The Conference of the Birds at the Folger Theatre

Imagination and creativity are in full bloom in the Elizabethan theatre at the Folger Shakespeare Library.  Director Aaron Posner mounts a delightful production of Jean-Claude Carriere and Peter Brook's adaptation of The Conference of the Birds.   This 12th century Sufi poem by Farid Uddi Attar uses the birds of the title as a metaphor.  Their long arduous quest to find their king stands in for mankind's longing to attain enlightenment.

The birds of the world are sad as they have no king.  A wise hoopoe (a type of kingfisher) advises that the birds do have a king, the mythical Simorgh, but they will have to undertake a long difficult journey to find him.  Many of the birds are frightened and come up with various excuses as to why they should not undertake the journey.  Some birds give up, others die, but those who succeed are given the reward they seek.

Interspersed with fables that illustrate the challenges the birds face, The Conference of the Birds invites comparison with The Arabian Nights or The Canterbury Tales.  In fact, anyone who has witnessed Mary Zimmerman's adaptation of the former or her Ovid's Metamorphosis which is being mounted at Arena Stage in 2013 will find a great deal of similarity in The Conference of the Birds staging methods.  

Meghan Raham's scenic design enhances the Elizabethan-style stage succeeding in disguising the pillars and balcony in an unobtrusive way.  Olivera Gajic's costumes flow over the actors' bodies.  They are not literal bird costumes, which is a good thing.   Yet, some of the pieces which are added to the basic earth-tone garments, such as the beautiful robe donned by the peacock are suggestive of the bird theme.  Tom Teasley provides a one-man musical accompaniment that is rich in its themes and perfectly balanced without overpowering the actors' words.

The ensemble of eleven led by Patty Gallagher's Hoopoe are a unit.  Whether flying as a flock or listening as a few tell a story, they embody the birds they represent with a clarity of motion and feeling that makes this a worthy evening of theatrical storytelling.

The Conference of the Birds is being performed at the Folger Theatre through November 25, 2012.  For tickets and other performance information, please visit www.folger.edu/theatre

Annie at the Palace Theatre

The popular 1977 musical Annie has returned to Broadway.   While this production contains some truly wonderful performances, particularly our beloved leading orphan and the billionaire whom she enchants her way into his heart, this current incarnation feels uneven and flat.   This is a shame as there is the kernel of a truly brilliant show lying tantalizing out of reach.

Annie, based on the comic strip with book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin  tells the tale of our intrepid heroine.  Left in an orphanage as a baby with half of a heart locket and a note promising to return one day, Annie dreams of being reunited with her parents.  To that end she frequently runs away from the man-starved, alcoholic Miss Hannigan who runs the orphanage. During one of her escapes she finds a stray dog, whom she names Sandy. The two bond as Annie sings that Tomorrow will be a better day.  Returned to the orphanage by the coppers, Annie is about to be punished when Grace Farrell, assistant to the billionaire Oliver Warbucks arrives to invite an orphan to spend Christmas with the richest man in America.  Once there, Annie charms her way into Warbucks heart and he asks if he can adopt her.  Annie declines saying that she will someday find her real parents.   A national appeal draws the attention of Miss Hannigan, her shady brother, Rooster and Rooster's gal pal, Lily who plot to claim the reward money by posing as Annie's parents.  Exciting adventures and even a visit to FDR eventual lead to a happy ending for everyone.

Despite a terrific set and costume design, director James Lapine and choreographer Andy Bankenbueler never seem to let this production fill the cavernous Palace Theater.  Large production numbers such as NYC and New Deal for Christmas don't raise the roof.   Some character interpretations seem out of place in a storybook musical.   You know you have a problem when Clarke Thorell's Rooster Hannigan is a much more compelling character when he is impersonating Annie's father than he is when he's playing the slippery con man.   Easy Street the villains' signature number usually stops the show.   Here it just feels flat and uninspiring.

Katie Finneran like every subsequent Miss Hannigan has the ghost of Dorothy Loudon haunting the minds of theatergoers or those with access to You Tube.   It is refreshing that she is trying a different interpretation.  However, her Miss Hannigan seems mired in natural realism instead of the comically evil foil we are dying to love to hate.

The orphan girls are charming and each has a distinct personality.  They do seem to have had their voices infected by the Noo Yawk dialect of the Newsies newsboys from the other side of Times Square.

