shakespeare theatre company: Last News

A play of epic proportions, Tom Stoppard’s Leopoldstadt has almost equally epic challenges and, like a suit that doesn’t quite fit, it feels just a little too big for the Shakespeare Theatre Company’s production.Immense in scope, Stoppard’s semi-autobiographical journey weaves its way from 1899 through 1955 as multiple generations of a wealthy Jewish family in Vienna experience war and antisemitism in ways that will forever change their lives and identities. Heavy on the expository and vignette-driven, family gatherings share space with spirited conversations about Zionism, the creation of a Jewish homeland, and the growing “othering” of Viennese Jews as time passes through Germany’s annexation of Austria, two world wars, and a final post-war-Vienna pause.For those who know to listen for it, there is even an intriguing, overarching nod to the mystery of prime numbers and Stoppard’s suggestion that perhaps there is a theory that explains not just the numbers, but the pattern of our lives.

Babbitt may find Joe DiPietro’s theatrical adaptation a gratifying box-checker. However, for those who haven’t (recently or ever) read it, director Christopher Ashley’s production is too thin on the ground to resonate.In fact, dramaturg Drew Lichtenberg’s elegantly concise program essay should be seen as a companion — and required pre-curtain reading.

Comedy of Errors says, “We’re glad you’re here.” You will be entertained as if adored, yelled at with affection, and there will be no need to actually follow Shakespeare’s ridiculously convoluted shenanigans surrounding the reuniting of two sets of separated twins, although a pre-curtain read of the synopsis will help.Even better, you will be treated to Shakespeare delivered with a kind of natural energy, meaning you don’t have to be a die-hard fan of the Bard to fully understand the gist of what’s being said and why. Put simply, director Simon Godwin and this top-notch cast are out to give a warm and lovely embrace to anyone and everyone — and that’s a lot harder than it looks.Going for accessibility right out of the gate, Godwin opts for a flash-forward to the 1990s, cleverly predating cell phones (whose use would instantly thwart any “errors”) and allowing for a relatable vibe that invites everything from funky interludes to wittily-adapted asides.

Romeo and Juliet four times. I’ve done Macbeth five times. I’ve done Twelfth Night three times.

The Merchant of Venice share an affection like friends, like father and son, or like “bosom lovers,” but the play leaves no question that, for Antonio, Bassanio’s happiness is worth risking riches, reputation, and a pound of flesh.The script implies much in the pair’s intense devotion, and director Arin Arbus’ boldly queer production of The Merchant of Venice (★★★★☆) at the Shakespeare Theatre Company merely makes their attraction plain. Alfredo Narciso as Antonio and Sanjit De Silva as Bassanio cast a riveting spell as paramours who have reached a crossroads, now that Bassanio yearns to marry the heiress Portia (Isabel Arraiza).To ensure his beloved Bassanio is set up financially for marriage, Antonio will stake his own funds and flesh, striking a deal with a Jewish moneylender whom he despises.