The Taming of the Shrew

By Mira Reinberg Propeller, an all-male London-based Shakespeare company, burst on the stage at the Guthrie Theatre with a revived production of The Taming of the Shrew, and gave the audience a taste of Elizabethan theatricality: a performance that fuses physical action, linguistic sparkle, and arresting story into a spectacle of colorful éclat. And did…

As You Like It

by CHRISTINE SARKES SASSEVILLE The Guthrie Theater and The Acting Company’s staging and interpretation of William Shakespeare’s whimsical romantic comedy, As You Like It, is wonderfully inventive, superbly acted and suprisingly accessible to modern audiences. Everything from the mystical set design, roaring twenties costume vibe, musical interludes and the modern cadence of the monologues cleverly evokes Shakespeare’s motifs…

The Tempest

by MIRA REINBERG Nature smiled upon Public Dreams Theatre’s opening of The Tempest and the pastoral scene at Matthews Park in Minneapolis was not suggestive of the stormy intrigue of sorcery and vengeance that was to follow. Nor was there any set on the grass awaiting the audience with allusions to a tale of shipwreck…

As You Like It

by ANNA ROSENSWEIG It’s easy to forget just how many common English expressions and turns of phrase come from Shakespeare’s plays. One of the pleasures of hearing his plays performed today is noticing these expressions and situating them in their Shakespearean contexts. Take As You Like It. We’re all familiar with the famous declaration “All…

Julius Caesar

by SOPHIE KERMAN Julius Caesar is not theater for beginners. Of all of Shakespeare‘s plays, Caesar is one of the least eventful and yet the most cataclysmic. In Acts I-II, a charismatic leader becomes too big for his britches and is brutally murdered for it; Acts III and IV show us the aftermath of the killing on…

Much Ado About Nothing

by SOPHIE KERMAN A good director knows his or her audience, and although the Guthrie Theater‘s latest Shakespearean adaptation failed for me on several levels, I have to give director Joe Dowling credit where credit is due. As far as I could tell, the audience at the opening night of Much Ado About Nothing mostly consisted of…