The four-show slate will feature the Bard, Shaw from NYC’s Bedlam, and a Theresa Rebeck comedy.
Barbara Gaines’s Chicago Shakespeare Theater staged an ambitious yearlong program in 2016. I tried to match that ambition as an attendee, with mixed success.
Whether directing, writing, or irreverently adapting, the D.C.-based artist isn’t afraid of bringing himself to all his work.
Proving that the Bard can be revered with irreverence, Folger Theatre presents a ‘lost’ play that never was.
The season will feature works by the Bard and Jane Austen and will be presented alongside an exhibition highlighting their work.
Meg Miroshnik’s ‘The Droll’ looks at the theatre of Elizabeth’s time, while Karin Coonrod’s ‘texts&beheadings/ElizabethR’ deconstructs her language.
A celebratory season of Shakespearean fare, limited engagements and special events.
Why have musical adaptations of Shakespeare plays become so plentiful?