Prosperous Fools

 Prosperous Fools
Theatre for a New Audience
Polonsky Shakespeare Center
June 3, 2025

Photo courtesy of Theatre for a New Audience

In the new play, Prosperous Fools, Taylor Mac leaves no stone unturned in the examination of today’s political landscape and its effect on the arts.  The commentary is direct, but more importantly, the audience is left with questions, placing a spotlight on every participant in our present day society, and highlighting everyone’s role in its obliteration. 

The action of the play surrounds a gala performance of a new ballet, created by the Artist (played by Taylor Mac).  The Philantrhopoid (played by Jennifer Regan) is the Artistic Director of the dance company, willing to sell her soul and every element of the production to please the gala’s two wealthy honorees (played by Jason O’Connell and Sierra Boggess).  One is a despised capitalist oligarch, and the other a beloved sponsor of needy children.  Everything spins out of control as basic facts, creative expression, and philanthropic endeavors are manipulatively spun into fake news and absurd outcomes.  The Artist realizes they sold out and that the Intern (played by Kaliswa Brewster) is more deserving of praise than any of the artists or honorees. 

The full cast of Prosperous Fools
Photo courtesy of Theatre for a New Audience

Taylor Mac’s writing is exceptionally focused.  Even when expounding on minute details, the main point is always vividly clear.  During one scene, seven genres of humor are illustrated, defining how a message can be successfully communicated and for which demographic they are most suitable.  When the Artist addresses the audience at the conclusion of the show, they wear the hat of the fool.  This is most appropriate, based on how the message is to be heard.  The audience now learns forward, listening carefully to how to process the play.  This intellectualizes the full experience.  Answers to these questions are not provided, nor is the audience led to one specific message.  These questions are for the audience to ponder and discuss. The perspective of what we witness and experience in our daily life shifts, as we consider these questions through the lens of the absurd action of the play.  The big picture changes.  The responsibility of our individual choices becomes clear. 

Director Darko Tresnjak finds the right balance for this piece so the audience can hook into the humor and understand the metaphor.  The cast broadly plays the absurdity, but never goes too far over the top.  The choreography by Austin McCormick is stunning and clever. 

Prosperous Fools is playing at Theatre for a New Audience through June 29.  It is a riveting experience. 

Domenick Danza

Henry IV

 Henry IV
Theatre for a New Audience
Polonsky Shakespeare Center
February 12, 2025 

Photo courtesy of Theatre for a New Audience

Theatre for a New Audience has outdone itself with its present production of William Shakespeare’s Henry IV.  This adaptation, by Dakin Matthews, combines parts one and two into one three and one-half hour production (with two intermissions).  Director Eric Tucker has gathered an amazing cast.  They work as a consistent, tight ensemble and all deliver stunning performances.   

King Henry IV (played by Dakin Matthews) is facing a conflict in his sovereignty.  A rebel faction is seeking to overthrow his reign, and place Henry Percy, known as Hotspur (played by James Udom) on the throne.  King Henry’s heir, Prince Hal (played by Elijah Jones) has turned his back on his royal duties.  He enjoys his time in the pubs, galivanting around London with a motley crew of friends, led by Sir John Falstaff (played by Jay O. Sanders).  When the King summons Hal back to the palace for a meeting, he reluctantly obeys.  Falstaff and his crew follow to keep an eye on their friend.  Hal is obligated to support the King in battle, and fights until the rebel faction is defeated and Hotspur is killed.  Upon his father’s deathbed, Prince Hal professes his loyalty and commitment to the crown.  When Hal is crowned King Henry V, he turns his back on his old life, rejecting Falstaff, who was expecting a position in court. 

Elijah Jones & Jay O. Sanders
Photo courtesy of Theatre for a New Audience

Jay O. Sanders delivers a boisterous Falstaff, full of bluster and humor.  His portrayal is just right for this in the round staging.  Elijah Jones is open and genuine as Prince Hal.  He is always one step ahead of Falstaff.  They have a natural camaraderie.  This makes Prince Hal’s rejection of Falstaff acutely hurtful after his royal transformation.  Dakin Matthews is regal as King Henry IV.  His command is firm, and he reveals many layers in his relationship with his son.  

