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Like, using humor the way we would use today and reading the lines in a different way, it’s really exciting.” One of the most fun parts is reading the text with your directors and your castmates and seeing which lines you can fit and change to make it funny today. “They make it so timeless, and they make it connect to the audience in the times that we’re doing it in.
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“I just really connect to Shakespeare’s work just because of the way that Shakespeare Tavern does it,” she said. “We have just been really lucky to have some of the most talented, capable young people come and be gravitated to what we do at the Shakespeare Tavern.”Īctor Lewis has trained and performed with SIT over the last three summers. For him to feel passionately about bringing it back… is a special thing,” said King. However, Atlanta Shakespeare Company’s Artistic Director Jeffrey Watkins happened to catch the show and was so impressed he booked the cast for this weekend’s special encore. Then in the afternoon, we rehearse a full-length Shakespeare play, that usually, in normal years, they get to perform for three nights at the end as a celebratory end of the program,” said King.ĭue to COVID restrictions, the young actors this year were limited to a single night’s performance. In the mornings, we’re working on monologue work, doing workshops and masterclasses and stuff like that. King described this demanding student program, genuinely worthy of the term “intensive:” “They’re working for four weeks, 9-4 each day…. Adam King is the education programs producer for Atlanta Shakespeare Company, and he joined “City Lights” host Lois Reitzes via Zoom along with actor Aves Lewis to talk about this unusual comedy and the unique charm its cast will bring this weekend. “ Love’s Labour’s Lost” is playing this Thanksgiving weekend at The Shakespeare Tavern Playhouse, presented by a cast composed entirely of teenage actors from the Atlanta Shakespeare Company’s Shakespeare Intensive for Teens program, or SIT.
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He choreographs the onstage action impressively, though, with scenes that often involve a stage full of actors never becoming cluttered or confusing, and a brisk pace to its 140-minute running time.One of Shakespeare’s earliest and boldest comedies graces Atlanta’s premier stage for works by the Bard. There are delightful performances throughout the large ensemble, like Tom Keenan's intensely weird boy actor, Webster, Sarah Constible's icy and acerbic take on Queen Elizabeth, Gabe Grey's mercurial Christopher Marlowe and Kayvon Khoshkam's marvelously pompous prima donna, Ned Alleyn.ĭirector Daryl Cloran's production doesn't shy away from broad comedy - sometimes a bit too broad and hammy, but more often likably silly, although its comic timing didn't always snap quite as sharply as it should on opening night. Hall's script, like Tom Stoppard and Marc Norman's original screenplay, is full of clever metatheatricality and sly jokes for Shakespeare and theatre fans. It also allows ample opportunity for great comedic takes from the cast of 20, and they rise impressively to the occasion. His 20-member cast deliver some delightful comic performances. Director Daryl Cloran choreographs the onstage action impressively in Shakespeare in Love.