Set To The Music of The Beatles A Hilarious As You Like at STC Tweaks Shakespeare with a Phenomenal Cast

Set To The Music of The Beatles A Hilarious As You Like at STC Tweaks Shakespeare with a Phenomenal Cast

As You Like It
Shakespeare Theatre Company
December 10, 2023
Jordan Wright
Special to The Zebra

The cast of As You Like It. (Teresa Castracane Photography)

Imagine if Gilbert & Sullivan huddled with Tom Wolfe (author of The Electric Kool-Aid Acid Test), and in popped Ken Kesey and his Merry Pranksters, high as kites on Tim Leary’s little Harvard experiment, only then might you glean some insight into the mind of Daryl Cloran who adapted and wrote this madly innovative interpretation of the beloved comedy.

This wild and crazy production of As You Like It is a game changer for keeping Shakespeare relevant to both younger audiences and those of us who have seen it umpteen times and crave a fresh take. It’s creative, ultra-modern and so massively off the chain that even Lewis Carroll wouldn’t be able to claw his way out of this rabbit hole – and he wouldn’t want to. After the five minutes I thought I may never be able to see it presented in any other way. It’s that exciting, as is this dream cast who sing, act, fight and play all the instruments. Shakespeare would have sat right on stage, which is what many of the audience can opt to do. Select those seats if that’s your jam.

Naomi Ngebulana and Matthew MacDonald-Bain. (Teresa Castracane Photography)

Did The Beatles know that they wrote some of the finest musical theater tunes? Some say it was Paul McCartney’s show-biz father’s vaudeville influence. Others say it’s because by then they had enough performance experience that they could truly work a crowd into a frenzy. And frenzy is what this mash-up gets from their audience who are blissfully and happily gobsmacked.

Using the music of The Beatles, it pings our collective memories of the boho days of the mid-60’s through the mid-70’s when the British moptops ruled the music world and bell bottoms and peace signs evoked San Francisco’s Summer of Love. Here the Forest of Arden looks more like California’s Muir Woods and flower power meant all you needed was love.

Emotions go from laugh out loud to sweetly tearful with Rosalind singing velvet-voiced “You’ve Got to Hide Your Love Away”, Phoebe crooning “Something”, Orlando and Rosalind dueting on “Can’t Buy Me Love”, Silvius hamming it up to “Love Me Do”, Touchstone belting “Helter Skelter”, and the entire ensemble singing “Across the Universe”. There’s so much to take in.

Jeff Irving, Naomi Ngebulana, Chelsea Rose, and Evan Rein. (Teresa Castracane Photography)

Twenty-three original Beatles’ tunes are woven into the fabric of this wildly original musical which starts off with a WWE-style wrestling match in a full-size ring, emceed by an Elton John look-alike who plays Touchstone. Standouts are everyone in this singular cast who have tons of talent using every performance trick up their “copulatives” (a made-up term from the show) sleeves. Think of a classic Shakespeare line from As You Like It and then tack on witty asides, grunts and groans, stutters, slapstick and pratfalls. It’s all here and proves that playing it to the hilt is its own reward.

With Henry Beasley as William/Jacques de Boys/Assassin/Forest Lord; Jennifer Copping as Corin/Dame Frances’ Attendant; Andrew Cownden as Jacques/Le Beau; Ben Elliott as Silvius/Forest Lord; Matthew Ip Shaw as Mustachio; Jeff Irving as Orlando de Boys; Kayvon Khoshkam as Touchstone; Alexandra Lainfiesta as Phoebe/Eleanor Rigby; Jennifer Lines as Dame Frances/Dame Senior; Matthew McDonald-Bain as Oliver de Boys; Norman Moses as Adam/Martext; Naomi Ngebulana as Celia; Evan Rein as Amiens/Hymen/Assassin; Chelsea Rose as Rosalind; Isaiah Terrell-Dobbs as Forest Lord; Marco Walker Ng as Charles the Wrester/Forest Lord; Sally Zori as Forest Lord.

Conceived by Daryl Cloran & Christopher Gaze on behalf of Bard On The Beach Shakespeare Festival; Music Director Ben Elliott; Choreographer and Fight Director Jonathan Hawley Purvis; Scenic Designer Pam Johnson; Costume Designer Carmen Alatorre; Lighting Designer Gerald King; Sound Designer Alistair Wallace; Pre-Show Content and Comedic Contributions Kayvon Khoshkam.