Photo courtesy of Theatre for a New Audience

The double and triple casting allows for instantaneous transitions from the streets of London to the Royal Court.  Steven Epp is outstanding as the Earl of Worcester, Francis, and Silence.  These roles are astoundingly different, allowing Mr. Epp to show off his comic timing, physical dexterity, and dramatic intensity.  James Udom also shows a range of skills in his portrayal of Hotspur and Pistol.  His Hotspur is focused and determined, while his Pistol is mischievous and silly.

Henry IV is playing at Theatre for a New Audience’s Polonsky Shakespeare Center though March 2.  It is a strong and slick rendition of this Shakespeare history tale, skillfully directed and majestically performed. 

Domenick Danza

Waiting for Godot

 Waiting for Godot
Theatre for a New Audience
Polonsky Shakespeare Center
November 11, 2023 

Photo courtesy of Theatre for a New Audience

Theatre for a New Audience’s production of Waiting for Godot is dark, gritty, and haunting.  Under Arin Arbus’ direction, the poetry in Samuel Beckett’s writing emerges as the rhythms in the dialogue rise and play out between the characters.  Ms. Arbus creates honest moments of companionship and  comfort, as well as truthful instances of distress and suspense.  The cast delivers masterful performances, pulling the audience deeper and deeper into their endless waiting and mounting despair.

Estragon (played by Michael Shannon) and Vladimir (played by Paul Sparks) are waiting for Godot.  They know they are in the right location, by the tree.  Maybe it’s the wrong day.  How many days have they been there?  They think they see him coming, but it is Pozzo (played by Ajay Naidu) and his servant Lucky (played by Jeff Biehl).  Estagon and Vladimir pass the time with them, then Pozzo and Lucky leave.  A boy (played by Toussaint Francois Battiste) arrives with a message from Godot.  He will be there tomorrow. 

Michael Shannon & Paul Sparks
Photo courtesy of Theatre for a New Audience.

Tomorrow arrives.  Estragon and Vladimir are waiting for Godot.  The tree has one new leaf.  Time is
passing.  Pozzo and Lucky return, but they are blind and dumb.  They do not recall having been there the day before, and neither does the boy when he returns with the same message from Godot.  Estragon and Vladimir debate what to do, then they wait. 

When you first enter the theatre, Michael Shannon is sitting on the stage as Estragon.  The theatre space fills with a strange quiet and heavy anticipation.  The waiting has already begun.  Time feels suspended through a lot of this production, giving the audience a visceral sense of one of Mr. Beckett’s themes in the piece.  There are also numerous biblical references connecting the characters and the waiting to a greater sense of existence. 

Jeff Biehl, Michael Shannon, Ajay Naidu, & Paul Sparks
Photo courtesy of Theatre for a New Audience

Paul Sparks and Michael Shannon are phenomenal together.  They have impeccable timing and a genuine bond that keeps the audience fully engaged.  Mr. Sparks’ Vladimir is highly physical, fidgeting and rapidly moving around the entire playing area, while Mr. Shannon’s Estragon is sedentary, weary, and unsteady on his feet.  

Ajay Naidu is energetic and antagonistic as Pozzo.  Jeff Biehl is discomfiting and mesmerizing as Lucky.  Their presence throws the rhythm and pace of the play into another realm.  All your attention goes to Toussaint Francois Battiste both times he enters as the boy.  Mr. Battiste embodies a different energy from the other characters.  He is the only one who has seen Godot.  He embodies a calm and certainty that the others are lacking. 

Samuel Beckett’s play has elusive and provocative existential and philosophical images and levels.  This production will engage you emotionally and leave you thinking.  Waiting for Godot is playing at Theare for a New Audience’s Polonsky Shakespeare Center through December 3. 

Domenick Danza

Orpheus Descending

Orpheus Descending
Theatre for a New Audience
Polonsky Shakespeare Center
July 15, 2023 

Photo courtesy of Theatre for a New Audience

Theatre for a New Audience’s production of Tennessee Williams’ Orpheus Descending is pure poetry.  Director Erica Schmidt gives distinctive voice to each character by finding their individual rhythm.  The pace is steady, drawing the audience deeply into the yearning of the main characters.  The tension builds as each character faces their need to escape their repressive circumstances and find freedom. 

