Les Liaisons Dangereuses

Shakespeare & Company, Lenox, MA
www.shakespeare.org
through March, 21, 2010
by Shera Cohen

Most of the characters in "Les Liaisons Dangereuses" are evil personified. They are also smart, handsome, sophisticated, highbrow, cunning, vengeful, and, "evil" bears repeating.

Christopher Hampton's play, set in 1780s Paris, is created as a game, both visually and verbally. The squares on the floor and the sharp banter between the two lead roles add up to a championship chess competition. The stakes are high, even for the winner. At play's end, it is difficult to determine who loses more.

"Liaisons" is mounted at the intimate Bernstein Theatre. The 18 scenes fluently move from one to the next in the form of dance, accompanied by period music. From the play's opening note, the chess/dance begins. Clever at first, the characters' jumping from square to square becomes too obvious. It is safe to say that everyone in the audience "got it" - this is a deadly match, albeit with some humor.

It is hard to believe that, when last seen at Shakespeare, Elizabeth Aspenlieder and Josh Aaron McCabe each starred in comedies. They were uproarious, throwing themselves (even physically) into their roles. While reserved in demeanor that befits "Liaison's" characters, the actors portray villains with capital "Vs". Aspenlieder's Marquise is the brighter and worse of the two, excusing her motives because she is of the weaker sex. Ha! McCabe's Vicomte pads his evil ways with humor, making him a bit more palatable as a human being. Aspenlieder surpasses herself in each new role. McCabe has not appeared often to date, but one hopes he will.

Tina Packer directs her actors in supporting roles, some with more stage time than others, so that each embodies a character not to be forgotten. Tony Simotes is to be credited as choreographer of the lengthy frightening sword and dagger fight in Act II.

Normal human emotions of jealousy and revenge, betrayal and cruelty run rampant among "Liaison's" population. The play is far more than a battle of the sexes. Good vs. evil is too simplistic. The Marquise exclaims, "This is war!" And the audience relishes every evil moment. For mature audiences.

The Hound of the Baskervilles

Shakespeare & Company, Lenox
www.shakespeare.org
through November 8, 2009
by Shera Cohen

Leave any reverence for Sherlock Holmes or Arthur Conan Doyle at home before attending “The Hound of the Baskervilles” at Shakes&Co. The play’s title is the only element of Doyle’s work that is still in tact. In just three weeks, director Tony Simotes has created one of the funniest play productions since “The Complete Works” and “Irma Vep.” In fact, blend the ingredients of theme and caricatures of “Works” and “Vep” and mix in dashes of any Monty Python spoof (for younger readers, think “Spamalot” without the music), and the U.S. premier of “Hound” becomes a delicious dish.

While the plot of the original “Hound” forms the framework, it’s easy for the audience to realize within the first minute that this is no ordinary Holmes, the sleuth. The big mystery of this “Hound” is to wonder, how does Simotes pull it all together and how do three actors pull it off? The answers don’t really matter, as the end results are that they succeed phenomenally.

To paraphrase the playbill, Simotes stated that he wanted to present a richly layered play that speaks profound truths about the human condition. “But instead, I directed this.” That was a tease for the next two-hours of non-stop comedy onstage and audience laughter.

The sound effects are howling dogs. The lights are dim, creating gigantic shadows. The set is sparse; i.e. it’s unbelievable what can be done with an old park bench. The costumes are many because two the actors portray multi-roles (male and female). The pace is fast, faster, and fastest as the story moves to its conclusion. Josh Aaron McCabe and Ryan Winkles are flawless in creating physical humor. While McCabe seems quite sober at first, he surprises in his hysterical roles as a Gypsy dancer and diminutive person (okay, a 3 foot hermit). Winkles is this year’s Shakes&Co. shining young star. He can do nothing wrong. His Scottish farmer with lamb in a sack is priceless. Jonathan Croy (a Shakes&Co. old timer) has the unenviable task of playing the semi-straight man, receiving fewer laughs than his cohorts. Ahhh, the price of fame.

Finally, kudos to the costume changers. Thank goodness for Velcro.

White People

Shakespeare & Company, Lenox, MA
www.shakespeare.org
through September 4, 2009
by Karolina Sadowicz

Interracial stereotypes and misunderstandings are explored from the point of view of three very different people in J.T. Rogers' award-winning play. Through carefully crafted, bold monologues, three white people explore their own attitudes and assumptions about other races with varying degrees of introspection.

