The great thing about Mark Leiren-Youngâs one-man play, Shylock, is that, at its core, donât we all only care about Shylock when we watch/read Shakespeareâs The Merchant of Venice? Itâs not that the play doesnât provide a still-relevant insight into the anti-Semitism which plagued Shakespeareâs time, which it does. Itâs not that there arenât other dream roles for men and women alike to play, which there are. Itâs simply that the crux of the playâs intrigueâor for that matter, playsâis what happens to Shylock. Doug Brook delivers a conversationally impactful turn as an actor playing Shylock in this excellent play.Â
Set in a talkback format, Leiren-Youngsâ script allows for the actor to freely address, rant at, and comment to the audience. The bonus: there is little pre-existing knowledge one needs of Shakespeareâs text to enjoy this play. However, fans of The Bard will be delighted with how Brook delivers the Shakespearean text in pairing with the modern vernacular. The Bard is still respected to this day because of his foresight into social issues, right? If nothing else, this play confirms that very foresight.
The strength in Brookâs delivery rests in his knack for appealing to the audience. Most one-person shows require charisma or an âitâ factor which brings the audience into the play without seeming desperate. Brook has all these qualities while coupling with them a focused trajectory of what messages need to be hit for the audience. It can be assumed that part of this is in Jonathan Rhys Williamâs astute direction, which makes the play clip along at a palpable pace. The play is both available for streaming and in-person viewing, so both elements are at play here. Brook never gets lazy, though, even when he is sitting in more of the social commentary/âI-have-something-to-sayâ moments because this play has several important elements to comment upon. Brook commands the attention when necessary and allows the audience to ease back into their seat when appropriate. Issues of politics, ignorance of Jewish-culture, and the ever-divisive argument of Cancel Culture vs. artistic integrity are at play here, and Brook balances the load with supreme confidence.
Angie Higginsâ costume design is theatrically sound, resembling the expected Shylock characterâs garments while still letting the audience know we are getting a monologue from an actor playing Shylock. Kevin Daviesâ scenic design creates a lovely balance of onstage immediacy and backstage comfortability. Both elements provide foundation for the various emotional levels Brook must hit in both locales. Edward Hunterâs lighting is smart, providing the focus needed for Brookâs monologue to hit at different levels and moods as appropriate.
It is a swell event to see theatre being performed with live audiences while still honoring accessibility for streaming viewers. This co-production by Tabard Theatre and Silicon Valley Shakespeare is a wonderful production, sure to entertain and provoke thought. Do find the time to support this play with your time, ticket money, and consent to being made aware of the prejudices that still reside in our every-day contexts. Shylock plays through June 20th. Go see this show!
Hello and welcome to this (delayed) Season Announcement Wednesday. This week's highlighted company is brought to us by a love for the Bard and the good ol' outdoors. I saw my first show at this company a few summers ago and had an absolute blast. Since then I've seen a few more of their shows, and have even had the pleasure of treading their boards for a summer. Let's grab our picnic baskets and hike over to the park to see what Silicon Valley Shakes has in story for South Bay audiences in 2019!
Shows/Dates: 48-Hour Play Festival: Shakespeare Magic (January); Greatest Hits from the 48-Hour Play Festival (April);Â A Midsummer Night's Dream (June 7th - 23rd); Macbeth (July 26th - August 30th); The White Snake (August 2nd - September 1st)
Venues/Address: Sanborn Park @ 16055 Sanborn Road, Saratoga 95070
                              Willow Street Park @ 1320 Willow Street, San Jose 95125
Website: www.svshakespeare.org
Facebook: "Like" them at- Silicon Valley Shakespeare
Twitter: "Follow" them at- @SVShakes
Description: Silicon Valley Shakespeare just wrapped up their 20th season, and are showing no signs of stopping! Located in some of the most enjoyable, theatrically scenic-appropriate parks in the South Bay, they bring some of Shakespeare's most notable and lesser-done works to the outdoors. In addition, they are continuing their excellent 48-Hour Play Festival for the frantically inclined artists out there, and a Mary Zimmerman play to boot! I have had the pleasure of seeing their productions of Romeo and Juliet, The Complete Works of Shakespeare (abridged), Shakespeare in Hollywood, and Hamlet, among others. A few summers ago I had the extreme pleasure of playing Aramis in their production of Ken Ludwig's The Three Musketeers. Look at your calendar and be sure to carve out some evenings to head to the park for some Shakespeare next summer. Go see a show!
Before you all stuff your faces with turkey and drown yourselves in gravy, there's a new season to highlight! This company has become one of my summertime favorites to see theatre at. Outdoors, Shakespeare, and just an all-around lovely time taking in the art form we cherish the most. So, without much more ado, here's the 2018 season for Silicon Valley Shakespeare!