When Jabe Torrance, owner of the town’s dry goods store (played by Michael Cullen), is taken seriously ill, Vee Talbott (played by Ana Reeder) introduces his wife, Lady (played by Maggie Siff), to a young man who can help her in the store.  Valentine Xavier (played by Pico Alexander) is a drifter, looking for work.  When Carol Cutrere (played by Julia McDermott) gets a glimpse of Valentine, wearing his snakeskin jacket and playing his guitar, she tries to lure him away from the dry goods store.  She warns Valentine of the dangers he will find there, but he does not listen.  He just turned thirty, and says he has given up the wild life.  Lady allows Valentine to live in the back room of the store.  She opens up to him, telling of when the men in the town burned her father’s vineyard to the ground, killing him.  She was then sold to her husband, and has been trapped in the dry goods store ever since.  When Jabe reveals the truth of his involvement in the fire at the vineyard, Lady throws herself at Valentine, seeking freedom and revenge. 

The Cast of "Orpheus Descending"
Photo courtesy of Theatre for a New Audience

The tension of the piece is created through the contrast in the portrayal of the characters.  Pico
Alexander’s Valentine is smooth as silk.  Maggie Siff’s Lady is tough as nails.  Julia McDermott’s Carol is wild with abandon.  Ana Reeder’s Vee is cogent in her beliefs.  This is a large cast of strong, skilled actors.  Each actor on stage adds a distinct rhythm and pace in their interpretation, tightening the pull of the dramatic tension, while impelling the action to build to a shocking conclusion.  

Orpheus Descending is beautifully directed and performed.  It is playing at Theatre for a New Audience’s Polonsky Shakespeare Center in downtown Brooklyn through August 6. 

Domenick Danza

Des Moines

 Des Moines
Theatre for a New Audience
Polonsky Shakespeare Center
December 23, 2022 

Photo courtesy of Theatre for a New Audience

Denis Johnson crafted his play Des Moines with mesmerizing dialogue that captures interest and builds intrigue.  His characters are on the edge, dark, and simmering.  The Theatre for a New Audience production is riveting.  Director Arin Arbus uses Mr. Johnsons rhythms and silences to lure the audience and involve them in the action.  Once engaged, there is no release, just a plunging spiral, fueled by unwavering hope.

Michael Shannon, Johanna Day, & Arliss Howard
Photo courtesy of Theatre for a New Audience

Dan (played by Arliss Howard) is home from work at the Car Barn, where he drives a taxi.  He and his wife Marta (played by Johanna Day) share the news of their day.  A woman, Mrs. Drinkwater (played by Heather Alicia Simms) came by Dan’s work to inquire about a ride he gave her husband to the airport.  It was her husband’s final cab ride.  His plane crashed and he was killed.  Mrs. Drinkwater asks Dan about her husband’s last words, then shows him her husband’s wedding ring, which she accidentally leaves with Dan.  Marta tells Dan that Father Michael (played by Michael Shannon) will be stopping by, which reminds Dan that he saw Father Michael outside a gay bar at closing time, wearing woman’s make-up.  When Father Michael arrives, Marta breaks the news to Dan that the Doctor told her she has two to four months to live.  They decide to go out for a drink, leaving Father Michael with Jimmy (played by Hari Nef) who is in a wheelchair due to complications during sex change surgery.  When Mrs. Drinkwater arrives to pick up her husband’s wedding ring, the drinking begins.  When Dan and Marta return, the drinking accelerates.  They all sing Karaoke, baring their souls in a drunken frenzy.  Morning comes.  They all stand tall to face the day ahead.  

Arliss Howard & Hari Nef
Photo courtesy of Theatre for a New Audience

This cast of actors each create truthful, multi-layered characters, who are all driven by deep need and propelled by boundless energy.  The action builds as these drives connect, uniting them on their journey of facing insurmountable personal challenges.  Each actor has a clear sense of what keeps their characters moving forward.  This is what sustains the audience’s investment in the heightened action.  There is sorrow, but no grieving  There is conflict, but no animosity.  They spiral into darkness, then slowly and steadily rise with hope.

The Theatre for a New Audience production of Des Moines is masterfully conceived and skillfully directed and performed.  Denis Johnson has written a truly unique piece of theatre.  You become one with these character in their bizarre mingling and faithful persistence.  The play is compelling and thought provoking.  This production has been extended through January 8 at the Polonsky Shakespeare Center in downtown Brooklyn.  

