The Ladies Decide to Be or Not to Be in Women Playing Hamlet at In Your Face Productions

By Jennifer L. Gusso

Running Time: 1 hour and  50 minutes with one intermission

To be or not to be….Hamlet? This is the question that Jessica, played by Cassandra Garcia, struggles with during In Your Face Productions‘ production of Women Playing Hamlet, by William Missouri Downs, Directed by Jack Taylor. The script shows her delving into whether or not she should or could play that iconic role. Along her quest, she raises greater questions about the meaning of the source material of Hamlet, as well as what it means to be an actor, to be a woman, and to be a person. There are many deep issues raised about whether those things are the same or different for a man or a woman and how they have or have not changed from Shakespearean times to the 21st Century. Ultimately, it all comes together to a satisfying conclusion. Even better, there is tons of laughter and absurdity along the journey.

With only four actresses doing all the talking and three of them taking on multiple roles, this production was a very ambitious selection for a young company with a young director and a young cast. Just as the script itself attacks head-on concerns that Jessica is too young to play Hamlet, so does In Your Face Productions in showing the ability with which they can tackle difficult work. Although there is some room for growth, this is an overall solid and admirable handling of an incredibly heady and witty script that requires the performers to command the stage.

With simple lighting, well-designed PowerPoint slides creating a multimedia performance, and minimal-style set pieces, Director Jack Taylor sets a stage that is apropos for the script, which, in one of its many breaks of the fourth wall, explains that the actors will be using “verbal scene painting” to really set the locations of the various scenes. Taylor also does good work in staging the show. Characters move about the stage with intrinsic purpose without every making the monologues and small scenes seem stagnant. He takes a small stage and makes it seem like a much larger world. He also assembled a cast of four strong young women to bring the words to life.

At the helm is Garcia. Large portions of the show, starting with the first several minutes, are just monologues by Garcia. She keeps them interesting and varied. Garcia has excellent comedic timing and facial expressions. She has a real presence and energy on stage. It would be nice to see her relax into the role a little more. At times, nervous energy seems to keep her from connecting more realistically with some of the serious notes in the script. This works really well as Jessica struggles to find her authentic self, but it would have been nice to see a greater contrast towards the end. However, for such a young actress, she shows impressive potential.

The rest of the cast of characters are all played by a troupe of three actresses, who, in a Shakespearean reversal, play the male roles with mustaches. A few mustache mishaps aside, very simple and effective costume pieces transform the actress into a variety of different characters.  Actress 1 is Holly Blondheim. She is both a professor and Jessica’s acting coach. Blondheim has a commanding presence on stage and a good knack for making the over-dramatic seems natural. While it would have been nice to see a greater distinction between the two roles, she really shines as Gwen, the has-been acting coach. Throughout the show, she allows the characters to have layers stripped away to see the real person underneath the bravado.

Taking on considerably more roles is Actress 2: Morgan Tacka. She is a rival actress, a priest, a delivery person, a soap star, and an adolescent tech whiz. Morgan possess a very warm, likable quality on stage. The distinction between her characters is subtle yet effective. She makes grounded characters out of absurdist moments that serve as balance to the other, more dramatic performances. Even with these other strong performances, it is Actress 3 (Olivia Bowley) that consistently steals the scene. Bowley is an absolute master of accents, characterizations, and comedic delivery. She is a Shakespearean expert, Jessica’s mother, a psychologist, a bartender, a brain dead soap star, and a grave digger. Each character has his/her own unique voice and mannerisms. She shows exceptional craft in taking on the different personas and breathing them life.

In Your Face Productions definitely proves that young directors and young actors have the ability to push themselves while tackling difficult materials. This production is a strong demonstration of the collective group taking on this challenge with bravado. As the audience watches Jessica grow as an actress and a young woman as she faces the challenge of playing Hamlet, so too they see these young performers bloom through the process.

This is what I thought of In Your Face Productions’ production of Women Playing Hamlet… What did you think? Please feel free to leave a comment!

Women Playing Hamlet will play through August 17 at In Your Face Productions, at Presbury United Methodist Church 806 Edgewood Rd Edgewood, MD 21040. For tickets, you can purchase them at the door or online.