The play is set simultaneously in three locations, represented by three platforms. Each is painted stark white, and containing minimal set pieces and props, be it a section of a park bench or a halved desk, also completely white and entirely blank.

The unique staging is a challenge for both the actors and audience: the entire cast is present from the moment the theatre is open for seating, and they wait along with the audience to begin the show. The unexpected presence of the characters and a subdued soundtrack of eerie music draws an alertness from the audience and steadily builds tension. Feeling under observation takes the audience members from being passive spectators to a sense of being scrutinized as much as the characters.

Jason Asprey plays a well meaning, educated college professor living in New York City, who finds his progressive academic thinking and political correctness challenged when his family is attacked. Michael Hammond is a bold, unapologetic lawyer, transplanted from the big city to St. Louis with the intent of building a safer life for his children and failing. Dana Harrison is a former beauty queen clinging to old values and past glory in North Carolina. Each character is fully realized, complex, flawed, and real.

Rogers' script never asks for sympathy nor absolution for its characters. Sometimes the audience laughs with them, sometimes it winces. The actors give powerful, uninhibited performances that provoke self-reflection. The uninterrupted 90 minute performance gives no opportunity to look away. Each individual storyline reaches an explosive peak when the characters react to violence, horror, or humiliation, and each character leaves us searching for hope, redemption, or understanding.

"White People" captures the complexity of living in a diverse world comprised of people with different experiences, and the ways in which struggling to understand is sometimes the best we can do.

The Dreamer Examines His Pillow

Shakespeare & Company, Lenox, MA
www.shakespeare.org
through September 6, 2009
by Shera Cohen

Many audience members, especially newcomers, to Shakespeare & Company do not realize two important factors. First, approximately half of the plays presented in a given season are not written by the Bard. Second, many plays (Shakespearean or otherwise) are mounted at the new Bernstein Theatre. Shakes & Co. is a campus of happenings nearly round-the-clock. In addition to Founders Stage (mainstage) and Bernstein, there are at least three other venues.

Back to the “otherwise plays” at Bernstein. “The Dreamer Examines His Pillow,” by playwright John Patrick Shanley (“Doubt”), is very much contemporary in its very explosive power of words, relationships, humor, and angst. Response to the reading of “Dreamer” at last year’s Studio Festival of Plays offered the Shakes & Co. staff a preview of what audiences wanted to see. The full house on a Wednesday night (not your typical “theatre” night) instantly rose to a standing ovation at the play’s conclusion.

Donna and Tommy broke up. Tommy takes up with Donna’s young sister. Donna goes to dad for advice. Dad could care less. This is the four sentence synopsis of “Dreamer.” Doesn’t sound like much of a play let alone one of intensity. Add some twists. Donna still loves Tommy, yet is confused and upset. Tommy still loves Donna, yet doesn’t have a clue where his life is headed. Dad has the experience and wisdom to help the situation of both young people, yet is far from overjoyed to do so. Each is scared to help him/herself as well as each other. Herein, is the real play about father/daughter and male/female relationships, love and sex, art and soul shown with intensity and laughter.

The language is beautifully poetic, especially in the soliloquies. Director Tod Randolph moves her cast of three seamlessly and purposefully for the most part. Actors John Douglas Thompson, and newcomers Miriam Hyman and Bowman Wright share equal time onstage. They are dynamic in their various duet conflicts.

“Dreamer” is a play for mature audiences.

Measure for Measure

Shakespeare & Company, Lenox, MA
www.shakespeare.org
through September 2, 2009
by Shera Cohen

The subject matter of many of today’s movies and television shows is tragicomedy. While this word is probably a relatively new entry in the dictionary, a little known fact is that Shakespeare was one of the first to write a play with equal elements of drama and humor. “Measure for Measure” is such a piece.

Director Dave Demke has updated the play, setting it in 1930s pre-World War II Austria. At the same time, Shakespearian images remain in costuming, staging, not to mention language. As the title implies, the balance of several themes exists throughout the story; i.e. justice and injustice, loyalty and ephemeral causes, wisdom and ignorance, power and succumbing, church and state. Yes, these are serious issues, which make for the “tragic” side of the tragicomedy. They balance with the many Keystone Cop or Marx Brothers-like scenes of slapstick, stupidity, and literal running around in circles with no destination.