Highly recommended. Don’t miss one of the best productions of the year!

The cast of As You Like It. (Teresa Castracane Photography)

Through January 7, 2024 at Sidney Harmon Hall, 610 F Street, NW, Washington, DC 20004. For tickets and information call the box office at 202 547-1122 or visit

In Macbeth in Stride a Fierce and Fabulous Lady Macbeth Showcases Female Empowerment in this Rock/Gospel Musical at STC

In Macbeth in Stride a Fierce and Fabulous Lady Macbeth Showcases Female Empowerment in this Rock/Gospel Musical at STC

Macbeth In Stride
Shakespeare Theatre Company
Jordan Wright
October 17, 2023
Special to The Zebra

Charlie Thurston and Whitney White in MACBETH IN STRIDE. (Teresa Wood)

On a stage built with zigzag catwalks, three black-robed Witches appear. With smoke wafting from the bowls they carry, they crisscross the metal runways, incanting the familiar “Double, double, toil and trouble” when there emerges a statuesque goddess in a skintight, black-sequined jumpsuit. Long, dark, wavy hair crowns her magnificence as she fiercely calls out, “What’s the story?” “Black, brown, femme,” reply the witches, urging her to seize power.

Creator and lead, Whitney White, inhabits the role of Lady Macbeth, except in White’s version of the play, the Lady calls the shots. With the witches as her collaborators in a soulful sisterhood, this sultry mama is all about female empowerment – flipping the script by taking Macbeth’s role and wholly owning it. Backed by an onstage band of keyboard, drums, electric guitar, electric bass + additional electronika, our Lady Macbeth can sing. And how! Rocking a three-and-a-half octave range, White wows the audience through thirteen musical numbers incorporating Gospel, Hip-Hop and Soul.

Chelsea Lee Williams, Steven Cuevas, Stacey Sargeant, Ximone Rose, and Whitney White in

This seductive, sultry Lady Macbeth is as eager to find love as she is to have control and she lets us know it in the number, “Knowledge is Power”. She wants it all. And, why not? When Macbeth strolls onstage, tatted and chest-bared, slickly virile and playing a full-size accordion, she lets us know she’s found her man with the song, “Hallelujah”. Occasionally White backs herself up on piano and, in her softest and highest vocal range which could captivate and tame a charging lion, this Lady convinces us she is going to get what she wants whatever it takes.

The dialogue alternates between street slang and familiar Shakespearean lines. Referring to King Duncan, she and the Witches rap to Macbeth, “You better kill that motha.” With the notable Shakespeare line, “Screw your courage to the sticking place and we’ll not fail,” she promises him that together they will take the throne. When he refuses to commit the murder, she calls him a coward. Here the theme of female empowerment also includes the wife committing the murder to get Macbeth crowned and crowning herself in return. Quite the power play for this Lady.

Steven Cuevas, Charlie Thurston, Chelsea Lee Williams, and Ximone Rose in MACBETH IN STRIDE.
(Teresa Wood)

The production features thirteen musical numbers and plays out in rock concert form. Most impressive is the cleverness of the script, the humor, the superb vocal chops of the entire cast and their crafty performances. Highly original, White’s fresh twist on Lady Macbeth gives us pause to ponder all Shakespeare’s writings. What if a woman were in charge?

Highly recommended. Fierce and fabulous!

Chelsea Lee Williams, Stacey Sargeant, and Ximone Rose in MACBETH IN STRIDE. (Teresa Wood)

Starring Whitney White, with Charlie Thurston as Macbeth and First Witch, Stacey Sargeant; Second Witch, Ximone Rose; Third Witch, Chelsea Lee Williams.

Directed by Tyler Dobrowsky & Taibi Magar in association with Philadelphia Theatre Company & Brooklyn Academy of Music. With Choreography by Raja Feather Kelly; Orchestrations by Steven Cuevas and Whitney White; Scenic Design by Daniel Soule; Costume Design by Qween Jean; Lighting Design by Jeanette Oi-Suk Yew; Sound Design by Nick Kourtides; Wig, Hair & Makeup Design by Rachel Padula-Shufelt.

Through October 29th. Shakespeare Theatre Company in the Klein Theatre located at 450 7th Street, NW, Washington, DC 20004. For tickets and information visit or call the box office at 202 547-1122. 