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Review: Julius Caesar at Chesapeake Shakespeare Company

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours and 45 minutes with two 10-minute intermissions
It seems that today, politics rule the airwaves and television screens. Something is always happening and no matter what, there are people who are unhappy or vehemently disagree with whatever’s going on. Well, it’s good to see some things never change (of course, I’m being sarcastic) and people have been following and fighting over politics since we were first able to form our own thoughts. Of course, people have been writing about politics and current events for as long as we could write, as well, and Chesapeake Shakespeare Company‘s season opener, William Shakespeare’s Julius Caesar, Directed by Michael Tolaydo, with Set Design by Audrey Bodek, Lighting Design by Michael Lonegro, Sound Design by David Crandall and Costume Design by Kristina Martin, gives us a glimpse into The Great Bard’s view of ancient Roman politics and how they handled things. Certainly one of Shakespeare’s classics, Chesapeake Shakespeare Company has managed to pull this piece into the 21st century and presents it in a way that is easy to follow and enthralling making it one of the best productions of this piece that I’ve seen yet.

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Ron Heneghan, Caitlin Carbone, Briana Manente, Michael P. Sullivan, Lesley Malin, Mehul Gulati, Vince Eisenson and Mary Coy. Photo by Robert Neal Marshall.


Audrey Bodek’s Set Design is minimal but absolutely breath-taking. She uses her space wisely and keeps the to traditional Shakespearean design with the balcony and all that, but her choice of gold coloring to cover this set works well and fits nicely with the piece. Her artistic ability is apparent with the random but beautiful cross-section pattern that make up the railings and coverings that are subtle but make up the perfect background.
Costume Design by Kristina Martin is quite appropriate, and, though fashionable, breezy, and fun, you won’t be seeing any togas on this stage. All attire is modern business attire or modern casual and all of the actors seem rather comfortable in their wardrobe. Though using a traditional design for a Shakespeare work is all well and fine and, of course, works, it’s nice to see that Martin uses an updated design that is just as effective, if not more effective in bringing a modern day audience to a better understanding of the piece.
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Octavia (Caitlin Carbone), who is Caesar’s heir, and Mar Antonia (Briana Manente), who is Caesar’s loyal supporter, will avenge the death of Caesar. Photo by Robert Neal Marshall.


Lighting and Sound Design by Michael Lonegro and David Crandall, respectively, work in tandem and create a superb atmosphere throughout the piece. Each scene is lit just about perfectly and each sound is deliberate and spot on. It’s worth noting the storm lighting and sound is some of the best I’ve seen in any production. Both Light and Sound Design blend so well into the production, one doesn’t notice them directly, which is exactly what an audience is supposed to do, but when you notice it… it’s on point and adds an authenticity to the production.
Michael Tolaydo takes the helm of this production of Julius Caesar and he knows exactly what he wants and executes it beautifully. He has a definite comprehension of the text and the way he tells this story is easy to follow even for those who are not familiar with the work of William Shakespeare. The care he took with the modern day theme while staying true to the text is apparent and his casting is top-notch. While a piece like this can be drawn out, the pacing for this piece is spot on as Tolaydo keeps the action moving smoothly, with purpose.
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Following the assassination, as civil war erupts, Brutus (Ron Heneghan) quarrels with Cassius (Vince Eisenson) as soldiers look on (Molly Moores, Seamus Miller, Lesley Malin). Photo by Robert Neal Marshall.


Moving on to the performance of this production, the entire ensemble works well together and each actor seems understands his or her role and how they fit into the piece. With such a large cast (even with folks doubling or tripling roles), it’s a lot to keep track of, but that’s the beauty of it… you don’t have to! Whether a supporting or leading player, each gives 100% effort and dedication making for a quite an entertaining evening of theatre.
Among the many supporting players, Kathryne Daniels, who takes on various roles, including a couple of Senators and a Poet, is a joy to watch because of her versatility and apparent grasp of each contrasting character she plays. This lady knows her stuff and gives us her all.
As Portia, the dutiful but strong willed and intelligent wife of Marcus Brutus, Caitlin Carbone knocks it out of the park with strong, confident performance as does Imani Turner as Lucius, another supporting, but rather important character as personal servant to Marcus Brutus. Turner gives a dedicated performance and gives this character purpose.
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On the Ides of March, Julius Caesar (Michael P. Sullivan) arrives to meet with senators including Metellus Cimber (Lee Conderacci) and Casca (Mary Coy). Photo by Robert Neal Marshall.


