Posts Tagged ‘Shakespeare & Company’

Three Resign Board Leadership in Continuing Drama at Shakespeare & Company [Berkshire on Stage]

Friday, March 13th, 2015

Editorial by Larry Murray

An earlier article covers the news of Rick Dildine’s recent departure from Shakespeare & Company.

More changes. Following a meeting on Tuesday, Sarah Hancock, chairwoman of the board of trustees at Shakespeare & Co. in Lenox, resigned from her role as Chairman, but remains on the Board. Also resigning their position are Vice Chairwoman Claudia Perles who also remains a Board member, and Vice Chairman Charles Schader who has left the Board “for personal reasons.”

In a written statement, the company’s executive committee said that a new leadership team would be nominated during the next board meeting on March 30, and that team would “continue the company’s tradition of artistic excellence and community service. While we are sorry to see these persons leave their positions, changes like these happen from time to time in any organization, and it would be a mistake to interpret these departures as a sign that the company is in turmoil or in trouble. Neither is true,” the statement read. “In fact, the company’s financial status has greatly improved over the past years, it has an exciting season about to launch, ticket sales and enrollments in the company’s renowned training and education programs are both strong and the staff is actively engaged in making this season the great success it promises to be.”

Click to read the rest at Berkshire on Stage.

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Dildine Leaves Shakespeare & Company; Ball, Bock and Croy to Lead New Season [Berkshire on Stage]

Tuesday, March 10th, 2015
Rick Dildine

Rick Dildine returning to the Shakespeare Festival of St. Louis from whence he came.

By Larry Murray

Rick Dildine’s six-month tenure at Shakespeare & Company in Lenox was filled with controversy and secrecy as he tried to reign in expenses, redirect energies and reshape the legendary Berkshire institution that has always been valued for the actors who founded it. When the new season was revealed last month, it was more notable for the absence of the company’s regular actors being included than anything else.

A bland marketing campaign has followed, one that is most noticeable for its absence of the usual Kevin Sprague photos which have been a trademark of the company for some 20 years or more. Unimaginative blocks of color were substituted for the lively images that once communicated the essence of each upcoming play. The marketing of company subscriptions has been lackluster as well. The lack of familiar names and images has resulted in some regular subscribers taking a “wait and see” stance to see who the coming season will actually offer on stage. People who do not know how to sell tickets should not be allowed near the marketing budget, they always end up killing ticket sales.

Click to read the rest at Berkshire on Stage.

Shakespeare & Company 2015 Puts the Spotlight on Diversity of Plays, People, Topicality [Berkshire on Stage]

Wednesday, February 18th, 2015
John Douglas Thompson returns at last.

John Douglas Thompson returns at last.

By Larry Murray

Shakespeare & Company in Lenox announced its upcoming season at a celebratory gathering of members of the company, its board and select members of the press. With a dozen productions and special events planned over the summer, a challenging handful of contemporary plays will join proven Shakespeare works on the company’s three stages. As PR spokesman Elizabeth Aspenlieder remarked: “This season includes both the shortest of Shakespeare’s plays, Comedy of Errors, and the longest, Hamlet, plus one that’s in-between.”

Of the new works, the regional premiere of Red Velvet by Lolita Chakrabarti caused considerable buzz, and the world premiere of Jane Anderson’s Mother of the Maid, starring Tina Packer was greeted with applause. In addition, the summer season includes The Unexpected Man by Yasmina Reza, and opens with the provocative new play by Sarah Treem, The How and the Why.

Diversity seems to be one key to the season, with four plays by women playwrights, including Lolita Chakrabarti’s Red Velvet. She has made her mark on stage and screen as both actor and writer and has created this astonishing play, to be seen for the first time in New England. Red Velvet is about Ira Aldridge, an African-American actor at the centre of controversy in 1833 when he takes over from Edmund Kean in Othello at the Theatre Royal in Covent Garden, It premiered in 2012 at the Tricycle Theatre in London, and in the this US debut will stars one of the company’s most renowned members, John Douglas Thompson.

Click to read the rest at Berkshire on Stage.