Lilla Crawford's Annie is tough, but utterly charming and her smile lights up the far reaches of the Palace's highest balcony.   She has a clear belting voice and shows genuine emotion particularly in her signature tunes Maybe and Tomorrow.   She is well matched by her Daddy Warbucks.  Anthony Warlow equally commands the stage and has great poignancy in his second act Something Was Missing.   When the two combine on I Don't Need Anything But You the potential of this revival is fully realized for probably the only time in the entire two hours plus running time.

A special nod must go to famed animal trainer William Berloni who has once again worked his magic in finding a very special dog to portray Sandy.  Young Sunny is a rescue dog who, as stated in her biography has the "soulful eyes" of the original Sandy.   Mr. Berloni's amazing work over the decades since the original production of Annie to find incredible animals for the theater has given so many abandoned animals a chance at an amazing life.  Sunny and her understudy Casey are ambassadors for the thousands of shelter animals that need a second chance.

Annie is playing the Palace Theater on Broadway.   For tickets and other performance information please visit www.anniethemusical.com or www.ticketmaster.com.

War Horse - U.S. National Tour at the Kennedy Center

Michael Morpurgo wrote the novel War Horse in 1982.   He was deeply moved by stories he had learned from relatives and acquaintances about their experiences in World Wars I and II.   When he moved to Devon in the mid-1970's he became interested in the compelling stories of the horses that served in wartime.     It is known that  tens of millions of men lost their lives or were wounded on all sides during World War I.   The cost to the civilian population was equally devastating.    Through conversations with local Devon villagers, Mr. Morpurgo learned of the loss of the horses pressed into service.  8 million horses died serving in the Great War.    Used as cavalry mounts and to pull ambulances and guns, the British army alone used approximately 1 million horses in the war effort.   Of those million, 62,000 returned home, the rest died or were sold after the war, usually to be used in the devastated areas of France and Belgium as meat.     Mr. Morpurgo made the bold decision to tell the story of World War I from the point of view of one of those horses.    By doing so, he was able to tell a balanced story of the war from the point of view of the British and German forces and the French civilians caught in the middle.    The difficulty becomes how does one translate such a work to the stage.    

War Horse began in the United Kingdom as a production of the National Theatre of Great Britain.   In 2011 the Broadway production opened at Lincoln Center in the Vivian Beaumont Theatre.   In New York, the creative staging coupled with the relatively intimate feeling the Beaumont Theatre created led to an emotionally engaging evening of theater.  How does War Horse work when adapted for the variety of staging conditions inherent in a national tour?  At Lincoln Center the stage was equipped with a turntable and the thrust stage and initmate raked balcony placed the action of the play close to the audience.  The Opera House at  Washington D.C.'s Kennedy Center is cavernous.  As a result, some of the more intimate moments are lost.   Yet, the operatic nature of this play's scope becomes more apparent.  The cast may not be able to bring Joey and the soldiers into the audience as they did at Lincoln Center.   The National tour's cast still manages to create a compelling heart-felt tale of the ravages of war, told through the experiences of an amazing horse.

The original novel told the story entirely from the point of view of Joey the horse.  The script by Nick Stafford opens up the story to include not only Joey, the beautiful thoroughbred and draft mix who remains the focal point, but also the coming of age of the young Devon farm boy who loves him,  Albert Narracott.    This is not just a story of World War I, it is truly the story of Albert and his family and how they deal with the difficulties in life.    Albert's father, Ted is an alcoholic who is bound and determined to prove himself to be as successful as his brother, Arthur.   Ted was unable to serve in the Boer War and has a huge chip on his shoulder in the mistaken belief that because he stayed home no one in the village respects him.   Ted is a foolish man and risks his family's security by outbidding Arthur in a horse auction for young Joey the colt, but imperils the family farm as he spends the mortgage money to buy the horse. 

It is through this foolish act that Joey and the young Albert meet.    Through gentle persuasion Albert gains Joey's trust and trains him and soon they are galloping the countryside.   Arthur cannot stand that Ted bested him and by plying him with alcohol gets him to bet that Joey can learn to plow a field in one week's time.    Albert is furious with his father, but agrees to try on the condition that if he succeeds then Albert will become Joey's owner.    Yet, Ted betrays his son when shortly after the contest, Ted learns that the British Army will pay 100 pounds for an officer's cavalry mount and sells Joey.    Joey is sent to to France where he will see the carnage of war, first as a British cavalry horse.  Then in the ensuing chaos of battle Joey ends up on the German side, alongside another British horse, Topthorn.    Respite is little and Joey sees and suffers many torments.   Meanwhile, young Albert runs away from home, lies about his age and  joins the army to find his beloved horse.     Will Joey and Albert ever be united again?

