Members of the theater community refer to "Macbeth" as "the Scottish play" as a way to dilute the curse that accompanies it. The current film version of Shakespeare's great drama says more about the curse than the production, which required three people to play with Shakespeare's draft.
St. Louis Shakespeare completes its commitment to producing all of William Shakespeare's plays with "Blood Reigns: Henry VI and the War of the Roses," a thoroughly compelling show culled from "Henry VI," parts 1, 2 and 3. The show, as adapted by director Christopher Limber, Michael B. Perkins and Robin Weatherall, brings Shakespeare's history to life with clarity and emotional undertones that color the performances.
So you're directing a script by a young playwright who obviously has a feel for what works on stage, for how to build a scene, how to set things up for physical comedy.
Plunging into the centuries old debate concerning the authorship of Shakespeare's plays, Anonymous envisions its subject in ways that would delight the legendary bard. For this 16th century period piece mixes love and adultery, loyalty and betrayal in immensely entertaining and intricately complex ways. Explicitly arguing all art and artists are political, it ties Shakespeare's plays and world to bracing drama.
At Washington University's Performing Arts Department, Director Henry Schvey, his designers, and his cast have mounted a very clear, well-spoken and attractive production of A Midsummer Night's Dream, a comedy and fantasy that is one of Shakespeare's perennially most popular plays.
When I first learned The New Jewish Theatre was planning a production of Romeo & Juliet set in 1947 Palestine (under the British Mandate), it sounded like a fine idea. The family's conflict, vague in origin in the original play, is a given: The Montagues are Jews and the Capulets are Arabs. So how did it go so far off the rails? Let me count the ways.