Domenick Danza

Gnit

 Gnit
Theatre for a New Audience
Polonsky Shakespeare Center
November 6, 2021 

Photo courtesy of Theatre for a New Audience

Will Eno has taken Ibsen’s Peer Gynt and made it his own with Gnit, now playing downtown Brooklyn at Theatre for a NewAudience.  The quest for the self at the expense of everything is still the main action, yet the story is simpler, more concise.  His main character, Peter, is still the self-centered liar as Ibsen’s Peer, but in Gnit the quest is not fully realized.  Peter’s adventures do not land him in a secure and warm place, but leave him questioning, and presenting that question to the audience.

Joe Curnutte & Deborah Hedwall
Photo courtesy of Theatre for a New Audience

In the opening scene Peter’s mother (played by Deborah Hedwall) is waiting for his return.  She is sick and in need of his care.  When Peter (played by Joe Curnutte) finally returns, he is full of stories, and does not acknowledge his mother’s need.  He is off again when his mother tells that the woman he once loved is set to marry another man.  On the way to steal back the bride, he meets Solvay (played by Jasmine Batchelor), and falls in love.  The town sues Peter's mother for the disruption he causes at the wedding, leaving her with nothing.  Peter runs to the mountains and becomes entrapped by a woman (played by Christy Escobar) whose father (played by David Shih) promises him wealth and stability.  Peter escapes, returning to build a home for him and Solvay.  As soon as the house is complete, the woman from the mountains finds him.  With their child in her arms, she tries to lure him back.  Before fleeing, Peter visits his mother on her death bed.  He is present for her passing, but leaves before her burial. 

In Act II, Peter finds his fortune, then carelessly loses it.  He travels the world in search of himself, only to return to the home he built for himself and Solvay, too late to spend time with her.  She has passed, and Peter is left questioning the purpose of his journey. 

Photo courtesy of Theatre for a New Audience

Joe Curnutte captures the audience’s attention on his first entrance.  His character grows throughout his journey, driven by his main objective and continually probing any questions he faces.  Deborah Hedwall is powerful as Peter’s Mother.  She reaches deep to portray the hurt, loneliness, and disappointment of the character.  She and Mr. Curnutte have a strong connection.  Among the stylized interpretations in this production, the most intimate moment is between these two actors at the death of the Mother.

The huge cast of Ibsen’s play is performed by six actors in this adaptation.  The ensemble work is outstanding.  Jasmine Batchelor has a subtle and effective presence as Solvay.  There are equally strong performances by Jordan Bellow, Christy Escobar, and David Shih.  These amazing actors play numerous roles, quickly transforming into distinct characters in the blink of an eye.  

Playwright Will Eno
Photo courtesy of Theatre for a New Audience

Will Eno’s writing is rhythmic and prolific.  The relationships are established quickly through the tone of the writing.  Director Oliver Butler keeps this rhythm and tone consistent throughout the production, heightening the humor, sharply focusing the theme, and giving the audience distance to fully experience the extensive journey of the characters. 

The Theatre for a New Audience production of Will Eno’s Gnit is a MUST SEE.  Originally schedule and rehearsed for a March 2020 opening, the stunning set, designed by Kimie Nishikawa, remained on the Scripps mainstage of the Polansky Shakespeare Center throughout the pandemic.  It is sheer joy to finally experience this engaging piece of theatre.  Gnit is playing through November 21.  Don’t miss it! 

Domenick Danza

Timon of Athens

Timon of Athens

Theatre for a New Audience

Polonsky Shakespeare Center

January 25, 2019

Photo courtesy of Theatre for a New Audience

The Theatre for a New Audience production of Timon of Athens leaves you with a lot to think about.  This lesser known William Shakespeare / Thomas Middleton play has been edited by Emily Burns and Simon Godwin.  It places a clear focus on the value of selflessness and generosity, and makes a strong statement about mankind’s inability to honor and respect it.  Simon Godwin originally directed this production for the Royal Shakespeare Company in December, 2018.  Kathryn Hunter is brilliantly cast as Timon.  A number of actors play numerous roles, creating distinctive characters and building a strong through line of action. 