The set design by Rae Smith is deceptively simple.  The few set pieces are easily manipulated by the actors whether in the trenches at the front or the Narracott farm.  There is a large scrim-like gash across the top of the stage. Upon this scrim projections of  marvelous sketches are drawn in front of our eyes showing everything from the Devon countryside to the growth of Albert and Joey's bond to the haunting skies over a battlefield.   Rae Smith also designed the wonderful sketches and the perfect costuming.   

Adrian Sutton has created a stunning score reminiscent of the time period.  The score is equally intimate as needed and at times lushly epic to accompany the scale of the war scenes.  John Tams original songs are timeless and could easily be of the time period.  Those songs are poignantly sung by John Milosich accompanied by the instrumentation of Nathan Koci.  The direction adapted from the original by Marianne Elliott and Tom Morris by Bijan Sheibani emphasizes the emotions inherent in the story.    Adrienne Kapstein's movement and choreography for the horse sequences must be witnessed in person to see their effectiveness.

That brings us to the horses.   Adrian Kohler with Basil Jones for Handspring Puppet Company has created utterly amazing life-size puppets to portray Joey, Topthorn and all of the other horses in the production.    Each horse takes three actors to bring to life.  Due to the exertion required, multiple actors portray the horses.  At the performance this reviewer attended Joey was portrayed as a Foal by Laurabeth Breya, Catherine Gowl and Nick Lamedica, Joey as a stallion by Christopher Mai, Derek Stratton and Rob Laqui, Topthorn by Danny Yoerges, Brian Robert Burns and Gregory Manley, Coco by Patrick Osteen and Jessica Krueger and Heine by Grayson DeJesus and Jason Loughlin.    The performance by these actors requires a Herculean effort over the course of the 2 hour and 40 minute running time.  These actors more than deserve their in costume and out of costume curtain calls. 

And what a performance it is.   These puppets are steps beyond the most effective puppetry that used on on the stage (yes, including The Lion King)    These horses not only must move in a stylized, yet realistic fashion but they manipulate their ears, mouths and tails, must be able to bear the weight of the human characters and they breathe.    It is incredible to watch and draws applause from the audience at moments early in the performance, but quickly the audience forgets the artistry of the puppets and accepts them as the leading characters of the story.

As for the human characters the ensemble is a wonderful cohesive unit, whether portraying soldiers, villagers or, upon occasion the fences of a horse pen or the barbed wire of No Man's Land.  Ultimately this is a story of a boy and his horse.   As the boy, Albert, who must learn the cruelties of the world through his foolish father's behavior and later during his insane decision to go to war to find his horse, Andrew Veenstra delivers a nuanced emotional performance despite the great distances the Opera House keeps between the actor and the audience.    It is through Mr. Veenstra that the puppet Joey becomes a living horse in the audience's eyes.   We love Joey because Albert loves Joey.   We root for their reunion, but the journey is long and we must witness, along with Albert the terror of war and the senseless losses along the way.     We are invested in this story because of the performances of Mr. Numrich and the actors who bring Joey to life.

This production premiered at the Royal National-Olivier Theatre in South Bank, London in 2007 and transferred to the West End in 2009.   The Broadway production will close in early 2013.  If you have a chance, please see the National Tour as War Horse is the embodiment of theatrical event.

Parental advisory:  While this play is based on a children's novel, bear in mind that it depicts scenes of war.   It contains gun shots and strobe lighting and very loud sound effects.  There are also a few instances of profanity in the context of battle scenes.    Some young children may be upset by the deaths of humans and horses alike.


The National Theatre of Great Britain's production of War Horse concludes its performances at the Kennedy Center for the Performing Arts in Washington, DC on November 11,2012.  For additional performances on the schedule for the national tour and ticket information please visit www.warhorseonstage.com/tickets/us_tour

Grace at the Cort Theatre

Craig Wright's play Grace, first performed in Washington DC at Woolly Mammoth Theatre Company in 2004 is now making it's Broadway debut at the Cort theatre.  Grace is a challenging work for the average audience member.    Beginning with its shocking ending and then winding back so that we see how this tragedy came to be, Grace can be slightly off putting.   Add in that it takes place in two identical Florida condominiums and that scenes take place at the same time within both spaces and Grace could be a muddy mess in the wrong directoral hands.   Dexter Bullard shapes this story in such a manner that an attentive audience will catch on to the script's eccentricities.   Briskly paced Grace builds from a hopeful second scene until it reaches the breaking point.  It becomes inevitable that the tragic scene which opens the play cannot be avoided.