Future audiences should not be put off by the fact that the actors are not Equity (professional), but are members of the Center for Actor Training’s Performance Internship at Shakes & Co. This education program is highly selective and well-respected throughout the country. “Measure’s” cast is an ensemble of very talented younger actors, each of whom portrays at least three roles. A lecture by the director as well as a talk on the costuming of “Measure” took place in late-July. Attending either or both augmented understanding of the play, although neither is required to appreciate the story.

Standout performers are Nathan Wolfe Coleman, lecherous townsman Lucio; Emily Karol, low-brow sheriff Elbow; Aaron Sharff; flophouse resident Pompey; and Tom O’Keefe, wise yet bookish Duke. Here again, in keeping with tragi and comedy and measure for measure, each actor (except for O’Keefe in the lead role) played both sides of the ying and yang – not an easy task for seasoned thespians, let alone theatre students.

Twelfth Night

Shakespeare & Company, Lenox, MA
www.shakespeare.org
through September 5, 2009
by Shera Cohen

It's no wonder that "Twelfth Night" is often considered one of Shakespeare's best comedies. Proof of that is Shakespeare & Company's current production. Like other works of the Bard, the plot includes mistaken identity, women dressed as men (this was probably even funnier in the 1500s with male actors dressed as women), love triangles, a shipwreck, and sometimes a pompous idiot. This play has all of these elements down to perfection.

Just by looking at the playbill, it was no surprise that the cast of many Shakes & Co.'s masterful "regulars," director Jonathan Croy, and music director Bill Barclay would mount a clever, quick, and comic play. It never ceases to amaze that most of actors do double-time throughout the summer in dramatic roles in either "Othello" or "Hamlet." The versatility of talent is evident on a daily basis.

Croy, who also wears the hat of set designer, has created numerous scenes that receive audience laughs even before an actor speaks. Think Disneyesque topiary, add unnoticed paper on the bottom of one's foot, and stick it all together with bubblegum. This makes for odd and hysterically funny staging. The lovely actress Corinna May puts her entire body into making servant Maria elegant and roughhouse simultaneously. Elizabeth Raetz (sought-after lady) spews both virginity and lustiness. Robert Biggs (Fool) gives his supposedly drunken character great wisdom. Ken Cheeseman (servant Malvolio) should be unabashedly ashamed and equally proud to well-create one of the most ridiculous roles of a blowhard to appear on any stage. Young actor Ryan Winkles (Sir Andrew) is a man to watch. His comedic timing is flawless as he uses every wink of the eye, scrunch of his neck, and fancy footwork to make Andrew the most memorable character in this large cast.

Slapstick, physical humor, and broad strokes form the canvas of "Twelfth Night." But this is more than a meaningless, laugh in the moment, comedy. While not dwelled upon, the plot includes the definition of love and how men and women feel and think differently.

Othello

Shakespeare & Company, Lenox, MA

www.shakespeare.org

through September 6, 2009

by Karolina Sadowicz

To the Venetians resisting a Turkish invasion, Othello is primarily a weapon. As played by John Douglas Thompson, the Moor of Venice is a force: calm, even benevolent at first, but revealing a barely containable tempest of a man when faced with jealousy and doubt. Thompson commands respect for his polished Othello, and, even when welcome, stands out as a clear outsider to the ensemble of characters.

Othello's foil and villain, Iago (Michael Hammond) is his true opposite. Where Othello is stately, humble, and restrained, Iago is coarse, deceitful, and unabashedly self-centered. The greatest strength of Hammond's performance is his charm. Iago is unrelenting in his pursuit of revenge, but he is also very charming, funny, and often likeable. Hammond's ability to warm up the audience to the villain highlights his cold cruelty in the end.

Staged with simplicity common to this season's offerings, "Othello" makes the most of a set that hints at specific surroundings and allows the beautifully costumed actors to paint a more vivid picture. Light and music are used effectively to this end and enhance the atmosphere and drama.

The actors all embody their characters, even multiple ones, and are equally convincing as a group of politicians talking war strategy or a rowdy band of drunken soldiers. Duane Allen Robinson is a suave, dynamic standout as Cassio, second in command to Othello and suspected lover to his wife Desdemona, played with refreshing toughness by Merritt Janson. Ryan Winkles as Roderigo is hilariously and poignantly sympathetic as Iago's patsy.

