Shakespeare Theatre Company

King Lear Sets Attendance Record

2009-07-23T11:34:00.006-04:00

Robert Falls' production of King Lear, which prepares to close this weekend, has set a new attendance record for Harman Hall. With just 4 more performances to go, the show has already played to 102% of capacity.

Thank you to everyone who has supported the show and especially to those amazing patrons who have come back to see it on multiple occasions.

Thank you also to Stacy Keach and the entire wonderful cast who have made this memorable production one for the record books.

Phedre Screens at Harman Hall

2009-06-25T12:33:00.005-04:00

When is a Helen Mirren movie not a Helen Mirren movie?

When it's an HD screening of her live performance of Phedre playing at the National Theatre in Great Britain. Yes, Nicholas Hytner's acclaimed production will be performing LIVE at Harman Hall in September, but you can see a recording of a live performance this Monday the 29th thanks to NT Live, the National Theatre's new live screening initiative.

In addition to the performance there will be a behind-the-scenes featurette on the show and on the National Theatre. It looks pretty cool.

Monday's performance is almost sold out which is why a second screening date was added for July 13th. All tickets are $22. Call 202.547.1122 to reserve seats (and yes, unlike a regular movie, it is not general admission, it's reserved seats.)

And for those of you who read the Washington Post Express religiously, let us assure you that Sidney Harman Hall is in fact in Penn Quarter and NOT in Southeast DC near Eastern Market as they reported.

Last Chance for Design for Living

2009-06-25T12:16:00.003-04:00

Design for Living completes its run this weekend. A little tip: the final performance on Sunday is sold out, so your last chances to see Otto, Leo and Gilda (Tom Story, Robert Sella and Gretchen Egolf) do their thing at the Lansburgh are tonight, tomorrow and two performances on Saturday.

Enjoy!

King Lear Speaks ... Again

2009-06-19T19:23:00.004-04:00

If you missed Stacy Keach's interview this week on The Diane Rehm Show on WAMU 88.5 FM, fret not. We just learned the interview will re-air this Sunday morning at 10:00 a.m. Hear Mr. Keach discuss the demands of playing Lear, his brushes with the law and his colorful career in film, television and on the stage.

And is it just us, or does it sound like Diane has a little crush on Mr. Keach? Listen closely and tell us what you think.

Phedre Gets Raves at National Theatre

2009-06-16T18:16:00.005-04:00

Phedre just opened at the National Theatre in London and, surprise, surprise, it got raves from the critics. Variety. New York Times. The Guardian. Check them out.

I particularly like this quote from The Guardian: "Mirren, in short, gives us a real woman poleaxed by passion; and, even if she doesn't supplant the memory of past performances by Glenda Jackson and Diana Rigg, she more than matches them." Matching Jackson and Rigg? That's high praise indeed. And "poleaxed by passion?" there's a turn of phrase that's going to linger.

Public tickets for it's STC run are, naturally, sold out. And the few seats we have remaining for new subscribers are quickly dwindling (just a handful really). But we also have tickets available for the HD Screenings. Actually, we've had to add a second screening on July 13 because the screening on June 29 is, of course, sold out. Sheesh. Do yourself a favor, if you want to see Dame Helen, grab tickets whenever you can.

Dominic Cooper and Helen Mirren star in the National Theater's production of 'Phedre.'

"Design for Living" Adds to Gay Marriage Debate

2009-06-15T10:07:00.005-04:00

You can bet this article in the Washington Times caused a stir of emotional conversation backstage at the Lansburgh this weekend: Indictment of matrimony at odds with gay marriage - Washington Times . We can't tell if the author enjoyed the performances or not, but he definitely has strong opinions about Noel Coward's play itself.

BTW, thanks to everyone who stopped by our table at Capital Pride this weekend. What a beautiful day to be out and about in our nation's capital. Hundreds of people signed up to win tickets to Design for Living and King Lear and our winners are Amy J. of Norfolk, VA and Teresa W. of Cheverly, MD.

Pride Time

2009-06-12T12:42:00.004-04:00

If you're headed down to the Capital Pride Festival this Sunday, be sure to stop by the Shakespeare Theatre Company table and say hello. We don't know where our table will be but you'll know us by the large bust of Shakespeare wearing a feather boa.

At the table you can pick up information on our 2009-2010 season and enter our drawing to win tickets to Design for Living (playing through June 28) as well as King Lear which starts previews on Tuesday. See you there!

Photo of Robert Sella and Tom Story by Scott Suchman.

Separated at Birth?

2009-06-11T11:02:00.015-04:00

STC Associate Artistic Director David Muse has had an interesting dilemma lately. It seems he can't visit the Lansburgh Theatre without being congratulated multiple times for his delightfully funny performance in our current show Design for Living.

The problem: He's not in the show.

<- David Muse, not Robert Sella

Muse, who directed this season's Romeo and Juliet and will be directing next season's Henry V, bears an uncanny resemblance to Robert Sella who appears in Design for Living as the mercurial Leo. Audiences (and even some STC staff members) have been doing doubletakes throughout the run of the show.
Robert Sella, not David Muse ->

Sometimes the cases of mistaken identity border on the surreal. Muse remembers: "One night I was watching the show and then during intermission someone told me how good I was in the play. I guess they thought that Robbie was done playing his role, had changed into street clothes and was walking around the lobby."

It is not known if Sella, who has received rave reviews for his performance, has ever been mistaken for Muse.

Noel Coward: On Broadway and in DC

2009-06-09T17:46:00.009-04:00

Congratulations to Angela Lansbury for winning her fifth Tony for her performance in Noel Coward's Blithe Spirit. FIVE Tonys. That's just amazing. And apparently ties a record with Julie Harris. Go, Angela!

If you're eager to get a taste of Coward's breezy wit but just can't get to Broadway any time soon, check out our current production of Design for Living. Terry Teachout of the Wall Street Journal just about did back flips for our production, calling it "a winner, the most pleasing Coward revival to come my way in ages." Golly, thanks Mr. Teachout! You can read his whole review here.

The show does seem to be a hit with just about everyone. I mean, when you get four stars from the reviewers at both The Washington Times and Metro Weekly, you know you've got a crowd pleaser.

Speaking of crowd pleasing design, we made a shorter version of our Design for Living trailer. It's just 37 seconds long. Take a look. Let us know what you think.

King Lear Open Rehearsal Packs 'Em In

2009-06-08T10:22:00.011-04:00

Yesterday's Public Rehearsal for King Lear set a new STC attendance record for this type of event. Over the course of the day, more than 1000 people lined up and got in to see Director Robert Falls work with Stacy Keach and a cast of more than 30 actors as they went through a "spacing" rehearsal for the opening scenes of King Lear. Patrons were treated to seeing the actors work the opening "dividing of Lear's kingdom" scene, a raucous dance number, Edmund's opening soliloquy and a little bit of stage combat as well.

While attending a Public Rehearsal was a new experience for many audience members, it was a first for many of our artists as well. "Just to keep things fair," Robert Falls quipped, "this week we'll all be coming to wherever you work so we can watch what you do."

"I didn't know it was going to be so modern," patron Dorothy McPhee commented, "and it was terribly exciting to see Stacy Keach do his stuff."

Patrons also entered a drawing to win two free tickets to the production during its run from June 16 to July 19. The randomly selected winners were Kourtney W. of Woodbridge, VA and Michael V. of Washington DC. Congratulations to our prize winners and thanks to all who entered the drawing.

This free public event was the fourth and final Public Rehearsal for this season. Given the success of this event, you can bet there will be more of them in the 2009-2010 season. To make sure you always have advance notice, join our e-mailing list at ShakespeareTheatre.org.

Photo credits: Laura Odeh as Cordelia gets the third degree from Stacy Keach as King Lear. Photo by Scott Suchman.

Patrons line up down the block on a gorgeous Sunday afternoon for a free sneak peek at actors rehearsing.

Hm, maybe we should sell tickets to this thing?

King Lear Rehearsals Open to Public Sunday, June 7th

2009-06-03T13:03:00.005-04:00

Ever wonder what happens in rehearsals at Shakespeare Theatre Company? Now's your chance to get a sneak peek behind the scenes ... for free!

This Sunday, June 7th, we are inviting the public to attend free open rehearsals of William Shakespeare’s King Lear at Sidney Harman Hall (610 F Street NW).

Two theatre greats—actor Stacy Keach and director Robert Falls—have teamed up to remount their critically-acclaimed production of Shakespeare’s masterpiece.

Now for one day only, DC theatre lovers can get a glimpse behind the scenes.

Admission to the free open rehearsals is on a first-come, first-served basis. No reservations are required. Two seatings are available: 3:00-4:30 or 6:00-7:30 p.m. We'll see you there!

Photo Credit: Stacy Keach as King Lear and Kate Arrington as Regan in rehearsal for King Lear, directed by Robert Falls, at Shakespeare Theatre Company. Photo by Scott Suchman.

Talk about "Design for Living"

2009-05-12T16:17:00.003-04:00

We want to know what you think...

Post a comment and tell us your thoughts about our production of Design for Living.

Above photo: Robert Sella as Leo, Gretchen Egolf as Gilda and Tom Story as Otto. Photo by Scott Suchman.

What People Are Saying

2009-04-02T09:43:00.005-04:00

Ion runs at Sidney Harman Hall until April 12.

Lise Bruneau, Patricia Santomasso, Kate Debelack, Rebecca Baxter and Laiona Michelle as the Chorus. Photo by Carol Rosegg.

Read what some bloggers are saying:

Purple Motes says the show, "brings together family drama, bildungsroman, Broadway musical (think Jesus Christ Superstar), and authentic Greek tragedy to hint at a daring exploration of what is and what will be."

Keith Eric Chappelle as Ion and Sam Tsoutsouvas as Xuthus. Photo by Carol Rosegg.

"Director Ethan McSweeny returns to Shakespeare theatre with a wonderfully rich and timelessly modern take on Ion," proclaims Brightest Young Things.

Lisa Harrow as Creusa, Colleen Delaney as Athene and Keith Eric Chappelle as Ion. Photo by Carol Rosegg.

Two Hours Traffic declares Ion to be, "a treat, a sort of theatrical apple tart - tasty and hearty, all at once," and crows, "This is delicious theatre."

Tickets to Ion can be purchased by clicking here, or by calling the box office at 202.547.1122.

Talk about "Ion"

2009-03-12T12:09:00.003-04:00

We want to know what you think...

Post a comment and tell us your thoughts about our production of Ion.

Above photo: Keith Eric Chappelle as Ion and Patricia Santomasso as one of the Chorus. Photo by Carol Rosegg.

What People Are Saying

2009-02-26T15:20:00.007-05:00

The Dog in the Manger runs at the Lansburgh Theatre until March 29.

Michael Hayden as Teodoro and Michelle Hurd as Diana. Photo by Scott Suchman.

Read what some bloggers are saying:

We Love DC proclaims, "I defy anyone to not enjoy this show."

Miriam Silverman as Marcela, David Turner as Tristan and Michael Hayden as Teodoro. Photo by Scott Suchman.

"My stomach hurt after we walked out from laughing so hard," states TheGameIAm!

Julie Craig as the singer. Photo by Scott Suchman.

Two Hours Traffic says the Shakespeare Theatre Company, "gets the play exactly right."

Michael Hayden as Teodoro and Michelle Hurd as Diana. Photo by Scott Suchman.

"It’s one of the Shakespeare Theatre Company’s greatest feats yet," exclaims Brightest Young Things!

Tickets to The Dog in the Manger can be purchased by clicking here or by calling the box office at 202-547-1122.

Talk about "The Dog in the Manger"

2009-02-10T12:48:00.003-05:00

We want to know what you think...

Post a comment and tell us your thoughts about our production of The Dog in the Manger.

Above photo: Michelle Hurd as Diana. Photo by Scott Suchman.

Loving Lope

2009-01-29T09:46:00.008-05:00

GALA Hispanic and Shakespeare Theatre Company coordinate two Lope plays and events. Washington audiences will have the rare opportunity to experience two seminal works by Lope de Vega, one of the masters of Spain’s Golden Age. GALA Hispanic presents El major alcalde, el rey (The Best Judge, the King) from January 29 through February 22 while The Dog in the Manger is in production at the Shakespeare Theatre Company from February 10 through March 29. During the run of these productions, GALA and STC will collaborate by hosting a discussion series featuring artists from both companies that will provide audiences with an insightful look into the rich and intriguing world of Lope de Vega.

At 5:30 p.m., Following the performance of El mejor alcalde, el rey at GALA Hispanic on Sunday, February 15, GALA Artistic Director Hugo Medrano will lead a discussion between actors from both productions and STC artistic director, Michael Kahn.