Keith Snipes and Mary Coy tackle the roles of Cinna and Casca, respectively, and both actors are great assets to this production. Snipes, with his booming, clear voice and great stage presence gives a pristine performance while Coy, who has a clear understanding of the text and her character, gives a confident, distinct portrayal of a conflicted, but determined conspirator.
Mar Antonia, one of the leading characters and loyal friend to the unfortunate Julius Caesar, is portrayed by Briana Manete and she gives a stellar performance of this sly, clever character. Manete plays this character as the one you love to hate. The character is full of pure politics and plays all the angles she needs to accomplish her goals and Manete plays the role with a snarky quality that takes her performance to the hilt. She comfortable and confident, making her a definite highlight in this production.
Rounding out this remarkable cast Michael P. Sullivan as Julius Caesar, Vince Eisenson as Caius Cassius, and Ron Heneghan as Marcus Brutus. These three gentlemen carry this piece beautifully and emote all of the emotions of anger, sadness, and even love that the characters require.
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(clockwise) VInce Eisenson as Cassius, Michael P. Sullivasn as Julius Caesar, and Briana Manente as Mar Anotnio. Photo: Robert Neal Marshall.


Sullivan, as Caesar, seems to have a good grasp on this character and carries his pseudo-humbleness nicely and this character’s confidence is well portrayed. He has a strong stage presence and his delivery is near flawless making for an overall worthy performance.
Eisenson, a highlight of this production, takes the role of Caius Cassius and makes it his own. The conflict is clear in his gestures and delivery making for a very believable character. His comprehension of the text is apparent and he articulates the lines clearly and with confidence making the dialogue easy to follow. His brooding quality and good chemistry with his fellow actors, especially Heneghan, adds to this character making for an excellent performance.
Lastly, Ron Heneghan tackles the gut-wrenching role of Marcus Brutus, the best friend, but loyal Roman who must decide between his love for a person or his love for a country. Heneghan captures these emotions and tribulations perfectly in this thoughtful and well-played performance. He’s completely comfortable with the character and his confidence in his choices of subtle gestures, clear, intonated delivery of dialogue, and chemistry with his cast make his portrayal seem effortless and makes him a standout in this production.
Final thought…Julius Caesar is a classical piece presented in a very modern style that is easy to follow, well-paced, and fantastically entertaining. With original text, the performances are rich and spot on and the technical aspects of light and sound just adds to this phenomenal production. The actors are well versed in the text and have a good comprehension of both character and story. Whether your familiar with the work of William Shakespeare or experiencing it for the first time, you will easily follow this timeless story and you will not be disappointed. Run, don’t walk, to get your tickets now!
This is what I thought of Chesapeake Shakespeare Company’s production of Julius Caesar… What did you think? Please feel free to leave a comment!
Julius Caesar will play through October 29 at Chesapeake Shakespeare Company, 7 South Calvert Street, Baltimore, MD 21202 For tickets, call the box office at 410-244-8570 or purchase them online.
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Review: A Midsummer Night's Dream at Baltimore Shakespeare Factory

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours with one intermission
Lately, I’ve had the opportunity to experience theatre that is not full of flashy sets or intricate costumes, but of minimal design and I’ve grown to appreciate this style immensely. I’m learning that you don’t need all the bells and whistles to tell a good story (notice, I said “good” story) and Baltimore Shakespeare Factory (BSF) demonstrates this near perfectly with their latest offering, A Midsummer Night’s Dream by William Shakespeare, Directed by Tom Delise. It’s good old fashioned story-telling in a serene, outdoor setting that takes you back to the days of old when Shakespeare ruled the stage and people appreciated a good story.

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Titania and the Fairies seducing an egotistical Nick Bottom. Credit: Will Kirk


If you get a chance to check out a production in the Meadow at Johns Hopkins University’s Evergreen Museum and Library… DO IT! In the middle of a bustling city, this small patch of land is the perfect setting for an evening of Shakespeare, and you can bring your own picnic if you wish! The sounds of nature surround you as you watch a timeless story unfold before you performed by able actors working from a flawless text.
In a nutshell (if it’s possible), A Midsummer Night’s Dream is about events unfolding around the marriage of Duke Theseus and Hippolyta, the former Queen of the Amazons. Included in these events are the escapades of four young Athenian lovers, a traveling troupe of actors – The Mechanicals, a bunch of fairies, and the King and Queen of the Fairies who are throwing monkey wrenches in everything while trying to fix it at the same time. Sounds complicated doesn’t it? Well, it’s not too complicated if you pay attention and it’s quite funny and farcical making for a great evening of theatre.
Director Tom Delise, a Shakespeare purist, seems to have a confident grasp on the material. His vision of bringing pure Shakespearean theatre to the stage with little gems of modern day references to tell the story make it easy to follow and indubitably entertaining. He keeps the action moving and interesting creating a smooth flow that isn’t overwhelming to those not as experienced. He manages to keep it down to a nice 2-hours while still telling the entire story which is a feat in itself when it comes to any Shakespeare play. Kudos to Delise for an impeccable production.
 
