Riverside Shakespeare Company

2381: 2002: 2136: 1440: 395: 2564: 2231: 2052: 2368:. In the early 1980s, Riverside's board of directors was headed by Judith Radasch, followed by Donna Lindsay-Goodwin. Riverside's Advisory Board during this period included Shakespeare scholars Dr. Marvin Rosenberg and Dr. Bernard Beckerman, as well as noted stage directors and actors Zoe Caldwell, José Ferrer, Ruth Gordon, Helen Hayes, John Hirsch, Barnard Hughes, Mary Beth Hurt, Raúl Juliá, Garson Kannin, Stacey Keach, Joshua Logan, Mildred Natwick, Trevor Nunn, Roger Rees, Milo O'Shea, Sam Waterston and Joanne Woodward. 2686:) in Blue Lake California, where McDowell and Southern had acted and trained as part of the inaugural summer festivals established by Mazzone and Hill during the summers of 1973–1974. According to Michael Fields, Company Producing Artistic Director of the current Dell'Arte School, Carlo Mazzone-Clementi "...brought to the United States a living breathing theatrical form that changed, moved, inspired and transformed generations of performers." It was this intensive form of physicalization that characterized the carefree 2242: 797: 1013: 567: 3146:, as if the playwright – several years after his death – is somehow telling us of a transformative moment in this, one of the Bard's most fantastical tales. That's when it occurred to me that the man who dwelt by a churchyard was none other than the father, Leontes, grieving the prophesied loss of his wife and son. The rest of the play, from that moment on, is Mamillius' prophesy, a 'sad tale' that's 'best for Winter'." Program for the Riverside Shakespeare Company production of 2609: 721:'s Stage 73, featuring Robert Boyle, Timothy Hall, Margo Gruber and Caryn West – all making their New York stage debut; with Kent Odell, Jim Maxson, Stuart Rudin, Ken Grantham, Timothy Hall, Peter Jensen, Kenneth Lane, Gannon McHale, Sheri Meyers, Uriel Menson, Brock Seawell, Daniel Tamm, and David Robert Westfall (stage manager), and directed by Eric Hoffmann, with set designed by David Lockner, costumes by Deborah Otte, lighting by Nat Cohen, and music by Deborah Awner. 1588:

Mamillius (Act III, Sc. ii. Leontes: "Once a day I'll visit/The chapel where they lie, and tears shed there/Shall be my recreation ...") – whose deaths he causes in the subsequent parable told by Mamillius. Both Hermione and story-teller Mamillius (who also played the role of Time in the Riverside production) are resurrected magically at the play's end, as his "sad tale ... best for Winter" draws to a conclusion, and the purpose of the lad's tale has been fulfilled.

1132:, Ken Threet, and Ted Polites, staged in the round (with audiences on four sides) in the lower chamber of Riverside Church in Manhattan, featuring music by Deborah Awner. This production was one of many that the theatre company opened on Shakespeare's birthday, April 23; this time, the production was inaugurated by a special celebration, culminating with the reading of a Shakespearean sonnet by the pastor of Riverside Church, fellow Bardophile, Rev. 313: 123: 243: 647: 1633: 27: 785:, with audition, construction, storage and rehearsal spaces in Prentice Hall on West 125th Street west of Broadway, just a stone's throw from the Hudson River. A core company of twelve to fifteen professional actors were often complemented with Columbia University students both backstage and onstage as performers, working as student apprentices within the company, not unlike Shakespeare's company 400 years before. 1014: 1154:, dedicated to the year round training for the performance of the works of Shakespeare, his contemporaries, and Commedia dell'arte. Professional actor Andrew Achsen played a key role in securing the site in the church, of which he was a member, together with the pastor of West Park, Rev. Robert Davidson. The Theatre of The Shakespeare Center was reconstructed from materials from the demolition of Broadway's 2597: 2201:

of Shakespearean and other Renaissance dramas. The RSC actor training program has been set up by RSC's Artistic Director, W. Stuart McDowell, and by the program's director, John Clingerman. The courses will cover the breadth of Renaissance stage acting, offered by a staff of instructors with professional experience gained through work with the only Shakespeare company performing year-round in N.Y.C.

184: 68: 2214:) that Patrick Tucker's intensive workshops first produced in New York by the Riverside Shakespeare Company in 1982 lead to a resurgence of interest in the First Folio by actors, teachers and directors in New York City, and to an awakening to the possibilities of playing Shakespeare from cue scripts, eventually leading to the popular reissue of Folio texts now widely used in this country. 431: 387: 663:, with Eric Hoffmann as Puck, Karen Hurley as Titania, and Eric Conger as Oberon, directed by Gloria Skurski. An original score by Deborah Awner was performed by the touring group "Brass". The production continued the tradition of un-miked Shakespeare, making use of a sheet-steel touring set for natural amplification of both actors and musicians. 499:– a preshow spoof of the production to follow, that served the dual purpose of building a comedic, physical bridge between actor and audience, and of establishing a physical, spontaneous style of acting that incorporated the performance environment into the show. This drew on the roots of the company – and of Shakespeare – in the rich heritage of 1690:

music by Joe Church, and sets by Kevin Lee Allen. Bertram Ross, who has been called the "dance legend and archetype male Graham dancer", used his considerable dance experience and technique and deep voice to create a memorable Prospero, using movement choreographed by Xoregos, who molded Prospero and Ariel into a "moving duo of poetic form."

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a magician, a belly dancer accompanied by a lively percussion score composed and played by Michael Canick, and a very broad comedic performance style that proved extremely popular with its audiences. Opening night Joseph Papp arrived with an enormous basket of fruit for the cast to thank them for their performance in 90 degree heat.

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Dialogue", Agamemnon and Orestes in "Clytemnestra", Adam in "Embattled Garden", Oedipus in "Night Journey" and, perhaps most of all, the Preacher in "Appalachian Spring." Mr. Ross' accomplishments in dance have been acknowledged by critics and audiences around the globe. See "SAD NEWS – Bertram Ross Passes After Long Illness", on

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chilling "mad scene". Robert Lanchester as Claudius was delightfully depraved, and Frank Fico as Polonius was wonderfully amusing without turning the endearing and gentleman into a buffoon. Bravo also to John Rowe as Laertes. ... All of the actors projected magnificently without the aid of microphones – and this in the open air!