King Lear Smashes All STC Sales Records

King Lear Smashes All STC Sales Records

King Lear
Shakespeare Theatre Company
Jordan Wright
March 5, 2023
Special to The Zebra

Patrick Page in King Lear (Photo/DJ Corey Photography)

As a cautionary tale King Lear offers up lessons so dark, so full of evil premonition and so dangerously dire, one might be loath to examine its foreshadowing against the present day. That it reveals the fates and foibles of the human condition is what Shakespeare serves up for us to ponder. And ponder we do on the treachery, the perfidy and the murderous jealousy of this dynasty spelled out in spades.

Director Simon Godwin wrangles this beast of a play into a modern-day crime drama with all the attendant twists and turns – taking us on a grizzly journey into the inner workings of one uber-twisted royal family. I won’t bother describing the plot. Go online for that. What I want you to know and feel is the way Godwin has approached it.

Craig Wallace, Julian Elijah Martinez, and Bekah Zornosa (Photo/DJ Corey Photography)

It struck me as a cross between The Real Housewives of the British Court (the king’s two shrewish daughters Regan and Goneril) and Hitchcockian film noir. Set in an airplane hangar with his soldiers garbed in camouflage, Lear delivers his edicts describing the division of his lands to his daughters. The daughters must pledge their undying love to their father to secure the best lands. As an early Christmastime entertainment originally written for King James I, it seems it wasn’t meant to be a family-friendly amusement, but more of a warning – as in “Watch your back, your Majesty.”

Is it shocking? Yes! within a dire series of political circumstances that seem to correlate with certain dynasties current states of affairs. In real life we can’t peek behind the curtain of political deception, but here we can witness betrayal after betrayal play out amongst the characters – all of whom feel cheated of their rightful due. Fair warning. There will be blood!

Matthew J. Harris, Michael Milligan, Patrick Page, and Shirine Babb (Photo/DJ Corey Photography)

Costume Designer, Emily Rebholz, outfits Goneril and Regan in flashy kelly green or black leather and fur replete with 80’s gold chains and spike heels while true blue Cordelia is garbed in more subtle pastels. For a headpiece, The Fool wears what appears to be a gaudy hand-knitted cockscomb, while soldiers sport present-day military uniforms. Set Designer Daniel Soule conceives the wreckage of an old airplane as the scene for Lear’s shelter from the storm and a modern-day hospital for his death scene. Note the pizza boxes tossed after a wild party at Goneril’s house. Sound Designer Christopher Shutt provides the thunderous backdrops for the battle scenes with sounds of airplanes strafing the ground, radar bleeps, and bombs blasting. It’s quite effective.

You may never see a Lear as marvelously mad and subtly complex as Patrick Page’s portrayal of the mad king. How we loved his performances in Broadway’s Hadestown and STC’s Hamlet, Othello (Helen Hayes Award), Macbeth and The Tempest. Beloved local actor Craig Wallace is thrilling in the role of Gloucester. A graduate of Howard University, Wallace has played dozens of lead roles in area theaters.

Highly recommended.

Lily Santiago, Stephanie Jean Lane, and Rosa Gilmore (Photo/DJ Corey Photography)

With Rosa Gilmore as Goneril; Stephanie Jean Lane as Regan; Matthew J. Harris as Edgar; Julian Elijah Martinez as Edmund; Yao Dogbe as Cornwall; Michael Milligan as Fool; Jake Loewenthal as Albany; Ryan Neely as Roland; Lily Santiago as Cordelia; Raven Lorraine as Ursula; Shirine Babb as Kent; Terrence Fleming as Burgundy/Curran/French Soldier; Todd Scofield as Oswald; Hunter Ringsmith as France/Dennis; Bekah Zornosa as Constance/Doctor.

Assistant Director, Kate Pitt, Choreography by Jonathan Goddard; Lighting Design by Jeanette Oi-Suk-Yew; Projection Design by Aaron Rhyne; Composer, Michael Bruce.

Through April 16th at the Shakespeare Theatre Company Klein Theatre, 450 Seventh Street, NW, Washington, DC 20004. For tickets and information visit or call the box office at 202 547-1122.

