A Stunner of a Dramedy at Shakespeare Theatre Company Stars Downton Abbey Patriarch Hugh Bonneville in this Simon Godwin Directed Uncle Vanya
Uncle Vanya
Shakespeare Theatre Company
Jordan Wright
April 4, 2025
Special to The Zebra
 4 The cast of Uncle Vanya at Shakespeare Theatre Company. Photo by DJ Corey Photography. Simon Godwin’s direction of Uncle Vanya starring Downton Abbey’s patriarch and Royal Shakespeare Company alum and Britain’s National Theatre celebrated actor, Hugh Bonneville, is a once-in-a-lifetime theatrical experience with a brilliantly in synch cast that sparkles like a supernova.
The classic Chekhov play focuses on a dysfunctional Russian family of intellectuals and their closely knit coterie. In a tour de force performance, Bonneville imbues Vanya with engaging depth and larger-than-life passion, ranging in emotional delivery from subtle gestures and unique reactions to hugely expressive physical drama. He is consistently balanced by an experienced cast who readily absorb and match his energy, along with the complex character intricacies called for in these weighty roles.
 2 Ito Aghayere and Hugh Bonneville in Uncle Vanya. Photo by Kevin Berne/Berkeley Repertory Theatre Each character interaction is riveting, dangerously precipitous and yet recognizably familiar. As Tolstoy famously said, “All happy families are alike; each unhappy family in its own way.” And this family is no different – both joyful yet tragic.
There are the money struggles, the romantic intricacies, the cheating, the lying, the family celebrations (Are they ever what we planned?), breakdowns and breakups – plus liquor and a gun. A disastrous combination that never goes well.
 3 Nancy Robinette and Craig Wallace in Uncle Vanya at Shakespeare Theatre Company. Photo by DJ Corey Photography Using brief musical interstices from a cellist slightly offstage, Godwin’s clever choice to bring the intensity back to a dull roar prepares the audience for the next familial battle royale. I don’t need to offer up the plot, either you already know it or can readily google it. Another well-thought out directorial choice is to eschew Russian accents. Bonneville keeps his British accent and all others their American accents. It works because the play’s the thing and we don’t need to be distracted by unnecessary stylings. In an unusual opening scene an ordinary stage is set and the actors enter in street clothes. While the audience settles in (You are advised to come early to the theater so as not to miss this change-up.), they move the props around as if readying for the play and suddenly exit offstage. When they reappear, the stage is reconfigured and the actors are sporting the Victorian fashions of the landed gentry.
 1 Tom Nellis and Kina Kantor in Uncle Vanya. Photo by Kevin Berne/Berkeley Repertory Theatre Both humor and pathos in this dramedy keep Vanya’s family teetering on the edge of total collapse. Will they fight to the finish? It’s close. Will they lose their family estate? It’s iffy. Will Yelena (Ito Aghayere) decide to leave her pompous professor husband Alexandre (Tom Nelis) for Vanya or perhaps the dashing Astrov (John Benjamin Hickey)? It’s a toss-up. Can Nana (Nancy Robinette) rein in her son’s madness? “Old people are just like children. They want everyone to feel sorry for them,” she quips in the understatement of the century. They’re an emotionally land-locked duo. Is Ilya aka ‘Waffles’ (Craig Wallace) the observant philosopher, the grounding force? Cue the guitar and some wise words. Is Granmaman (Sharon Lockwood) keeping the peace? Can Sisyphus? Lastly, will the despondent and compassionate Sonya (Melanie Field) rise to the occasion to keep this family’s spinning-out-of-control madness to a dull roar? Thank God, she does, and that’s no spoiler.
Local actors and STC company members Wallace and Robinette bolster this wonderful cast with memorable performances in this co-production with Berkeley Rep.
 5 Sharon Lockwood, Nancy Robinette, Ito Aghayere, and Hugh Bonneville Photo by Kevin Berne/Berkeley Repertory Theatre Adapted by Conor McPherson, Scenic Design by Robert Brill, Costume Designs by Susan Hilferty & Heather C. Freedman, Lighting Design by Jen Schriever, Sound Design by Darron L. West, Dramaturgy by Drew Lichtenberg, Fight and Intimacy Consultant Danielle O’Dea.
This is the front runner of the season. Do not miss it!!!
Through April 20th at Harman Hall, 610 F Street, NW, Washington, DC 20004. For tickets and information call the box office at 202.547.1122 or visit www.ShakespeareTheatre.org.