828:, which had recently been designated by the Landmarks Preservation Commission, proved an ideal setting for production: Riverside's Florentine set was surrounded by the Florentine architecture, wrought iron chandeliers, and Italian antiques, some donated by Premier Benito Mussolini when the building was erected in 1926. 1837:, which restored the authentic legend of the ancient king, was written without a Fool, added a confidante and a romance for Cordelia and Edgar, and culminated with the triumph of good over evil with the restoration of Lear to the throne with Kent and Gloucester at his side, and the marriage of Cordelia to Edgar. 2200:

Initiated in the fall of 1980, The Riverside School for Shakespeare has been expanded to train actors in areas of Renaissance language, thought, movement as well as stage combat and other Renaissance performance styles, focusing on the preparation of the serious professional actor for the performance

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with music by Frank Lindquist, and a set design by Richard Harmon and costumes by Howard Behar, with Norma Fire, Paul Hebron, Sonja Lanzener, David Adamson, Vincent Niemann, Gene Santarelli, Laurine Towler, Joseph Reed, Michael Preston, and David Carlyon, who was also Clown Master. It was directed by

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really cares ... I cannot think of a piece in recent memory that has been so deliciously cast. The whole cast is swimmingly on their toes. As the primary lovers not meant for each other Diane Ciesla and Daniel Southern are dazzling ... The couple's subsequent extravagances are part of a complicated

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of the newly renovated theatre. The score made use of snare and kettledrums, of xylophones and castanets, as well as natural percussion sounds made by the cast, using rattles and hand-held pea-pods played during the transitions between scenes, all intended to give an environment of sound intended to

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directed by Gloria Skurski, with costumes by Barbara Weiss, on a touring set designed by Dorian Vernacchio. The cast featured Connor Smith and Andrew Achsen, and Ronald Lew Harris, Karen Jackson, Dan Johnson, Will Lampe, Erin Lanagan, Trip Plymale, Mel Winkler and Dan Woods. The production featured

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in her New York stage debut as "Mopsa – a shepherdess", with Marya Lowry and Timothy Oman as Hermione and Leontes, C. B. Anderson, Franklin Brown, Sally Kay Brown, Lee Croghan, Christopher Cull, Virginia Downing, Freda Kavanaugh, Beatrix Porter, and Richie Devaney. The production was directed by W.

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can, with the advent of a brilliant force, have greatness thrust upon them. In the first hyperbolic category is one of the city's newest theater groups, the Riverside Shakespeare Company. ... Now the group is well on its way to becoming an important theatrical force in Upper Manhattan and elsewhere.

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The Riverside Shakespeare Company is taking up where Joseph Papp left off this summer by presenting free Shakespeare in the park. ... The production will be done in traveling minstrel style, evocative of Shakespeare's time. Beforehand, to set the period mood, performers will be scattered around the

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Maureen Clarke, who during these years had been serving as Resident Text Coach for the company. Opening night was rained-out – a condition surprisingly encountered by Riverside tours only infrequently; the opening night performance was played in the main sanctuary of West Park Presbyterian Church.

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They're a marvelous bunch of actors. And they have what it takes for this sort of thing—They carry things on their backs ... We used to make deals with local gangs. One time I remember well. I told this kid that he had to move because he was backstage. He said to me, "This ain't backstage; it's

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An eight piece ragtime band and Mardi Gras high jinks underscored the slapstick performance, which sometimes evoked the spastic look and ricky-tick musical accompaniment of a very early silent flicker movie. The cast is costumed as 19th-century Southern belles, beaux and bums, the last group being

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includes a raked stage designed by Norbert Kolb, gorgeous costumes by Ellen Seeling, a visible stage hand operating the wind machine and handing on props, a maestro conducting John Aschenbrenner's lively score composed mostly for harpsichord with several interpolated songs including one by Garrick,

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The production combined modern (Grace Kelly's Monaco) and historical (pastoral 18th century England) periods in a concept centered around a magical transformation that takes place when Mamillius begins to recount "the winter's tale" to his mother, Hermione. The concept arose from the moment in the

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that handsomely advances its suit for support as a year-round professional Shakespeare ensemble worth taking seriously. The production has been mounted in observance of the 500th anniversary of that infamous monarch's feverish rise to power. J. Kenneth Campbell makes his entrance hump-first, from

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featured Dan Southern and Timothy Oman in the roles of Gaveston and King Edward, with Andrew Achsen, Larry Attille, Christopher Cull, Michael Franks, Margo Gruber, Daniel T. Johnson, Will Lampe, Joe Meek, Jason Moehring, Gay Reed, Count Stovall, R. Patrick Sullivan and Jeffery V. Thompson, directed

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Hoffmann set Shakespeare's most pastoral play with an autumnal setting in Colonial American, using leaves gathered from Central Park, which gradually filled the stage with knee-deep piles of leaves, and underscored with original guitar music played by Robert Mamary and Joseph Poshek. The production

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Some theatre companies – those which start out with talented and intelligent actors – are born great. Some companies – those which start out with diffident, inexperienced people who soon mature with their art – achieve greatness. And some companies – those which start out untrained and unguided –

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Bertram Ross's background as Martha Graham's partner and co-director of her company for nearly 25 years earned him a position of enviable stature in the world of dance. He created over 35 leading roles in the Graham repertory and is indelibly associated with the roles of Saint Michael in "Seraphic

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The production featured a complete, original score for harpsichord and orchestra by John Aschenbrenner, fights choreographed by Richard Raether, lighting by Sam Scripps, and a period wind machine in the wings. The Riverside production displayed a harpsichord to one side, as if in the wings, and a

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with Perla Armanasco, Jim Brewster, Ronald Lew Harris, David Murray Jaffe, Joe Meek, Jim Maxson, and Jane Badgers, Lloyd Davis, Jr. (as an "outstanding" Arlecchino), Oded Carmi and Marla Buck, directed by Dan Southern with an original score by Michael Canick, sepia drops depicting contemporary New