The Grace of the title has a great deal to do with religious faith.  The married couple Steve and Sara have sold their business and moved from Minnesota to Florida to open a chain of gospel motels.  They have done so with the honest belief that what they are doing is God's work and that the persons who have agreed to finance the venture will follow through on their promises.  Grace also refers to an acceptance of the horrors of the past for the plays other two characters.  Sam, Steve and Sara's reclusive neighbor, is recovering from an accident which killed his fiancee and left him with extensive burns.  The fourth person in this tale is Karl, the elderly exterminator who does not believe in God because of the events he took part in as a young man in World War II Germany. His family tried to help the Jews which led to a terrible incident which haunts Karl to this day.  

Paul Rudd takes what could be an insufferable character and makes him somewhat sympathetic through pure honesty.   Steve is that born-again Christian with the capital C who uses every opportunity to share his faith with everyone he meets.  Mr. Rudd is so friendly and engaging that, despite the fact that Steve is one of those people you just want to slam the door on for being compelled to always discuss religion and seem oblivious to other people's discomfort, that you almost forgive him his transgressions    His spiraling out of control as his Job-like trials overwhelm him is the train wreck you cannot stop watching.    Yet his inability to not see what his blind focus on the hotel chain and not on the needs and desires of his wife clearly lets the audience see how the devastating finale will come to pass.

Kate Arrington as Steve's wife Sara is a more compassionate character.  Sara is just as religious, fervently praying with her husband.  She is increasingly left out of the business decisions and thus seeks meaning in her uprooted life by attempting to befriend the reclusive Sam.  Michael Shannon portrays Sam with deep intensity.   Sam in his hands is a man filled with anger and regret, lashing at the world, yet really punishing himself for deeds and words he cannot take back.   As Sara becomes alienated from her husband a close bond grows with Sam.  The release of pent-up emotions becomes a state of Grace for these two characters.

The fourth character, Karl only appears briefly in the play, but his appearances are significant.  Ed Asner takes on what seems to be at first a simple busy-body workman role designed for comic relief.  Yet, when confronted by the well-meaning Steve to share why he no longer believes in God, Mr. Asner delivers a harrowing tale of the nightmare that was World War II.  When Karl finds redemption for the horrific act he was forced to partake in so long ago, his acceptance of what he sees as God's grace becomes the catalyst for the play's finale.

Grace is a challenging work. The play does have some flaws in its confusing structure yet in the hands of these four actors and the capable direction of Dexter Bullard  ultimately leads to a satisfying evening of theatre.

Grace by Craig Wright is being performed at the Cort Theatre in a limited engagement through January 6, 2013.  For tickets and other performance information please visit www.graceonbroadway.com or www.telecharge.com.

The Heiress at the Walter Kerr Theatre

Ruth and Augustus Goetz' drama The Heiress based on the novel by Henry James receives a thoughtful revival under the sure direction of Moises Kaufman.   A tale in which the conflicts simmer to a slow boil can appear tedious and old-fashioned in lesser hands.   The revival at the Walter Kerr Theatre provides a satisfying evening of theater that can only come from good pacing and perfect casting.

Dr. Austin Sloper lives in an mansion in Washington Square in 1850's New York City with his only surviving child, the plain and awkward Catherine.   Catherine can never live up to the dazzling accomplished beauty that her mother was, and her father makes it clear that he believes that no one will ever wish to marry Catherine except to gain the immense fortune she will inherit.  At a social gathering Catherine meets Morris Townsend a charming young man and the two quickly fall in love and make plans to marry encouraged by Catherine's romance and intrigue-loving Aunt Lavinia.   Dr. Sloper makes it clear that he questions young Morris' intentions as Morris has already squandered a small inheritance.   Dr. Sloper reluctantly takes Catherine to Europe for six months to quash the romance.  Upon her return, Catherine makes plans to elope with Morris despite her father's decision to disinherit his daughter of 2/3rds of her income.   Whether Morris genuinely loves Catherine or is the fortune seeker her father claims leads to the climax of the tale and a life lesson Catherine never forgets.