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Kathryne Daniels and Jeff Miller. Credit: Will Kirk


Costume Design by Jessica Behar is simple, yet very appropriate and effective. Being a fanciful piece with a fairy king and queen and man turning into a donkey, one would think the costumes have to be outlandish and complex, but Behar has managed to design a costume plot that isn’t over the top, but still quite effective. Of course, the togas and tunics are present, but ornamented nicely and subtly differentiating the classes (the upper crust and the actors, really). Tatiana, Queen of the Fairies is elegant in her flowing robe while Oberon, King of the Fairies is aptly costumed in a nature-inspired ensemble with funky headpiece included. Overall, Behar’s design is appropriate, creative, and adds value to the production as a whole.
Moving to the performance aspect of this piece, it’s worth saying the entire ensemble gives 100% to their performance and work quite well together. It’s a joy to watch this cast as a whole and they know their stuff!
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Micaela Mannix, Liz Galuardi, Fred Fletcher-Jackson, and Davon Harris. Credit: Will Kirk


Taking on the roles of the four confused lovers are Fred Fletcher-Jackson as Lysander, Liz Galuardi as Hermia, Davon Harris as Demetrius, and Micaela Mannix as Helena and this quartet hits the nail on the head with their performances. Their chemistry is second to none and they’re comedic timing is delightful. In a particularly farcical scene where poor Hermia is actually sat on by the boys, I was laughing out-loud and thoroughly enjoying the physical comedy before me. All four give confident performances and are a joy to watch.
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A couple of The Mechanicals performing the play-within-the-play. Credit: Will Kirk


The Mechanicals, the acting troupe, compsed of Cheryl Campo, Tess Garret, Jeff Miller, Tegan Williams, Kathryne Daniels, and Shaquille Stewart, much like their name implies, is a well-oiled machine and all work well off of each other. Their mini play-within-the-play had me belly-laughing – especially Jeff Miller, who had the honor of taking on the female role, as many males did in the time period, and he played it to the hilt with an impeccable grasp of the cheeky comedy. Other highlights in this troupe are Shaquille Stewart who takes on the role of Nick Bottom, the egotistical, self-admiring actor, and Kathryne Daniels as Peter Quince, the flustered writer of the troupe. Stewart steals just about every scene he’s in with his physical comedy and superb delivery and Daniels humorously portrays Quince’s frustration with big gestures and asides that work well with the material. It’s a job well done by all.
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Allie Press as Puck. Credit: Will Kirk


Allie Press tackles the role of Puck, the impish go-to guy for King Oberon and she really grasps this character. The character of Puck means well and is only doing his masters bidding but he is also a lurking observer most of the time and strikes when it is most opportune. Press skillfully delivers her dialogue and moves about the stage effortlessly giving a confident, strong performance.
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Elijah Moreland as Oberon, King of the Fairies. Credit: Will Kirk


Definite highlights of this production are the Titania and Oberon, the Fairy Queen and King played masterfully by Valerie Dowdle (a BSF Company Member) and Elijah Moreland. Their chemistry is brilliant and they work very well off of each other. Moreland, in probably the flashiest costume in the production, moves confidently and gracefully taking on not only the intricate role of Oberon, but also of Duke Theseus. He delivers his dialogue clearly and has a good comprehension of his characters. His interaction with the audience is subtle and not in your face which is something I can totally deal with not being a huge fan of breaking the fourth wall. Overall, Moreland has a strong presence on the stage and gives an absolutely commendable performance.
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Valerie Dowdle as Hippolyta. Credit: Will Kirk


Valerie Dowdle also takes on two roles – that of the Titania and Hippolyta and she nails both of these characters. Quite an able Shakespearean actor, Dowdle effortlessly embodies her characters, especially that of Titania, and gives a strong, graceful, and authentic performance. Her comprehension of the material is apparent and her delivery is completely natural, making it easy to follow and understand. Another fine performance from Ms. Dowdle.
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The Fairies and Nick Bottom. Credit: Will Kirk


Final thought…A Midsummer Night’s Dream at Baltimore Shakespeare Factory is a step back in time where there was no need for big spectacles or lights and sound but the actors told the story and the text spoke for itself. Baltimore Shakespeare Factory’s attempt at producing authentic Shakespearean theatre is a success, especially out on the rolling meadow at Johns Hopkins University’s Evergreen Museum and Library. T he actors are well-rehearsed and have an impeccable comprehension of the story they’ve been tasked to tell and their interpretation, along with the vision of Director Tom Delise, is easy to follow and quite entertaining. This is a fun, humorous, timeless tale and BSF knocks it out of the ballpark with this production. Those experienced with Shakespeare or those who are currently discovering his work will be thoroughly delighted and entertained.
This is what I thought of Baltimore Shakespeare Factory’s production of A Midsummer Night’s Dream… What did you think? Please feel free to leave a comment!
 A Midsummer Night’s Dream will play through July 30 at Baltimore Shakespeare Factory, The Meadow at Johns Hopkins University’s Evergreen Museum and Library. For tickets, purchase them at the door or purchase them online.
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Review: Antony & Cleopatra at The Baltimore Shakespeare Factory