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The cast featured Dan Southern as Hotspur and Jason Moehring as Hal, with Eric Hoffmann as Falstaff and William Hanauer as King Henry, and a cast of forty including Jim Brewster, Mary Skinner, Vit Horejs, David Murray Jaffe, Kathleen Monteleone, Jason Moehring, Julia Murray, Gay Reed, John Miller,

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was cast and rehearsed in the company's fourth floor facility of Columbia University's Prentise Hall in southern Harlem, and was directed by company member Dan Southern (then Daniel O. Smith), The production was played with authentic leather masks and fanciful costumes conceived and constructed by

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The old mobile unit could not withstand the rigors of a month-long, outdoor tour of transporting "fair Verona" to the five boroughs of New York City. The second weekend, the 35-foot (11 m) long mobile unit dropped its rear axle at the intersection of 42nd and 9th while the truck was crossing

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The Riverside Shakespeare owes its name to the fact that it started operations in Riverside Park, so it was a sort of homecoming for them when I caught the company in a glade in that park just by 82nd Street ... The production is modern and carefree – the kind of innovative Shakespeare that Papp

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and co-director of the Graham dance company – as Prospero, and featuring Eric Hoffmann, Ronald Lew Harris, Joe Meek, Kathleen Bishop, Ellen Cleghorne, Alexander Cook, Herman Petras, John Reese, and Laurine Towler as Ariel, directed by Robert Mooney, with dance choreography by Shela Xoregos set to

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outdoors, surrounded by trees on the southeast corner of the Columbia University Quad; the production was directed by W. Stuart McDowell and performed at night without microphones in this perfect acoustic environment, on a set designed and built by Dorian Vernacchio, costumes by Kenneth M. Yount,

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in the Bronx, which became a favorite annual summer performing site for the company. The tour included an extended residency at the International Affairs Plaza on the campus of Columbia University, which allowed the company to keep the stage standing overnight, rather than the usual strike after

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Siiteri's sly innuendoes and elegant gestures as Hamlet were put to good use. His reactions in his father's ghost and in Ophelia's death had traces of the vulnerability and humanity seen in the finest Hamlets. Others in the cast ranged from very good to superb. Kaeren Peregrin as Ophelia gave a

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The 35-foot (11 m) long unit resembles a commercial vehicle that might transport a large household across the country. It takes six stagehands using hydraulic lift and plenty of muscle, several hours to rig the contents into the Verona of Shakespeare's love-stricken youth. ... "It's sunset

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The company then mounted its first History Play by Shakespeare. In the late spring of 1979, after two months rehearsal of the armies of King Henry and Hotspur on the rooftop of Columbia University's Prentice Hall in southern Harlem, the company opened its third annual outdoor production of free

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and W. Stuart McDowell. The role of Callimaco was assumed by the play's director, Dan Southern. A small cart stage with canvas backdrop was used. The openness of staging, in natural sunlight and without the trappings and concealments of an indoor theatre, was typical of the performance style of

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by the Riverside Shakespeare Company: no mikes, no lights, no seats; only clever placement at the bottom of Soldier and Sailors Monument to give the audience a view from the steps; broad acting and old-fashioned projection so that everyone could follow; an ability to capitalize on the audience's

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directed by John Clingerman with music by Michael Roth played by percussionist David Nicholson, fight choreography by Robert Walsh, on a set designed by Kevin Lee Allen and costumes by Cecilia A. Frederichs, with Michael Golding, Constance Boardman, Saul Stein, Todd Jamieson and Jeff Shoemaker.

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productions to date, and helped the company to realize its goal of bringing the work of Shakespeare, his contemporaries and Commedia dell'arte to as broad an audience as possible. It also helped to further the reputation of the company as a versatile classical theatre company in New York City.

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on the grass, many of them enjoying an alfresco picnic. Director Timothy Oman has placed the play in New Orleans soon after the Civil War. The idea works quite well. The play is preceded by a sort of Mardi Gras revel, and in the intermission we are regaled with a few vaudeville songs of the

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in 1980, directed by W. Stuart McDowell, assisted by Jay King, with Robert Walsh, Arleigh Richards, George House, Barbara Tirrell, Joe Meek, Gay Reed, Curtis Watkins, Dan Johnson, Obie Story, James McGuire, Jim Maxson, Christopher Cull, Timothy Oman, and, as the Nurse, Scottish folk singer and

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In its twenty years of work as a theatre and educational training center, the Riverside Shakespeare Company presented over one hundred Equity productions, benefits and radio broadcasts of works by Shakespeare, Marlowe, Brecht, Machiavelli, and Shaw, as well as premieres of plays and Commedia

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the disreputable lecherous but appealing Falstaff. During the intermission, a barroom quartet singing "A Woman is only a Woman, but a Good Cigar is a Smoke" brought down the house. ... This is the second season under the aegis of Joseph Papp. ... The company is now calling its production of

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According to the Riverside program, McDowell's interpretation posited that these eight words – the entirety of "the winter's tale" – are nothing less than a prophecy concerning Leontes, Mamillius' father, who would some day virtually dwell by a graveyard, mourning the passing of Hermione and

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Just as Orson Welles played it contemporary (Mussolini's Italy) in his historic Mercury production of '38, director Stuart McDowell will move the play forward another 50 years, setting against a backdrop of the '88 campaigns. It's for Broadway, and there've been ongoing discussions with

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Broadway designer Jane Stein, period sets – including a raked checkerboard stage – designed and built by Gerard Bourcier, lighting (which incorporated the wrought iron chandeliers of the Casa Italiana) by John B. Forbes, and produced by Gloria Skurski and W. Stuart McDowell. In the

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performed before each outdoor touring production—which involved live musicians and the entire cast often performing Commedia-like spoofs of the performance to follow – became the festive call of the audience to the stage, and an important part of Riverside's performance tradition.