Director Simon Godwin Delivers “Much Ado About Nothing” with a Healthy Dose of Hilarity and High Jinks

Director Simon Godwin Delivers “Much Ado About Nothing” with a Healthy Dose of Hilarity and High Jinks

Shakespeare Theatre Company
Jordan Wright
November 17, 2022

 Rick Holmes and Kate Jennings Grant (Photo/Tony Powell)

I often hear complaints from lovers of Shakespeare’s works that they only want to see what they refer to as “classic Shakespeare” productions (familiar to some for bellowing actors in pantaloons). I try my darndest to convince them that the whole point of a modern interpretation is to show how wonderfully relevant Shakespeare’s works are to contemporary life. In Director Simon Godwin’s spin on the comedy classic Much Ado About Nothing he strips it to its very bones and shows us how Shakespeare squares up to modern life.

Plopping it down onto a live news set, convincingly named SNN for the Shakespeare News Network, Godwin’s vision mirrors the contemporary newscasts from the you-know-who cable news channel. His drop-dead irreverent sendup pokes cable newscasters and their ilk with a sharp stick in the eye. It yanks them off their self-important throne with vigor. And how refreshing is that?

Ryan Neely, Sarah Corey, Dina Thomas, Nicole King, Kate Jennings Grant, and Nehassaiu deGannes (Photo/Tony Powell)

Godwin inserts snippets from other Shakespeare plays into the “broadcasts”. They come at you so fast and so often you need to pay rapt attention to catch the delicious wordplay nuggets. All through the play I knew I wanted to see it again to catch some of the references I could have missed.

From their white leather and chrome swivel chairs at a large glass console table, co-anchors Benedick (Rick Holmes) and Beatrice (Kate Jennings Grant) spar relentlessly. Backgrounded by photo-murals depicting cherry blossoms and, of course, the Washington Monument, much mutual loathing ensues between the two rivals. A spiral staircase corkscrews to a second story control booth where it appears (falsely) that Hero’s reputation has been sullied by hot sex with another man. Ten TV screens flank the sides of the stage broadcasting Benedick’s arrest by a hapless security force who fits out the misogynist cad with an ankle tracker.

The Cast of Much Ado About Nothing (Photo/Tony Powell)

Godwin adds schtick, cribs lines from other Shakespeare plays and injects the choreography with fabulosity – a disco party with a conga line led by a Lizzo lookalike in a turquoise bustier? Why, yes! Scenes are reimagined and flipped on their heads. A revolving stage allows for a quick change of scenery. Look for Puck to deliver a weather broadcast, “Now is the winter of our discontent.”, along with news reports that spoof some of The Bard’s most dramatic battles. One report features Cleopatra, others murder and mayhem from Shakespeare’s classic dramas. By now we’re rolling in the aisles.

Props range from bags of Cheetos and golf balls to a madcap scene in which Benedict gets hosed by a fire hydrant and another where Beatrice escapes notice by leaping headfirst into a janitor’s cart. It’s crazy fun, topsy-turvy and so infectious you’ll find yourself laughing like the proverbial hyena.

Comedy at its finest. For God’s sake, go!!!

Rick Holmes and Kate Jennings Grant (Photo/Tony Powell)

An extraordinary cast includes Edward Gero as Leonato; Justin Adams as Don John; Carlo Albán as Don Pedro; David Bishins as Verges; Sarah Corey as Ursula; Michael Kevin Darnall as Borachio; Nehassaiu deGannes as Sister Francis; Paul Deo, Jr. as Claudio; Nicole King as Hero; Dina Thomas as Margaret; Quinn M. Johnson as Hugh Oatcake; Terrance Fleming as Cop; Dave Quay as Dogberry; Raven Lorraine as Belle Shazar/Georgina Seacoal.

Scenic Design by Alexander Dodge; Costume Design by Evie Gurney; Lighting Design by Donald Holder; Sound Design by Fan Zhang; Composer, Michael Bruce; Dramaturg, Emily Burns; Choreographer & Intimacy Consultant, Jesse Kovarsky; Fight Consultant, Lorraine Ressegger-Slone.

Through December 11th at Harman Hall, 610 F Street, NW, Washington DC. For tickets and information visit or call the box office at 202 547-1122.