In this production full of Shakespeare & Company regulars, the script is fresh and punchy. The characters are thoroughly developed and their sincerity and honesty make them all easy prey to Iago. The torture of Othello, a man made in the world of war, by doubts that gnaw at his basest parts, builds steadily into a spectacular defeat that feels like watching a dark, private moment. It's difficult to look away. Captivating to the last moment, "Othello" is a study of human darkness and weakness, and will linger in the viewer's thoughts after the final bow.

Hamlet

Shakespeare & Company, Lenox, MA

www.shakespeare.org

through August 28, 2009

by Karolina Sadowicz

"To be or not to be" is the question first asked by Hamlet as the play opens with flashes of light and thundering electricity. Director Eleanor Holdridge's stark staging opens with Hamlet facing his mortality; the play performed is the last days of the prince's life flashing before his eyes.

Staged with minimal props and simple, tailored costumes, "Hamlet" offers no distractions from the superb work by the small ensemble cast. The set is bare and black, with only inventive lighting and the actors creating a setting. Music is used well to enhance the atmosphere, but at times other sound effects are jarring and overwhelming.

Dennis Krausnick's Polonius shines a light on humor often overlooked in this play, and garners big laughs for his verbose manner and misguided assesment of Hamlet's motivation. Jason Asprey as Hamlet is mournful, introspective, and hot-tempered, but also playful and even warm. Amid his cerebral wrangling with the self, the prince of Denmark shows believeable tenderness towards those he loves, and plays at madness with humor and sharp timing. The surprising levity of some scenes enhances the poignancy of others, reserving the highest intensity for moments where it belongs. At times, Asprey turns up the volume where subtlety would work best, but overall his performance is textured and human.

Claudius, the murderous king, is slick and cocky in the hands of Nigel Gore, sporting a pinstripe suit and an earring. He struts with confidence and without conscience, and given the opportunity shows such relish at his own villainy that even he is horrified. In a brilliant twist of staging "Hamlet's" play within a play, the king and queen are coaxed into acting out their parts in the previous king's death with unintentional gusto.

Johnny Lee Davenport steals the show in a chilling turn as the ghost, and equally hilarious moments as a traveling actor and gravedigger. Elizabeth Raetz is a simple but haunting Ophelia.

This swift-paced no-frills production underscores the power and complexity of "Hamlet." Each actor is outstanding and delivers a performance that is visceral, accessible, and timeless - Shakespeare at his best.

Bad Dates

Shakespeare & Co,, Lenox
through March, 8, 2009
Shera Cohen

Why would anyone, even the most ardent theatergoers, venture to the Berkshires in the middle of winter to see a one-woman play that few have heard of, written by a little-known playwright?

There are several correct answers to this profound question. Shakespeare & Company continues to maintain its reputation of producing the best theatre. Author Theresa Rebeck is a skilled wordsmith whose name will soon be recognized in larger circles. Most important, Elizabeth Aspenlieder stars. A 14-year Shakes & Co. veteran, this woman’s exemplary acting has been applauded by audiences and critics for her dramatic roles (“Ethan Frome”) and comedic (“Rough Crossing”).

In “Bad Dates,” she portrays a 30-something divorcee, mother, successful businesswoman, who decides it’s now time to find a man. The script easily could have been as a series of humorous vignettes with some male-bashing. Far from it. Aspenlieder, director Adrianne Krstansky, and the playwright have created a delightful, energetic, scattered, competent woman with a full life which the audience wants to learn about. Although a one-woman show, we “see” the many other characters: her daughter, phone friends, employees, and her dates. Although inanimate, her clothes and 600 pairs of shoes, take on a role of their own.

Hallie Walker (Aspenlieder) speaks directly to the audience. The set is a messy bedroom, which she uses as a tennis court from the clothes closet to the shoe boxes and back again. This bouncing around is part of her charm. Her dialogue is snappy, profound, and rings true. While doubtful about her future, Walker is a hero as she takes on challenges – usually involving men. The play’s title might imply a string of one-nighters. Again, far from it. It is safe to take teens to this production.

From her eyebrows to her toes, Aspenlieder, with advice from her director, puts every body part into her role. She speaks so naturally that it is easy forget that this is an actress in a part. While one might assume that the play is merely a one-way conversation, there is actually an unexpected and somewhat unrelated plot going on. That’s another reason to head to this summer Shakes & Co. venue in February.