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The following autumn, the company began a series of readings of the works of Shakespeare, reading through the entire canon the first year. Growing out of this, the company inaugurated a series of free radio broadcasts of Shakespeare's works on the New York public radio station,

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With fight choreography by Joel Leffert and music by Michael Moore, featuring Peter Siiteri, Dan Southern, Mary Skinner, Kent Odell and Eric Hoffmann, Jim Brewster, Stuart Rudin and Eloise Watt, Lisa Kramer, Harriet Bigus, Marilyn Beck, Douglas Stone, Warrington Winters, and

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directed by Timothy Oman, assisted by Linda Mason, associate director, and Maureen Clarke, Riverside's resident text coach, with music by Sanchie Borrow, scenic and lighting design by Norbert U. Kolb, fight direction by Conal O'Brien, and costumes by David Pearson, featuring

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so delightful is that Riverside Shakespeare Company has taken pains to bring historical detail into the production. Going into its third season as New York's only year-round Shakespeare producer, Riverside has established a fine reputation for producing high-quality classic

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in the title role, Marya Lowery, Richard Hoyt-Miller, Scott Parson, Maggie Scott, Mary McTigue, and Ann Ducati, sets by Tom Newman, costumes by Randolf Pearson, lighting by Richard Lund, extensive combat choreography by Joel Leffert, and stage managed by Mary Ellen Allison.

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Opening night, a special panel of scholars on German theatre and the drama of the Weimar Republic in particular was presented in the theatre before the play, including a display of photos from the original Munich production. In keeping with Brecht's original production, a

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The cast also included Dan Southern, Stuart Rudin, Eric Hoffmann, Jim Maxson, Kieron Murphy, Jim Brewster, Michael Arabian, Kaeren Peregrin, Robert Lanchester, Leslie Blake and John Rowe. Original music was composed and played by Michael Moore and costumes were by Vernon

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dell'arte scenari. Its educational programs provided training for hundreds of actors, directors and teachers and students. Over its two decades Riverside productions were seen and heard by over one hundred thousand people throughout the five boroughs of New York City.

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in her New York stage debut playing Mistress Quickly as a "Cajun voodoo woman" and Joseph Reed as Falstaff, with Douglas Broyles, Dan Daily, Norma Fire, Paul Hebron, Michael Landsman, Sonja Lanzener, Warren Sweeney, Shelly Desai, and stage managed by Mary Ellen Allison.

2158:, movement and Commedia dell'arte. Among the teaching staff were Marya Lowery, Robert Walsh, Maureen Clarke, Eric Hoffmann, Joel Leffert, John Carroll, Robert Mooney, Peter Siiteri, Dan Southern and Timothy Oman. Numerous special guests offered workshops, such as 1603:: "the Sturgeon King" – was open the next day, providing the crew with bagels and coffee in the morning. Shakespeare's tale of Winter proved a fitting production for New York's year-round Shakespeare company to be socked in while the city nearly ground to a halt. 2574:

Present at the reunion were company members Kevin Lee Allen, Kieron Murphy, Scott Parson, Jim Maxson, Gloria Skurski, Margo Gruber, W. Stuart McDowell, Michael Canick, Andrew Achsen, Herman Petras, Robert Mooney, Eric Hoffmann, and Dan Southern (aka Dan Smith).

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I've never seen a classical theatre production by this company before, and I thought it was truly exceptional. As unimpassioned as most so-called entertainment is, the only saving grace is that artists still band together on honest endeavors, such as this. ...

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The music composed for the play had a Brechtian feel to it, enriching the play and setting the mood of high jinks and fun. Also, the fanciful costumes, works of art in themselves, with their overblown appliqued ornamentation, were a delightful asset to the

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in 1977 and continued for each of its subsequent parks tours, had been established for company members as a key part of outdoor Shakespeare performance by Carlo Mazonne-Clementi, renowned master of Commedia dell'arte, and Jane Hill, the co-founders of the

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The leather masks designed by Stein were often used inventively to comic effect, with actors sometimes removing them for an inner monologue, as in Hanks' portrayal of Callimaco, in which he conversed to himself while holding his quarter mask to one side.

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and Margo Gruber as Goneril, Edmund and Regan, with Eric Hoffmann as Lear, Dan Daily as Kent, Freda Kavanagh as Cordelia, Don Fischer as Edgard, and Saunder Finard, Sandra Protor Gray, Buck Hobbs, E. F. Morrill, Gene Santarelli, and Richard Willis.

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and Hans Schweikart – of the original Munich production of 1924, which had been Brecht's debut as stage director. In the original 1924 production, Brecht developed many of his "new staging and dramaturgical techniques" for what came to be known as

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With original music by Michael Moore and costumes by Sherry Amott. Featuring Peter Siiteri, Eloise Watt, Mary Skinner, and Eric Hoffmann, who were joined by Frank Fico, Bob Helsel, Ellen Martin, Jim Maxson, Kieron Murphy, Howard Shalwitz, and Tim

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The Riverside Shakespeare production featured an original score composed by Michael Canick for percussion and played by percussionist Noel Council above and to the side of the audience in the side tower that had been erected within the theatre of

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The church, West Park Presbyterian Churck, where The Shakespeare Center was established will quite possibly be renovated or demolished, to make room for a new high rise apartment building. See "Controversy over Condo Development at Church", in

596:, using a large stage surrounded by sheets of steel, erected to create a reflective environment for both the voice and the torch illumination. The production was designed and directed by W. Stuart McDowell and featured Peter Siiteri as Hamlet. 2106:

midtown Manhattan. The mobile unit had to be permanently retired, but the tour continued with select pieces of scenery, such as Juliet's balcony, and the production continued to play to exceptionally large audiences across the five boroughs.