Review: “It’s a Wonderful Life” Returns to Shakespeare & Company [Berkshire on Stage]

Monday, December 15th, 2014
It’s a Wonderful Life: The Radio Play runs from Dec. 5-28. (photo: Enrico Spada)

It’s a Wonderful Life: The Radio Play runs from Dec. 5-28. (photo: Enrico Spada)

Theater review and discussion by Gail M. Burns and Larry Murray (Reprinted from the December 12, 2013 review)

Larry Murray: What can be more fitting for the holidays than It’s a Wonderful Life: A Live Radio Play which is the story of idealistic George Bailey as he considers ending his life one fateful Christmas Eve. Do you agree that Shakespeare & Company in Lenox captured all the magic of Frank Capra’s classic 1946 holiday film It’s a Wonderful Life in this production?

Gail M. Burns: Darned if I know. I am one of the few adult Americans who has never seen the film all the way through. This iteration, adapted by Joe Landry from the screenplay by Francis Goodrich, Albert Hackett, Frank Capra, and Jo Swerling, reimagines the story as performed by five stalwart radio actors on a snowy Christmas Eve when the sound effects guy gets stuck in the blizzard and can’t get to the studio. We, the studio audience for the broadcast, get the fun of watching them cope with the emergency and perform all the music and sound effects as well as the well-worn story of George Bailey.

Larry: Landry didn’t miss a single plot point of the film, and the five actors created the dozens of characters with just their voices. It was astonishing to hear Ryan Winkles change his voice instantly from Clarence the angel (second class) to Bert the cop. He played a dozen roles, as did favorite Jonathan Croy and the amazing Jennie M. Jadow. These chameleons changed accent, tone and cadence from one character to the next like racers taking the hairpin turn on the Mohawk Trail.

Gail: David Joseph and Sarah Jeanette Taylor anchor the story as George Bailey and the woman he marries, Mary Hatch. They also provide much of the charming music, with Taylor on piano and Joseph as the lead vocalist. The whole show, but especially the music, was charming in its simplicity and beauty, with many songs sung virtually a cappella. Joseph plinks out a few notes on the xylophone and Winkles bravely tackles a trombone riff, but Jadow on violin and Taylor on piano provide the melodic lines.

Click to read the rest at Berkshire on Stage.

“Stonewall” DIldine and the Mess at Shakespeare & Company [Berkshire on Stage]

Monday, October 20th, 2014
Stonewall Dildine’s answer to all questions: “”We don’t discuss personnel matters.”

Stonewall Dildine’s answer to all questions: “We don’t discuss personnel matters.”

By Larry Murray

For more than a week, the board and management of Shakespeare & Company in Lenox have evaded every question about the sudden departure of artistic director Tony Simotes. It has also refused to give any indication of whether this signals a major reorganization of the theatre company, and just who is going to be next on the chopping block. The order to be silent has reverberated throughout the company and many of the founders and long-term members fear that if they open their mouth, they will lose their jobs. It seems that heads are going to roll soon, and that worries me as a veteran theater watcher who has a great love for this venerable company of actors.

Secrecy and stonewalling are a familiar form of corporate politics. Whether white collar workers or actors, using these sorts of wily tactics always backfires, and has already began to erode the company’s years of reputation and audience building.

Oddly, Shakespeare & Company chose to release the news of Simotes departure with hints of more changes to come in an after-hours news release (original story) late on a Friday night. They probably expected that few would print the news, or – most importantly – that few would notice that the popular Simotes was being unceremoniously ushered out months before his contract ends despite promises to the contrary. There were few details, just the usual meaningless niceties that accompany such corporate beheadings. My own attempts to glean more information were rebuffed even when such attempts were done using personal email rather than official ShakesCo email address which were undoubtedly being monitored for leaks.

Click to read the rest at Berkshire on Stage.

THEATER: “Private Eyes” @ ShakesCo Is a Befuddling Tangle of Lovers and Cheaters. Or Is It… [Berkshire on Stage]

Tuesday, September 30th, 2014
The Company of Private Eye (photo: Enrico Spada)

The Company of Private Eye (photo: Enrico Spada)

Theater review by Gail M. Burns and Larry Murray

Gail M. Burns: I had to be reminded that I had seen and reviewed a production of this play fifteen years ago, also at Shakespeare & Company in Lenox. Although I liked it at the time, it was not a memorable experience.

Larry Murray: Private Eyes is an odd concoction for sure, with some of the wittiest comedy and clever aphorisms of the current fall season. Written by Steven Dietz, the revival of Private Eyes features a fresh look and much younger cast from when the Company staged it in 1999 in the Stables Theatre at The Mount. There is one rather unmissable change, however, since the therapist Frank played then by Robert D. Lohbauer has had a sex change and is now played by Lori Evans Pugh. In your prophetic earlier review (link) you advised audiences to be prepared to go through the looking glass.