On Sunday, February 15, at 1 p.m., members of STC’s artistic staff, education department and scholars will lead a special Windows discussion on The Dog in the Manger, at Sidney Harman Hall as a part of the Loving Lope collaboration. All are welcome. Call 202.547.1122 and press 4 or visit ShakespeareTheatre.org to reserve a space.

Following the evening performance of The Dog in the Manger on Wednesday, February 18, all are welcome to the Lansburgh Theatre for a post-show discussion. As part of the Loving Lope collaboration, ask questions of the acting company of The Dog in the Manger as well as actors from GALA Hispanic’s El mejor alcalde, el rey. Those attending the performance are guaranteed seats. Additional seating is available on a first-come basis. Call 202.547.1122 for the approximate start time. No reservations required.

On Saturday, March 7, following the 2 p.m. matinee, STC hosts a special Classics in Context roundtable discussion, also as a part of Loving Lope, at Sidney Harman Hall about The Dog in the Manger with local bloggers, scholars and artists. Call 202.547.1122, option 4, or visit ShakespeareTheatre.org to reserve a space.

There will also be two special Happenings at the Harman. On Wednesday, February 11, the Embassy of Spain and the Washington Performing Arts Society will present Spanish dancer Ziva Cohen and on Wednesday, March 4, the Embassy of Spain will present the Friday Morning Music Club program in honor of The Dog in the Manger.

Q&A with Michelle Hurd

2009-01-22T09:43:00.006-05:00

Michelle Hurd plays Diana in STC's production of The Dog in the Manger, running February 10 through March 29, 2009, at the Lansburgh Theatre.

Hometown:
New York, New York. Greenwich Village, specifically.

Most recent project:
Laurel on GOSSIP GIRL

Favorite role you’ve done:
This one tops the list. Previously, Angela Davis in Angela's Mixed Tapes and Jessie Brewster in Richard Greenberg’s The Violet Hour.

What play would you most like to perform in and what character would you like to play?:
I think Maggie in Cat on a Hot Tin Roof, or Medea.

What's on your iPod? (mp3, cd player, etc.):
Broadway show tunes, Italian lessons and Jack Johnson.

Favorite Shakespearean play:
A Midsummer Night's Dream, because I’m a romantic. But the language in Hamlet also attracts me.

Favorite Shakespearean villain:
Lady Macbeth, Richard III, or Iago… but what classifies a villain?

How is performing on stage different from film acting? Which do you prefer?
I like them both. One lets me work on the other. I think working on stage and film is basically the same, you just have to think of them as different playwrights. Each has a style.

Have you had a chance to see D.C.? What’s your favorite spot in the city?:
Not yet. I’ve been immersed in rehearsal. But I did get to see Georgetown and I really liked it. Can’t wait to come up for a breath and explore. I will watch the parade….

Why did you want to do this play?:
So many reasons. The playwright, the director. The character intimidated me, so I felt challenged. It made my heart skip when I read it.

What is your favorite scene in The Dog in the Manger? Why?:
At the moment I really like my scenes with Teodoro. Our wordplay is very exciting.

What’s next for you after The Dog in the Manger?:
My husband’s working in LA, so first on my list is to see him.

Above photo: Michelle Hurd as Diana. Photo by Scott Suchman.

What People Are Saying

2008-12-18T12:01:00.008-05:00

Twelfth Night runs at Sidney Harman Hall until January 11, 2009.

Samantha Soule as Viola and Floyd King as Feste. Photo by Carol Rosegg.

Read what some bloggers are saying:

DCist declares, "Director Rebecca Bayla Taichman's production of Twelfth Night is one big over-the-top ode to love, and the result is delightful..."

Peter Katona as Sebastian and Veanne Cox as Olivia. Photo by Carol Rosegg.

“Going to this play reminded me again why I love theatre,” says Living Simply, Simply Living.

Rick Foucheux as Sir Toby Belch, Tom Story as Sir Andrew Aguecheek and Floyd King as Feste. Photo by Carol Rosegg.

We Love DC proclaims, “[Floyd King] delivers every sarcastic word with just the right amount of edge, but never goes over the top or takes the easy way out.”

Tickets to Twelfth Night can be purchased by clicking here or by calling the box office at (202)547-1122.

Take the "Twelfth Night" Poll

2008-12-16T17:32:00.000-05:00

Poll Answers

Talk about "Twelfth Night"

2008-12-02T10:26:00.003-05:00

We want to know what you think...

Post a comment and tell us your thoughts about our production of Twelfth Night.

Above photo: Samantha Soule as Viola. Photo by Scott Suchman.

Q&A with Christopher Akerlind

2008-11-26T10:19:00.003-05:00

Christopher Akerlind is the lighting designer for the Shakespeare Theatre Company's production of Twelfth Night, running in Sidney Harman Hall December 2, 2008 through January 4, 2009.

Hometown:
Currently Portland, ME, but I was born in Hartford, CT

Favorite Shakespearean play:
Twelfth Night (no joke). Maybe my favorite play.

Favorite Shakespearean villain:
Though I don’t think of them as villains I get the point. Iago. His imagination is awesome.

What's on your iPod? (mp3, cd player, etc.):
A lot generally, but currently listening to: Bach (The Well-Tempered Clavier), Stravinsky, Gerry Mulligan, Getz, Miles Davis, Prokofiev

Lots of people don’t know much about lighting design. What does your design process entail?
Much depends on the chemistry of my collaborators. In some situations I hear nothing from the director; sometimes too much. It’s never the same, though I strive to keep as much choice-making until the very last minute hoping for it to be an extension of the work the director and actors have done in rehearsal. The basics of the process follow a similar path. First, I try to absorb as much familiarity with the material as possible. Then, at some point, I’m handed a space (a word I prefer to “set” or “scenery”) that will dictate certain of my choices. If it has a ceiling, there will be no overhead lighting and the ceiling itself might need to be lit as part of the overall composition. I try to create lighting gestures that spring from space and happen to grab performers as they do so. Much theatrical lighting treats performer and space separately. I try to do the opposite as much as possible.

Along with a space, I try to integrate the thoughts of the director and writer, if s/he’s living and present, into what becomes the light plot (the document that organizes light ideas into concrete thoughts about where and how to mount the lighting fixtures and what colors to put in them). In my process, I try to keep this a malleable document. I’d much rather decide which lights are doing what after seeing the actors deliver a run of the event in the rehearsal room. Much of what I love about making a Shakespeare play is the absence of stage directions. It’s why there is so much freedom inherent in making them.

Next is the focusing of the lights where the details of the rehearsal hall become integrated into the systems and gestures of my preplanning. It’s an incredibly creative moment when the “happy accident” of lighting colliding with space in unexpected ways can often change the entire trajectory of a project. Colors can change, the intentions of lights can be rethought; in short, everything can be thrown out if necessary.

Then the real creativity begins. Tech rehearsal (an expression I do not like, preferring “making”) begins and, together with the light board operator, I begin to set the lighting cues, the series of states that, when stung together, constitute the visual story. Lighting design finishes the work of the set and costume designers and the director, and begins a relationship with the sound designer. I’m never finished. One aspect of creating spatial composition is akin to tailoring. The more the staging tightens the more I can tighten the “look,” thereby making it more and more specific to my and my collaborators eyes.

What do you like most about being a lighting designer?
It’s like being a jazz musician in that the effects of my work are not easy to describe, and the creative freedom I have to riff on what writer, director, performers and other designers have made.

What’s your favorite project so far?
Too many to name. This is my second Twelfth Night in 18 years which makes me happy. Favorite projects tend to be those where I’m working with directors and designers of similar tastes and instincts.

What would be your dream show to design lights for?
One which was so hot and funky that it gathered an audience completely new to theatre-going.

What is your favorite part about working on Twelfth Night?
So far: meeting Rebecca Taichman, reuniting with designers Riccardo Hernandez & Miranda Hoffman, and returning to Washington, DC, as a nascent Obama administration takes shape.

What has been your biggest challenge so far working on Twelfth Night?
Because I’ve not yet begun per se, I’m most nervous about uniting the overhead canopy, reflective back wall, and various surrounds (blue Orsino world and garden rose world) into one cohesive look. It’s a vast space and I know next to nothing about how Rebecca is using it. That information comes when I arrive three days before we begin to make the show in the theatre. That’s when the creative work begins.

What’s next for you after this show is done?

The Seagull at American Repertory Theatre, Cambridge, MA. It’s another project with Riccardo Hernandez. In fact, he and I will do The Two Gentlemen of Verona immediately after that at the Guthrie.

Q&A with Samantha Soule

2008-11-17T10:17:00.004-05:00

Samantha Soule plays Viola in the Shakespeare Theatre Company's production of Twelfth Night, running December 2, 2008 through January 4, 2009 in Sidney Harman Hall.

Hometown: Acton, MA.

Most recent projects:
Candida by G.B. Shaw, and a new play called The Evildoers by David Adjmi

Favorite role you’ve done:
Hmmm… that’s almost impossible for me to answer! A couple years ago, I played Wren in Lee Blessing’s A Body of Water for Ethan McSweeny at The Old Globe, and I found that deeply moving. At first she was a mystery to me, so angry and violent, but the path backwards within her from this anger to vulnerability and pain was amazing to track and taught me a lot about how close fear and rage are. In Evildoers I played Judy, who was by far the most difficult role I have attempted. A woman without an emotional skin almost, so SO vulnerable and afraid and deeply wounded by the unkindness in the world. It was an unreal experience to play daily. I don’t think any other role has been more demanding and to be asked to work at that level and call upon my own emotions that completely was an experience I will never forget. But it is not just the emotionally charged roles that are rewarding. At New York Theater Workshop I played Sally and Sophie in Paul Rudnick’s Valhalla and that was pure joy. They are two halves of one person in some ways. Sally is beautiful and confident, but vapid, and Sophie is funny and strong, but a suicidal hunchback. Playing that high, wild, madcap comedy was a rare thrill for me and taught me lots on the power of laughter. But I think Viola actually might top my list. I played her my last year at Juilliard and am so honored and thrilled to have more time with her. Shakespeare’s characters are like Rubik’s cubes; you can work on them forever and always learn more. Viola so deep and full of amazing complications. She is at once living a lie and yet cannot help tell the truth. She is both hiding within Cesario and living so fully on the edge and with such unparalleled bravery she astounds me. To have to chance to revisit her at this stage of my life is truly a gift.

What play would you most like to perform in and what character would you like to play?:
This one!

What's on your iPod? (mp3, cd player, etc.):
Bill Evens, Cat Empire, Rufus Wainwright, B.B. King, Oliver Mtukudzi, Amy Winehouse to name a few…

Favorite Shakespearean play:
Honestly, Twelfth Night… or King Lear

Favorite Shakespearean villain:
Lady Macbeth, no question.

Have you had a chance to see D.C.? What’s your favorite spot in the city?:
This is my third time working at the Shakespeare Theatre Company. I love spending time in DC and have actually had time here in all four seasons. In the spring, the FDR Memorial is my favorite, the Cherry Blossoms around the Tidal Basin and all the water falls. I love the way you walk THROUGH that memorial instead of just look AT it. In winter, the Botanical Gardens are my favorite spot to sit. In summer, it’s the National Gallery, to escape the humidity and wander through those beautiful galleries, and fall is beautiful all over, but Sunday mornings at Eastern Market are something I always miss when back in NYC.

Why did you want to do this play?:
As I said, having played it as a very young woman I wanted to revisit it and see what it would hold for me a handful of years later… But I would guess I will always take chances to revisit this play. It is such a beautiful journey for all its characters from a world governed by loss and grief to one brought back to life through love that I will always be happy to play any role in it!

What is your favorite scene in Twelfth Night? Why?:
The first scene between Olivia and Viola is my favorite. They are both such amazing women and so deep in grief they have hid themselves away from life, and through this scene the undeniable connection between them sparks the beginning of both women’s desire to live again… granted in a very confused, wonderfully complicated way!

What’s next for you after Twelfth Night?:
Hopefully more work, some travel and my wedding!

Take the "Guess the Meaning" Quiz

2008-11-13T10:33:00.002-05:00

Quizzes by Quibblo.com

"The Way of the World" Biggest Liar Poll

2008-11-06T14:45:00.000-05:00

Poll Answers

The Top 11 Best Insults from "The Way of the World"

2008-10-30T17:18:00.003-04:00

Yes, you read right, folks. There are so many fantastic insults and put-downs that we just couldn't deprive you of our favorites! Come see "The Way of the World," running through November 16, 2008, at the Lansburgh Theatre, and judge the best for yourself...