The Heiress is a riveting tale.  The scene is perfectly set with the opulent scenic design of Derek McLane matched with the period costumes of Albert Wolsky.   The ensemble of ten actors is outstanding, led by the four well-known actors who portray the leads.   Judith Ivey is charming as the romantic Aunt Lavinia.  She conveys a genuine warmth for her socially inept niece.  Her defiance of Dr. Sloper in the hopes that despite Morris' motivations Catherine can achieve personal happiness provides needed comic relief from the drama.   As Morris Townsend, the suitor, Dan Stevens quickly gets the audience on his and Catherine's side.  It is only when the text dictates it that the unsavory aspects of Mr. Townsend surface.   It is a credit to Mr. Stevens that this character maintains some sympathy even as his motivations burble to the surface.

David Strathairn is appropriately stern and matter-of-fact when it comes to the life lessons he is forced to give his daughter Catherine.  At times cruel in his contempt for his disappointing daughter the audience still has some understanding of this unsympathetic man.  Jessica Chastain at first seems to adopt a few very artificial mannerisms in her depiction of Catherine's awkwardness.  However, her commitment to those mannerisms makes them a natural part of this sheltered young lady's persona.   Her growth as Catherine travels from shy girl who embraces her first chance at romantic happiness is delightful to watch.   When Catherine turns on the other characters as she harshly learns the lessons her father has drummed into her head leads to a commanding performance as Catherine transforms before our eyes into a confident woman who knows well what her life's sad destiny will be and fully embraces that destiny.

The Heiress is being performed at the Walter Kerr Theatre through February 10, 2013.  For tickets and other performance information please visit www.TheHeiressOnBroadway.com or www.telecharge.com.

Dying City at Signature Theatre in Arlington, Virginia

A soldier volunteers to serve in the War on Terror shortly after the 9/11 attacks.  He dies under mysterious circumstances leaving behind a widow and a twin brother both of whom struggle to come to terms with their loss.   One year later, the brother unexpectedly shows up at the widow's apartment.   Memories surface and emotions that lie buried are forced to surface with neither party finding a satisfactory catharsis.

Signature Theatre presents an intimate drama that shows the trauma of unexpected loss.    Yet, while Dying City shows us the effects of death in wartime upon the two closest relations to the deceased, these two characters show us in vastly different ways how this death has effected them.  This is a briskly paced three character play that last just over an hour.   Yet, within that hour this taut character study reveals a great deal.  

While this is a three character play it is acted by two individuals.  Thomas Keegan portrays both of the identical twin brothers, Peter and Craig.  These natural leads to a device in which excuses must be made for one brother to exit the stage and reappear as the other.   This could become tiresome, yet because the playwright wisely chose not to have every exit lead to a character change, it simply becomes a narrative device that is quickly accepted by the audience.   Mr. Keegan creates two very different brothers,Craig is revealed in flashbacks on the final night before his deployment as a man with a cruel streak, yet in his emails to his brother far more eloquent than he was in life to his wife.  Peter, the surviving twin is absorbed in his own grieving, so focused on his craving to reach out to the one other person he assumes is suffering the loss as much as he is that he cannot see the trauma his unexpected and unwelcome visit is causing.

Rachel Zampelli portrays the widowed Kelly as a woman who guards her true emotions. A therapist by trade, she is cautious and wary with Peter.  Yet, as the evening wears on and she is forced to relive the devastation that her late husband's deployment had on her and her marriage, she peels away her emotional layers.  

All three characters behave in a passive agressive manner when it comes to revealing their true emotional core and by the end of this emotive evening of theater the revelation of those feelings will leave you with more questions than the play can answer in its brief one-hour running time.

Dying City by Christopher Shinn is being performed in The Ark Theatre at Signature Theatre in Arlington, Virginia through November 25, 2012.   For tickets and other performance information please visit www.signature-theatre.org.