A Historic Confluence of Shakespearean Mega Actor Ed Gero and Pre-Eminent South African Actor and Playwright John Kani Star in this Epic Drama at the Shakespeare Theatre Company
Kunene and the King
Shakespeare Theatre Company
Jordan Wright
February 22, 2025
Special to The Zebra
 John Kani and Eward Gero in Kunene and the King at Shakespeare Theatre Company. (Photo/Teresa Castracane Photography) Set during South Africa’s post-apartheid regime, two men find themselves in an untenable relationship in the U.S. premiere of Kunene and the King. Jack Morris (Ed Gero), one of the world’s leading white Shakesperean actors, is living in his home in Killarney, South Africa. Recently diagnosed with Stage 4 liver cancer, he is rehearsing his lines for an upcoming performance of King Lear. Black African Lunga Kunene (John Kani) has been assigned as his nurse during the final days of Jack’s life. What begins as two men at sword’s length results in a begrudging respect cemented over their mutual admiration for the works of Shakespeare.
This extraordinary two-hander gifts us with two of the greatest stage actors in the known world. Ed Gero universally admired for decades of his portrayals of Shakesperean leads and John Kani, one of the greatest and most respected actors, activists and playwrights to emerge from the shadows of apartheid.
 Edward Gero (Photo/Teresa Castracane Photography) It is 2019 when they meet at Jack’s home and immediately launch into verbal gymnastics. Jack, a divorcé with a distant son, is not accustomed to having a Black man in his home as anything other than a servant. “You’re not what I was expecting,” he snips. Kunene has been sent by a local agency to be Jack’s oncology nurse. Their first set-to is over the word “maid” with Kunene deftly insisting the correct word is “helper”. He wins that argument as well as Jack’s insistence he sleep in the servant’s quarters. “I stay in the house, or I go!” he retorts. Eventually, Jack capitulates. It will soon be apparent that he caves to Kunene repeatedly. I might add Jack is an insufferable racist and arrogant twit to boot. They joust about nearly everything especially Jack’s intransigence and refusal to quit drinking – his bottles and flasks are hidden everywhere.
Quarrels arise over African culture vis à vis British culture with Kunene scoring points despite Jack’s vehement protestations. The horrors of Robben Island, Mandela’s election and DeClerk’s ending of apartheid put things in their proper perspective as the two men start to bond over their respective admiration for Shakespeare’s plays. Kani weaves this dichotomy into the play with the knowledge that Mandela studied Shakespeare during his stay on Robben Island. “In the old South Africa it wasn’t politics, it was life or death,” Kunene states. During all these tête-a-têtes, Jack’s physical suffering is palpable and Kunene does his best to attend to his duties, as lowly as they are, never wavering in his professional commitment to the job at hand.
 John Kani (Photo/Teresa Castracane Photography) Woven between scenes Isithunywa (Ntebo), a beautiful African dancer and chanter, appears, breaking the fourth wall with the haunting echoes of lives lost and the human toll of nearly a half century under the apartheid system.
Written by Tony Award-winner, John Kani, who in 2023 was awarded an honorary OBE from the British government after this play made its debut at the Royal Shakespeare Company, it is directed by Ruben Santiago-Hudson, a well-established, Broadway multi-Tony Award winner and multiple theatre award nominee, as well as an accomplished actor in his own right. If I had to list his entire bio plus the bios of Kani and Gero, it would take pages – and it does in the playbill. Ditto for that of the two leads’ understudies and Ntebo too. The glue that brings Santiago-Hudson, Gero and Kani together is their work on and mutual respect for Shakespeare and the pre-eminent anti-apartheid playwright, Athol Fugard.
 Edward Gero and John Kani (Photo/Teresa Castracane Photography) The confluence of these relationships in this extraordinary production, make this political drama an unforgettable moment in theatre history. Miss it and you’ll wonder why those that bore witness will be talking about it for years to come.
Scenic Design by Lawrence E. Moten III, Costume Design by Karen Perry, Lighting Design by Rui Rita, Sound Design by DJ Potts, Dialect and Vocal Coach Deborah Hecht, Fight Consultant Sierra Young, Dramaturgy by Drew Lichtenberg, Music Consultant Ntebo, Additional Music by Romero Wyatt.
Highly recommended!
Through March 23rd at the Shakespeare Theatre Company’s Klein Theatre, 450 7th Street, NW, Washington, DC 20004. For tickets and information call the box office at 202 547-1122 or visit www.ShakespeareTheatre.org.