Shows/Dates: 48-hour Play Festival: ShakesSports (January 7th); Shakespeare's Most Wanted (April); As You Like It (June 8th - 24th); The Hood of Sherwood (July 27th - August 31st); Much Ado About Nothing (August 3rd - September 2nd)
Venues/Addresses: Lohman Theater @ Foothill College, 12345 El Monte Road, Los Altos Hills 94022
                                  Willow Street Park @ 1320 Willow Street, San Jose 95125
                                  Sanborn Park @ 16055 Sanborn Road, Saratoga 95070
Website: www.svshakespeare.org
Facebook: "Like" them at- Silicon Valley Shakespeare
Twitter: "Follow" them at- @SVShakes
Description: Silicon Valley Shakespeare presents a fun-filled season with some classics and a few premieres. I had the pleasure of seeing their productions of The Complete Works of William Shakespeare (abridged), Romeo and Juliet, Shakespeare in Hollywood, and Hamlet, among others. Two summers ago I had the thrill of performing with them in their production of Ken Ludwig's The Three Musketeers. This upcoming season promises to be another entertaining one; hope to see you at the park!
To be or not to be is not the prevailing question when it comes to Hamlet. More intriguing is how does one make Hamlet fresh and modern while still honoring the text? The joy of seeing/performing/working on a play from the Bard is that his plays can be interpreted and shaped in many different ways to reflect modern politics, social climates, economic highs and lows, or a multitude of other contexts. Angie Higgins has helmed a production of Hamlet at Silicon Valley Shakespeare with a casting choice that is the complete opposite of Shakespeareâs original production by having an all-female cast. The fanciful side of this choice is that the playâs impact is still very much intact. The effective side of this choice is how more empowering a play it becomes for the women who are playing the traditional male roles. With an overall strong cast, Miss Higginsâ âgirl powerâ-infused production hits the emotional and entertaining highs and lows that Hamlet promises.
  (Anne Yumi Kobori (Hamlet); Photo credit: Evelyn Huynh)
Anne Yumi Kobori takes on the titular hero with aplomb and connection to her other actors, but often misses the beat or humor coinciding with many of Hamletâs asides and monologues. Though very good at inviting the audience in to Hamletâs next plot or emotional turmoil when figuring out how to avenge his fatherâs murder, Miss Koboriâs pacing and cadence drives thru any beats of contemplation or letting the thought/emotion sink in. Jenafer Thompson delivers a passionate Laertes, full of vim and vigor. Miss Thompsonâs physical performance makes her a believable comrade whoâs ready to fight at any moment. Sarah Thurmond is a brooding, strong Horatio, making the exposition and information-ridden role not a burden but a welcomed character in each scene.
(Anne Yumi Kobori (Hamlet) and Doll Piccotto (pictured as Claudius); Photo credit: Angie Higgins)
Doll Piccotto and Melissa Weinstein deliver mesmerizing performances as the ultimate in royalty, Claudius and Gertrude, respectively. The emotional vulnerability and, literally, shaken presence Miss Weinstein infuses her Gertrude with stamps her performance with a caliber that any strong Gertrude should have. Miss Piccotto has a grand, domineering presence and vocal power that makes her Claudius a fantastic villain to see plot and examine. Miss Piccotto leaves no emotion unseen by solidifying her royal stature in prominent form. April Culver and Melinda Marks are a dynamite duo as Rosencrantz and Guildenstern, making their individual nuances stand on their own while still having a camaraderie that fits the text and Miss Higginsâ direction perfectly.
(Cast members of Hamlet; Photo credit: Evelyn Huynh)
Sara Renee Morris delivers a standout performance as the deeply troubled, emotionally-ridden Ophelia. Miss Morris has a clear journey from first line to beautifully-choreographed suicide, a journey that is effective on its own and in how it impacts Miss Kobori, Miss Piccotto, and Miss Weinsteinâs reactions. In a scene-stealing performance, Caitlin Lawrence Papp finds all the funny as Player King and First Clown. These scenes (obviously written for the notable character actors of the time) are in perfect sync with Miss Pappâs knack for delivering Shakespearean language with precise comedic inflection and timbre. Sonya Duffinâs choreography serves as a visually-pleasing complement to Miss Higginsâ staging; whether as a preview for an upcoming scene or a deeper look into what has just happened. Also, Miss Duffinâs choreography is consistently executed with commitment and story-telling intent. Lisa Claybaughâs costume design is absolutely fierce in setting the steam punk look these women are set in. Miss Weinstein doubles as the hair and makeup designer, and for good reason: the design is flawless. The hair especially is the best hair design I have witnessed in a Shakespearean production, filled with detail and character, elevating the look of the play to a stunning level.
Hamlet will continue its run through September 1st at Sanborn Park, so make your way out for an evening under the stars to check out the fabulous females take on one of Shakespeareâs best.
