items tagged with William Shakespeare

On August 17, the Richmond Hill Barn Theatre's production of Tom Stoppard's Arcadia marked the last theatrical production I'd see this summer - the 29th show I caught over the span of 12 weeks - and in truth, I'm kind of bummed that the season is over. But it will be nice to have a few days when I'm, you know, not working, so I'm also looking forward to the fall, when instead of 29 shows, theatre-goers only have the opportunity to see ... 38.

Saturday's Genesius Guild presentation of The Winter's Tale never quite found its tone, but it's hard to be too bothered by that, because I'm not convinced that Shakespeare's play ever finds its tone, either. The bard's work is an unusual, somewhat off-putting blend of high and low comedy, aching tragedy, and pastoral romance, and I can only assume that pulling it off in a way that makes sense requires an extraordinary amount of finesse. Director Patti Flaherty's production didn't display this sort of acumen, yet to its credit, the show was never less than pleasant. Whether The Winter's Tale is meant to be pleasant is another matter entirely.

Rating its Degree of Difficulty on a scale of one through ten, I'd give Genesius Guild's opening-night performance of Shakespeare's As You Like It... hmm... about a 27.

When Rock Island's summer-theatre organization Genesius Guild opens Gilbert & Sullivan's comic operetta Patience on June 9 - taking place in the city's Lincoln Park, and co-produced with Opera@Augustana - it will mark the group's first production in a half-century not under the helm of Guild founder Don Wooten, who retired at the end of last season. And when asked what it's like serving as Genesius Guild's new executive director, and assuming a majority of Wooten's tasks, Doug Tschopp has a succinct one-word answer.

"Wow."

With King Henry the Fifth, the overall effect of the Prenzie Players' Henriad trilogy can be demonstrated in about five minutes of stage time. Shakespeare's titular ruler, played by Jeff De Leon, is invading the French province of Harfleur, and the scene begins with a literal explosion of sound - an edifice-shaking cannon boom, followed by the impassioned cries of the English and French soldiers engaging in battle. Over the next few minutes, the bellowing and booming hit greater and greater peaks of intensity, until finally Henry is standing at the gates of Harfleur, demanding that the governor surrender his township.

King Henry the Fourth, the Prenzie Players' second presentation in their Henriad trilogy, opened on Friday, and let me preface by admitting that I have a tougher time composing reviews for this troupe's productions than for any other area organization. When faced, in show after show, with such imagination and daring and passion, where does one start?

Here's one for fellow fans of Peter Jackson's Lord of the Rings trilogy: You know how badly we wanted to see The Two Towers after The Fellowship of the Ring? That's how badly I want to see the Prenzie Players' King Henry the Fourth after Saturday night's production of King Richard the Second.

For those of you who aren't Lord of the Rings fans, I think you still get my meaning; King Richard the Second - the first installment in the Shakespeare troupe's three-part cycle of Henry plays, entitled The Henriad - is so thrillingly staged and sublimely well acted that the February continuation can't possibly come soon enough.

Certainly, there was cause for concern.

When the Prenzie Players made their 2003 debut with Shakespeare's Measure for Measure, they did so at Rock Island's Peanut Gallery, which didn't have a proper stage and could only seat, at maximum, 40 people. The show had an inadequate budget (between $200 and $300), a run of only two performances, and no word-of-mouth; Prenzie's founders - Cait Bodenbender, John "J.C." Luxton, Aaron Sullivan, and Denise Yoder - had every reason to expect Measure for Measure to fail.

Yet Friday night's show played to a full house. And on Saturday ... .

A theatre company takes a risk when it changes key elements of Shakespeare, as Iowa City's Riverside Theatre has by switching the protagonist in its presentation of The Tempest from Prospero to Prospera. Turning this male character into a female brings an entirely new dynamic to the performance, yet even though this makes for a unique production, it distracts from the tone of Shakespeare's text.

The Tempest is one of Shakespeare's most magical offerings - a wildly theatrical concoction set on an enchanted isle populated by fairies, sprites, and spirits, and governed by a benevolent (yet easily enraged) ruler in possession of a supernatural cloak.

Given the built-in limitations in budget and production design at Rock Island's Lincoln Park, though, no one attending Genesius Guild's current production of the play should expect to be wowed by spectacle; Ariel, for instance, won't be flying in on any invisible wires. Yet from its first scene, this Tempest is graced by spectacle of a different variety: the sort of stage alchemy that occurs when fine performers tear into rich material, and when a strong director orchestrates the actors' contributions and stage pictures with inventiveness and grace. Imagination, of course, is its own kind of magic.