By Jason Crawford Samios-Uy

Running Time: 2 hours and 40 minutes with one 15-minute intermission
Even though many are familiar with the plays or poetry of Shakespeare, it can be daunting when one is face to face with it. It can be even more daunting when someone decides to present said material in Original Pronunciation (OP), but the latest offering from The Baltimore Shakespeare Factory (BSF), Antony & Cleopatra, Directed by Thomas Delise, is a charming, easy-to-follow presentation that will be a delight for Shakespearean newbies and experts alike.
True to form, the staging for Antony & Cleopatra is sparse with the production depending on the performances to carry the show, however, it’s worth mentioning Costume Design by April Forrer is exquisite and adds great value to production as a whole. Forrer’s design is authentic and the actors seem comfortable in the wardrobe making for quite pleasing aesthetics to go along with the superb performances.
To help those who may not be as versed in the work of the Great Bard, a BSF company member takes the time to explain a few things to the audience before the show starts and this is a good call on the part of BSF. The explanation and examples of Modern English, which is actually what Shakespeare spoke and wrote, in contrast to Old and Middle English gives the audience an idea of what they’re about to experience and a base from which to work and it eases the anxiety a little, letting the audience relax and enjoy the production.

Chris Cotterman and Valerie Dowdle. Credit: Will Kirk


As for the performance aspect, it’s easy to see this production team and actors have put time, blood, sweat, and tears into this production and it certainly pays off. Kudos to Director Thomas Delise for keeping this piece moving with a balanced pace making the near 3-hour run time seem much less. Delise has a good understanding of the material and has guided his actors so well they tell this story effortlessly.
During a short Q&A after the performance I attended, the actors explained how they paraphrased and came up with their own translations of the material, helping them understand the text and, in turn, being able to express the words to the audience with their inflections and movement. I can’t emphasize enough how easy it is to follow this story, even if you aren’t familiar with it. Though some performers were a little stronger than others, the entire ensemble is spot on with their performances and easily accomplish the Original Pronunciation.
Tom Piccin, a fairly new Shakespearean actor, does well taking on four roles (Mardian, Scarus, Thidias, and Seleucus) but shines as Mardian, Cleopatra’s eunuch who entertains and has a bagful of jokes for any occasion. He works well with and has a good chemistry with Bethany Mayo and Isa Guitan who take on the roles of Charmina and Iras, respectively, with Mayo being a definite highlight of this production and gives a natural, effortless performance as one of Cleopatra’s attendants.

Troy Jennings as Octavius Caesar. Credit: Will Kirk


Taking on the titular role of Mark Antony, Chris Cotterman is confident and comfortable but next to his counterpart, Valerie Dowdle (who I will most definitely discuss in a moment), his performance falls slightly flat. This isn’t to say he doesn’t do an admirable job, because he does, but Cotterman seems a little stiff and scripted, at times. Regardless, he still does a bang up job and has a fantastic comprehension of the piece making for a commendable performance. Cotterman does, however, very well in tandem with Troy Jennings who takes on the role of Octavius Caesar and he embodies this character wholly. Jennings is comfortable in this role. but makes a curious and somewhat annoying vocalization choice with Caesar (and this is a little nitpicking, but it stood out for me) repeatedly speaking in a voice obviously higher than his own and it just didn’t fit well for the character. Otherwise, he has a great grasp of the character and the story and gives a strong, confident performance. Both Cotterman and Jennings are to be commended for their performances.