A Political Newbie Goes Rogue in Sinclair Lewis’s Babbitt at Shakespeare Theatre Company
Babbitt
Shakespeare Theatre Company
Jordan Wright
October 8, 2024
Special to The Zebra
 Matthew Broderick (Photo/Teresa Castracane Photography) There’s no law that says you must read or re-read the novel the play you are about to see is based on. I offer that up to all theatregoers because you may often hear the challenge, “Did you read it?” or the boast, “I just reread it knowing I was going to see the play.” None of that matters when most plays have been totally reimagined by the director as is often the case in new productions. And that goes for Shakespeare as we shall see later this week in my next review of one of his classics.
Reimagining a well-known play is what keeps it alive proving its relevance to our modern culture. Great playwrights anchored their works on the social constructs that have been with us since the Greeks first took note of our human foibles. In other words, we’re still stumbling around in the dark ruining people’s lives, climbing the ladder to success and falling in love – sometimes easily, sometimes with grave consequences. The only constant when a play is modernized, is its relevancy to today’s culture. And that’s what Dramaturg Joe DiPietro has given us in his adaption of the classic Sinclair Lewis novel, Babbitt. Lewis was so universally respected for his social commentary novels he was the first American to receive the Nobel Prize for Literature.
 Judy Kaye, Chris Myers, Matthew Broderick, Mara Davi, and Matt McGrath (Photo/Teresa Castracane Photography) George F. Babbitt is a familiar character as the uber-suburban, middle America, 1950’s working man with a stay-at-home wife and two kids. He’s a successful real estate broker – a salesman who probably read Dale Carnegie’s How to Win Friends and Influence People – the bestselling guide to public speaking and closing deals. George is a brand names’ fanatic who worships his two-slice toaster. It fits in the era of TV pitchmen and catchy jingles that with the emergence of television reaches a broader audience than had ever been possible in the past.
The parallels to a certain recent president become readily noticeable when Babbitt is approached by a “concerned citizens” group to run for office on their conservative platform. It’s then his high school speaking accomplishments really shine. He becomes that brand of messianic candidate spouting incendiary tropes about immigrants, Socialists and Liberals. They dub him the “Prophet of Zenith”, the eminently insignificant midwestern town where he resides. Blindly following the group’s instructions, Babbitt loses all sense of self and empathy as well as his best friend, Paul. Eventually, he finds his muse, Tanis, a ballroom dancer, and falls in with her clique of liberal Bohemians only to become disenchanted yet again veering back to staunch Conservativism. These days we have a very familiar coinage for that whichever-way-the-wind-blows political stance. We call it a “flip-flopper”. I think Lewis would like that.
 The cast of Babbitt at Shakespeare Theatre Company. (Photo/Teresa Castracane Photography) Lewis’s well-drawn characters – Conservatives, Liberals, Feminists, Bohemians, an autocratic School Board member, Babbitt’s long-suffering wife, Myra, his dutiful daughter, Tinka, and rebellious son, Ted, his lover, Tanis, and the Good Citizen’s League – all with their own particular ideologies – steer him down widely divergent paths until George reconnects with his inner empath, then unceremoniously chucking this newly-embraced persona like yesterday’s trash.
Two-time Tony award-winning actor and legendary film star, Matthew Broderick, offers up a hilariously confounded Babbitt in a performance reminiscent of his portrayal of Leo Bloom in the film, “The Producers” which he co-starred in with Nathan Lane as Max Bialystock. Yes, there’s schtick, bumbling buckets of it, a role in which Broderick succeeds as the universal comic mensch. In Babbitt, as serious-minded and relevant as the subject matter is, it is decidedly richer with its deliciously tongue-in-cheek, often goofball, humor.
 Mara Davi and Matthew Broderick (Photo/Teresa Castracane Photography) This story of our two Americas, described by Lewis as “a unity of opposites”, defines the corrosiveness of the political spectrum on both sides. How Babbitt navigates the shifting sands of politics while futilely searching for his own identity, cements the play’s relevance to today’s confounding American political landscape.
Director Christopher Ashley stages this new play with a seasoned hand. His work on Broadway’s Tony Award-winning play Memphis as well as his august collection of a Drama Desk Award, yet another Tony and three Outer Critics Circle Awards gleaned from dozens of major Broadway shows, has earned him theatre royalty status.
 Judy Kaye and Matt McGrath (Photo/Teresa Castracane Photography) A fine ensemble, who are not listed by character but as Storyteller #1 through #7, round out this expert cast. With Ann Harda as Storyteller #1; Nehal Joshi as Storyteller #2; Matt McGrath as Storyteller #3; Ali Stroker as Storyteller #4; Mara Devi as Storyteller #5 and Dance Captain; Judy Kaye as Storyteller #6; and Chris Myers as Storyteller #7.