495:, such as the appearance to Juliet of Tybalt's ghost. Each performance was also timed to end with the setting of the sun in mid August. Performances were preceded by the entire company of actors and musicians entertaining the audience with a 3136:

The director noted in the program that "In searching for the meaning of the story that Mamillius starts to tell, but is interrupted by his half-crazed father, I could find none: no historical or dramaturgical resource revealed what exactly

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in 1983 directed by Robert Mooney with music by Joseph Church and set designs by Kevin Lee Allen, with Diane Ciesla and Dan Southern, and Ronald Lew Harris, Eric Hoffmann, Joe Meek, and Robert Mooney. About this production, Sy Isenberg of

515:. At its founding in 1977, the Riverside Shakespeare Company became New York City's only year-round professional Shakespeare company dedicated to the performance of the works of Shakespeare, his contemporaries, and Commedia dell'arte. 2146:

To train actors, directors, and teachers in the performance of the classic text of Shakespeare and his contemporaries, the company began its professional training program, The Riverside School for Shakespeare, in the fall of 1980, at

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directed by Gloria Skurski with original music by Deborah Awner, with Margo Gruber and Gannon McHale, and Timothy Oman, Jim Brewster, Robert Boyle, Ronald Lew Harris, David Florek, Arland Russell, Daniel Tam and Leigh Podgorski, at

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was, or who the man in the story was who 'dwelt by a Church-yard.' At the same time, I found it fascinating – although undoubtedly a curious accident – that Mamillius's 'Tale for Winter' begins at the top of a new page turn in the

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period, including a somewhat odd barbershop quartet. ... This is one of the most purely farcical of Shakespeare's plays, and it stands up well to the present knockabout, roustabout treatment it receives from these Riverside players.

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wrote, "Particular mention should be made of the music, conducted by Joseph Church with the New York City Brass Quintet and a large chorus contributed to the fifteenth century ambience and aided in unifying the production.".

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The production proved immensely popular with audiences, setting, as it did, Shakespeare's play in contemporary Washington, D.C., in a country on the verge of making its popular leader president for life. The production of

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In what was becoming a Riverside tradition, each performance was preceded a half hour before curtain by a "Greenshow" of Commedia entertainment, by the cast and musicians on the stage and throughout the audience.

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While the company produced a subscription season in 1980–1981 at The Shakespeare Center, it also mounted a series of free performances of Shakespeare plays and scenes across town at the Citicorp Center, entitled

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has been described as "a long auditorium with rusticated plaster work in imitation of stone and a coffered ceiling" in the article "Streetscapes: Casa Italiana; Renovating a Campus Curio", by Christopher Gray,

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Also featuring Eloise Watt, Kent Odell, Mary Skinner, and Jim Brewster, as well as Stuart Rudin, Ronald Lew Harris, Larry Attile, Jim Aucoin, Robert Cendella, Sarah Fairfax, Lisa Kramer, Mike Logan, and Arland

2514:, where it was subsequently led by Gus Kaikkonen. In its second decade, until it disbanded in 1997, the Riverside Shakespeare Company produced a number of shows with distinguished actors and directors such as 1340:, the production injects a contemporary tone into the material ... including a graffiti mural, which is wittier than the stuff you read on the IRT. And somebody tossed off a Nancy Reagan joke that tickled me. 1799:

in 1937 was designed to make audiences think of Mussolini's Blackshirts – and it did. The Riverside Shakespeare Company's lively production makes you think of timeless ambition and anti-libertarians anywhere.

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With an original score composed by Debra Awner for strings and brass and performed live by the touring group "Brass", with costumes, puppets, and make-up designed by renowned Muppet designer Sherry Amott.

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Stuart McDowell, with costumes by Randolph Pearson, original music by Joseph Church, choreography by Beatrix Porter, text coaching by Maureen Clarke, and was stage managed by Mary Ellen Allison.

959:'s Stage 73. With the departure of Hanks to the west coast at the end of the run at the Casa Italiana, Dan Southern took over the role of Callimaco for the late night cabaret-like performances. 725:

was acclaimed for its creative setting in this bucolic, pre-American revolutionary time, in which Amiens, played by Larry Kirchgaessner, became a Native American in the American forest of Arden.

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was performed in a broad farcical style with numerous contemporary references, and extensive use of acrobatics, such as a backflip performed by Jim Brewster on his entrance as the young lover.

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including one when Edmund (deliciously played by Frank Muller) is hard at it with one of the rival sisters. ... Shakespearean adaptations occur in any era. This one, besides putting a leer in

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Riverside mounted this historical piece in an 18th-century setting, with authentic period costumes by Ellen Seeling on a set designed by Norbert Kolb. The production featured Barbara Tirrell,

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opened on March 2, 1979 at the Casa Italiana, and was stage managed by Nancy Consentino Minckler and produced by W. Stuart McDowell and Gloria Skurski, in association with Columbia University.

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by McDowell, with assistant director Jeannie H. Woods, with sets and lights by Dorian Vernacchio, costumes by David Robinson, with hand-hewn wooden props designed and built by Valerie Kuehn.

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joined W. Stuart McDowell on the touring stage, and inaugurated the five borough tour in a special ceremony in which Mr. Papp compared Riverside's tour with the former tours of the NYSF:

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The graduates from the University of California at Berkeley included Stuart McDowell, Gloria Skurski, Mary Skinner, Peter Siiteri, Kent Odell, John Jonas, Bob Helsel, and Dan Southern.

765:. This production was the company's first purely Commedia dell'arte style production, and featured the use of hand-crafted leather masks, improvisation, stylized movement and comic 2707:

noted that "Going into its third season as New York's only year-round Shakespeare producer, Riverside has established a fine reputation for producing high-quality classic theatre."

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Early in the summer of 1980, the Riverside Shakespeare Company moved into residence in West Park Presbyterian Church, at the corner of West 86th and Amsterdam, where it established

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On March 24, 2008, the first annual reunion of former Riverside Shakespeare Company actors, directors, composers, and designers was held at the Marriott Marquis, in New York City.

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the company was virtually stranded in the theatre during the blizzard that hit New York City in mid-February 1983. The technical crew building the set had to spend the night in

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also preceded each outdoor performance, entertaining the audience as they arrived in a spoof of the play to follow, which was staged by "the Players" en route to "Elsinore".