Act 1 Scene 1
WITWOUD: No, hang him, the rogue has no manners at all, that I must own; no more breeding than a dog-catcher – 'tis pity; the fellow has fire and life.
………………………………………………………………………………………
WITWOUD. Truths? Ha, ha, ha! No, since you will have it, I mean he never speaks truth at all, that's all. He will lie like a chambermaid. Now that is a fault.
………………………………………………………………………………………
WITWOUD. …Mirabell and he are at some distance, as my Lady Wishfort has been told; and you know she hates Mirabell worse than a quaker hates a parrot…
………………………………………………………………………………………
Act 1 Scene 3
LADY. Ratafia, fool? No, fool—grant me patience!—I mean the Spanish paper, idiot; complexion, darling. Paint, paint, paint, dost thou understand that, changeling, dangling thy hands like bobbins before thee? Why dost thou not stir, puppet? Thou wooden thing upon wires!
………………………………………………………………………………………
LADY. A cup, save thee, and what a cup hast thou brought! Dost thou take me for a fairy, to drink out of an acorn? Come, fill, fill. So, again. [One knocks]
See who that is. Set down the bottle first. Here, here, under the table— what, wouldst thou go with the bottle in thy hand like a tapster? [Exit PEG]As I'm a person, this wench has lived in an inn upon the road, before she came to me, like Maritornes the Asturian in Don Quixote…
………………………………………………………………………………………
LADY. Oh, he carries poison in his tongue that would corrupt integrity itself…
………………………………………………………………………………………
MILLAMANT. I'll take my death, Marwood, you are more censorious than a decayed beauty, or a discarded toast…
………………………………………………………………………………………
Act 2 Scene 1
WITWOUD. Now, Petulant? All's over, all's well? Why dost thou not speak? Thou art both as drunk and as mute as a fish.
………………………………………………………………………………………
PETULANT. Witwoud,—you are an annihilator of sense.
………………………………………………………………………………………
WITWOUD. Horrible! He has a breath like a bagpipe…
………………………………………………………………………………………
WAITWELL. Oh, she is the antidote to desire…

Take our "The Way of the World" Relationships Quiz

2008-10-23T16:38:00.001-04:00

Quizzes by Quibblo.com

What People Are Saying

2008-10-16T11:44:00.007-04:00

The Way of the World runs at the Lansburgh Theatre until November 16, 2008.

Christopher Innvar as Mirabell and Veanne Cox as Millamant. Photo by Carol Rosegg.

Read what some bloggers are saying:

Brightest Young Things says, "…this rich comedy does deliver laughs and social commentary on the institution of marriage, fidelity and indeed the way of the world."

"The Way of The World, a restoration comedy, is a period piece for certain, but something about those dynamite costumes brings a special added flair beyond the historically authentic, working in the realm of ruffles, hats, corsets and frills," declares DCist!

Floyd King as Anthony Witwoud. Photo by Carol Rosegg.

We Love DC proclaims, "If you thought Melrose Place, Susan Lucci, and Rob Reiner invented the romantic potboiler then I have a three hundred year old news flash for you."

Tickets to The Way of the World can be purchased by clicking here or by calling the box office at (202) 547-1122.

Q&A with Jane Greenwood

2008-10-09T16:21:00.002-04:00

Veanne Cox as Millamant and Christopher Innvar as Mirabell. Photo by Carol Rosegg.

Jane Greenwood is the costume designer for the Shakespeare Theatre Company's current production of The Way of the World.

Hometown:
Liverpool, England

Most recent project:
Of Mice and Men at Westport Playhouse.

What has been your favorite show to design and why?
I always say "the next!"

Favorite Shakespearean play:

A Midsummer Night's Dream.

Favorite Shakespearean villain:

Iago.

What is your favorite part about designing costumes?
Realizing who the characters are. The research.

What inspired you to make all the costumes green for The Way of the World?
Initially, seeing Wilson Chin's model for the set. The only color he had apart from the beige overall tone was the green trees! It had a stylized look for 1700's England and I thought what a good way to also stylize the costumes!

Are there any difficulties when designing a monochromatic color scheme? If so, how do you deal with them?
Many! How do you differentiate between the characters? Do you use just one kind of fabric or many? Do you also stylize the silhouette or remain true to the period. Then if you decide to use more than one shade of green how to balance all those various shades etc. It became more complicated as I developed the costume shapes. My assistant Christina Bullard and I spent many days looking for different greens in various fabrics arranging them and balancing one shade of green against the other.

What are some techniques you use to differentiate between the characters since they are all wearing green?
Different values of green and different fabric textures.

What are you working on next after The Way of the World?
A revival of Adriana Lecouvreur at the Met. I am supervising the revival of an ancient production. Some costumes will need to be remade and adjusted to suit the current cast singing the leading roles. It is a challenge!

Talk about "The Way of the World"

2008-09-30T10:25:00.003-04:00

We want to know what you think...

Post a comment and tell us your thoughts about our production of The Way of the World.

Above photo: Christopher Innvar as Mirabell and Veanne Cox as Millamant. Photo by Scott Suchman.

"Romeo and Juliet" Trailer

2008-09-29T15:40:00.002-04:00

Take the "Romeo and Juliet" Poll

2008-09-25T10:45:00.001-04:00

Poll Answers

What People Are Saying

2008-09-18T10:14:00.006-04:00

Romeo and Juliet runs at Sidney Harman Hall until October 12, 2008.

Finn Wittrock as Romeo and James Davis as Juliet. Photo by Scott Suchman.

Read what some bloggers are saying:

In Other Wordz says, "I've seen various versions from the West Side Story movie to Synetic Theater's stunning silent adaptation, but I hadn't seen the play performed on a stage. So you know not only did I have to go see it done the old-fashioned way, I ended up seeing it done old school for real: as in all the characters were portrayed by men, just as it would have been done in Willie Shakespeare's day."

"The production does a fantastic job at capturing a raucous energy that surges back and forth over the length of an evening," proclaims Two Hours Traffic.

Finn Wittrock as Romeo, Aubrey Deeker as Mercutio, Nathan Bennett as Gregory, and Cody Nickell as Tybalt. Photo by Scott Suchman.

The President Wears Prada, "was extremely impressed with the lovely and energetic execution by the amazing actors."

Tickets to Romeo and Juliet can be purchased by clicking here or by calling the box office at (202) 547-1122.

Racy Romeo and Juliet

2008-09-11T14:31:00.003-04:00

Reading or watching Shakespeare can sometimes be confusing. Slang and popularly accepted meanings of words change so quickly that it’s hard to keep up, and anyone who watches a single scene of a Shakespearean play can attest to the language barrier. He may come off sounding stuffy, but Shakespeare actually wrote some pretty risqué things in his day. Here are some of the raciest lines, and their explanations, from Shakespeare’s Romeo and Juliet. Come see the racy action for yourself at Sidney Harman Hall through October 12th!

More in depth explanations can be found at clicknotes.com here: http://www.clicknotes.com/romeo/index.html

Act 1 Scene 1
Sampson: 'Tis all one. I will show myself a tyrant. When I have fought
with the men, I will be cruel with the maids- I will cut off their heads.
Gregory: The heads of the maids?
Sampson: Ay, the heads of the maids, or their maidenheads.

Explanation:
Sampson is telling Gregory that he will cut the maids’ heads off or take their virginity.

Act 1 Scene 1
Benvolio: A right fair mark, fair coz, is soonest hit.
Romeo: Well, in that hit you miss. She'll not be hit
With Cupid's arrow. She hath Dian's wit,
And, in strong proof of chastity well arm'd,
From Love's weak childish bow she lives unharm'd.

Explanation:
In archery, a "fair mark" is one that's easy to hit. Benvolio is suggesting that because the lady is beautiful, she may be easy to win, and that Romeo is also good-looking, so that should help. Romeo replies that the lady cannot be hit "With Cupid's arrow. She hath Dian's wit.” "Dian" is Diana, the fierce goddess of chastity, so Romeo is saying that his lady is extremely chaste and won’t give in to his advances.

Act 1 Scene 3
Nurse: …And yet, I warrant, it bad upon it brow
A bump as big as a young cock'rel's stone;
A perilous knock; and it cried bitterly.
'Yea,' quoth my husband, 'fall'st upon thy face?
Thou wilt fall backward when thou comest to age;
Wilt thou not, Jule?' It stinted, and said 'Ay.'

Explanation:
When she was a small child, Juliet fell down and had a huge bump on her head, and the nurse’s husband made a dirty joke to her, saying she falls on her face now, but she’ll fall backward (meaning “to have sex”) when she gets older. At the time, Juliet is too young to know that, so when she says "Ay" it's hilarious to the nurse.

Act 2 Scene 1
Mercutio: … I conjure thee by Rosaline's bright eyes.
By her high forehead and her scarlet lip,
By her fine foot, straight leg, and quivering thigh,
And the demesnes that there adjacent lie,
That in thy likeness thou appear to us!
Benvolio: An if he hear thee, thou wilt anger him.
Mercutio: This cannot anger him. 'Twould anger him
To raise a spirit in his mistress' circle
Of some strange nature, letting it there stand
Till she had laid it and conjur'd it down.
That were some spite; my invocation
Is fair and honest: in his mistress' name,
I conjure only but to raise up him.
Benvolio: Come, he hath hid himself among these trees
To be consorted with the humorous night.
Blind is his love and best befits the dark.
Mercutio: If love be blind, love cannot hit the mark.
Now will he sit under a medlar tree
And wish his mistress were that kind of fruit
As maids call medlars when they laugh alone.
O, Romeo, that she were, O that she were
An open et cetera, thou a pop'rin pear!

Explanation:
"Demesnes" are estates, or domains, where a lord has the rights to hunt and plow, and such domains were commonly used as metaphors in erotic poetry. “Spirit” was slang for semen or the male genitalia, and "circle," "stand," and "laid" are all related double-entendres. Describing the spirit as "of some strange nature" is Mercutio's way of making the point that Romeo would get angry only if some stranger had sex with Rosaline before he did. A medlar is a small, brown-skinned, and round, but has a cleft like an apricot and a deep cup-shaped depression at the stem end. Also, it's only edible when it's half-rotten and starting to split open. Mercutio is saying that Romeo will sit under a medlar tree and wish that Rosaline would open up like a medlar. A "pop'rin pear" is a Flemish fruit that looks like it would fit nicely in the medlar's cup-shaped depression.

Act 2 Scene 4
Romeo: Thou wast never with me for anything when thou wast not
there for the goose.
…
Mercutio: Why, is not this better now than groaning for love? Now
art thou sociable, now art thou Romeo; now art thou what thou
art, by art as well as by nature. For this drivelling love is like a
great natural that runs lolling up and down to hide his
bauble in a hole.
Benvolio: Stop there, stop there!
Mercutio: Thou desirest me to stop in my tale against the hair.
Benvolio: Thou wouldst else have made thy tale large.
Mercutio: O, thou art deceiv'd! I would have made it short; for I
was come to the whole depth of my tale, and meant indeed to
occupy the argument no longer.
Romeo: Here's goodly gear!
…
Nurse. Is it good-den?
Mercutio: 'Tis no less, I tell ye; for the bawdy hand of the dial is
now upon the prick of noon.
…
Benvolio: She will endite him to some supper.
Mercutio: A bawd, a bawd, a bawd! So ho!
Romeo: What hast thou found?
Mercutio: No hare, sir; unless a hare, sir, in a lenten pie, that is
something stale and hoar ere it be spent

An old hare hoar,
And an old hare hoar,
Is very good meat in Lent;
But a hare that is hoar
Is too much for a score
When it hoars ere it be spent.

Explanation:
In the line about the goose, Romeo is saying that Mercutio never goes anywhere with him without looking for a prostitute. Mercutio later makes a whole series of double-entendres around the words “bauble,” “hole,” “tail” and “tale,” “hair,” “large,” “short,” “depth,” and “occupy.” "Gear" means "stuff," but in the spirit of the occasion, Romeo is probably also using "gear" in its slang meaning as sexual organs. The “prick” joke is another obvious double-entendre. By saying that she is inviting Romeo to supper, Benvolio is clearly implying that the Nurse is a prostitute, as a virtuous woman wouldn't ask a man to supper. "Bawd" means "prostitute" and is also hunter's slang for "hare." "So ho" is a hunter's cry upon spotting the quarry. Romeo asks him what he has spotted, and Mercutio answers with a string of double-entendres. The bawdy meaning is "Not a hare, unless it's the kind of whore who is only good enough when you can't get someone better, in which case she would be so whorishly stale and moldy that you'd be disgusted before you were finished with her."

Act 2 Scene 5
Nurse: …Hie you to church; I must another way,
To fetch a ladder, by the which your love
Must climb a bird's nest soon when it is dark.
I am the drudge, and toil in your delight;
But you shall bear the burden soon at night.