Scenic Design by Walt Spangler; Costume Design by Linda Cho; Lighting Design by Cha See; Sound Design by Leon Rothenberg; Original Music by Mark Bennett & Wayne Barker; Choreography by Stephen Buescher.
Through November 3rd at Shakespeare Theatre Company, Sidney Harmon Hall, 610 F Street, NW, Washington, DC 20004. For tickets and information call the box office at 202 547-1122 or visit www.ShakespeareTheatre.org.
Warp Speed Slapstick Marks Comedy of Errors from Shakespeare Theatre Company
Comedy of Errors
Shakespeare Theatre Company
Jordan Wright
September 19, 2024
Special to The Zebra
 The cast of Comedy of Errors. Photo by Teresa Castracane Photography.
With the clang of a massive ship’s bell and the cry, “Stowaway!”, Director Simon Godwin’s Comedy of Errors begins. An august gentleman, Egeon (Timothy Stickney), a merchant from Syracuse, has been arrested and is being questioned by Duke Solinus (Eric Hissom), nay, threatened with beheading if he doesn’t pay a hefty fine for trespassing. He explains he nearly lost his life in a tempest at sea. But rules are rules, the Duke explains, and Egeon must find money to satisfy the law. He has his life, for now, but has lost his wife Emilia (Amanda Naughton), twin boys and their twin servants.
In the terror of the storm, they became separated. That’s the setup. Antipholus needs to find his brother, father, wife and mother and come up with the dough (ducats) to spare his father’s life. Bear in mind there are twin sons and their respective twin servants – all operating separately – and unbeknownst to one another, the bizarre fact they had all washed up on the Ephesusian shore.
 Shayvawn Webster and Cloteal L. Horne in Comedy of Errors. Photo by Teresa Castracane Photography. Sheer madness and near-terminal mistaken identity abound at supersonic speed. If you don’t know the plot going in, you’ll be spinning your wheels to keep up with these wacky doings. Other characters and side plots help ratchet up the action. At times I wondered if I was watching a mashup of Buster Keaton meets Steve Martin meets Lucy and Ethel in all their slapstick glory. Deliciously clever! Switcheroo at its highest and best use.
Hats off to Composer Michael Bruce for the interludes played by a delightful group of musicians – I noted a mandolin, guitar, piano, banjo and accordion who roamed the stage singing an amalgam of musical ditties between the rapid-fire comings and goings of the players. An intercom doorbell scene and the goofy beatings of the servant Dromio had the audience roaring, as did many of the prickly puns and nutty shenanigans.
 Eric Hissom, Shayvawn Webster, Cloteal L. Horne, Kimberly Dodson, and Ralph Adriel Johnson in Comedy of Errors. Photo by Teresa Castracane Photography. Magic, spirits and mystifying encounters factor into many of Shakespeare’s plays and this early farce of his is no exception. When crazed conjurer Pinch (Eric Hissom in this dual role) arrives all hell breaks loose in a whirlpool of Vaudevillian confusion and absurd props (forceps!!!) meant to break the spell and find love lost. He does and they do. Deep sigh…
Comic timing is everything and this cast was on fire. If your head is not spinning after this marvelously choreographed mayhem, you need to have it examined.
Highly recommended!!!
 Alex Brightman and David Fynn in Comedy of Errors. Photo by Teresa Castracane Photography. With Ralph Adriel Johnson as Antipholus of Ephesus; Christian Thompson as Aintipholus of Syracuse; David Fynn as Dromio of Ephesus; Alex Brightmanas Dromio of Syracuse; Shayvawn Webster as Adriana; Cloteal L. Horne as Luciana; Pearl Rhein as Angela; Kimberly Dodson as Thaisa; Paige Rammelkamp as Marina; Camilo Linares as Sergeant/Officer; Ro Boddie as Balthazar; and Jacob Brandt as Roderigo.
Choreography by Nancy Renee Braun; Scenic Design by Ceci Calf; Costume Design by Alejo Vietti; Lighting Design by Stacey Derosier; Sound Design by Christopher Shutt; Fight Choreography by Robb Hunter; Wig & Hair Design by Charles G. Lapointe; Dramaturg Drew Lichtenberg.
Through October 20th at Shakespeare Theatre Company’s Klein Theatre, 450 7th Street, NW, Washington, DC 20004. For tickets and information call the box office at 202 547-1122 or visit www.ShakespeareTheatre.org.
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 www.shakespearetheatre.org.
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
MACBETH IN STRIDE. (Teresa Wood) 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 www.ShakespeareTheatre.org or call the box office at 202 547-1122.
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