The Lion In Winter at the American Shakespeare Center

The contemporary classic tale of an aging King fighting to control the inheritance of his kingdom receives a rousing production at the American Shakespeare Center in Staunton, Virginia.   James Goldman's The Lion In Winter is a natural fit for this classical repertory company and the decision to pair this play with its natural sequel, William Shakespeare's King John is inspired.   If you wonder how a company dedicated to the staging practices of Shakespeare's time period translates those staging practices  when the play is a twentieth century classic that seems wedded to a traditional proscenium theater, worry not.   Just as this company proved with last season's production of Oscar Wilde's The importance of Being Earnest, this production seems to naturally lends itself to the Blackfriars' stage.    With the lights on, the audience becomes the courtiers of King Henry II's court, witnessing more intimately the troubled family dynamics of the King's melodramatic relationships.   The myriad scene changes appear seamless, thanks to the use of those company members who are providing the music for this production making the scene changes as deftly as chess players setting up a high stakes game.   With the vocal stylings of Chris Johnston providing Christmas carols in a manner reminiscent of the renaissance, the audience is completely enveloped in this tense family gathering.

It is Christmas 1183.   King Henry II has summoned his imprisoned wife, Eleanor of Aquitaine and his three sons to attend the festivities.  His eldest son, Henry, the young King, has died.  Richard, the eldest remaining son, is favored by his mother to succeed the throne  and is best known for his military prowess.  The teenage John, is favored by his father.   The middle son, Geoffrey, knows that while he will not inherit the throne he can use his intellect and craft to be the power behind the throne.   Into this mix enters the young Phillip, King of France who has come to settle territory disputes with King Henry and solve the betrothal of his sister, Alais.   Alais, raised at the English court since she was a child, is Richard's intended bride, but has become the mistress of King Henry.   A battle of wits and grave emotions ensues.

The Lion In Winter is a most satisfying historical drama.   The family dynamics of the first Plantagenet king has provided dramatic fodder for generations.  It is a credit to the writing of James Goldman that the amount of historical material revealed within the play does not bog down the proceedings.  Instead it provides for high stakes drama.   Here, the perfectly cast ensemble brings this family to exciting life.

Tracie Thomason portrays the gentle Alais.  In love with her King, Alais is a political pawn who knows that at the drop of a hat her destiny will be decided most likely without her consent.  Ms. Thomason shows a genuine affection for the much older Henry, yet when he betrays her love and trust the beginnings of an awareness of political reality grows.  Not for nothing does Alais warn that she could cause a great deal of trouble if she so chose.

As her brother, Philip, Rene Thornton, Jr. clearly demonstrates that this young king is a force to be reckoned with.   In the climatic scene of act one, it is Philip who orchestrates the shattering of the king's delusions involving the loyalties of his scheming sons.  Mr. Thornton relishes proving to the old lion, Henry that he is no mere boy to be schooled in kingship.

John Harrell portrays Prince John as a spoiled teenager, but Prince John should not be underestimated.   Willing to do anything to remain his father's favorite and inherit the throne, Mr. Harrell shows that the young John is the serpent in King Henry's bosom.    

Geoffrey, the middle son, is usually portrayed as a cynic who is well aware that he is overlooked by his parents in the quest to inherit the throne.   What makes Gregory Jon Phelps portrayal much more nuanced is how Mr. Phelps makes it clear that Geoffrey craves his parent's approval.   His Geoffrey is genuinely hurt that he does not have his parents' love and affection.  It is a very interesting perspective on a character known for his wit and sarcasm in the text.

Benjamin Curns Richard is the plainest spoken son.   His Richard is the strong warrior, the natural leader and shows great piety when needed.   Mr. Curns bravely embraces Richard's darker nature as he is forced by King Philip to acknowledge Richard's inner demons.

Tracy Hostmyer and James Keegan are well matched as Queen Eleanor and King Henry.   These fiercely dynamic monarchs wage war with their words, yet the love and lust that is hinted at in the script always lies just beneath the surface.   It is certainly true with these actors that love and hate are but two sides of the same emotional coin.   The battle for control is a tight game of chess, yet even though, in the end, King Henry proves that the old lion still has his mettle, Eleanor is just as strong, the caged lioness who will be leashed upon the world again once Henry breathes his last.

James Goldman's The Lion In Winter is being performed in repertory with William Shakespeare's The Two Gentlemen of Verona, The Merchant of Venice, Cymbeline and King John through November 24, 2012.  For tickets and other performance information, please visit, www.americanshakespearecenter.com.

Please note:  The production of King John being performed as part of this repertory has Tracy Hostmyer, John Harrell and Rene Thornton, Jr. portraying the same characters from The Lion In Winter.  Benjamin Curns portrays the bastard son of his character Richard the Lionheart.  It is a rare opportunity to see both of these plays performed in the same season with the same actors.