Explanation:
"Bird's nest" is the Nurse's metaphor for Juliet's bedroom, but it also probably refers to an intimate part of Juliet's body. The Nurse adds that she must do a lot of work for Juliet's pleasure, but it is Juliet who "shall bear the burden soon at night". "Bear the burden" means "do the work," with an obvious sexual meaning.

Act 4 Scene 5
Nurse: …Sleep for a week; for the next night, I warrant,
The County Paris hath set up his rest
That you shall rest but little.

Explanation:
"Set up his rest," a term from a card game, means "staked a claim," and of course the reason that Juliet will "rest but little" is that her new husband will claim her time for something other than sleeping.

Talk about Romeo and Juliet

2008-09-04T12:55:00.001-04:00

We want to know what you think...

Post a comment and tell us your thoughts about our production of Romeo and Juliet.

And you can vote in our online poll here!

Above photo: James Davis as Juliet. Photo by Scott Suchman.

STC on Twitter

2008-09-02T12:46:00.007-04:00

Check out Matthew Shiner's tweets about The Way of the World and our other productions on STC's Twitter page! With Twitter, you can get updates on the web, your cell phone, or via instant message.

Click here for STC's Twitter page.

Blog Comment Policy

2008-09-01T16:28:00.000-04:00

Please have respect for your fellow blog readers by keeping your comments polite. We will not accept any comments that do not pertain to the topic at hand or that insult a specific individual or group. We love getting comments, but please show respect. Thank you.

Social Media Survey

2008-08-29T14:05:00.003-04:00

Please let us know what you think about our social media outlets by taking this short survey. We really appreciate your opinion!

Click here to take the survey.

Q&A with Finn Wittrock

2008-08-28T09:46:00.006-04:00

Finn Wittrock is playing Romeo in Romeo and Juliet, which runs at STC through October 12. We recently did a Q&A with him.

Hometown:
Born in Lenox, Mass. I lived in Evanston, IL (just outside Chicago) from ages 6 to 12, then we moved to Los Angeles, where my family lives. I live in New York, and LA, kind of back and forth nowadays.

Most recent project:
Candida at the Berkshire Theatre Festival. I also went to Dartmouth through the New York Theatre Workshop for a week for a reading of a wonderful play called 0:500.

Favorite role you’ve done:
Probably Oswald in Ghosts by Ibsen, which I did at Juilliard (I just graduated in May). Or Malvolio.

What play would you most like to perform in and what character would you like to play?:
That's hard. I know it's obvious, but Hamlet, someday. And Iago. I'd love to be in Equus by Peter Schaffer, and I'd love to be in Ah, Wilderness by Eugene O'Neill. I also want to play Konstantin in The Seagull by Chekhov.

What's on your iPod? (mp3, cd player, etc.):
Radiohead, Wilco, Bob Dylan, Tom Waits, Built to Spill, The Neutral Milk Hotel, Ben Folds, Jurassic 5, Arcade Fire, Beatles, Doors, Modest Mouse and more. For Romeo I've been listening to a lot of Coldplay, because it fits the mood, and also Rolling Stones, because this play is rock & roll.

Favorite Shakespearean play:
King Lear. Or Twelfth Night. Or Measure for Measure.

Favorite Shakespearean villain:
Iago. If Leontes is a villain, him too. I would say Richard III, but I honestly think Iago would kill him if they fought.

Have you had a chance to see D.C.? What’s your favorite spot in the city?:
I've been trying to get out when I can. I love the National Gallery, and I just visited the Portrait Museum, which was awesome. The Lincoln Memorial seems like the most beautiful place I've been. Next stop: Spy Museum.

Why did you want to do this play?:
I am feeling the power of youth in my life right now, and this is the quintessential play about youth's glory, as well as its downfall. It is also a play about love, obviously, but in not such obvious ways. For instance, there’s the love of friendship, which is incredibly vivid in this play, and the love of language, which the characters use, almost more than in any other play, to bring themselves closer to each other. The part is revealing for me in this place in my life. Romeo has no shame about his feelings; he is willing to wear his heart on his sleeve and dive head first into what he believes and loves, no matter what the consequence. This is sometimes refreshing in the modern world where we are often anticipating what dangers lie before us; is this healthy, is this safe, will this be good for my career, my appearance, etc. Romeo doesn't think like that. He is in the moment, determined and unwavering. This is of course the ingredient of imminent disaster, but there is something to be learned from it, about the power of passion and faith. When the two combine, life takes on new meaning. Also, there are a lot of pretty words.

What’s your favorite scene in Romeo and Juliet and why?:
My favorite scene to play is the first scene with the friar. My favorite scene to watch is the opening. I also love the balcony scene, of course.

What’s next for you after Romeo and Juliet?:
Not quite sure yet. Going back to New York, auditioning, etc. It's been sort of non-stop since school, which I am grateful for, but I could use a small respite after this. Not too long though, knock-on-wood.

Q&A with James Davis

2008-08-21T10:28:00.007-04:00

James Davis is playing Juliet in Romeo and Juliet, which runs at STC through October 12. We recently did a Q&A with him.

Hometown:
St. Louis, Missouri

Most recent project:
Cassio in Othello at the New Harmony Theater in Indiana

Favorite role you've done:
Julia in 2Gents (aka Two Gentlemen of Verona)

What play would you most like to perform in and what character would you like to play?:
Hamlet in Hamlet. This is because my first job out of school was understudying the role of Hamlet in a New York Off-Broadway production. I never got to perform it, and I know all his lines…

What's on your iPod? (mp3, cd player, etc.):
Bonnie Tyler "Total Eclipse of the Heart"

Favorite Shakespearean play:
Romeo and Juliet

Favorite Shakespearean villain:
Goneril and Regan in King Lear

Have you had a chance to see D.C.? What's your favorite spot in the city?:
I'm a fan of the "up-and-coming" U Street area. There are some neat hip places around there.

Why did you want to do this play?:
Romeo and Juliet truly is my favorite Shakespearean Play. Juliet has the most beautiful language/poetry to speak in the context of expressing her passions, fears and frenetic yearnings. Although she may ramble at times, her argument is always wise and her rhetoric, in a stunning way, can be perfectly concise. I just knew it would be a pleasure speaking her text.

What's your favorite scene in Romeo and Juliet and why?:
The Balcony Scene. The lady tells the man how to woo her. I believe she takes the reins in that scene.

What's next for you after Romeo and Juliet?:
Ummm… let's just get this play open. Honestly, I have no idea.

Explore Romeo and Juliet

2008-07-31T09:51:00.005-04:00

STC Associate Artistic Director David Muse discusses his upcoming production of Romeo and Juliet, playing September 9 to October 12, 2008, at Sidney Harman Hall.

The world's greatest and most enduring love story, "Romeo and Juliet" follows its star-crossed lovers as they hurtle from their first shy glances to their last heartrending kiss. Caught between their feuding families, Romeo and Juliet desperately struggle to build a world insulated from the violence, but their love races toward a final confrontation with fate. Inspired by the Elizabethan tradition of all-male casts, David Muse stages this poetic masterwork as Shakespeare would have, with men playing all of the roles.

Romeo and Juliet
September 9 to October 12, 2008
Directed by David Muse
Sidney Harman Hall

The Imaginary Invalid has been extended!

2008-07-17T12:37:00.008-04:00

The Shakespeare Theatre Company announced the extension of its current smash production of Molière’s The Imaginary Invalid, adapted by Alan Drury and featuring Tony Award winner René Auberjonois (best known for his screen roles in M*A*S*H and the popular TV show Benson) in the lead role.

Rene Auberjonois as Argan in The Imaginary Invalid.

The Imaginary Invalid now plays through August 2, 2008, at the Lansburgh Theatre (450 7th Street NW), part of the Harman Center for the Arts. Extension performances will be: 8 p.m. on Thursday, July 31; 8 p.m. on Friday, August 1; and 2 p.m. and 8 p.m. on Saturday, August 2.

“Hiccup-inducing hilarious … Auberjonois is the evening’s unquestioned star. It’s physical comedy of the highest order.” Washington City Paper

Listen as The Imaginary Invalid director Keith Baxter; Peter Shoemaker, Associate Professor of French at the Catholic University of America; and STC Literary Associate Akiva Fox discuss The Imaginary Invalid.

For tickets to The Imaginary Invalid call the box office at (202) 547-1122 or click here.

Free! Happenings at the Harman for July 16

2008-07-14T16:18:00.006-04:00

The Closing performance of Happenings at the Harman is this Wednesday, July 16.

The Summer Opera returns to preview its upcoming season. Also, join the Stage Director and Carmen herself as they trace the development of Carmen's character. Enjoy some of your favorite arias as Summer Opera previews this week's production at Sidney Harman Hall.

Box lunches are available for purchase for $10 if desired. Seating is unreserved general admission, based on availability and is on a first-come, first-served basis.

It is recommended that you arrive early as many Happenings events have overflow crowds.

Happenings at the Harman
July 16, 2008
noon
The Forum of Sidney Harman Hall

How Did They Do That?

2008-07-10T13:05:00.014-04:00

The Imaginary Invalid Set Designer Simon Higlett discusses his work on the scenery for the production.

The ensemble of The Imaginary Invalid.

Talk about the challenges you faced with so many scene changes and how you made each setting different from the one before it.

When Keith [Baxter, director] and I started the project he was very keen to stage the show with the interludes, which are usually cut.
That meant I had to make the set changes between scenes very quick so I began researching the ways in which the production was originally staged in 1673.

I came across a marvellous book on a theatre in Sweden called Drottingholm, which still exists and uses the same stage technology that Moliere's troupe would have known.
The design consisted of many flats that slided-from the side of the stage along grooves set in the stage floor. These flats were connected to a single capstan by many ropes, so that one person could change the whole setting of perspective-painted scenery and reveal the next with one turn. Another pull would change the sky cloths above and the backcloths behind.
This was the principal I used for my designs.

There is one set piece that serves as Argan's bed in one scene and becomes a balcony in another scene. How did this come about?

Nancy Robinette as Toinette and Rene Auberjonois as Argan.

The cast of The Imaginary Invalid.

The bed was my invention (the script calls for only a chair for the invalid), but I felt that the scene should be slightly more modern in Moliere's house. I knew that the scene after the "bedroom" required a house with a balcony that two actors would stand on (quite a big structure), so it became obvious to turn the bed around and use it's structure to provide the balcony.
The technology used on this is air hydraulics. The piece itself is quite heavy and members of the cast need to push and pull it.

The Imaginary Invalid runs at the Lansburgh Theatre through July 27.

To purchase tickets call the box office at (202 547-1122 or click here.

All photos by Carol Rosegg.

Free! Happenings at the Harman for July 9

2008-07-07T11:26:00.004-04:00

The Washington Performing Arts Society will present a showcase of classical Indian dance by Sudha Bhagwat as part of Happenings at the Harman.

A partner of the Harman Center for the Arts, WPAS will present their dance showcase in The Forum of Sidney Harman Hall (610 F Street NW).

Box lunches are available for purchase for $10 if desired. Seating is unreserved general admission, based on availability and is on a first-come, first-served basis.

It is recommended that you arrive early as many Happenings events have overflow crowds.

Happenings at the Harman
July 9, 2008
noon
The Forum of Sidney Harman Hall

What People Are Saying...

2008-07-03T11:04:00.011-04:00

The Imaginary Invalid runs at the Lansburgh Theatre until July 27, 2008.

Photo of Nancy Robinette and Rene Auberjonois by Carol Rosegg.

Read what some bloggers are saying:

Austin Live Theatre says, "Rubber-faced René Auberjonois is a self-mocking delight as Molière playing one of his most famous characters. The actors’ diction is uniformly superb throughout, mime and business are subtle and so manifold that one could attend three nights in a row and not catch all the physical jokes."

"The production is a hoot," says Wheat and Weeds.

Photo of the cast of The Imaginary Invalid by Carol Rosegg.

IdealistDC raves, "There is singing, there is dancing, laughter throughout and bits of dark and raunchy adult humor that makes going to the theatre fun and exciting!"

"Helmed by a wonderfully expressive Rene Auberjonois and a sparkling Nancy Robinette, this is one of the strongest ensembles I’ve seen at STC in a long time," exclaims DC Metblogs.

Tickets to The Imaginary Invalid can be purchased by clicking here or by calling the box office at (202) 547-1122.

Vote for Your Favorite Production

2008-07-02T16:11:00.004-04:00

Click on the arrows to see photos and vote away!

Poll Answers

The Imaginary Invalid Trailer

2008-06-30T11:49:00.007-04:00

The Imaginary Invalid is playing at the Lansburgh Theatre through July 27.
To purchase tickets, please call the box office at (202) 547-1122 or click here.

Free! Happenings at the Harman for July 2

2008-06-30T10:30:00.005-04:00

To further whet your appetitie for The Imaginary Invalid, the Fessenden Ensemble will present a French program as part of Happenings at the Harman.