It is “sometime in the future” in Athens.  Timon (played by Kathryn Hunter) is entertaining a group of friends in her sumptuous home.  She showers them with gifts.  They adore and praise her.  She supports anyone in need and offers opportunity when citizens are down on their luck.  Her generosity is limitless.  When her creditors come to her demanding their due, she finds herself unable to pay.  She turns to her closest friends, who she supported, for assistance.  They refuse her.  As she faces bankruptcy, she invites them to her home for one final banquet.  She serves her guests bowls of blood.  She then sets her home on fire and removes herself from society.  She lives as a hermit, forgotten, resentful, and self-sufficient.  While digging for food, she unearths a chest of gold.  As word spreads of her newfound fortune, her former followers seek her out to renew their companionship. 

Arnie Burton & Kathryn Hunter
Photo courtesy of Theatre for a New Audience

Kathryn Hunter fills the stage as Timon, mesmerizing the audience and taking them along on her transformative journey.  The opulence, bounty, and light-hearted humor in the beginning of the play crumbles as the truth of Timon’s finances is revealed.  The atmosphere turns threatening and camaraderie dissolves.  It is a stunning portrayal of the unraveling of a society that places its primary value on monetary gain.  The second half of the production shifts as Timon becomes filled with resentment.  Ms. Hunter gallantly portrays this transformation with dexterity.  The sacrifices she makes of her newfound fortune shows that her heart is still intact, even though she has lost her faith in her fellow man. 

Photo courtesy of Theatre for a New Audience

Praises to Theatre for a New Audience for mounting this production.  Simon Godwin has masterfully brought this Shakespeare/Middleton work to a new, relevant light.  The cast is magnificent.  Timon of Athens runs downtown Brooklyn at the Polonsky Shakespeare Center through February 9.

Domenick Danza

Fairview

Fairview

Theatre for a New Audience

Polonsky Shakespeare Center

July 11, 2019

Photo courtesy of Theatre for a New Audience

Jackie Sibblies Drury’s Pulitzer Prize winning Fairview turns the table on the audience in order to give them a different perspective on race in this country.  Director Sarah Benson and Choreographer Raja Feather Kelly collaborate with skillful precision, layering this amazing production with meticulous detail that creates a profound effect.  In true Brechtian style, the audience is encouraged to questions their percepton and see the familiar through a different perspective.  Going a step further, the audience is drawn into becoming an active participant, gaining an understanding of the clear and profound message of the playwright.

Charles Browning, Heather Alicia Simms, & Roslyn Ruff
Photo courtesy of Theatre for a New Audience

At first we watch the story of a wealthy, suburban black family as they prepare for the birthday celebration of their matriarch.  Beverly (played by Heather Alicia Simms), is nervously preparing the dinner.  Her husband, Dayton (played by Charles Browning), teases and supports her, while pretending to have forgotten to pick up the root vegetables needed for the dinner.  In comes Beverly’s high maintenance and gossipy sister, Jasmine (played by Roslyn Ruff), pushing buttons and raising Beverly’s stress level.  Beverly and Dayton’s teenage daughter, Keisha (played by Mayaa Boateng), returns from her basketball practice and asks her Aunt Jasmine to help her convince her mother to allow her to take a year off before starting college.  Amid the hectic craze, the lights focus in on Keisha for a serious, pensive moment.  The stress of the evening is all too much for Beverly.  She faints from the overstimulation.

Mayaa Boateng as Keisha
Photo courtesy of Theatre for a New Audience

During the next section of the play we hear a discussion on race.  The question is asked, “If you could choose, which race would you be born into?”  While this voice-over dialogue is being heard, the previous scene reruns silently.  The precise timing allows for a different insight into the characters we thought we knew.  Our observations are filtered through the dialogue being heard.

The third section of the play is wildly absurd, yet the playwright remains in complete control of the voices and images that make her audience question their individual perception.  The full cast brilliantly leads an unsuspecting audience to a complete and brutal reversal of reality.  None of this would be possible if not for the total trust you place in the character of Keisha.  Ms. Boateng is truthful, warm, and endearing in this monumental role.

Playwright Jackie Sibblies Drury
Photo courtesy of Berkeley Rep

Soho Rep’s Fairview is playing downtown Brooklyn at Theatre for a New Audience through August 11.  There are no words that can explain the impact of this production.  It boldly takes the concept of Brecht’s “epic theatre” forward into the 21^st century.  You need to be there yourself to fully experience, understand, and be a part of its impact.