The Amen Corner ~ Shakespeare Theatre Company

Jordan Wright
February 19, 2020 

Sometimes I feel like I could jump right out of my skin when I see a production as thrilling as The Amen Corner.  Straight out of the gate, we find ourselves as guests in the electrifying spirit of an African American church service.  Amens and hallelujahs fill the air in synchronized rhythm to a soulful choir while worshippers fall into singing, shouting, clapping, stomping and praising the Lord.  Oh, the voices – rich, earthy tones, clear as a bell, filled with sanctifying praise and mellifluous harmonies.  I can’t sit still.  It’s a toe-tapping, arms-outstretched-to-heaven sensation.

Deidre LaWan Starnes as Sister Boxer and Mia Ellis as Margaret Alexander – Photo by Scott Suchman

Onstage a few of the gathered sit in chairs beside the pulpit in what is called “the amen corner”, but all are moved by the soaring rhetoric of Sister Margaret.  “This here is a Holy Ghost station,” she calls out to the faithful as they sway and fan themselves, bonding through rituals rooted in ancient community.

Mia Ellis as Margaret Alexander and Antonio Michael Woodard as David – Photo by Scott Suchman.

Brilliantly directed by Whitney White, James Baldwin’s play focuses on Sister Margaret, a Black female pastor who falls from grace when her own fallibility is revealed.  Forces within the church begin to undermine her.  They challenge her decisions, gossip behind her back, and conspire to fight back against her rigid edicts.  “You ain’t better than the rest of us,” one of the elders tells her while Sister Moore pits the congregation against her through rumor and innuendo.

Chiké Johnson as Luke and Mia Ellis as Margaret Alexander – Photo by Scott Suchman.

The play/musical draws directly from Baldwin’s own life as the son of a preacher.  In the same way Baldwin’s art called to him in a louder voice than the word of God, young David rebels against the constrictive life his mother has laid out for him.  “Mom, if a person don’t feel it, he don’t feel it,” he tells her.  When Luke, his absent father, returns home to live out his last few months, David finds the strength to break the chains that bind him to home and church.  Baldwin’s own experience as a child pastor lends power and insight to the hierarchy of the Black church universe.

Harriett D. Foy as Odessa – photo by Scott Suchman.

Each character is exquisitely defined by Baldwin, and it is easy to feel the depth of his frustration with the hypocrisy he experienced, all in the name of a higher power.  Simon Godwin, STC’s new Artistic Director, sees the tragedies and hypocrisies as keenly as if Shakespeare had written them himself.  “I was struck by the similarities to Shakespeare’s work – the domestic and spiritual tragedies and the play’s classical structure,” he writes.

Antonio Michael Woodard as David and Mia Ellis as Margaret Alexander – Photo by Scott Suchman.

Expect an outstanding cast with some of the best, and most soulful, choir-trained voices from DC’s musical theatre scene, and a large stage set that segues from intimate – Luke’s death bed and Margaret’s kitchen – to the power-and-glory atmosphere of a veritable come-to-Jesus house of praise.

Chiké Johnson as Luke – Photo by Scott Suchman.

People get ready.  This is highly recommended!

With Mia Ellis as Sister Margaret Alexander; Harriett D. Foy as Odessa (Margaret’s older sister; Jasmine M. Rush as Ida Jackson; Antonio Michael Woodward as David; Chiké Johnson as Luke.  Church Elders: E. Faye Butler as Sister Moore; Deidra LaWan Starnes as Sister Boxer; Phil McGlaston as Brother Boxer.  Member of the Congregation: Lauryn Simone as Sister Sally; Nova Y. Payton as Sister Douglass; Jade Jones as Sister Rice; Marty Austin Lamar as Brother Davis and Choir Director; Tristan André Parks as Brother Washington.

The cast of The Amen Corner – Photo by Scott Suchman.

Directed by Whitney White; Assistant Director, Manna-Symone Middlebrooks; Victor Simonson, Music Director; Scenic Design by Daniel Soule; Costume Design by Andy Jean; Lighting Design by Adam Honoré; Sound Design by Broken Chord.

Through March 22nd the Shakespeare Theatre Company at the Sidney Harmon Hall at 610 F Street, NW, Washington, DC 20004.  For tickets and information visit or call the box office at 202.547.1122.