The Fessenden Ensemble has been heralded as one of the finest chamber music groups in the area. The performance will be held in The Forum of Sidney Harman Hall (610 F Street NW).

Box lunches are available for purchase for $10 if desired. Seating is unreserved general admission, based on availability and is on a first-come, first-served basis.

It is recommended that you arrive early as many Happenings events have overflow crowds.

Happenings at the Harman
July 2, 2008
noon
The Forum of Sidney Harman Hall

Imaginary Invalid Opening Night Photos

2008-06-26T12:23:00.020-04:00

The Imaginary Invalid officially opened on June 16 at the Lansburgh Theatre. The cast, crew and staff of the Shakespeare Theatre Company celebrated at Oyamel.

Rene Auberjonois (Argan), Dean Nolen (cast of The Roman Repertory), Kate Nowlen and Remy Auberjonois.

Photo by Kevin Allen.

The Imaginary Invalid Director Keith Baxter and STC Artistic Director Michael Kahn.

Photo by Kevin Allen.

Choreographer Gillian Lynne and Peter Land (Beralde / Pulchinello).

Photo by Kevin Allen.

Gia Mora (Angelique), Emily Whitworth (Louison) and Kaitlin O'Neal (Beline).

Photo by Neil Willens.

Nancy Robinette (Toinette) and The Imaginary Invalid Assistant Director Anthony Luciano.

Photo by Neil Willens.

The Imaginary Invalid runs through July 27 at the Lansburgh Theatre. To order tickets online click here or call the box office at (202) 547-1122.

Free! Happenings at the Harman for June 25

2008-06-23T10:32:00.004-04:00

The National Gallery Chamber Players will present their latest work on Wednesday, June 25, at noon as part of the Happenings at the Harman. The performance will be held in the Forum of Sidney Harman Hall (610 F Street NW).

Box lunches are available for purchase for $10 if desired. Seating is unreserved general admission, based on availability and is on a first-come, first-served basis.

It is recommended that you arrive early as many Happenings events have overflow crowds.

Happenings at the Harman
June 25, 2008
noon
The Forum of Sidney Harman Hall

The Imaginary Invalid Production Photos

2008-06-19T11:07:00.026-04:00

The Imaginary Invalid plays at the Lansburgh Theatre through July 27.

To purchase tickets online, click here.

Rene Auberjonois as Argan.

Nancy Robinette as Toinette and Rene Auberjonois as Argan.

The ensemble of The Imaginary Invalid.

Rene Auberjonois as Argan and Gia Mora as Angelique.

The ensemble of The Imaginary Invalid.

All photos by Carol Rosegg.

Thoughts on The Imaginary Invalid from Director Keith Baxter

2008-06-18T17:18:00.020-04:00

The first thing a director must find is a good translation.

When one goes to Chekhov, the audience must somehow believe the actors are speaking Russian, and you can’t accomplish that trick by dropping in an odd word – like samovar. Similarly the audiences at the Lansburgh must somehow feel the actors are speaking French. I read eight versions of The Imaginary Invalid, and with my schoolboy dictionary beside me, I struggled through the version in French. The play is unique. It begins with a homage to Louis XIV, then at the zenith of his power, and there are three commedia dell’arte Interludes. All the American versions of the play cut these Interludes, so one is left with the story of a querulous old man on his sickbed.

The Prologue and the Interludes are vital to an audience’s understanding Moliere’s particular style. Unlike Shakespeare - whose work developed along lines already set down by earlier writers – Marlowe and Kyd, for example – Moliere introduced a totally new style of theatre. Out went the statuesque style necessary for Racine and Corneille and in came robust, bawdy, full-blooded vigorous comedy, incorporating much that he had learned from his "exile" with his travelling players. He could be, often is, vulgar, but he is never crude, and his work is underpinned by a sense of romance and wit. He is not "witty" in the style of the English Restoration playwrights (who plundered his plots); he does not mock the aristocracy – his characters are bourgeois and his dialogue is not quoted as Wycherley's, Farquhar's and Congreve’s are. His remarkable strength is in the creation of a hilarious parade of original characters.

The company of The Imaginary Invalid.

Having outraged priests with the levity of his play, The Imaginary Invalid equally appalled the medical profession. Moliere was unrepentant: “Almost everyone dies from their remedies and not from their maladies.” Illness and death were dreadful at Court. In her remarkable biography The Sun King, Nancy Mitford writes "As soon as the breath had left the body of a member of the royal family, his or her gilded bed-chamber was turned into a butcher’s shop as the body was chopped to pieces ."
Ferocious blood-letting was the fashion. And enemas. The lovely Duchess de Bourgogne was once given an enema, standing up in front of the fireplace, while a group assembled on the way to the theatre. Louis XIV, who was especially fond of Marie-Adelaide, asked the Duchess what her maid was doing behind her. When he was told, he laughed happily. (The Versailles chronicler, Saint Simon, recounted with admiration that the Duchess “held it all through an Italian comedy.”)

Moliere was merciless in his attacks on the fashionable quacks who made fortunes from the gullible dupes who paid handsome prices for chicanery. He cast a jaundiced eye on the world around him. He saw through the tinsel to the rust beneath. Even Versailles, so beautiful, so grand, had its own anomalies. For example, the great Queen’s Staircase – where the Marquise de Maintenon, the King’s new Mistress, met the Marquise de Montespan, of whom Louis had become tired, and greeted her “You are going down Madame? I am going up.” – was often awash with urine. The King had collected his court around him but he had not arranged lavatories. The great ladies in their long skirts simply stood and relieved themselves. A shocked English visitor asked the Duchess de Maine whether it was true. Of course it was true, said the Duchess: “On s’arrete et on pisse.” [One stands and one pisses.]

The company of The Imaginary Invalid.

The Imaginary Invalid was Moliere’s last play. It had a lavish production with a large orchestra and many dancers and extras. It was an immediate success. However, it has never been successful in this country. Producers and directors have filleted the text and removed the Homage to Louis XIV and the Interludes that follow. We have tried to capture the spirit of the original. The designer and I also wanted to try and create something of the environment in which the play was first seen.

The Imaginary Invalid photos by Carol Rosegg.

Free! Happenings at the Harman

2008-06-13T13:26:00.016-04:00

Sleep, Dreams and Awakenings

Come see and hear Howard Bass (lute) and Barbara Hollinshead (mezzo-soprano) perform selections from the Renaissance titled Sleep, Dreams and Awakenings on Wednesday, June 18, at noon as part of the Shakespeare Theatre Company's Happenings at the Harman. The performance will be held in the Forum of Sidney Harman Hall (610 F Street NW).

Sleep, Dreams and Awakenings is a concert of songs written for voice and lute exploring the various aspects of sleep from an Elizabethan perspective. These songs by Dowland, Campian and their contemporaries portray many shades of sleep–plaints of lovers who long to rest their weeping eyes, frolics of suitors stealing a kiss from a sleeping mate and blissful lullabies to soothe even the most careworn soul. The program also includes lute solos such as Orlando Sleepeth and A Dreame, which evoke night time imaginings with each pluck of the string.

Box lunches are available for purchase for $10 if desired. Seating is unreserved general admission, based on availability and is on a first-come, first-served basis.

It is recommended that you arrive early as many Happenings events have overflow crowds.

Happenings at the Harman
June 18, 2008
noon
The Forum of Sidney Harman Hall

Q & A with Rene Auberjonois

2008-06-12T16:14:00.012-04:00

Rene Auberjonois makes his Shakespeare Theatre Company debut as Argan in The Imaginary Invalid.

Below are excerpts from an interview with Rene Auberjonois, conducted by STC Literary Associate Akiva Fox, in April. Find the complete article here.

AKIVA: Talk about how you got your start.

RENE: Well, I started at Carnegie Mellon University … I then went directly from there into regional theatre, specifically the Arena Stage in Washington, D.C., where I spent three seasons … doing 9 or 10 shows a season, playing roles that really covered the whole repertory, from Shakespeare through Brecht .. modern playwrights and original plays. Ater that I left the company and went to - and was a founding member of - the American Conservatory Theater.

AKIVA: Can you talk a little bit about how you broke into TV and film?

RENE: I had come to New York to do the Fool in King Lear with Lee J. Cobb at Lincoln Center, which was just a natural extension out of working in regional theatre.

While I was in rehearsals for that, I was sent in to meet Robert Altman, who was casting a film called M*A*S*H. He was, in fact, meeting and interviewing a lot of actors who were from regional theatre, because he had real respect [for], and loved to collaborate in that way with that kind of actor.

I was cast in that and [that] really sort of began my work in film. It was very much like being in a company, and then it went on from there. In fact my first television role in The Mod Squad was a result of the writer/producer having seen me as Tartuffe up at the Conservatory Theater and hired me, sight unseen, I mean except for seeing me on the stage, so it all really was an evolution out of my work in regional theatre.

AKIVA: And you have worked fairly continuously in television since then?

RENE: I guess its just part of my swift Protestant work ethic of liking to work and liking to be part of a company. Again that was what attracted me to the Shakespeare Theatre Company because, seeing a number of shows over a few years, I kept seeing this wonderful deep bench of actors who kept returning to the company, being very much the foundation of it.

AKIVA: Do you get recognized, and if so, is it for anything in particular?

RENE: People recognize me but then it’s just sort of like they’re surprised and happy that they recognized me. And then there are the few who actually think they know how to pronounce my name, and that’s even a bigger thrill, a bigger thrill than actually recognizing me is to be able to shout after me down the street some version of my name that might be close to the correct pronunciation.

AKIVA: I wonder what in particular interests you about this character of Argan? As you say, he is kind of a mystery…

RENE: It’s hard to talk about a character before I start working on this, because at this point I’m still inside my head trying to hear Moliere, trying to hear him talk to me about who the character is. I haven’t started, haven’t heard Keith [the director’s] voice yet in a rehearsal room, and just as importantly, I haven’t heard any of the other actors, so it would be presumptuous of me to think I know the world I will be stepping into.

But, one of the things I’m pretty confident that I can say about it is - and that I’m attracted to is what scared me about the character when I first read it: “Oh god! He’s so disagreeable! He’s a hypochondriac! He’s such a creep! Oh dear.” And all this sort of negative stuff.

Then as I read it again and again, I came to realize he’s doing these terrible things, he’s trying to marry his daughter off and you think “oh, what a horrible character” but as I’ve worked on it, I realize that … he’s very innocent and he’s very childish and he’s not stupid, but he’s childish, and he’s filled with fear and he’s scared of being alone, left alone.

See Rene Auberjonois as The Imaginary Invalid at the Lansburgh Theatre through July 27.

Tickets are available by phone (202.547.1122) or online here.

Photo of Rene Auberjonois as Argan by Carol Rosegg.

Talk about The Imaginary Invalid

2008-06-09T12:10:00.005-04:00

We want to know what you think...

Post a comment and tell us your thoughts about our production of The Imaginary Invalid.

Photo of René Auberjonois as Argan by Carol Rosegg.

Free! Happenings at the Harman

2008-06-09T11:22:00.005-04:00

Hear Basso Moderno's commission on Antony and Cleopatra at Happenings at the Harman on Wednesday, June 11, at noon in The Forum of Sidney Harman Hall (610 F St. NW).

Box lunches are available for purchase for $10 if desired. Seating is unreserved general admission, based on availability and is on a first-come, first-served basis. It is recommended that you arrive early as many Happenings events have overflow crowds.

For more information on Basso Moderno, visit http://www.solobass.org/.

Photo courtesy of www.solobass.org.

How Did They Do That?

2008-06-04T17:12:00.011-04:00

Roman Repertory Fight Director Rick Sordelet discusses his work on Julius Caesar and Antony and Cleopatra.

How did you make the stage fights look realistic?
According to Washington Post critic Peter Marks, it was David Muse who staged the fights scenes in Julius Caesar. In some ways he's right. I start with the Director. It's important to understand what they want to see and how that relates to the arc of their story. Once they express their vision, then I will design the fight to match the intensity and drama of their vision while making the fight very safe for the actors and audience. How a competent and talented critic like Peter missed that is beyond me.

Dan Kremer as Julius Caesar and Dean Nolen as Caska.

Did the actors receive extra training to prepare for the fight scenes?
Consistently the quality of training for an actor to work at the Shakespeare Theatre Company has to be top notch. That includes having a background in stage fighting. If they have not had formal training, their stage experience usually has dozens of shows where they have been in stage fights. When putting together the illusions of violence for Julius Caesar, we had a wealth of experienced actors on stage that could focus on choreography and not training. We were then blessed with focusing on the storytelling and working on making the blood bags deploy well.