Valerie Dowdle as Cleopatra. Credit: Will Kirk


Working along side of this able and worthy cast, Valerie Dowdle is the standout in this production Antony & Cleopatra, taking on the role of the complex, manipulative, and sexy Queen Cleopatra. Dowdle has this role down pat and makes it her own with no holds barred. She has a flawless authenticity and such a strong, assured stage presence, it’s hard not to watch her when she steps onto the stage. Even with the challenge of Original Pronunciation, she seems to be Cleopatra incarnate and glides across the stage understanding every word which gives the audience a better understanding of this character. Her intonation and movement are on point and she is an absolute joy to watch.
Final thought… Antony & Cleopatra at The Baltimore Shakespeare Factory takes us back to days of olde when Modern English was just starting to form and William Shakespeare was a rockstar of the theatre. This Original Pronunciation production is well put-together with painstaking detail and talented Shakespearean actors from beginners to more advanced. It’s actually quite easy to follow, even if you are unfamiliar with the Great Bard’s work. It does help that the audience gets a tiny crash course in language before the show starts, which is a good call on BSF’s part! It’s an authentic showing and whether your a Shakespearean expert, beginner or somewhere in between, this is not a production you want to miss.
This is what I thought of The Baltimore Shakespeare’s production of Antony & Cleopatra… What did you think? Please feel free to leave a comment!
Antony & Cleopatra will play through April 23 at The Baltimore Shakespeare Factory at The Great Hall Theatre at St. Mary’s, 3900 Roland Avenue, Baltimore, MD. For tickets, purchase the online here.
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Review: Halmet Lost/Found at CCBC Academic Theatre

By Jason Crawford Samios-Uy

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Running Time: 1 hour and 30 minutes with no intermission

It’s interesting to think that a play that is over 400 years old can still be relevant today but, most of The Great Bard’s stories are timeless and still quite relevant in the 21st century. Hamlet Lost/Found, Directed by Julie Lewis with Set and Lighting Design by Moe Conn, Costume Design by James Fasching, and Original Music Composition by Daniel Lewis is currently playing at CCBC Academic Theatre on the Catonsville campus is not only relevant, but is updated just enough to easily understand the story of guilt, betrayal, revenge, and unmitigated human nature.

In academic theatre, students are learning and teachers are teaching, but sometimes we forget how talented these students and teachers actually are. Walking into the Center for the Arts Theatre on the Catonsville campus of CCBC, I was treated to a well-thought out, well-designed set by Set Designer Moe Conn. The different levels kept the set interesting and the black and white and modern motif kept it simple, yet elegant. The surprising transition of the set, opening up for a larger stage, keeps the story moving and intriguing for the audience. Conn uses his space wisely and adds value to this updated version.

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To go along with Set Design, Conn took on the responsibilities of Lighting Designer, as well, and his design is absolutely appropriate and sets the mood for each scene. In the adapted, more updated portion of the story, Conn’s lighting of the “night club” is authentic, fun, and just enough, adding to the story rather than making it a spectacle. Kudos to Conn for his work on Set Design and Lighting Design.

Costume Design by James Fasching is brilliant, matching the set with a black and white and modern style. His choices for each character is very appropriate and quite fashionable and the all of his actors seem very comfortable in their wardrobe. Since this is not a traditional mounting of this story, Fasching has managed a chic and elegant Costume Design that is well thought-out and fits nicely with the piece.

Music has always played a key role in Shakespearian productions and for this production, Daniel Lewis was charged with composing original pieces and he knocks it out of the park. His compositions are contemporary, fun, and complex, yet very appropriate for this updated version and quite enjoyable to hear. All of the pieces are placed nicely in the piece and add great value to this production.

Shakespeare can be challenging, even if one is familiar, so every now and then, a piece is updated for a contemporary audience and updating and adapting can be a little tricky, too. Director Julie Lewis, Tatiana Fish, and the ensemble, however, do a superb job with the adaptation of this piece. The first half of this production is presented with traditional text and the second half is performed with the adaptation. First and foremost, this careful adaptation makes it easier to understand the story and throws a bit of humor into this tragedy making it more accessible to a contemporary audience. Lewis also keeps her actors moving on stage giving the piece a nice tempo and flow. Her casting of these complex characters is very good and, at times, non traditional, making for a riveting production. Lewis clearly has a deep understanding of this timeless story and her vision is apparent, relating to current times and ideologies. Major kudos to Julie Lewis on a job well done.

Aside from the outstanding production aspect of this piece, the performances are also commendable and the ensemble is on point in telling this story. All of the members of the cast worked well together and had a great chemistry. Together, they created an entertaining, polished piece of which they should be proud.

A few honorable mentions go to Tirrell Bethel as the King Hamlet’s Ghost, Lloyd Ekpe as Claudius, Molly Prunty as Guildenstern, and Randi Seepersad as Rosencrantz. Bethel exudes just the correct amount of creepiness as he dictates the actions of his son from the dead while Ekpe plays the sly, cunning uncle and replacement of King Hamlet with the appropriate amount of sleaziness and guilt for his deplorable actions. Prunty and Seepersad work well together as Guildenstern and Rosencrantz, respectively, the hesitant spies and friends of Hamlet. The chemistry of these two actresses and the humor they express in the roles make them a joy to watch. Overall, the entire ensemble did a stellar job presenting this story.