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The resident company under Daniel O. Smith's stage direction, has enthusiastically caught the outrageous spirit of that venerable theater form. ... The stock characters of

921:'s Stage 73. The production was set in the roaring 20's, as if F. Scott Fitzgerald had imagined the meeting of Beatrice and Benedict at a festive garden party on Cape Cod. 2308:, with a host committee of Henry Guettel, Leonard Bernstein, José Ferrer, Helen Hayes, Bernard Hughes, Bernard Jacobs, John V. Lindsay, Joshua Logan, and George Plimpton. 1951:

set in old, post-Civil War New Orleans and directed by Timothy Oman, with Maureen Clarke as assistant director, featuring ragtime music by Deena Kaye. The cast featured

1020: 3287:, et al. to participate in this all-star edition. Rehearsals start September 22 ..." See also "Season Preview: Theatre, Epic Legends, American Accents", by Mel Gussow, 2319:, "I would really like to tell the Americans that they already have the talent and the technique. All they need is the practice to take the horror out of Shakespeare." 1252:

in the American Theatre for Actors, with music by Bob Rosen, with Ronald Lew Harris, Jim Maxson, Joe Meek, Amy Aquino, Allison Edwards, Dennis Pfister, and J. C. Hoyt.

1090:

Riverside Shakespeare Company has injected this chronicle history with all the pageantry and spectacle it calls for, and the result is exciting theatre. ... What makes

1826:. The production was directed by W. Stuart McDowell, produced by Andrew B. Harris, who had joined Riverside as its executive director at the beginning of the season. 2937:

in 1979 proved to be one of only two staged at Riverside Church; the company was named not after the church, but the park where it began its first production in 1977.

1519:

an obviously symbolic hole in the ground, and grabs us from the moment he launches into his wintry discontents. Campbell not only loves his character, he loves his

1736:, and Marya Lowry, with Michael Cook, Andy Achsen, Ronald Lew Harris, Paul Hebron, Sonja Lanzener, Jim Maxson, Joe Meek, Robert Walsh and Herman Petras as Caesar. 1719:

set in contemporary Washington, directed by McDowell, inspired by interviews conducted with company members of Orson Welles's famous 1937 Broadway production of

1725:, with set by Kevin Lee Allen, with Assistant Director Maureen Clarke and Jane Badgers, director of marketing & P.R, and featuring music by Michael Canick. 928:

was staged as the first part of a double bill, followed by a glass of wine and then, on the same stage with a quick change of scenery, by Niccolo Machiavelli's

2322:

During these years, the Riverside Shakespeare Company and The Shakespeare Center gained support from numerous major benefits staged for the theatre company by

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and a performance style that became hallmarks of Riverside's subsequent outdoor productions. "Behind the Mask: Carlo Mazzone-Clementi, 1920–2000", Bob Doran,

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Shakespeare", said W. Stuart McDowell, the Riverside's artistic director, "designed to be performed in natural light the way it was in Shakespeare's time."

1748:

for a Broadway production at the Virginia Theatre, scheduled to premiere on the 50th anniversary of the Mercury Theatre production, on November 11, 1987.

1300:

and Lee Croghan, with Dene Nardi, Dan Daily, Norma Fire, Ronald Lew Harris, Pat Kennerly, Gay Reed, Gene Santarelli, Sandi Shackelford, and Time Winters.

831:

Performing in the style of Commedia dell'arte, with masks and fanciful commedia costumes, the cast included Arland Russell, Mark Cavalieri, Jeff Cameron,

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pre-disposition to enjoy itself; the flexibility to deal with dogs, kids, jets, and drunks; and splendid timing – the play ended as the sun went down.

483:

park – jugglers, fencers, singers, poetry readers. Then a fanfare will call the players to the stage, and the tale of star-cross'd lovers will begin.

3721: 983:, in which the audience members are constantly made aware of the artifice of the production, and thereby become participants in the theatrical event 1128:

style, directed by John Clingerman, with Andrew Achsen, Kristin Rudrud, Stuart Cohen, Alison Edwards, Beata Jachulski, Will Lecki, Scott Parson,

610:, in which the entire text of Shakespeare's play was presented in a lively, action-filled production, enabling the company to mount the complete 3716: 40: 2506:

Beginning in 1986, the Riverside Shakespeare Company was led by Robert Small, followed by Timothy W. Oman, who moved the company to permanent

1663:

mating dance at once witty, slapstick and tender, balanced at the end between ritual and reality. In its warmth, elegance and festivity, this

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played the lead role of the scoundrel Callimaco – in his first and only stage production in New York City until making his Broadway debut in

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on the courtyard roof of Riverside Church in Manhattan in late afternoon. The success of this production enabled the company to remount its

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was revived for several outdoor engagements, performed on a two-wheel cart with simple cloth backdrop, beginning with the dedication of the

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Actor training classes were offered by company members with professional performance experience and training in the classics: in verse,

1904:

In 1982, Riverside Shakespeare Company began a series of expanded tours of Free Summer Shakespeare made possible through sponsorship by

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became the principal sponsors of the company, starting with the Riverside Shakespeare Company's production of the New York Premiere of

1062:, constructed on the courtyard roof Prentise Hall at West 125th and Broadway, and transported and erected on the main campus Quad of 1887:

and a whole panoply of 18th century theater devices, including a hysterical use of tableaux to open and close scenes, and hilarious

1614:, before which it was described as, "An exceptional production of one of the Bard's seldom-produced scripts ... brilliant." In the 1599:, marooned there while they finished the elaborate, magical stage for production. Fortunately, the deli just outside the theatre – 1356:

touring production, and was the first Riverside production seen by Joseph Papp, leading eventually to an ongoing sponsorship by the

1584:

text when Mamillius is asked to "tell's a Tale," to which the boy responds with "There was a man ... dwelt by a Church-yard. ... "

878:

was accompanied by an original jazz score composed (and with a running improvised narration) by pianist-composer-orchestra leader

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is not only a rock solid production, it is surprisingly a good one." Reviewing the Riverside production, Herbert Mitgang of the

3649: 761:, directed by Dan Southern featuring company members performing with Renaissance music arranged and played by the chamber group 329: 694:

Shakespeare at the Delacorte always disappoints me because it's overmiked and not in tune with park life; but I saw a charming

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The Riverside Shakespeare Company also began to host residencies for actor training with verse by noted Shakespeare teachers

2059:

For this production, the company secured $ 15,000 from New York Telephone to overhaul the mobile stage that been used by the

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for producing "the most dependably accomplished performances of Shakespeare's plays regularly available in New York City."