How did you try to make the murder of Caesar unique for this production?
This production is the 24th Julius Caesar I have done. The illusions of violence in this one do not look like any of the other ones I've done for the simple reason that each production is with a different director, on a different set, usually with a different concept and with different actors who all bring a unique skill set with them regarding the violence. This production was unique to this concept. David Muse was very clear with what he wanted to see. Shakespeare is clear in his text in saying who is the first to strike Caesar, but how the rest plays out physically is up to the director and me. David wanted the seat of Caesar to tumble and so it did, creating a physical metaphor that clearly shows that along with Caesar's bloody toga his very throne is heaved over and lays in ruin like its master.

Dan Kremer as Julius Caesar.

What was the challenge of staging such an iconic scene?
The challenge with any illusion of violence is matching the tone of the director’s arc. It is a compliment when someone doesn't see where my work begins in a scene. They should only sit in their seats and be affected by the story. An astute theatergoer can usually ascertain that a fight scene like the assassination of Caesar requires the talents of a fight director and is rarely done without one at a theatre like ours. I don't want an audience member aware of a "fight scene." I only want them to see the story the director has in their head.

What role do you think violence plays in this production of Julius Caesar?
I'll answer the question with a question. If Brutus et el did not kill Caesar, how would the world be now? Caesar’s death led to a nasty civil war in Rome. Fought in Greece, Egypt, at sea and anywhere Romans were. The end result was the 30-year reign of Augustus Octavius Caesar, the creation of the Roman Empire and Pax Romana, which delivered almost two centuries of peace in the Mediterranean world. Would any of that happened if the knives of March missed their mark?

Dan Kremer as Julius Caesar and Tom Hammond as Marcus Brutus.
How do the blood packs work?
Think little water balloons of corn syrup, food dye and liquid soap put together by our prop genius Chris Young and delivered with gusto by very talented actors creating one great illusion of violence.

Julius Caesar and Antony and Cleopatra are playing in rotating repertory through July 6 at Sidney Harman Hall.

To purchase tickets to Julius Caesar, click here.
To purchase tickets to Antony and Cleopatra, click here.

All photos by Carol Rosegg.

Hamlet Opening Night Backstage Dinner Photos

2008-06-04T16:36:00.016-04:00

The Shakespeare Theatre Company Free For All production of Hamlet ran from May 22 through June 1 at Carter Barron Amphitheatre. On May 23, STC hosted an Opening Night Backstage Dinner for our wonderful donors, cast and staff.

Hamlet cast member Daniel Edwards, David Watts, Angie Fox, Scott Berg, Freddi Lipstein, Anne Emmet, Mary Weinmann, Hamlet cast member Michael Zlabinger and guest.

Board Chairman Mike Klein.

Hamlet Director Alexander Burns.

Fight Captain Adam Jonas Segaller, Assistant Fight Director Rob Hunter, Fight Director David Leong, Jeffrey Carlson as Hamlet and Kyle Haden as Laertes.

All photos by Kevin Allen.

Roman Rep Trailers!

2008-06-04T16:19:00.007-04:00

Antony and Cleopatra Trailer

Julius Caesar Trailer

Antony and Cleopatra and Julius Caesar are playing in rotating repertory through July 6 at Sidney Harman Hall. For tickets click here.

Free! Happenings at the Harman

2008-06-02T16:51:00.003-04:00

Hear a preview of the Congressional Chorus's spring concert at the Happenings at the Harman on Wednesday, June 4, at noon in The Forum of Sidney Harman Hall (610 F St. NW).
Box lunches are available for purchase for $10 if desired.
Seating is unreserved general admission, based on availability and is on a first-come, first-served basis.
It is recommended that you arrive early as many Happenings events have overflow crowds.

Hamlet Production Photos

2008-05-29T10:05:00.010-04:00

The Shakespeare Theatre Company Free For All production of Hamlet runs through June 1 at Carter Barron Amphitheatre. Tickets are free and available to the public on the day of the performance only. Click here for details.

Jeffrey Carlson as Hamlet, Patrick Page as Claudius and Susan Hart as Gertrude.

Chuck Cooper as Polonius and Michelle Beck as Ophelia.

Jeffrey Carlson as Hamlet and Patrick Page as Claudius.

Patrick Page as Claudius and Jeffrey Carlson as Hamlet.

All photos by Scott Suchman.

Q&A with David Muse

2008-05-22T11:27:00.011-04:00

David Muse, our Associate Artistic Director and Julius Caesar director, takes a moment to tell us about himself.

Hometown:
Fulton, Missouri

Most recent project: Julius Caesar

Play you would most like to direct: It’s a big list. Am eager to try O’Neill and Beckett. Richard II. Lear, someday.

What's on your iPod? (mp3, cd player, etc.): It’s eclectic: Lots of Dylan, Regina Spektor, Feist, the National, Arcade Fire, Pigeon John, Lily Allen, Wilco, Iron & Wine, Interpol, bunch of 80s alterative music, electronica for the spinning classes I teach.

Favorite Shakespearean Play: Varies.

What do you love about D.C.: That it’s so great for cycling.

Favorite Shakespearean Villain: Iago. No contest.

Why did you want to direct this play?

1. I’m knocked out by the scale & power of its language, and the epic world-historical stakes of the story.
2. I’m thrilled to present this play, with its stunning rhetoric and its meditations on power & politics, for D.C. audiences.
3. I’ve already directed Coriolanus and Antony & Cleopatra, so I’m excited to round out my experience with his Roman plays.

Dan Kremer as Julius Caesar.
What has become your favorite scene in Julius Caesar and why?
The so-called “Forum” scene. I love how Antony works up the populace of Rome by begging them not to do the things he most wants them to do.

What's next after Julius Caesar: Romeo & Juliet (maybe the only play more well known to American high schoolers than Caesar).

The ensemble of Julius Caesar.

Julius Caesar is playing in rotating repertory with Antony and Cleopatra through July 6 in Sidney Harman Hall.

For tickets click here or call 202.547.1122

All photos by Carol Rosegg.

Free! Happenings at the Harman

2008-05-13T14:52:00.004-04:00

Listen as 2007 Feder string competition winner cellist Summer Hu makes her Happenings at the Harman debut on Wednesday, May 21, at noon in The Forum of Sidney Harman Hall (610 F St. NW) with the Washington Performing Arts Society.

Box lunches are available for purchase for $10 if desired.

Seating is unreserved general admission, based on availability and is on a first-come, first-served basis.

It is recommended that you arrive early as many Happenings events have overflow crowds.

Roman Rep Opening Night Photos

2008-05-13T14:32:00.007-04:00

Antony and Cleopatra and Julius Caesar are open! The casts, crews and staff of the Shakespeare Theatre Company celebrated at Poste and the District Chophouse last week.

Sidney Harman Hall on Opening Night.

Patrick Page (cast of Free For All), Michael Kahn and Michelle Beck (cast of Free For All).

Imaginary Invalid Director Keith Baxter and Imagainary Invalid actor René Auberjonois.

Andrew Long (Mark Antony) and Craig Wallace (Pompey).

The Taming of the Shrew Director Rebecca Bayla Taichman and Julius Caesar Director David Muse.

All photos by Kevin Allen.

Free! Happenings at the Harman

2008-05-12T10:33:00.007-04:00

Hesperus, the eclectic early music group, whose repertoire spans the medieval, Renaissance and Baroque periods, makes its Happenings at the Harman debut on Wednesday, May 14, at noon in The Forum of Sidney Harman Hall (610 F St. NW).

Box lunches are available for purchase for $10 if desired.

Seating is unreserved general admission, based on availability and is on a first-come, first-served basis.

It is recommended that you arrive early as many Happenings events have overflow crowds.

Photo courtesy of Class Acts on Tour webpage.

Free Production of Hamlet

2008-05-08T11:27:00.012-04:00

Shakespeare Theatre Company's Free For All production is Hamlet.

Join us May 22 through June 1 (no performance May 26) at the Carter Barron Amphitheatre in Rock Creek Park for Hamlet. Click here for a more detailed schedule.

Listen to the original director, Michael Kahn, talk about Hamlet.

Watch the original trailer.

Public transportation is available, details are here.

Tickets are free and available on the day of performance at these locations:

The Washington Post, 1150 15th Street NW, Tuesdays through Fridays ONLY beginning at 8:30 a.m. One block north of the McPherson Square Metro Station.

Shakespeare Theatre Company, Sidney Harman Hall, 610 F Street NW, Tuesdays through Sundays, beginning at noon. 1 block east of the Gallery Place/Chinatown/Penn Quarter Metro Station.

The Carter Barron Amphitheatre Box Office, 16th Street & Colorado Avenue NW, Tuesdays through Sundays, beginning at noon. Lines at all three locations tend to form early.

Online; please read the following if you plan on ordering tickets online: A limited number of "day-of-performance" tickets will be available here from Thursday, May 22, through Thursday, May 29, only, beginning at 8:30 a.m. These tickets may be used for that day's performance only. Online Free For All tickets “sell out” in a matter of minutes. You can still try for tickets in person at the three locations above.

Image of Michelle Beck as Ophelia and Jeffrey Carlson as Hamlet by Carol Rosegg.

Free! Happenings at the Harman

2008-05-05T13:35:00.002-04:00

Summer Opera makes its Happenings at the Harman debut with artists of tomorrow performing selections from its coming season.

The performance takes place Wednesday, May 7, at noon in The Forum of Sidney Harman Hall (610 F St. NW).

Box lunches are available for purchase for $10 if desired. Seating is unreserved general admission, based on availability and is on a first-come, first-served basis.
It is recommended that you arrive early as many Happenings events have overflow crowds.

Roman Rep Production Photos

2008-05-01T10:47:00.011-04:00

Antony and Cleopatra and Julius Caesar production photos are up! These productions are playing in rotating repertory at Sidney Harman Hall through July 6.

Suzanne Bertish as Cleopatra in Antony and Cleopatra.

Andrew Long as Mark Antony and Craig Wallace as Pompey in Antony and Cleopatra.

Suzanne Bertish as Cleopatra and Andrew Long as Mark Antony in Antony and Cleopatra.

Suzanne Bertish as Cleopatra in Antony and Cleopatra.

Dan Kremer as Julius Caesar, Kryztov Lindquist as the Soothsayer and the ensemble of Julius Caesar.

Craig Wallace as Caiu Ligarius, Scott Parkinson as Caius Cassius, Tom Hammond as Brutus and Kurt Rhoads as Ventidius in Julius Caesar.

Tom Hammond as Brutus and Scott Parkinson as Cassius in the Julius Caesar.

Tom Hammond as Brutus in Julius Caesar.

Interested in tickets? Click here.

All photos by Carol Rosegg.

Free! Happenings at the Harman

2008-04-28T11:10:00.014-04:00

Silk Road Dance Ensemble returns to Happenings at the Harman with Egypta!

Egypta: Myth, Magic and Mystery is a complement to the Shakespeare Theatre Company's production of Anthony and Cleopatra. It is an exhibition of traditional dance and costuming from the Silk Road. The performance takes place Wednesday, April 30, at noon in The Forum of Sidney Harman Hall (610 F St. NW).

Box lunches are available for purchase for $10 if desired. Seating is unreserved general admission, based on availability and is on a first-come, first-served basis. It is recommended that you arrive early as many Happenings events have overflow crowds.

Photo courtesy of the Silk Road Dance Ensemble Egypta website.

Call the Box Office at 202.547.1122 for up-to-date schedule information or to place an order for a box lunch.

Talk about the Romans

2008-04-25T11:30:00.002-04:00

We want to know what you think...

Post a comment and tell us your thoughts about our productions of Antony and Cleopatra and Julius Caesar.

SPECIAL $10 PERFORMANCES

2008-04-24T11:14:00.008-04:00

We’re offering a special opportunity for patrons 35 and under to see Julius Caesar and Antony and Cleopatra for $10.

Click here and enter promo code 5032 for $10 tickets to see Julius Caesar on May 6.

Click here and enter promo code 5032 for $10 tickets to see Antony and Cleopatra on May 8.

You can also call the Box Office at 202.547.1122. Proof of age is required to pick up tickets.

2008-2009 Season

2008-04-23T11:25:00.012-04:00

The Shakespeare Theatre Company has announced its 08-09 Season filled with sensational comedies, enduring love stories, powerful drama, American and East Coast premieres.

Photo of Christopher Innvar and Veanne Cox by Carol Rosegg.

Romeo and Juliet
by William Shakespeare
directed by David Muse
September 9 to October 12, 2008
Sidney Harman Hall

The Way of the World
by William Congreve
directed by Michael Kahn
September 30 to November 16, 2008
Lansburgh Theatre

Twelfth Night
by William Shakespeare
directed by Rebecca Bayla Taichman
December 2, 2008, to January 4, 2009
Sidney Harman Hall

The East Coast Premier!
The Dog in the Manger
by Lope de Vega
translated and adapted by David Johnston
directed by Jonathan Munby
February 10 to March 29, 2009
Lansburgh Theatre

Photo of Nancy Robinette by Carol Rosegg.