Domenick Danza

The Tragedy of Julius Caesar

The Tragedy of Julius Caesar

Theatre for a New Audience

Polonsky Shakespeare Center

March 23, 2019

Photo courtesy of Theatre for a New Audience

The Theatre for a New Audience production of William Shakespeare’s The Tragedy of Julius Caesar is intense and compelling.  Director Shana Cooper constructs a country torn between loyalty and honor.  She shapes characters ruled by a strong lust for power.  The audience experiences a conspiracy commit high treason, the watches them collapse in a brilliantly staged climax.  Choreographer Erika Chong Shuch and Fight Director U. Jonathan Toppo collaborate to deliver a highly stylized and brutal battle that will leave you speechless.

Julius Caesar (played by Rocco Sisto) is celebrated and adored by the citizens of Rome.  A resentful Cassius (played by Matthew Amendt) meets with his brother Brutus (played by Brandon J. Dirden) to see how he feels about Caesar’s political ambition and dominance over the people of Rome.  With Brutus on their side, Cassius and Caska (played by Stephen Michael Spencer) feel confident they can build a conspiracy to assassinate Caesar.  After a soothsayer (played by Michelle Hurst) warns Caesar to “beware the ides of March,” his wife Calphurnia (played by Tiffany Rachelle Stewart) has a dream that the statue honoring Caesar that was erected by the people of Rome is oozing blood.  She sees this as an evil omen and begs her husband not to go to the Senate meeting.  Caska uses Caesar’s ambition against him to convince him to attend.  The conspirators are successful in their plan.  Brutus enacts a scheme to use Mark Anthony (played by Jordan Barbour) to get the citizens of Rome on their side.  He underestimates Mark Anthony’s loyalty and love for Caesar, and the people of Rome rebel. 

Jordan Barbour & Rocco Sisto
Photo courtesy of Theatre for a New Audience

Jordan Barbour delivers a flawless portrayal of Mark Anthony.  He is convincing when addressing the Senate conspirators.  He is genuine in his love for Caesar.  He skillfully and meticulously layers the scene at the funeral of Julius Caesar with sincere emotion and political manipulation.  His effect on the crowd builds and the power of his character is fulfilled.

Brandon J. Dirden portrays Brutus with the duality of the honor bestowed on him by Mark Anthony and the rebellious force needed to lead the conspiracy.  We feel for him when he is haunted by the ghost of Caesar.  We see the depth of grief when he receives the news of the death of his wife, Portia.  We also see his cowardice at the climax of the play.

The Theatre for a New Audience production of The Tragedy of Julius Caesar is well conceived and directed.   The large and skillfully commanding cast all deliver strong performances.  It is playing at the Polonsky Shakespeare Center downtown Brooklyn through April 28.  Don’t miss it.

Domenick Danza

The Winter’s Tale

The Winter’s Tale

Theatre for a New Audience

Polonsky Shakespeare Center

March 17, 2018

Photo courtesy of
Theatre for a New Audience

The Theatre for a New Audience production of The Winter’s Tale brings brilliant clarity to Shakespeare’s unique two part story.  The first half is dark and tragic, fueled by a King’s jealous passion.  The second part transitions into a love story full of redemption and forgiveness.  Director Arin Arbus magnificently weaves Shakespeare’s mixture of genres.  As the play shifts locations before the intermission, so does the tone, texture, and timing.  The cast seamlessly carries the audience through the journey to Shakespeare’s comic and enchanted conclusion.

When Leontes, King of Sicilia (played by Anatol Yusef), suspects his wife Hermione (played by Kelly Curran) of infidelity with his friend Polixenes, King of Bohemia (played by Dion Mucciacito), he lets his jealous nature rule his decision making.  He has Hermione arrested and orders Camillo (played by Michael Rogers) to kill Polixenes.  Camillo sees the error in Leontes’ judgement, vows loyalty to Polixenes, and exiles himself to Bohemia.  While imprisoned, Hermione gives birth to a daughter, who Leontes suspects is not his.  He sends Antigonus (played by Oberon K. A. Adjepong) to abandon the infant in a far off, baron location.  While on trial, Hermione collapses after hearing that her son, Prince Mamillius (played by Eli Rayman) has died of grief.  Shortly after the Oracle of Delphi confirms Hermione’s innocence, Paulina, the Queen’s lady-in-waiting (played by Mahira Kakkar), delivers the tragic news that she has died.     