A few standouts are Alajandro Mendez as Hamlet, Elizabeth Armour as Palonia (usually Palonius), Jake, Urtes as Horatio, and Ja’min Williams as Laertes.

Alajandro Mendez’s Hamlet is filled with emotion and tragedy and he seems to understand the inner turmoil and rage of his character. He is comfortable on stage and has a great presence making for a very good performance.

Elizabeth Armour is a very confident actress, portraying Palonia as the social climber she is but playing it with grace and dignity. She a character you love to hate which goes to show how accurate her performance is in this production.

As Horatio, Jake Urtes is certainly one of the highlights of this production. He’s very natural and tackles the Shakespearian text with ease and a comfortable rhythm. He’s easy to understand and he seems to grasp his character and plays him with the loyalty to Hamlet that is required. He’s confident and comfortable and gives a very strong, entertaining performance.

Another highlight is Ja’min Williams as Laret
es (and an Actor) and he, too, is very comfortable and confident in this role and finds his rhythm easily. His portrayal of Laretes and an Actor is authentic and natural and he is a joy to watch. He moves with purpose and gives a powerful performance.

Final thought… as each year passes, Shakespeare can be a tough pill to swallow. However, CCBC Academic Theatre’s production of Hamlet Lost/Found gives you a half and half – half traditional text and half updated and modernized text making it much easier for a contemporary audience follow the tragic story. The adaptation is a win and if you are familiar with Shakespeare’s Hamlet, you will not be deterred and if you are unfamiliar, this production will give you a better understanding of this popular tragedy.

That’s what I though of Hamlet Lost/Found. What did you think? I’d love to hear it! Feel free to leave a comment!

Hamlet Lost/Found will play through November 7 at The Community College of Baltimore County, Catonsville Campus, Center for the Arts Theatre. For tickets, call the box office at 443-840- ARTS (2787) or purchase them online.

Review: Julius Caesar at The Baltimore Shakespeare Factory

by Jason Crawford Samios-Uy
Julius Caesar
Running Time: 2 hours and 30 minutes with one 15-minute intermission
The Great Bard, William Shakespeare, is known by many as one of the greatest playwrights in world history. He has proven himself time and time again with comedies, tragedies, histories, poetry and prose but, even though his language is technically (early) modern English, it can be a tough pill for modern audiences to swallow. It takes a brave troupe to tackle any work of Shakespeare and present it to a present day audience but The Baltimore Shakespeare Factory (BSF) does just that and does it successfully. BSF’s latest offering, Julius Caesar, directed by Chris Cotterman with Assistant Director and Stage Manager Phil Vannoorbeeck, Costume Design by April Forrer, Music Direction by Alice Stanley and Josh Thomas, and Fight Choreography by Tegan Williams manages to keep a modern audience entertained yet keep the authenticity of the play in tack making for a very pleasant midsummer’s evening.

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Music from the Cast Members before the performance. Credit: Jason Crawford Samios-Uy


This production is performed on The Meadow at Johns Hopkins Evergreen Museum & Library and is an absolutely perfect setting for this type of production. There are no sets whatsoever – just a square wooden stage at the edge of a wood and the beautiful backdrop of the trees and the open sky gives a very authentic, natural feeling. The sounds of nature, particularly the crickets and cicadas, though noticeable at first, blended into the production giving an almost soothing soundtrack to the production.
It’s apparent BSF loves music and seems to include it every chance it gets. Just as in original productions of Shakespeare plays over 400 years ago where theatres had a special musician’s gallery above the stage or musicians directly on the stage, BSF follows with the latter. The audience is treated to a few tunes before the performance, during intermission, and a closing number. The songs are mostly modern with minimal instrumental accompaniment including Josh Thomas on the acoustic guitar and cast members playing the cajón (box drum). The tunes chosen by Music Directors Alice Stanley and Josh Thomas are quite appropriate and are well performed by the multi-talented cast members and might have you clapping in time or tapping your foot.
Shannon Ziegler as Marcus Brutus and Katherine Vary as Portia. Credit: Jason Crawford Samios-Uy

Shannon Ziegler as Marcus Brutus and Katherine Vary as Portia. Credit: Jason Crawford Samios-Uy


Cotterman’s blocking is very good, being in the thrust and sans set. The audience is encouraged to sit on all three sides of the stage and the blocking is very fluid, keeping the actors moving. No microphones are used in this production so, an actor with his or her back to the audience is hard to hear and there are quite a few times, depending on where you are sitting, you will be presented with the back of an actor, but not for too long, so not much is missed in the dialogue and most, not all, of the actors are on point with their projection. I have to reiterate… there are absolutely no sets. None. Zilch! However, this does not, in any way, take away from the production because it is actor driven and the hard-working, very talented actors still kept my attention despite the blank stage.
On the way to the Senate. Credit: Jason Crawford Samios-Uy