The American Premiere!
Ion
by Euripides
translated and adapted by David Lan
directed by Ethan McSweeny
March 10 to April 12, 2009
Sidney Harman Hall

Design for Living
by Noël Coward
directed by Michael Kahn
May 12 to June 28, 2009
Lansburgh Theatre

King Lear
by William Shakespeare
directed by Robert Falls
June 16 to July 19, 2009
Sidney Harman Hall

Photo of Floyd King by Carol Rosegg.

For more information click here.

Free! Happenings at the Harman

2008-04-22T09:57:00.003-04:00

In honor of Bard's birthday, the Washington Revels Singers will present madrigals and songs celebrating the Spring from the time of William Shakespeare as part of Happenings at the Harman on Wednesday, April 23, at noon. The performance takes place in The Forum of Sidney Harman Hall (610 F St. NW).

Call the Box Office at 202.547.1122 for up-to-date schedule information or to place an order for a box lunch.

Q&A with Dan Kremer

2008-04-17T09:07:00.006-04:00

Dan Kremer makes his Shakespeare Theatre Company debut as Julius Caesar.

Most recent project:

Most recently, I was directing a production of The Importance of Being Earnest at a college near my home in Seattle.

What is your favorite scene in Julius Caesar? Why?

That would be act 2, scene 2, the morning of the Ides of March. Caesar’s wife, Calphurnia, has dreamt that night of dangers to Caesar, and the day begins with reports of omens that compound her fears. Through great effort she persuades Caesar to stay at home that day. Then Decius arrives and, using the lure of a crown, convinces Caesar to go to the senate. At last, the conspirators arrive wearing smiles of deceit to accompany Caesar to the forum and the fate they have planned for him. The conflicting objectives and reversals of action make this scene delicious to play.

What play would you most like to perform in and what character would you like to play?

Charles II in George Bernard Shaw’s In Good King Charles’ Golden Days. This rarely performed play, written in 1939, brings together Isaac Newton, George Fox (the founder of the Quakers), King Charles II and an assortment of Charles’ mistresses and wives for a lively discussion of science, religion and women in politics. Quite a resonant work for our time, as Shaw so often proves to be.

What's on your iPod? (mp3, cd player, etc.):

Telemann wind concertos, Earl Hines, Keb Mo, Beethoven, David Byrne, Swamp Cabbage – my collection is rather eclectic.

Favorite Shakespearean Play:

Usually, that would be the one (or at present two) that I’m working on. After that, King Lear, Measure for Measure, The Tempest.

Favorite Shakespearean Villain:

That would probably be Iachimo from Cymbeline. Iago does far more damage to the lives around him, but for absolute fleering villainy it is hard to top Iachimo.

What's next for you after Julius Caesar? Two weeks in Fairbanks, AK, teaching a Shakespeare workshop at the Fairbanks Arts Festival.

Have you had a chance to see D.C.? What’s your favorite spot in the city?

Except for a few long, exploratory walks, I have not seen much of the city. Soon after the Roman Rep opens, my daughter will be visiting for a couple of weeks. I have begun compiling a list of sights, galleries and museums that we might tour together. That is a pleasure that I eagerly anticipate.

Tickets are available by phone (202.547.1122) or online here.

Photo of Dan Kremer as Julius Caesar by Carol Rosegg.

Name the Snakes and Win Tickets

2008-04-16T13:44:00.006-04:00

The Shakespeare Theatre Company has two new members: two Ball Pythons from the Maryland Reptile Farm. These two snakes need names before they can appear in our production of Antony and Cleopatra.

Help us name them by sending your suggestions to Ckrueger (at) ShakespeareTheatre.org by May 2 at 5 p.m. Shakespeare Theatre Company staff will vote on the winners. The winners will receive 2 tickets to see Antony and Cleopatra (April 26 through July 6).

Free! Happenings at the Harman

2008-04-14T09:36:00.007-04:00

Cellist Marcio Botelho and soprano Kate Hearden from the National Gallery Chamber Players will perform as part of Happenings at the Harman on Wednesday, April 16, at noon.

The performance takes place in The Forum of Sidney Harman Hall (610 F St. NW).

Box lunches are available for purchase for $10 if desired.

Seating is unreserved general admission, based on availability and is on a first-come, first-served basis. It is recommended that you arrive early as many Happenings events have overflow crowds.

Call the Box Office at 202.547.1122 for up-to-date schedule information or to place an order for a box lunch.

Harman Center for the Arts

2008-04-09T10:01:00.004-04:00

looking down, originally uploaded by hey-helen.

Another great photos of the Harman from one of our patrons!

To see more photos from the Shakespeare Theatre Company, click here.

Julius Caesar and Antony and Cleopatra Podcasts!

2008-04-09T09:44:00.006-04:00

Director David Muse discusses his production of William Shakespeare's Julius Caesar. As swift and enthralling as a political thriller, Julius Caesar portrays the life-and-death struggle for power in Rome. Fearing that Caesar's growing strength and ambitions threaten the Republic, a faction of politicians plots to assassinate him. But when Caesar is killed, chaos engulfs Rome. In Caesar, Brutus and Mark Antony, Shakespeare created three fascinating, dynamic characters. To hear the podcast, click here.

Director Michael Kahn discusses his production of William Shakespeare's Antony and Cleopatra. Featuring some of the most sublime poetry of love and loss ever written, Antony and Cleopatra is a dark portrait of an ill-fated love affair. The play begins almost a decade after the events of Julius Caesar, with civil unrest roiling imperial Rome. the aging Mark Antony, one of the empire's three rulers, lives a decadent life in Egypt, carousing with Queen Cleopatra. As Rome reasserts its claim on him, Antony struggles between his sense of duty and his love for Cleopatra. To hear the podcast, click here.

Both productions run in rotating repertory from April 26 through July 6, 2008, at the Shakespeare Theatre Company's Sidney Harman Hall (610 F St. NW).

For tickets, click here.

Free! Happenings at the Harman

2008-04-07T10:57:00.010-04:00

The Washington Balalaika Society, America's finest orchestra of Russian folk instruments will make their Happenings at the Harman debut on Wednesday, April 9, at noon.

The performance takes place in The Forum of Sidney Harman Hall (610 F St. NW).Box lunches are available for purchase for $10 if desired.

Seating is unreserved general admission, based on availability and is on a first-come, first-served basis. It is recommended that you arrive early as many Happenings events have overflow crowds.

Call the Box Office at 202.547.1122 for up-to-date schedule information or to place an order for a box lunch.

Photo of The Washington Balalaikas, curtesy of their website.

Roman Rep Videos on YouTube!

2008-04-03T12:19:00.006-04:00

Director Michael Kahn discusses Shakespeare's Antony and Cleopatra, which runs in Sidney Harman Hall from April 26 to July 6, 2008.

Antony and Cleopatra: A Love Story

Antony and Cleopatra: Rome vs. Egypt

Director David Muse discusses Shakespeare's Julius Caesar, which runs in Sidney Harman Hall from April 27 to July 6, 2008.

Julius Caesar's Relevance

Julius Caesar: Idealism vs. Reality

For tickets call: 202.547.1122 or click here.

Free! Happenings at the Harman

2008-03-31T10:13:00.004-04:00

The Friday Morning Music Club, which promotes music and interaction between artist and audience through experimentation, performs as part of the free series Happenings at the Harman on Wednesday, April 2, at noon. The performance takes place in The Forum of Sidney Harman Hall (610 F St. NW).
Box lunches are available for purchase for $10 if desired.
Seating is unreserved general admission, based on availability and is on a first-come, first-served basis. It is recommended that you arrive early as many Happenings events have overflow crowds.

Call the Box Office at 202.547.1122 for up-to-date schedule information or to place an order for a box lunch.

Logo curtesy of The Friday Morning Music Club website.

Harman Center for the Arts

2008-03-27T10:17:00.005-04:00

Harman Center for the Arts, originally uploaded by christaki.

We've been finding various photos of Sidney Harman Hall on flickr, so we thought we would share them with everyone.

To see more photos from the Shakespeare Theatre Company, click here.

Free! Happenings at the Harman

2008-03-21T16:20:00.005-04:00

Michael Parker from Monumental Brass performs as part of the free series Happenings at the Harman on Wednesday, March 26, at noon. The performance takes place in The Forum of Sidney Harman Hall (610 F St. NW).

Box lunches are available for purchase for $10 if desired.

Seating is unreserved general admission, based on availability and is on a first-come, first-served basis. It is recommended that you arrive early as many Happenings events have overflow crowds.

Call the Box Office 202.547.1122 for up-to-date schedule information or to place an order for a box lunch.

Photo Courtesy of Monumental Brass.

What People Are Saying about Major Barbara

2008-03-20T07:31:00.012-04:00

Major Barbara must close on March 23!

Photo of Vivienne Benesch and Karl Kenzler by Scott Suchman.

Read what some bloggers are saying:

Herbertanzer says, "It was an amazing performance, and I highly urge anyone in the DC area with a mind for theatre to attend."

"It was truly a delight to see them [Helen Carey and Ted van Griethuysen] perform Shaw’s work as it was meant to be," explains BrightestYoungThings.

"His [George Bernard Shaw's] plays are quite enjoyable, well-written and quite funny, and this one was no exception," says GWA 1225.

A Honey of an Anklet enjoyed that, "Director Ethan McSweeny keeps the proceedings fizzing along quickly."

Catch the show before it closes, call 202.547.1122 or click here.

Free! Happenings at the Harman

2008-03-17T10:13:00.006-04:00

Join celebrated commentator Bill Bodie as he moderates a discussion titled The Commercialization of War, exploring Shaw’s lessons in Major Barbara and their ramifications for today, in the Forum of Sidney Harman Hall on Wednesday, March 17, at noon.

Box lunches are available for purchase for $10 if desired.

Seating is unreserved general admission, based on availability and is on a first-come, first-served basis. It is recommended that you arrive early as many Happenings events have overflow crowds.

Call the Box Office at 202.547.1122 for up-to-date schedule information or to place an order for a box lunch.

Photo of Vivienne Benesch and Ted van Griethuysen by Scott Suchman.

Free! Happenings at the Harman

2008-03-10T12:31:00.005-04:00

Join us as the international ensemble )musica(aperta returns to challenge the Happenings audience through music and text in the Forum of Sidney Harman Hall on Wednesday, March 12, at noon.

Box lunches are available for purchase for $10 if desired.

Seating is unreserved general admission, based on availability and is on a first-come, first-served basis. It is recommended that you arrive early as many Happenings events have overflow crowds.

Call the Box Office at 202.547.1122 for up-to-date schedule information or to place an order for a box lunch.

Photo by Karin Cooper and courtesy of )musica(aperta’s website.

Major Barbara Opening Night Photos

2008-03-06T11:45:00.004-05:00

Zaytinya created a wonderful Opening Night celebration for us! All photos by Kevin Allen.

Director Ethan McSweeny and Vivienne Benesch, who plays Major Barbara.

Assistant Directo Stephen Fried, cast member Tom Story and STC Associate Artistic Director David Muse.

Cast members Tiffany Fillmore, Blake DeLong and James Ricks.

Argonautika cast member Lisa Tejero, Major Barbara cast member Andrew Long and Argonautika cast member Allen Gilmore.

Congratulations to the cast and crew of Major Barbara for the great production!

Thanks to Shakespeare Theatre Company staff, our patrons and our friends for joining us.

What People are Saying...

2008-02-28T14:04:00.014-05:00

Some enticement to catch Argonautika before it closes on Sunday!

Photo of Lisa Tejero and Sofia Jean Gomez by Carol Rosegg.

Countersigniture says, "Try to catch it if you can. You'll love the Argonauts' roll call."

Wheat and Weeds says, "It's a marvel of imaginative stagecraft. Zimmerman assembles an ensemble of players on a bare-boards stage and uses costumes, floating fabrics and stylized movements to indicate flying goddesses, stormy seas, fire-snorting bulls, a dragon, and the movements of Scylla & Charybdis."

"It was hilarious. The set design and costumes were amazing and it was just generally very entertaining," says Pop Culture Junkette.

Get tickets before Argonautika closes.

Want information about Argonautika? click here.

Tell us what you think here.

Photo Atley Loughridge and Justin Blanchard by Carol Rosegg.

People are talking about Major Barbara, which runs through March 23.

Photo of Vivienne Benesch and Karl Kenzler by Scott Suchman.

TheatreMania says, "The Shakespeare Theatre Company's sumptuous production of Major Barbara proves George Bernard Shaw's century-old satire still has a sharp edge, and is every bit as relevant today as it was in Edwardian England. Maybe more so."