Peter Pan and Wendy ~ Shakespeare Theatre Company at Sidney Harmon Hall

Jordan Wright
December 18, 2019 

Though Peter gets top billing in Lauren Gunderson’s world premiere, make no mistake about it, her interpretation of J. M. Barrie’s classic tale elevates the female roles to star status.  As the most produced playwright in America, Gunderson’s imprimatur is writing plays about accomplished women in science and the arts who have become mere footnotes in history.  First performed in 1904, Barrie’s play was a product of its time, insensitive to sexism, racism and Colonialism and decidedly not politically correct.  In Gunderson’s adept hands we find the same level of excitement in Peter Pan’s fantasy world, but with a greater sensitivity to the female roles, an ethnically diverse cast, and a greater awareness in portraying indigenously correct characters.

Sinclair Daniel as Wendy, Chauncey Chestnut as Michael, Derek Smith as Mr. Darling. Bailey as Nana, Christopher Flaim as John, and Jenni Barber as Mrs. Darling Photo credit Teresa Castracane.

Here Wendy, Tinkerbell and Tiger Lily have been reframed to reflect stronger female identities.  Wendy, inspired by Marie Curie’s recent notoriety, pooh-poohs her father’s suggestion that she attend a posh finishing school, instead pleading for a science academy where she can pursue her love of the stars and mathematics.  Oh, yes!  Our Wendy is still a compassionate girl and protector of brothers Michael and John, but she’s now portrayed as a serious-minded student of cosmology.  Tinkerbell becomes a Valley Girl-voiced fireball, glammed to the max, and more in sync with the women of Wakanda.  “I’d probably go less Colonial genocide,” she warns Hook.  And Tiger Lily, performed by a member of the Dakota Nation, who becomes a heroine defending the peace and sanctity of her native lands.  “I’m here to avenge my people,” she tells Peter who, before he gets woke, comes off as a self-centered, anti-hero eager to fight his nemesis on a daily basis.

Sinclair Daniel as Wendy and Justin Mark as Peter Pan. Photo credit Teresa Castracane.

Gunderson’s Peter Pan and Wendy is a fantasy-filled production directed by the legendary Alan Paul with costumes by Loren Shaw, and Scenic Design by Jason Sherwood.  A perfect antidote to our times, it’s a technical marvel with a backstage crew of 66 designers, from animal trainers and animators to musicians and backstage crew.  Together they keep on Tinkerbell’s lights in flight and five of the actors (out of a cast of 19 plus one adorable live dog) soaring high above the stage.  I couldn’t keep track of how many pulse-quickening, pirate fights there were, nor the audience’s uncontrolled laughter watching the scenes between the vainglorious Captain Hook, his first mate the sycophantic Smee, and their batty crew of bungling pirates.  My only critique is that I wanted to see more of the dazzling mermaid floating on clouds of bubbles.

Tendo Nsubuga and Darren Alford as Twins, Joriah Kwame as Slightly, Francisco Gonzalez as Tootles, and Ronen Lewis as Curly. Photo credit Scott Suchman.

So, look to the starry skies to find Neverland, the Lost Boys, and Peter assisted by a very large tick-tocking crocodile and buttressed by girl power – Wendy, as strategic governor, Tinkerbelle, as a fierce defender, and Tiger Lily, as mediator.  And always remember who the land belongs to. “My people will always be here,” Tiger Lily reminds us.

Jenni Barber as Tinkerbell. Photo credit Scott Suchman.

Highly recommended.

Starring Derek Smith as John Darling/Captain Hook; Justin Mark as Peter Pan; Sinclair Daniel as Wendy; Jenni Barber or Megan Huynh as Mrs. Darling/Tinkerbell; Isabella Star LaBlanc as Tiger Lily; Tom Story as Smee; Christopher Flaim as John Darling; Chauncey Chestnut as Michael Darling; Bailey as Nana the dog.  With Francisco González as Tootles; Ronen Lewis as Curly; Joriah Kwame as Slightly; Darren Alford as Twin; Tendo Nsubuga as Twin; Michael Glenn as Jukes, Calvin McCullough as Noodler; and Gregory Wooddell as Starkey.

Composer Jenny Giering; Lighting Design by Isabella Byrd; Sound Design by John Gromada; Projection Design by Jared Mezzocchi; Puppet Design by James Ortiz; Flying Scenes choreographed by Paul Rubin; Choreographer Katie Spellman; Speical Effects by Jeremy Chernick.

Through January 12, 2020 from the Shakespeare Theatre Company at the Sidney Harmon Hall in the Michael R. Klein Theatre at 610 F Street, NW, Washington, DC 20004.  For tickets and information visit or call the box office at 202.547.1122.