So who wants to win tickets to see Orlando Bloom (!!!) and Condola Rashad in Romeo and Juliet sometime next month? I’m totally psyched to go see this as I think both stars are pretty rad

Reblog this, follow me, and tell me what your favorite Orland Bloom movie is, OR what your favorite show that you’ve seen Condola Rashad is. 

Winner will be announced next week! Good luck!

I saw Love’s Labour’s Lost at the Delacorte two Sundays ago after I found out my friend Steve was able to get an extra ticket for me. I missed out on Comedy of Errors, sadly, but I was stoked to see this one especially because Alex Timbers and Michael Friedman were behind the score. Oh, and did I mention that it was an hour-forty with no intermission? Lastly: the cast seemed pretty kick-ass. 

All of this was an equation for an awesome show.

Well, it had it’s moments. I would prefer to listen to Bloody Bloody Andrew Jackson any day (as I don’t remember any of Love’s score). The set was beautiful, the band was great (I love that the conductor was occasionally part of the cast), and the cast was pretty kick-ass.

I really enjoyed the performances that Patti Murin, Daniel Breaker, and Kevin Del Aguila gave. I thought it was really awesome to see Rory Thayer (the red head from the movie Accepted) onstage too. 

So I’ve seen better at the Delacorte, but I’ve also certainly seen worse. 

When shall we three meet again?

I love Macbeth. It’s my favorite of Shakespeare’s dramas. I studied it while I was abroad in London. I worked at the last broadway revival starring Patrick Stewart (I watched that production 13 times in all it’s 3 hour and 15 minutes of glory). I was excited but honestly skeptical when I learned it would be coming back again this season.

As a one-man show. That was one act and an hour and forty five minutes long. What?! But the silver lining was that Alan Cumming would be the star. He’d be playing all the characters. Still: the prospect was intimidating.

But yesterday I went to see the recent revival and I was absolutely blown the fuck away.

The premise is that Alan Cumming is a patient in an institution playing all these characters in his padded cell. They make full use of the three cameras and screens watching him. In all fairness, there are two actors in the show with him but they are there mostly to watch over him occasionally and sedate him when necessary.

The concept is truly heartbreaking to watch. Any time Cumming gets a little too into the action he’s imagined, the doctors rush in to sedate and put him back into his bed where he curls up in the fetal position and cries briefly.

Alan Cumming is a force to be reckoned with. He’s incredible. During the curtain call, he seemed very humbled and surprised to be receiving so much attention for his out-of-this-world performance.

I love Macbeth and if you do too, this is a production not to be missed.

Disclosure: My company works on this show, but I am in no way shilling for them. 

Alan Cumming Will Bring Toil and Trouble to Broadway in Solo Macbeth; John Tiffany Directs

I can finally talk about how excited I am for this! Mainly because it’s simply Macbeth (my favorite of the Bard’s g) but also because it sound incredibly interesting. 

And Alan Cumming? I’m pretty unable to picture him playing Macbeth, but since he’s done it before and received rave reviews, I’m sure he’ll kill it again.

This will be completely different from the 2008 Patrick Stewart revival of Macbeth, which I was completely in love with (I worked there and watched it 13 or so times), but I’m open to a new interpretation. 

Alan Cumming Will Bring Toil and Trouble to Broadway in Solo Macbeth; John Tiffany Directs

Patrick Stewart Macbeth to Air on PBS in October

This was an incredible production that I was fortunate enough to see 13 times (I worked there).  I was never so happy to be at a 3 hour show before.  I’m so excited that it’s being shown on PBS, I had no idea they had even filmed it.  Can anyone record this and put it onto a DVD for me?  I will be huddled in my apartment watching this and taking in the production in all of its glory again.

Patrick Stewart Macbeth to Air on PBS in October

So last week after a gut-wrenching lovely meal at UNO’s (it was Matt’s idea) on Columbus Avenue, Matt and I made our way over to the Delacorte Theatre to see A Winter’s Tale, the less popular of the two productions in Shakespeare in the Park this season (though the reviews would show that it’s the more impressive of the two by far). 