The Cast of The Winter's Tale
Photo courtesy of Theatre for a New Audience

Antigonus chooses to leave the infant princess in Bohemia with a chest of gold and jewels that belonged to Hermione.  He defends the infant from a bear attack, and is himself devoured.  A shepherd and his son (played by John Keating and Ed Malone) find the child, name her Perdita, and raise her as their own.  Sixteen years pass and Perdita (played by Nicole Rodenburg) falls in love with Polixenes’ son Florizel (played by Eddie Ray Jackson).  He defies his father by vowing to marry her.  Camillo, in an effort to make amends with Leontes, tells Florizel to take his bride to Sicilia and ask Leontes to marry them.  When they arrive in Bohemia, it is discovered that Perdita is heir to the throne of Sicilia.  The love between her and Florizel reunites Leontes with Polixenes.  In the final moment of the story, Paulina unveils a statue of Hermione.  Leontes becomes emotional at the excellence of the likeness.  His remorse and love is so great that the stature is brought to life. 

Director Arin Arbus
Photo courtesy of Theatre for a New Audience

The cast brings truth to the depth of emotion in the tragic first half of the show, then joy to the lighthearted frolic of the second half.  All the characters develop over the sixteen year time span between these sections.  Ms. Arbus skillfully illustrates Shakespeare’s theme of atonement and forgiveness that comes with the passage of time.  Mahira Kakkar (as Paulina) creates a clear through line of this theme with the persistence and fortitude in her character.  Her transition of age and demeanor are concise.  Her character observes the growth and change of Leontes, waiting to unveil the statue of Hermione until he is truly rehabilitated.  Is it magic, or her and Hermione’s secret plan to stay hidden until the time is right?  See the production and decide for yourself.

The Winter’s Tale is playing at Theatre for a New Audience’s Polonsky Shakespeare Center in Downtown Brooklyn through April 15.

Domenick Danza

Measure for Measure

Measure for Measure

Theatre for a New Audience

Polonsky Shakespeare Center

July 1, 2017

Photo courtesy of Theatre for a New Audience

The Theatre for a New Audience production of Measure for Measure brings this dark Shakespeare comedy to life with unexpected vim.  Director Simon Godwin sets the play in overtly promiscuous locations.  This strongly frames the need for severity and verifies the test for moral corruption.  As with every Theatre for a New Audience production this season, the design elements are well conceived and the casting is stupendous.

When the Duke (played by Jonathan Cake) is brought down by his own misconduct, he delegates his power to Angelo (played by Thomas Jay Ryan) in order to seek respite and reflect.  Angelo’s first act is to condemn Claudio (played by Leland Fowler) to death for lewd acts.  Claudio convinces his friend Lucio (played by Haynes Thigpen) to find his sister Isabella (played by Cara Ricketts) in order to persuade Angelo to be merciful.  Isabel, who is about to take her holy vows, agrees to speak on her brother’s behalf.  What ensues proves the Duke’s suspicion that corruption breeds from power.  He disguises himself as a monk to observe Angelo’s behavior and assist Claudio and Isabella in their fight for justice.

Thomas Ray Ryan & Cara Ricketts
Photo courtesy of Theatre for a New Audience

Cara Ricketts, Thomas Jay Ryan, and Jonathan Cake fearlessly lead this amazing cast and take the audience on a phenomenal journey of desire, doubt, and righteousness.  Jonathan Cake is commanding and magnanimous as the Duke.  His character is both flawed and charming.  He is strong and magnetic in the follow through of his cunning plan to expose Angelo’s true self.  Cara Ricketts masterfully discovers and exposes the many layers in the character of Isabella.  Her fears, her beliefs, and her loyalty all combine to deliver Shakespeare’s words with a fervent focus.  Thomas Jay Ryan’s Angelo is obstinate and strong willed.  The glimpse into his soul and desire is surprising at first.  The severity of his force and shame is brutal and real.  These three actors make bold choices with subtle nuances that set the stage on fire and engage the audience on numerous levels.

Jonathan Cake
Photo courtesy of Theatre for a New Audience

The final act is superbly directed.  The action builds steadily, bringing all the elements of the story to climactic brilliance.  There are strong performances by Hayes Thigpen, Merritt Janson, Oberon K.A. Adjepong, Christopher Michael McFarland, and January LaVoy.

Measure for Measure is playing downtown Brooklyn at the Polonsky Shakespeare Center through July 16.  Don’t miss it! 

 

Domenick Danza