stage Company’s production of Hamlet was extraordinary. Director Austin
Pendleton took Shakespeare’s age-old prose and brought it to life with a masterpiece set, designed by Walt Spangler. This thrust theatre was decorated to suit a lavish wedding—complete with an alcove stage left equipped with a bar and a separate sitting room stage right.

Atop the reception table was a gorgeous canopy of white flowers, perfectly accented by Justin Townsend’s lighting design. Each corner of the stage was accompanied by white settees which Pendleton oft chose to place Ophelia—consistently watching the mania unfold. With this, we were transformed into a modestly modernized Hamlet. The performance itself was peppered with eerie music, designed by Ryan Rumery. The play was indeed an event, with superb blocking and never an empty glass of wine, brandy or vodka. Constance Hoffman outfitted each actor with an appropriate modern suit and gown.
 
    Peter Sarsgaard manifested a contemptuous Hamlet. Ever sarcastic, Sarsgaard swept somewhat ancient lines into a layman’s understanding. Suddenly, the Shakespeare that crawled across our desk during high school was swept from its pages and brought to life in ways I could scarce have imagined. His stage presence was palpable and his supporting cast did not disappoint.  King Claudius was played by Harris Yulin. An older gentleman, Yulin did not come to the
stage a murderer, but a loving husband. Deliberate in his speech, Yulin demonstrated a steady new king rather than a cold-blooded usurper.


His new wife, Gertrude (Penelope Allen) was the ever-attentive and loving mother.
Longing to understand Hamlet’s madness, Allen went to great depths of emotion throughout her
performance. Her tears were moving and her misunderstanding of her husband’s original
intentions believable.
   Laertes burst onto the stage, red faced and loud. Glenn Fitzgerald was entertaining where necessary and a noticeable force where essential. His chemistry with Ophelia was endearing and his connection with his own character noticeable. Lisa Joyce revealed a strange Ophelia. While we could follow Sarsgaard’s descent into psychosis, Joyce’s was abrupt. Ophelia’s fall into hysteria over her father’s death was not mis-presented by Joyce. However, its chosen direction was not as predictable and therefore mildly disjointed with the rest of the performance.
     Stephen Spinella gave the audience a laughter eliciting Polonius. Spinella’s interpretation of Polonius’ character was both witty and quirky. I found my eyes often on the king’s steward, awaiting his next line and my answering laugh or smile. Hamlet’s faithful Horatio was presented by Austin Jones. The silent observer, Horatio frequented the bar and took stock of Hamlet’s story—later surviving its tale. Whereas Ophelia moved from corner to corner, Jones would float into the scene.
     Daniel Morgan Shelley (Reynaldo, Guildenstern, Lucianus, Priest, Fortinbras), Scott Parkinson (Rosencrantz, Player Queen, Gravedigger) and Jim Broaddus (First Player, Player King, Captain) completed Hamlet’s cast. My personal favorite was Scott Parkinson who was a mostly silent but highly enjoyable Player Queen and Gravedigger. Jim Broaddus’ take on the First Player was superb.
     Classic Stage Company’s rendition of Shakespeare’s classic was both impressive and thought provoking. Take the time to see the play, this seasoned cast reckoned a distinct interpretation of his/her character you shouldn’t miss. You can purchase tickets here! And hurry in, Hamlet will only be on the stage until May 10th!

Pictures by Carol Rosegg
Review by Alexandra Lipari 

King Lear @ The Delacorte Theatre

The Public Theater has revisited William Shakespeare’s currently popular drama King Lear this summer with all the glorious tragedy the sad ruler deserves.  And they have done the Bard proud.

The staging at the Delacorte by director Daniel Sullivan lends itself beautiful and smoothly to the space and the piece, transporting us back to the days of not only the great King himself, but the old common English theater as well.  Accessible and sarcastically comical, the lens through which Sullivan allows us to glimpse Lear hoists the tragedy on us in a mercurial swing of moods not unlike those of the mad and foolish that are portrayed.  An awe inspiring vision, softening us just enough to allow the depth of the loss and pain to dig into our skin like loose soil; where it can grow and flourish, mirrored in our modern day.

As aid to the work, there are solid and insightful portrayals throughout the cast.  John Lithgow is a strong and versatile Lear, leading the way in his descent into madness.  He humanizes the epic King, leaving no wonder to the cause and purpose of his spiraling transformation.  Eric Sheffer Stevens' delivery of Edmund is second to none.  His casual wit and charisma endears him to the audience even as his actions horrify.  Stevens shines in this role, owning the stage. He gives us an Edmund that cannot be turned away from the moment he is left alone with his audience.  Other notable contributions come in the dynamic delivery of Steven Boyer as the fool, a pleasing balance of laughter and insight.  Clarke Peters as the Earl of Gloucester gives a well-grounded performance, a wonderful support in his paralleling tragedy with Lear.  Edgar, played by Chukwudi Iwuji, is free and vulnerable with nothing standing between him and his viewers.

Somewhat disappointing were the three sisters.  Annette Bening (Goneril) seemed uncomfortable with the language.  Jessica Hecht (Regan), though she elicited some laughs, was often ludicrous with her more serious moments.  Neither woman looked comfortable with their space on the stage.  Jessica Collins as Cordelia allowed herself to be immediately emotional available for the audience, but left little room for growth.

The scenic design of John Lee Beatty and costumes by Susan Hilferty are rustically elegant.  The use of drummed metal sheets, as well as the additional music completes the simple yet perfectly rendered environment.

King Lear, given life at The Public Theater, is an ideal night of theater for both those well versed in or new to Shakespeare, giving all something to take away.  Running through August 17th, this limited engagement should not be missed.