On the way to the Senate. Credit: Jason Crawford Samios-Uy


Worth mentioning is the combat on the stage in this production. Resident Fight Choreographer and BSF company member Tegan Williams does a magnificent job getting this cast moving like a well-oiled machine during the “fight” scenes with thought-out choreography that does not take away from the performance, but adds to it as a whole. The demise of Julius Caesar is a highlight of this choreography, as well as the battles between Marc Antony supporters and Marcus Brutus supports.
Notably, Cotterman decides to set the story in Colonial America rather than the traditional ancient Rome because, according to his director’s note, he wanted “No togas.” It’s an interesting choice and it does work though there are only slight similarities between Revolutionary America and the story of Julius Caesar, namely the over-throw of a tyrant, or, in Caesar’s case, a perceived tyrant. This change of setting is accomplished using costumes and Costume Designer April Forrer does a superb job dressing her actors in well though-out, appropriate period costumes definitely setting the story in the Colonial era. Though the wardrobe was fantastic and the setting was appropriate, I have to ask if it was entirely necessary to take this story out of ancient Rome. The script was, of course, edited, but not updated so, really, it could have taken place anywhere. Cotterman states in his director’s note (in so many words) that this is a kind of “American Julius Caesar” and he chose to set the story in Colonial times because the era would be familiar but a distant past to his audience just as the setting in the original Julius Caesar, produced in Shakespeare’s time, would be familiar but distant past to that audience. Again, clever idea, but not entirely necessary.
On the way to the Senate. Credit: Jason Crawford Samios-Uy

On the way to the Senate. Credit: Jason Crawford Samios-Uy


Taking on the titular role of Julius Caesar is Anne Shoemaker who looks very comfortable in the role and has a good command of the dialogue. She also has a good presence on stage but her delivery is softer than I liked. There are many times, especially when she is facing away from the audience, where it is very difficult to hear her dialogue and some of her more important lines are lost. Regardless, she gives her all and gives a very admirable performance.
Shakespeare plays are truly ensemble pieces and every character is an integral part of the story but a few standout performances in this production of Julius Caesar include performances by Utkarsh Rajawat as Caius Cassius, Shannon Ziegler as Marcus Brutus, and Fred Fletcher-Jackson as Mark Antony.
Shannon Ziegler as Marcus Brutus, Utkarsh Rajawat as Caius Cassius, and Fred Fletcher-Jackson as Mark Antony. Credit: Jason Crawford Samios-Uy

Shannon Ziegler as Marcus Brutus, Utkarsh Rajawat as Caius Cassius, and Fred Fletcher-Jackson as Mark Antony. Credit: Jason Crawford Samios-Uy


As Mark Antony, Caesar’s right-hand-man, Fred Fletcher-Jackson commands the stage  and is very comfortable with his movements and he gives a very natural performance. In the few parts where his character has to yell to show rage or agony, I lose the character a bit, but overall, his performance is spot on.
Shannon Ziegler as Marcus Brutus gave a brilliant performance and she really seemed to understand her character and the inner conflict he was having. She had a great command of the stage and a strong presence and looked very comfortable and natural having a purpose with every move. Her delivery of the lines is careful and flawless, especially in her monologues.
The highlight of this production is Utkarsh Rajawat as Caius Cassius. His performance was near perfect with a strong presence and command of the stage. Even though it’s Early modern English, he didn’t falter once on the dialogue and, because he his delivery was so natural, there were times I forgot he was reading from a script. He is a joy to watch in this role because instead of just saying the lines and going through the motions, I could see Rajawat took the time to study and understand what his character was saying and it shone through in his on point performance.
Final thought… Julius Caesar is a well-produced show with a very talented, dedicated cast. If you are familiar with Shakespeare, you will not be disappointed and if you are a Shakespeare novice, you will still be able to follow this timeless story of intrigue, conspiracy, and betrayal. Beware the ides of March, but go see this production of Julius Caesar.
This is what I thought of this production of Julius Caesar.… what do you think?
Julius Caesar will play through August 21, Friday-Saturday at 8pm, Sundays at 4pm at The Meadow at Johns Hopkins Evergreen Museum & Library (4545 North Charles Street, Baltimore, MD) or The Great Hall Theater at St. Mary’s Community Center (3900 Roland Avenue, Baltimore, MD). For tickets, call 410-921-9455 or purchase them online.