Bad Dates

Shakespeare & Co., Lenox
Jan. 9 - March 8

Shakespeare & Company of Lenox kicks off its first-ever winter season with the comedy "Bad Dates" starring Elizabeth Aspenlieder, who accoring to the Wall Street Journal is "one of the funniest actresses on the East Coast.”

This one-woman play presents Haley Walker, the charismatic heroine with a sharp wit and an unsinkable determination to pursue the promise of new love, even while providing for her daughter and running a business in a sometimes unforgiving city. But that doesn’t mean it’s going to be easy.

Shakes & Co.'s disarming and critically acclaimed comedic actress Elizabeth Aspenlieder stars in this hilarious Berkshire-premiere play. "Bad Dates" is performed in the new and new Elayne P. Bernstein Theatre. To purchase tickets call (413) 637-3353 or check the website at www.shakespeare.org.

The Canterville Ghost

Shakespeare & Co., Lenox
through November 9, 2008

By Donna Bailey-Thompson

The front page of "The Canterville Ghost" program states: "Adapted by Irina Brook and Anna Brownsted with the Ensemble from the story by Oscar Wilde." Well, the play is wild and who knows? Oscar may generate enough spin within his grave to haunt this interpretation. If so, Michael Hammond may continue as a cartoonish Canterbury ghost and double as an elegant ghostly Wilde.

This contrived production defies categorizing. There’s satire and farce and slapstick, and madcap comedy. There’s also shtik. Lots of shtik.

A too-rich Texas family defies a realtor’s warning about the Canterville castle being haunted and buys the place. Immediately after moving in, something possesses them to line dance to Achey Breaky Heart. They frustrate the ghost’s efforts to frighten them off. They reincarnate backwards a generation or so where, thank goodness, they’re no longer vulgar high rollers but proper English relatives of the notorious ghost. The pathetic, lost soul sadness of Sir Simon de Canterville (as depicted in Wilde’s original story) is ultimately revealed. He longs to be loved (and forgiven for murdering his wife three centuries earlier) because he knows that love is stronger than death. The pure love of the young Texas daughter, Virginia (winningly played by Alyssa Hughlett) brings Sir Simon the release he craves – a tender scene that uses Wilde’s words, devoid of embellishment, played by Hammond with appropriate sensitivity. Portraying the Texas parents with gusto are Dana Harrison as the wife, Michael F. Toomey as her husband, and Alexandra Lincoln as their other child.

There are speedy scene shifts and equally fast costume changes (all excellent, thanks to costume designer Shelby Rodger). Set Designer Katy Monthei’s secret doors, Tina Louise Jones’ lighting designs, Michael Pfeiffer’s weird sounds, and Ian Guzzone’s multiple props inject authenticity into the mayhem.

Goatwoman of Corvis County

Shakespeare & Co., Lenox
through August 31
By Shera Cohen

It’s not every day that an audience member has the opportunity to see the world premiere of a play which is also the first play in a new venue. This was the case with “The Goatwoman of Corvis County” at Shakespeare & Company’s Bernstein Theatre.

This play, which was one of the semi-staged readings at the end of Shakes & Co.’s last season, was brought to life as a full-blown production. [September 1st marks the full-day of this year’s readings.]

“Goatwoman” has a strange title, indeed. Its characters and plot are equally as strange and quirky. Charlotte, a healer of goats, is a five-time married woman who has huge difficulties healing her own life. Keira Naughton commands the stage in nearly every scene. This young actress, who also starred this season at Berkshire Theatre Festival’s “The Book Club,” is both strong and subtle in her performances. Charlotte is a mentally sick woman, and Naughton portrays her perfectly – as if we (the audience) are eavesdropping into her life.

Charlotte’s husband is a brute with a low IQ, yet he is smart enough to know that his wife could get him into trouble. Thomas Kee nicely creates a wise-guy Randy who no one would possibly like, let alone love. David Rosenblatt (Charlotte’s son) and Daniel Berger-Jones (an attorney) don’t have a lot to do, but are effective as foils in fleshing out the characters of Charlotte and Randy.

Kudos to set designer Susan Zeeman Rogers, who brought the audience immediately into the story. Through smells and sounds, even from the lobby and rounding the corner into the theatre, it was obvious to theatre-goers that every detail had been attended to. The working kitchen, garage, patio, and secret room clearly defined the parameters of the story and its characters. Seamlessly segued in were many flashbacks arranged by director Robert Walsh.