In the cast were such names as Jesse L. Martin and Jesse Tyler Fergeson (okay, so they aren’t really names unless you’re a theatre geek) but the ensemble overall was immensely talented.  I’d never seen A Winter’s Tale before so I was excited. 

A Winter’s Tale tells the story of a king, Leontes, who becomes convinced that his wife, Hermione, is cheating on him with Polixiene, another king, and banishes her from the kingdom.  Leontes tells Antigonus to abandon Hermione’s newly born daughter on the shore.  Luckily, the baby (named Perdita) is found by a sherperd who raises her for the next sixteen years.  Polixienne’s son falls in love with Perdita and protests from the parents ensues because they are all unaware of her royal background.

Being that this was my first time seeing A Winter’s Tale, I definitely missed a few things but because Shakespeare was such a genius writer, I got the gist of the plot (though I could’ve definitely used a second viewing).  The set was fantastic because instead of having a huge backdrop as Shakespeare in the Park so often uses, they let the castle in Central Park be part of the scene and it was perfect since the play takes place in a kingdom.

Costumes, sets, lighting (helped largely by the setting sun, which as always was perfect) were all simple yet beautiful.  Jesse Tyler Ferguson played the same goofy character that he always seems to play (but as always, he did it well).  Jesse L. Martin was honest and sincere as Polixienne.  Linda Emond (Hermoine), Ruben Santiago-Hudson (Leontes), and Heather Lind (Perdita) were perfectly cast, too. 

Shakespeare in the Park has put together another perfectly executed production this summer, and as always, it’s sad to see it another season come to a close this weekend.

“To be, or not to be [entertained]. That is the question.”

Every season when producers announce a new production featuring a Hollywood hunk or starlet (or multiple), the New York theatre crowds [and critics’] ears perk up as they fasten their criticism caps on and begin to conjure whether or not said-actor[s] can actually act.  When it was announced that Jude Law would be starring in Hamlet in New York, the reaction was no different.

Like it says to your left, I adore Shakespeare.  In my opinion, he’s a genius.  I studied his work in London in 2007 and have tried to take advantage of every chance to see a professional production of his work in New York since.  I read Hamlet [on my own] during my senior year of college, and liked it, though I thought it was quite long.  I thought, hey, since I liked reading it, I will definitely like seeing it.

When it was announced that the recent London production of Hamlet would be brought to New York for a short 4-month stint (bringing along with them Jude Law), I bought tickets at the AMEX pre-sale for my friend John and I for the last Sunday in September (also known as Flea Market Sunday!).  Summer came and went, and before we knew it the last Sunday in September had arrived.  John and I eagerly looked forward to a jam packed day, including a three-hour appearance from Jude Law.

The Broadhurst Theatre is not a large theatre – something John and I had forgotten – so we were pleasantly surprised when we saw that our “nose bleed” seats were actually more akin to sitting in the front mezzanine at The Palace Theatre (though we moved down to 5th row of the orchestra for the second act).

Remember when I said I would surely love the play?  Well, I forgot to breath for a moment when [Jude] Law first appeared  in the very first few moments after the theatre darkened… but that was pretty much the end of my excitement until the final scene.  Each act was one and a half hours long, and I’m sorry, Will, but Hamlet is not my favorite work of yours.

But let’s get one thing straight: Jude Law is a fantastic stage actor.  He definitely has talent both onstage and onscreen.

The set (by Christopher Oram) and lighting (by Neil Austin) are definitely deserving of special mention.  The lighting was similar to that of last years’ production of Macbeth, and the set was minimal, as always for Shakespeare, but had an edgy feel to it, which I loved.  One dishonorable mention was the actress portraying Gertrude, who was lackluster in every way.

So, I didn’t love Hamlet the way I thought I would, but it’s still a top-notch production regardless.

(Picture courtesy of Playbill.com)