442: 1963:

verged on becoming a full-fledged musical, with numerous tunes played by the ragtime band. According to Nan Robertson in

753:

was joined at Stage 73 by the New York premiere of the Commedia dell'arte scenario, the 16th century "madrigal comedy" by

86: 78: 2503:

as Associate Producer in 1984, and is now director of educational and broadcast services for PBS ThinkTV of Dayton Ohio.

2088:– the traditional territory of the New York Shakespeare Festival. Opening on June 6, 1984 saw a "Gala Benefit" hosted by 863:

A delightfully produced, fast-paced farce happened uptown on Columbia University's Campus, in the Casa Italiana. ... In

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for over 150 years, beginning in the late 17th century when Tate wrote his adaptation, through the early 19th century.

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with Freda Kavanagh, Deanna Deignan, Kay Colburn and Catherine Schmidt, and J. C. Hoyt, Timothy Doyle, Timothy Oman,

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Daniel O. Smith subsequently became known as Dan Southern when he became a member of the Actors' Equity Association.

2578:

Also present were Lisa Graham Parson, Pedro Ruiz, Cindy Ratzlaff, Charles Borkas, and photographer Claire McDowell.

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The next summer, in 1984, the Riverside Shakespeare Company mounted a summer parks tour of its third production of

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at Carl Schurz Park, Manhattan, 1978. The set utilized a series of sheet steel walls to project the natural voice.

3636:"Department of Theatre, Dance, and Motion Pictures | College of Liberal Arts | Wright State University" 777:

From 1978 to 1980, the Riverside Shakespeare Company was the professional Equity theater company in residence at

333: 262: 206: 132: 322: 1172:. The Shakespeare Center of the Riverside Shakespeare Company was officially dedicated in the fall of 1982 by 3300: 2060: 2022: 1917: 1909: 1386: 1357: 411: 2284: 659: 491:

was a two-hour version, trimmed to incorporate extensive swordplay, an extended ballroom dance scene, and

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then went on to tour all five boroughs in blazing heat, attracting large audiences for this lively show.

1316:

York street scenes by Dorian Vernacchio costumes by Barbara Weiss and masks by Paul Mantell, about which

3266:, June 24, 1987: "Something else to look forward to in '88 is an election year reading of Shakespeare's 2587: 1947: 1523:, articulating with the lusty relish of a voluptuary set loose in a seraglio. It's a joy to watch him. 1223: 452: 268: 2491:

W. Stuart McDowell left Riverside in 1986 to found McDowell/Scripps Productions with arts benefactor,

1930:

The first of these was a tour – to twelve different parks in four boroughs – of Shakespeare's raucous

1475:

was visually stunning, and imaginatively directed production of a play that has great relevance today.

1071:

Ken Threet, Nick Schatzki, and Lois Tibbetts, with music by Deborah Awner played by a live orchestra.

2355: 2257: 2182: 2001: 1920:, and, with broadened marketing, proved exceedingly popular with audiences at these extended venues. 1169: 671: 511:. A board of directors was soon formed under the guidance of founding chairperson, Elena Scotti of 143: 2360: 2274: 1849: 1812: 1721: 1160: 994:– whether indoors or outside in a park – relied on broad physicalization, improvisation, and comic 879: 272: 2210:

It has been acknowledged (in the Introduction to first popular paperback reissue of Shakespeare's

2135: 394: 3371: 2523: 2496: 2483:, and the choir of the Anglo-American School, produced by McDowell and directed by Robert Small. 2472: 2316: 2312: 2253: 2245: 2234: 2225: 2118: 1262: 1244: 1207:

The Shakespeare Center became the home for numerous Equity Riverside productions, beginning with

1103:

at Columbia University enabled the company to extend the run by remounting the entire production

258: 193:

may contain an excessive amount of intricate detail that may interest only a particular audience

3250: 2429: 2290: 2148: 1733: 1596: 1432: 1151: 1145: 956: 951: 918: 912: 867:

the audience is often brought into the confidence of the actors who unmask themselves to do so.

718: 538: 456: 136: 3686: 1278:, directed by John Clingerman. These were also broadcast on New York's public radio station, 1874: 500: 1532:

was directed by John Clingerman, with an original musical score by Joe Church played by the

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In February 1981 the company mounted the New York Premiere of the Commedia dell'arte farce

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In 1979 the Riverside Shakespeare Company mounted Niccolo Machiavelli's Renaissance farce,

781:

under the sponsorship of Andrew B. Harris and internationally renowned Shakespeare scholar

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workshop to New York City in the early 1980s, hosted by the Riverside Shakespeare Company.

3299:

and directed by W. Stuart McDowell, did not take place. Instead, in the same season, the

3291:, August 30, 1987. The Broadway remounting of this production, sponsored and designed by 1500:

The next season (1982–1983) in the newly renovated theatre on West 86th Street began with

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with Dan Southern, Ronald Lew Harris, Michael Goldner, and Joe Meek, at the dedication of

533:, directed by Gloria Skurski, with music by Michael Moore, which then had an extended run 147: 8: 2527: 2351: 2171: 1645: 1545: 1394: 1063: 778: 732:, who became the company's first member of its Board of Advisors, soon to be followed by 593: 468: 419: 2977:, May 10, 1981, and "Shakespeare in New York City", by Maurice Charney and Arthur Ganz, 2563: 2499:

in Dayton, Ohio. Gloria Skurski went on to a career in television, joining the staff of

1274:, directed by Ken Grantham, and a popular compilation of romantic scenes from the Bard, 430: 2515: 2230: 2084:). This was the first time Riverside Shakespeare Company had ventured into New York's 1993: 1952: 1932: 1528: 1502: 1050: 3050:

and by Bertha Case, literary representative for the Brecht estate in America, in 1981.

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it was observed that "Riverside's responsible rendering of the text should win them a

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and "Program from the Riverside Shakespeare Company Summer Parks Tour, August, 1985."

