New Shakespeare Derivative Works Coming to Washington, D.C.

The remainder of the 2012-2013 Shakespeare season in Washington, D.C. offers an eclectic mix of some of his most popular plays and several derivative works.

Through October 28, the Chesapeake Theater Company is staging Richard III, certainly one of the most-performed plays in the world, in nearby Ellicott City, Maryland. Set outdoors among the marvelous stone ruins of Patapsco Female Institute Historic Park, the company’s “Moveable Shakespeare” production directed by Ian Gallanar has the audience following the players from scene to scene. According to one review, it’s worth seeing just to take in Vince Eisenson’s portrayal of the demented monarch.

From November 15 through December 30, the Shakespeare Theatre Company will stage the tried-and-true A Midsummer Night’s Dream, under the direction of Ethan McSweeny.

Mignon Nevada (1886-1971) as Ophelia in Ambroise Thomas’s opera, Hamlet, circa 1910. Washington National Opera performed the opera at the Kennedy Center in 2010.

In December, “Enter Ophelia, distracted,” created by Kimberly Gilbert with Shakespeare’s text, will be performed by Taffety Punk Theatre Company, directed by Marcus Kyd. In my opinion, Taffety Punk produces the most innovative Shakespeare in town. The upcoming show is described as immersing “Ophelia into a sonic landscape that frames and follows her descent into madness.” Gilbert recently played Ophelia in the company’s “bootleg” production of the Bad Quarto of Hamlet. If the new show is anything like the company’s last one, a musical concert version of The Rape of Lucrece in which Gilbert played the lead (and bass guitar, too), Enter Ophelia, distracted should be special indeed.

The new year marches in with Folger Theatre’s production of Henry V, directed by Robert Richmond (January 22-March 3). As part of the Folger’s lecture series, Robert Shapiro will speak on January 25 about the Earl of Essex’s late 16th century military campaign against rebels in Ireland and its link to the play.

From February 21-24, the Catholic University’s Hartke Theatre will stage “Brutus,” an abridged version of Julius Caesar directed by Allison Fuentes. According to the theater’s website, this version “refocuses the classic tale from Brutus’s viewpoint, revealing the path toward his ultimate ‘call to fate’ and contemplating how thin the line can be between hero and villain.” Sounds fascinating.

In a similar vein, from March 28-June 2, the Shakespeare Theatre Company follows with a production of Coriolanus as part of its “The Hero/Traitor Repertory.” David Muse will direct Shakespeare’s tale of the proud soldier-turned-traitor who ultimately redeems himself in tragedy. Coriolanus also has links to the Earl of Essex, as observed in a review of Ralph Fienne’s excellent film version of the play.

A poster for the Federal Theatre Project in Los Angeles, which Congress cancelled in 1939 due to the project’s left-wing leanings.

From April 18-26, the Hartke Theatre will stage Ken Ludwig’s Shakespeare in Hollywood. Winner of the 2004 Helen Hayes Award for Best New Play.  This derivative work lands Oberon and Puck on a 1934 Hollywood movie set. Jay Brock directs what should be a nice complement to the Shakespeare Theater Company’s production of A Midsummer Night’s Dream.

Rounding out the season, from April 30 to June 9, the Folger will stage Twelfth Night – which I thinks is his funniest – under the direction of Robert Richmond.

From May 9 to June 23, the Shakespeare Theater Company will stage The Winter’s Tale, one of the Bard’s “problem plays” according to some,under the direction of Rebecca Bayla Taichman.

Washington, D.C.’s incredibly rich Shakespeare scene is one reason why living here is so much fun.

Shakespeare Matters: All’s Well That Ends Well

It’s not ranked among Shakespeare’s best plays, which doesn’t mean it’s any less of a gem. All’s Well That Ends Well is a shining example of the Bard’s ability to combine drama, romance and comedy with seamless shifts in tones that make for a highly enjoyable play.

In this portrait Shakespeare looks comfortable in his nobleman’s clothes. A great majority of his plays, including “All’s Well That Ends Well,” are set in royal courts.

I just saw a delightful All’s Well at the Shakespeare Theatre Company’s annual “Free For All” in Washington, D.C. Placed in an attractive Victorian setting, the play’s strong cast features Golden Globe winning and Oscar-nominated actress Marsha Mason (Countess of Rossillion), Miriam Silverman (Helena), Tony Roach (Bertram), Paxton Whitehead (Lafew), Adam Green (Lavatch), Cameron Folmar (Parolles), and Ted van Griethuysen (King of France). Van Griethuysen played the same role when the company last performed All’s Well at its Free For All in 1998. The choreography and music are bonuses in the current production, and van Griethuysen dances nimbly on stage in his excellent performance.

Now, here are few more reasons to see All’s Well That Ends Well.

The Bed Trick. I think Shakespeare must be second to none in using the bed trick as a plot device. The bed trick, in which one character sleeps with another without knowing who it is, becomes the main catalyst that drives All’s Well to its odd conclusion, and you’d probably be hard pressed to find a story that does it any better. The bed trick is not the only bawdy element of the play. Early on, there’s extended off-color dialogue about virginity and a rift on a sexual taboo. A prostitute plays a big part in the story. All’s Well ranks high on the Shakespeare bawdy scale along with Pericles and Measure For Measure, the latter another play where a bed trick is central to the plot. (Why is Shakespeare so fixated on bed tricks? Good question!)

Women Rule. On the surface the King of France is in charge, assisted by various male attendants and servants. But it’s a group of strong-willed women who work together to do the impossible and bend Bertram to Helena’s will. Men in the play largely come off as fools — speaking of which, the servant Lavatch is one of Shakespeare’s best clowns. In a sense, however, it’s Helena who does the best fooling, and it’s worth watching her incredible efforts to come out on top.

Parolles. A swaggering, boastful rascal whose name means “words” in French, the character Parolles is the spark that energizes All’s Well and provides some of its funniest moments. At turns sleazy and buffoonish, this character appears so natural it’s hard to believe Shakespeare didn’t base him on some real scoundrel. In the performance I saw, Cameron Folmar’s animated rendition of Parolles stole the show.

The Shakespeare Theatre Company’s Free For All production of All’s Well runs through September 5. If you’re in the Washington, D.C. area, check out the company’s easy on-line method of obtaining tickets.