Gail: For all its twists and turns, Matthew (Luke Reed) is the central character and whatever happens happens to him, whether in fantasy or reality. Another solid bit of reality here is that Matthew and Lisa (Caroline Calkins) are married, or were married during much of the action of the play. Lisa may, or may not, be having or have had an affair with Adrian (Marcus Kearns), an insufferable British director who has cast the couple in an unnamed romantic comedy. Adrian’s wife (Elizabeth ‘Lily’ Cardaropoli) may be stalking her erstwhile husband in various disguises, or the whole thing may be a series of semi-fantastic stories Matthew spins for his psychiatrist, Frank (Pugh.)

Larry: Jonathan Croy is at work here as the director, which means that when there is fun, it’s rib-splittingly funny and where there is tragedy, it fully shocks and dismays. Everything is topsy turvy in this Diet-zy concoction. In the program notes, the director says that Private Eyes is a delicate Swiss watch of a play, moving gracefully through time and memory.

Click to read the rest at Berkshire on Stage.

Love! Passion! Deception! Get All Twisted Together in “Private Eyes” at S&Co [Berkshire on Stage]

Monday, September 15th, 2014
The cast of “Private Eyes” at Shakespeare & Company. (photo: Kevin Sprague)

The cast of “Private Eyes” at Shakespeare & Company (photo: Kevin Sprague)

It may be true that Caroline Calkins and Marcus Kearns played opposite each other in the appealing roles of Romeo and Juliet earlier this season at The Mount, but this hilarious thriller directed by Jonathon Croy is nothing like that. In fact, Private Eyes, written by Steven Dietz, has been described as a romantic comedy in which what’s real inevitably turns out to be an illusion. It’s a play within a play, within a play, within a play within a psychiatrist’s office — a Chinese box full of tricks and surprises.

Who can doubt that Croy is the perfect kind of director for this sort of mind-bending take on romance?

Click to read the rest at Berkshire on Stage.

REVIEW: “Vanya and Sonia and Masha and Spike” @ Shakespeare & Co. [Berkshire on Stage]

Monday, August 25th, 2014
(from left): Angel Moore, Mat Leonard and Ellizabeth Aspenlieder. (photo: Kevin Sprague)

(from left): Angel Moore, Mat Leonard and Ellizabeth Aspenlieder. (photo: Kevin Sprague)

Theater review by Gail M. Burns and Larry Murray

Gail M. Burns: I am deeply saddened, in the most appropriately Russian manner, to realize that Christopher Durang writes Chekhovian drama almost better than Anton Chekhov. Allow me a moment of deep reflection on the meaning of this revelation and its impact on my understanding of the cosmos and my pointless existence as an infinitesimal speck of useless matter within its vastness.

(Pause…)

Larry Murray: Vanya and Sonia and Masha and Spike – currently on view at Shakespeare & Company in Lenox through September 14 – could have easily been a parody of Chekhov’s classic plays but instead it is a valentine, a love letter of a play by Durang. The result is a comedy with deep life lessons, as its characters relearn what it means to be a family.

Gail: While you don’t have to know Chekhov’s plays to thoroughly enjoy this one, the more you know about dramatic literature, the more fun you’ll have. And while Chekhov is definitely an acquired taste, this will tickle the fancies of Chekhov lovers and haters in equal measure because Durang understands both what is wonderful and what is thoroughly annoying about the works of the Master.

Here Durang uses character names from Chekhov’s plays – Vanya and Sonia from Uncle Vanya, Masha from Three Sisters and The Seagull, Nina from The Seagull – and throws in endless allusions to his works throughout. Here Vanya (Jim Frangione), Sonia (Tod Randolph) and Masha (Elizabeth Aspenlieder) are siblings – after a fashion, Sonia is adopted – whose professorial parents named them after Chekhov’s characters. Masha, a five-times-divorced B-list film actress, owns the family home in Buck’s County, Pennsylvania, (just down the road from the home Dorothy Parker owned in the mid-20th century), where Vanya and Sonia, both unmarried, continue to live after caring for their parents through the ends of their lives. Nina (Olivia Saccomanno) just happens to be the name of a young woman visiting next door, and Spike (Mat Leonard) is Masha’s studly young lover. Like Madame Arkadina in The Seagull, Masha is an actress sliding precipitously over the hill, who is simultaneously jealous of and inspired by Nina’s luminous youthful beauty and incipient passion for acting.

Click to read the rest at Berkshire on Stage.

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