From Words from Hanvnah, "Major Barbara looked like a BBC movie come to life with some fantastic splashes of acting.

DC Theatre Scene raves, "[McSweeny] is ably assisted by a mostly remarkable cast offering standout performances. Helen Carey and Tom Story play mother and son Undershaft with devilish delight. What those two accomplish with non-verbals and reactions alone is a marvel, let alone when they actually deliver their dialog like well placed volleys which zing and zoom straight down the lines."

For more information about Major Barbara click here or for tickets here.

Don't forget to leave your comments about our production here.

Photo of the ensemble of Major Barbara by Scott Suchman.

Free! Happenings at the Harman

2008-02-25T10:45:00.006-05:00

Hear the Congressional Chorus as they celebrate the spirit, diversity and power of American Choral music in the Forum of Sidney Harman Hall on Wednesday, February 27, at noon. This group of current and former House and Senate staffers love to sing and share their love of song with others.

Box lunches are available for purchase for $10 if desired.

Seating is unreserved general admission, based on availability and is on a first-come, first-served basis.It is recommended that you arrive early as many Happenings events have overflow crowds.

Call the Box Office at 202.547.1122 for up-to-date schedule information or to place an order for a box lunch.

Photo courtesy of Congressional Chorus's Flicker page.

More Digital Media Fun!

2008-02-22T12:27:00.012-05:00

Argonautika Costume Slide Show:

See the orginial costume renderings and listen as Mary Zimmerman explains the costume concept for Argonautika.

Argonautika runs through March 2 at the Lansburgh Theatre.

For tickets call 202.547.1122 or click here to order online.

Major Barbara Podcast

Listen as Director Ethan McSweeny discusses his production of George Bernard Shaw's Major Barbara. Full of Shaw's signature shrewd, urbane wit, Major Barbara depicts timeless tensions between wealth and charity, government and religion, business and family.

Often called Shaw’s greatest play, Major Barbara offers a provocative discourse on poverty, faith and justice, while entertaining us with vivid characters, intriguing plot twists and a hefty dose of pure fun.

The productions runs until March 23, 2008, at Sidney Harman Hall (610 F St. NW, Washington, D.C.).

For tickets call 202.547.1122 or click here to order online.

Major Barbara Production Photos

2008-02-21T11:56:00.028-05:00

Major Barbara running until March 23!
Take a sneak peek with our production photos.
Remember to post a comment about the production.
For tix call 202.547.1122 or click here.

Meet the Undershaft family:

Back row: Leah Curney as Sarah Undershaft, Kevin O'Donnell as Charles Lomax, Vivienne Benesch as Major Barbara Undershaft, Karl Kenzler as Adolphus Cusins and Tom Story as Stephen Undershaft. Front row: Helen Carey as Lady Britomart Undershaft and Ted van Griethuysen as Andrew Undershaft.

Kevin Pierson and Adriano Gatto, two Acting Fellows, pushing around cannon fodder.

Ted van Griethuysen as Andrew Undershaft.

Andrew Long as Bill Walker and Vivienne Benesch as Major Barbara Undershaft .

James Ricks as Snobby Price, Floyd King as Peter Shirley and Tiffany Fillmore as Jenny Hill.

The Undershaft Munitions Works

The West Ham Shelter of the Salvation Army.

Lady Britomart Undershaft's House in Wilton Crescent.

All photos by Scott Suchman.

Q&A with Atley Loughridge

2008-02-20T14:08:00.012-05:00

Atley Loughridge is playing Medea in Argonautika, which runs at STC through March 2. We recently did a Q&A with her.

Most recent project:
My most recent project is a sort of sci-fi screenplay I am writing called Perfection. It is about a young couple. He is an undisciplined artist in a noise band. She is enlisting in the army to pay for med school. She, Jesse, is chosen by DARPA to partake in an experimental genetic-engineering treatment. It is a story about the two of them surviving the changes to Jesse’s mind with the help of abstract art and Zen. To be directed by longtime friend and colleague Jeremy Bloom in NYC in July-August.

Photo of Lisa Tejero and Atley Loughridge by Carol Rosegg.

What is your favorite scene in Argonautika and why?
I guess I’d have to say “moonlight…” I’m not sure why. It’s such a strange scene. It starts as if Jason is going to seduce Medea, but then it is she who seduces him. But she hardly knows who either of them are! And then every time I start to feel like I know what the scene is about it just opens up again, and I’m totally lost … utter chaos directed by love, freefall by gravity…

What play you would most like to perform in and what character?
Who knows … I’m really not a theatre buff. Lately I’ve been wanting to play one of those heads in the urns in Beckett’s play.

What's on your iPod? (mp3, cd player, etc.):
RATATAT! Bardo Pond, a compilation of Irish Ballads, Cat Power, Common, Nina Simone, Gillean Welch, J-Live, Massive Attack, Dead Meadow…

Favorite Shakespearean Play:
Again, I really haven’t read even half of them. But I’d have to say Cymbeline. I did it with Mary, and it was just out of this world. Imogen is practically the only straight character in the whole play. The plot moves like a dream, what with the new storyline of the long-lost brothers introduced nearly an hour in, Imogen’s false death and her mistaken grief over Cloten’s headless body ... it’s just crazy! But then it really works! The last scene has something like five reveals. And at least in our production, it ran like a comedy club. The audience was just titillated. The strange structure makes people think that Cymbeline was one of Shakespeare’s early experimental works, but it was really one of his last.

Favorite Shakespearean Villain:
Iago from Othello.

Photo of Atley Loughridge by Carol Rosegg.

What's next after Argonautika?
Good question! I’m planning to move to NYC. Getting an agent, going on auditions and securing a job are all on the agenda. I am also going to collaborate in performance art projects with friends in the city. And then I plan to play Jesse in Perfection, which we’ll shoot around everyone’s day jobs this summer. I have quite a bit to learn about DARPA, genetic engineering and final cut pro before all that goes down, so I’ve certainly got my hands full!

You have performed in Mary Zimmerman’s Argonautika, Mirror of the Invisible World and Cymbeline. What do you most enjoy about working with her?
In the midst of all the trials that go along with being a leader in a field dominated by men, Mary Zimmerman has managed to keep alive an absolutely sincere and endlessly imaginative inner child. I don’t mean this in some Freudian sense … I just mean that, as you grow older and suffer defeats and heartbreaks, it’s difficult to resist becoming bitter, compromising your vision, conceding to some paradigm of “what’s possible.” But here she is, some 20 odd years in, telling all those opera buffs to stuff it, throwing eyeballs on fabric and “Voila! A sea monster!” Here she is, mid-forties, describing to me the vulnerability, the delicacy, the unbridled love of that 13 year-old girl, that green-eyed hopeful, who I thought I’d buried long ago. In short, she is living proof that it is possible to develop a strong, mature exterior that protects the unmitigated depths of a child’s heart.

Photo of Atley Loughridge and Juke Suffian by Carol Rosegg.

Have you had a chance to see the sights in DC? Any favorites?
Yes! I walk to and from the theatre everyday. I’ve been to a few museums, but my favorite is to stand in front of the Supreme Court at night and watch stray cats run along the steps!

Talk about Major Barbara

2008-02-20T13:52:00.008-05:00

Tell us what you thought about Major Barbara...

Photo of Vivienne Benesch and Ted van Griethuysen.

Post a comment and tell us your thoughts about our production of Major Barbara.

Photo of Vivienne Benesch and Karl Kenzler.

All photos Scott Suchman.

Pay What You Can for Major Barbara

2008-02-19T11:00:00.010-05:00

STC is offering a Pay What You Can on Sunday February 24, 7:30 p.m. for Major Barbara, by George Bernard Shaw.

This is Shaw’s most controversial and perhaps his best play. It presents the travails of Salvation Army Major Barbara Underhill, who is disgusted when the Salvation Army accepts a huge donation from an important arms manufacturer: her own father. With Helen Carey, Floyd King, Andrew Long, Vivienne Benesch and Ted van Griethuysen.

Tickets (maximum two per customer) are available at the Box Office starting at 6.30 p.m. at the Shakespeare Theatre Company's Harman Hall, 610 F Street NW, Washington, D.C.

Free! Happenings at the Harman

2008-02-18T10:04:00.003-05:00

Listen as Brandywine Trio musicians Nancy Garlick, Content Sablinsky and Dwight Purvis explore the fascinating and little-known repertoire for clarinet, horn and piano from the 19th and early 20th centuries in the Forum of Sidney Harman Hall on Wednesday, February 20, at noon.

Box lunches are available for purchase for $10 if desired. Seating is unreserved general admission, based on availability and is on a first-come, first-served basis.

It is recommended that you arrive early as many Happenings events have overflow crowds. Call the Box Office at 202.547.1122 for up-to-date schedule information or to place an order for a box lunch.

Major Barbara Videos on YouTube

2008-02-15T14:27:00.014-05:00

Director Ethan McSweeny talks about the story and modern relevance of Major Barbara.

Wealth and Poverty in Edwardian England:

Major Barbara's Relevance:

The Story of Major Barbara:

Q&A with Jake Suffian

2008-02-14T11:06:00.013-05:00

Photo of Jake Suffian by Carol Rosegg.

Jake Suffian is playing Jason in Argonauitka, which runs at STC through March 2. We recently did a Q&A with him.

Most recent project: Argonautika

What is your favorite scene in Argonautika and why?
I will say "Moonlight," since it has been a great challenge to find the intimacy and clarity that Mary wanted. She has very specific ideas of the stage picture, so I have to find an honest connection to Atley [who plays Medea] while keeping track of the pace and imagery that is required. This scene has a very unique feel versus the rest of the play and is a huge transition for the second act. It sets up the rise and ultimate downfall of Jason and Medea's relationship. Very simple and yet a complete journey of how these two meet.

Photo of Atley Loughridge and Jake Suffian by Carol Rosegg.

Play you would most like to perform in and what character?
Perhaps Pale in Burn This or Katurian in Pillowman. Something contemporary.

What's on your iPod? (mp3, cd player, etc.):
Radiohead, The New Pornographers, Air, The Clash, 2-Pac, Otis Redding and many more.

Favorite Shakespearean Play:
The Tempest since I was in it.

Favorite Shakespearean Villain:
Sebastian since I played him.

What's next after Argonautika?
Nothing as of yet. Typical for an actor: you have a job and then you're unemployed. There aren't any promotions to look forward to.

What do you most enjoy about working with Mary Zimmerman?
Once we returned to the second Tech here at the Shakepeare Theatre Company, we had a lot more time to really refine the feel and clarity of the play. I was a last-minute replacement, so at Berkeley during rehearsals, I was just trying to memorize lines and figure out where I should go on stage. With that behind me, Mary could really put her brilliant mind to work and direct me in a very specific way. She pushed me to find a more simple, honest Jason. A guy that isn't a characterization of a Hero, but just a man on a heroic quest. She emphasized that it is the journey that makes Jason a Hero, or if you like anti-hero, and I didn't have to make myself bigger than just who I am. Her notes were vast and precise, and I got to see how brilliant she is.

What has it been like to travel with the production from Berkley Rep to the Shakespeare Theatre Company?
Great. Everyone has been very helpful on both sides of the country. It takes a very strong Company Management team to organized so many actors' travel plans, and the really came through.

What are your favorite DC sights to visit?
So far, the architecture museum, botanical garden and the art museums. But I plan to see a lot more.

Photo of Tessa Klein and Jake Suffian by Carol Rosegg.

Windows on Argonautika

2008-02-12T11:51:00.000-05:00

Listen as Argonautika writer/director Mary Zimmerman; Alexander Sens, Professor of Classics, Georgetown University; and STC Literary Manager Akiva Fox discuss Argonautika.

Free! Happenings at the Harman

2008-02-11T14:01:00.000-05:00

See and hear the Great Noise Ensemble this Wednesday, February 13, at noon in the Forum at Sidney Harman Hall. This new music group performs contemporary classical works as part of the free weekly series Happenings at the Harman.

According to their MySpace page, the Ensemble was formed when a call went out on craigslist.com from composer/conductor Armando Bayolo. This call was answered by seven brave area musicians united by their passion for new music. These seven then sent out a call to other like-minded artists, and before long Great Noise had grown into the 16 instrumentalists and two singers that now compose its core membership.

Box lunches are available for purchase for $10 if desired. Seating is unreserved general admission, based on availability and is on a first-come, first-served basis.

It is recommended that you arrive early as many Happenings events have overflow crowds. Call the Box Office at 202.547.1122 for up-to-date schedule information or to place an order for a box lunch.

Photo by http://www.urbankayaker.net/, courtesy of Great Noise Ensemble MySpace Page.