Review By: Paul Morin

Photos By: Joan Marcus

King Lear @ The Polonsky Shakespeare Center @ The Theatre for New Audience

King Lear presented at the Theatre for a New Audience is an intimate, minimalistic portrayal of the Shakespeare classic. Directed by Arin Arbus, whose other Shakespeare credits include, Much Ado About Nothing, The Taming of the Shrew, and Othello, creates a stunning world in which the audience is given only the barest essentials of a set, leaving them able to concentrate on the actors’ imaginations.

Michael Pennington(King Lear) shines, his abundant work  in Shakespeare clear as he commands the space around him. Both powerful in his reign as King of Britain and pathetic as his madness takes over his body, Pennington straddles the inconsistencies of his character with grace and ease. Opposite in the roles of his daughters, Rachel Pickup(Goneril), Bianca Amato(Regan), and Lilly Englert(Cordelia) play their parts well. Rachel’s sexual manipulation compliments Bianca’s more political stance and together they are a force to be reckoned with as they plot to bring their father down and claim more power. Unfortunately for them, they sink their claws into the same man and in the end are done in by their own thirst for power and misplaced love. Lilly is the loveliest of the sisters and portrays her part perfectly. Innocence shines through her consistently. Her love for her father is the realest emotion among the women and she holds on to it with everything she is.  

Startling performance by Jake Horowitz as the Fool. His energy onstage was a joy to watch. Both comical and wise, joyful and in the end suicidal, Jake navigated a stage full of seasoned actors with a drive that was surprising in one so young. Chandler Williams(Edmund) is a more passive villain. His actions dictated by selfishness rather than pure evil. I found his performance a tad lackluster. Jacob Fisher(Edgar) while bland at the start of the play found his own when he took on the crazed role of Poor Tom after being set up by his brother. On the lam and running from a father that believes wanted to kill him, Jacob adopts the role of poor beggar but falls into the good graces of King Lear and eventually is responsible for leading his blinded father to safety after his brother frames their father for treason.  

Other talented cast members include Timothy Stickney(Kent), Terry Doe(King of France), Mark H. Dold(Oswald), Christopher McCann(Gloucester), Saxon Palmer(Cornwall), Graham Winton(Albany), and Robert Langdon Lloyd who all stood out in the parts as excellent speakers and actors. The ensemble includes Benjamin Cole, Jason Gray, Jonathan Hooks, Patrick McAndrew, Ryan McCarthy, Jon Stewart, Jr., Ian Temple, and Ariel Zuckerman.

As with all of Shakespear’s tragedies, this play contains several messages for the audience. Greed, power seeking, lust are just a few things that condemn the players and lead to the demise. Very few players escape death by the end of the play and the sins of those involved are to blame for the early demise of Cordelia and the consequent death of her father, Lear. Reunited briefly, they are only granted a moment respite before Edmund’s assignation order is completed leaving Lear to die of a broken heart after he carries the still body of his youngest onstage.

The set design was by far the most interesting tech element, with lights and sound design rounding out the feel of the play. The costumes I found to be incredibly distracting, as they didn’t fit the time that the play was clearly set in. Lastly, the music provided by Michael Attias, Pascal Niggenkemper, and Satoshi Takeishi was gorgeous.

King Lear runs at The Theatre for a New Audience in Brooklyn, NYC until May 4th, be sure to pick up your tickets here.

Review By: Aziza Seven

Antony and Cleopatra @ The Public Theater's Anspacher Theater

Tarell Alvin McCraney reimagines Shakespeare’s classic in The Public Theatre’s production of Antony and Cleopatra.

The play tells of the scandalous love affair between the Roman general Mark Antony and the Egyptian queen Cleopatra and how their blind passion leads to their ultimate downfall and deaths. Mark Antony, Octavius Caesar and Lepidus are the joint rulers of the known world. Anthony, however, is captivated by Cleopatra and neglects his duties to spend time with her in Alexandria. This scandal creates a rift between Antony and young Octavius Caesar.

McCraney calls this piece “a hybrid, being both a tragedy and a history”. However, the audience may consider McCraney’s Antony and Cleopatra a hybrid for different reasons. The story revolves around a Roman general and an Egyptian queen, yet McCraney has chosen to transform Anthony into a French soldier and Cleopatra into a Haitian princess. The French speak with British accents while the Haitians speak in American creole. The setting is very ethereal with a blend of Calypso music filling the air amid the white draped fabric, Roman columns and pools of water. Haitian dancing, voodoo and some haunting vocals are also thrown into the mix. These choices present a lot of blurred lines, some of which meld brilliantly to captivate the audience and some with the dissonance of oil and water creating confusion for the average theatre goer.

Michael Thurber’s music under the direction of Akintayo Akinbode is a driving force in transporting the audience. It sets the scene, conjures panic, soothes and lifts spirits. Chivas Michael’s angelic vocals add great texture to stark scenes.  Gelan Lambert’s choreography is intriguing and appropriate for the setting of the story, though it has some peculiar moments.

Joaquina Kalukango is perfect as Cleopatra. She bewitches not only Mark Antony but the entire audience as well. Kalukango gives Cleopatra the perfect blend of charm, insanity and seductiveness.  Jonathan Cake’s performance of Mark Antony was strong though he induced some awkward chuckles from the audience during vulnerable moments. Samuel Collings gives a breathtaking performance as Octavius Caesar. Collings evokes a true depth behind every glance and is fascinating to watch even in the scenes where he is not the center focus. Most of the other company members portray 2-3 different roles throughout the show and each delivers their characters with newly defined complexity.

While McCraney’s Antony and Cleopatra may leave the audience with mixed reviews it certainly breathes a welcome freshness into this 407 year old classic.

Review By: Staci Morin
Photos By: Joan Marcus