"Sherlock Holmes and the Adventure of the Suicide Club" show #659
To put Sherlock Holmes on stage is to give audiences a chance to see one of their treasured literary detectives solve some wild ride of a mystery while also attempting to make him an intriguing character to follow. Unfortunately for Jeffrey Hatcherâs play, Sherlock Holmes and the Adventure of the Suicide Club, his title role is more of a pawn for narration rather than dramatically interesting lead role. Larry Barrott dons the cap and cape of the famous detective and does his best to combat the drools of exposition Mr. Hatcher has burdened the role with. However, it is when Mr. Barrott gets the chance to interact with his fellow actors in the play that his Holmes begins to take shape as an individual rather than a device.
 (Larry Barrott (Sherlock Holmes) and James Lucas (Dr. Watson); Photo credit: Evelyn Huynh)
Sherlock Holmes is on the case to solve the mysterious happenings and deaths originating from an underground club known as the Suicide Club. When he pursues and achieves membership, the realizations are made throughout the play as to what is really going on and who is really behind these âsuicides.â As mentioned, Mr. Barrott does as best a job as he can to give Holmes the literary honor the role needs while trying to also make him a worthy role for the stage. The success of this comes when opposite James Lucasâ wonderfully charismatic Dr. Watson. Mr. Lucas delivers a capital performance by breathing a modern humor into the historically known Watson, balancing the narrations and in-scene dialogue quite well, and never missing an opportunity for a laugh or a guffaw. Dana Morgan gives a fabulous performance, doubling as love interest Christiane De Labegassier and the mysterious Magicianâs Assistant. As Christiane, Miss Morgan delivers a pitch-perfect French accent while striding in a classy posture, delivers a dramatically sound inflection, and completely embodies Mr. Hatcherâs best-written character.
(Larry Barrott (Sherlock Holmes) and Dana Morgan (pictured as Christiane De Labegassier); Photo credit: Evelyn Huynh)
Tonya Duncan is a consistent strength in the cast as the Club Secretary, making each selection of the fatal billiard balls more climactic than the last. Her diverse delivery as the know-it-all Secretary and moonlighting gig as a magician gives Miss Duncan a nice range of suspicious behavior in her performance; her performance-based turn of trickery is a clever plot-twist when a certain unexpected act occurs. Drew Benjamin Jones is a strong Nicky Starloff, the center of all the murderous controversy. Russian accent and all, Mr. Starloff is a perfect casting choice for the paranoid-yet-stalwart member of royalty who is simply following his heart to the best of his ability.
 (Tonya Duncan (pictured as Club Secretary); Photo credit: Evelyn Huynh)
Shawn Andreiâs direction keeps the action clipped and well-focused throughout, even though some of the stylistic scene changes give an occasional hiccup to the pacing. With such spitfire dialogue and plot twists and turns in nearly every scene from the middle of Act One on, Mr. Andrei has done a top-notch job in ensuring the audience can follow the exposition as much as possible. Complementing the performances are Melissa Sanchezâs beautiful costumes, setting the 1914 London period with wonderful flourish and colorful diversity. Jim Culley and Ting Na Wangâs scenic design has an excellent array of simple elegance for Holmesâ study and the Suicide Club meeting room, while giving plenty of space and open air to the streets and alleys of London. Being set in front of the beautiful Sanborn Park, the technical designs truly make best use of the backdrop scenery to their advantage.
Sherlock Holmes and the Adventure of the Suicide Club continues its run, in repertory with Silicon Valley Shakespeareâs production of Hamlet, through September 3rd. Book your seats now for an evening of theatrical mystery in the park!
This week's season highlight takes us down into the San Jose area, to a theatre company with a twist: experiencing theatre in the park! I have been attending shows with them for a couple of seasons, but this week I had my first rehearsal with them in prep for my debut with them as an actor. Their 2016 summer has just started, so what better time than NOW to highlight their offerings. Here is the 2016 season for Silicon Valley Shakespeare!
Shows/Dates: Love Labour's Lost (Now through June 26th, September 8th - 17th); Julius Caesar (July 29th - September 2nd); Ken Ludwig's The Three Musketeers (August 5th - September 4th)
Venues/Address: Love Labour's Lost is currently playing at- Willow Street Park @ 1320 Willow Street, San Jose 95125---and in its September run it will play at---50 E. 5th Avenue, San Mateo 94010
                             Sanborn Park @ 16055 Sanborn Road, Saratoga 95070
Website: www.svshakespeare.org
Facebook: "Like" them at- Silicon Valley Shakespeare
Twitter: "Follow" them at- @SVShakes
Description: Over the past couple of summers, I have had the immense pleasure to see Silicon Valley Shakespeare stage The Complete Works of Shakespeare (abridged), Romeo and Juliet, and Shakespeare in Hollywood. They have all been wonderfully performed, designed; being set in a gorgeous area of Sanborn Park is the icing on the cake. This summer I make my performance debut with them as Aramis in Ken Ludwig's The Three Musketeers. I implore you to check out their current production of ...Lost, either now or in the September run, and then make your plans to see the rest of the season. All for one, and one for all. Go see a show!