The playwright, Christine Whitley, attended the performance. She is so young, and she is so talented. Watch for her name in the future.

3 Plays/1 Stage

Shakespeare & Co., Lenox
through August 31
By Shera Cohen

Add it up: 2 Shakespeare plays (one deadly serious and the other almost deadly comedy) + 1 by someone else + 3 skilled directors (Tina Packer, Kevin Coleman, Tony Simotes) + dozens of exceptional actors (among them are Shakes & Co. “old timers” Jason Asprey, Elizabeth Aspenlieder, Jonathan Croy, Michael Hammond, Annette Miller, Dennis Krausnick) = a fabulous summer season at Shakes & Co.

“Othello,” directed by Shakes & Co. alum, teacher, fight captain Tony Simotes, offers a triumvirate of talent. Simotes’ stages his actors in exactly the right positions with voices and demeanor to become their characters. John Douglas Thompson (Othello) shines as the tortured man, triumphant in battle on the field yet failing himself and those he loves. This is the perfect role for Thompson. Michael Hammond shows his audience every minutia of what makes his evil, conniving Iago tick. Hammond is not shy in his in-your-face performance, which is exactly what is called for in this role.

“All’s Well That Ends Well” might be called a musical, or at least that is the case with this version. Called “the house band,” nine actors accompany singer/interlocutor Nigel Gore regularly liven up the stage with original rock music composed by Shakes & Co.’s own Bill Barclay. The songs link the scenes together in this feminist and perhaps atypical Bard play.

Charles Morey’s “The Ladies Man” (based on the work of Geydeau) treats the audience to non-stop comedy in the shape of traditional French farce. In the course of the show, a total of 14 doors and entries permit the cast comings and goings at such rapid speed nearly faster than the eye can see. One can only imagine the bumping and bruising that occurs backstage. The extremely talented ensemble (many from last year’s successful “Rough Crossing”) must be having the time of their lives, which is certainly contagious to the audience.

Actually, there’s more at Shakes & Co., and it’s the free stuff; i.e. the very funny premiere of “The Mad Pirate and the Mermaid,” a terrific lecture series, pre-show mini-plays, and more.

3 Plays/1 Stage

Shakespeare & Co., Lenox
through August 31
By Shera Cohen

Add it up: 2 Shakespeare plays (one deadly serious and the other almost deadly comedy) + 1 by someone else + 3 skilled directors (Tina Packer, Kevin Coleman, Tony Simotes) + dozens of exceptional actors (among them are Shakes & Co. “old timers” Jason Asprey, Elizabeth Aspenlieder, Jonathan Croy, Michael Hammond, Annette Miller, Dennis Krausnick) = a fabulous summer season at Shakes & Co.

“Othello,” directed by Shakes & Co. alum, teacher, fight captain Tony Simotes, offers a triumvirate of talent. Simotes’ stages his actors in exactly the right positions with voices and demeanor to become their characters. John Douglas Thompson (Othello) shines as the tortured man, triumphant in battle on the field yet failing himself and those he loves. This is the perfect role for Thompson. Michael Hammond shows his audience every minutia of what makes his evil, conniving Iago tick. Hammond is not shy in his in-your-face performance, which is exactly what is called for in this role.

“All’s Well That Ends Well” might be called a musical, or at least that is the case with this version. Called “the house band,” nine actors accompany singer/interlocutor Nigel Gore regularly liven up the stage with original rock music composed by Shakes & Co.’s own Bill Barclay. The songs link the scenes together in this feminist and perhaps atypical Bard play.

Charles Morey’s “The Ladies Man” (based on the work of Geydeau) treats the audience to non-stop comedy in the shape of traditional French farce. In the course of the show, a total of 14 doors and entries permit the cast comings and goings at such rapid speed nearly faster than the eye can see. One can only imagine the bumping and bruising that occurs backstage. The extremely talented ensemble (many from last year’s successful “Rough Crossing”) must be having the time of their lives, which is certainly contagious to the audience.

Actually, there’s more at Shakes & Co., and it’s the free stuff; i.e. the very funny premiere of “The Mad Pirate and the Mermaid,” a terrific lecture series, pre-show mini-plays, and more.