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During its fifteenth year, the theatre company was praised in the weekly publication

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appeared in an all-star benefit performance for the Riverside Shakespeare Company of

1959:

In the hands of composer and keyboard player Deena Kaye, the Riverside production of

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indoors at the American Theatre for Actors in midtown Manhattan in the fall of 1979.

782: 739: 386: 3098: 2819: 2535: 2531: 2335: 2043: 1843: 1459: 1228: 1209: 844: 447: 332:. It may require cleanup to comply with Knowledge's content policies, particularly 2327: 2241: 796: 445:, the Riverside Shakespeare Company of New York City opened its first production, 3635: 3229: 2456: 2421: 2399: 2343: 2296: 2159: 2139: 2063:

for parks tours before the NYSF stopped touring four years before. According to

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of New York, and by Marta Feuchtwanger (widow of Brecht's acknowledged co-author

1367: 1197: 998:, as well as interacting with the audience in the manner of Commedia dell'arte. 975: 729: 464: 415: 1164:

through funds raised by efforts of cast members from the Broadway production of

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fight choreography for broadsword, halberd, dagger and mace, by Joel Leffert.

937: 772: 527:, the Riverside Shakespeare Company presented a free 'Equity library tour' of 3700: 3363: 3295:, under the General Management of Kevin Dowling, with verse and text work by 3272: 3047: 2510:

status at Playhouse 91, located on East 91st Street on the upper Eastside of

2495:, and is now Chair of the Department of Theatre Dance and Motion Pictures at 2408:, with Miss Hayes in her return to the New York stage as Narrator, featuring 2339: 2265: 1865: 1810:

In 1985 the Riverside Shakespeare Company presented the New York premiere of

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augment and draw focus to various narrative lines throughout the production.

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enabled the company to remount the show with the company's new production of

754: 566: 529: 460: 3110:"Campbell Conquers Richard III: Riverside's Richard III" by Marilyn Stasio, 2181:(in her first such workshops in New York City), and Patrick Tucker from the 1418:

was grounded on interviews McDowell had made in Germany with cast members –

835:, Susan Kay Logan, Perla Armanasco and Michael Goldner. In this production 788: 205:

any relevant information, and removing excessive detail that may be against

3312: 3304: 3296: 3276: 2507: 2480: 2437: 2417: 2323: 2178: 2155: 2130: 2085: 2077: 1980: 1913: 1847:(which was a central part of the Royal Shakespeare Company's production of 1796: 1706: 1424: 1404: 1353: 1249: 1129: 1104: 930: 813: 534: 3101:, February 6, 1982, New York City; quoted with permission from the author. 1983:, in his first review of a Riverside Shakespeare production, wrote in the 3596: 3284: 2644: 2519: 2464: 2452: 2413: 2395: 2384: 2279: 2211: 2186: 2093: 2018: 1992:

himself favors, and appropriate for a bright summer evening, with people

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followed the production, with cast member Andrew Achsen serving as host.

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In its second summer, 1978, the company presented a popular free tour of

605: 2371: 1002:, under Southern's direction, proved one of Riverside's most successful 646: 418:

of New York City, by W. Stuart McDowell and Gloria Skurski. Focusing on

3595:, Introduction by Doug Mostin, Applause Books, 1995, p. vii. Also see 2547: 2476: 2468: 2409: 2331: 2167: 1817: 1729: 1232: 1118:

In the spring of 1980, the theatre company mounted a new production of

455:. It then commenced a free parks tour through Manhattan, performing in 1945:

The following summer the company mounted a music-filled production of

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and large chorus recorded especially for this production, about which

703: 3316: 2511: 1822: 1816:, adapted with a happy ending by 18th-century English Poet Laureate, 836: 832: 804: 492: 3249:

For a biography of this distinguished stage actor and director, see

3228:

Interviews were conducted by the director, W. Stuart McDowell, with

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of Columbia University located at West 117th and Amsterdam Avenue.

1364:(see below), and subsequent Riverside summer touring productions. 1074:

For this production, the company built a replica of Shakespeare's

3085:

See "Acting Brecht: The Munich Years", by W. Stuart McDowell, in

3059:"I wrote this play with Lion Feuchtwanger"; Dedication page from 2272:), Christopher Ravenscroft (from the Royal Shakespeare Company's 1571:, with Eric Hoffmann as Autolycus and Tony Award-winning actress 1487: 902: 558: 398:

Poster: Riverside Shakespeare Company's inaugural parks tour of

3240:, set designer for Welles' famous "Fascist" production of 1937. 1888: 1561:

In early 1983, Riverside Shakespeare Company mounted its third

1552: 1514:

The Riverside Shakespeare Company has opened its season with a

1039: 580: 523:

During its inaugural 1977–1978 season, after its parks tour of

1841:

Like Tate's other immensely popular "happy ending" version of

422:

plays and other classical repertoire, it operated until 1997.

3511:"On the Road again, with free Shakespeare", Paul D. Colford, 3046:, February 6, 2000. The New York premiere was authorized by 995: 766: 638: 588:– this time lit by torches in the late evening – on the main 3608:"Riverside Opens Its Shakespeare Center", by Marily Stasio, 3408:"Tate gives happy ending to bard's tragic saga" by Sy Syna, 3328:

From the Riverside Shakespeare Company poster, (above) 1984.

3215:"When a 'Saint' Emanated Threads of Light", Peter Sparling, 2596: 2252:

In October 1983, the Riverside Shakespeare Company launched

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The Will to Power: Scenes of Ambition and Political Intrigue

3691:

Shakespeare Companies and Festivals: An International Guide

2256:, New York City's first major residency of actors from the 1751:

The slogan for the production was reflected on its poster:

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The professional Shakespeare company at Columbia University

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to an audience estimated at over a thousand (according to

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wind machine to the other – both visible to the audience.

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The Theatre of Bertolt Brecht: A Study from Eight Aspects

2845:

The room where the theatre company erected its stage for

2703:

Three years after the founding of Riverside Shakespeare,

3483:"Merry wives cavort in Riverside Park" by Clive Barnes, 2131:

The Riverside School for Shakespeare and the First Folio

1685:

with Bertram Ross – longtime leading dance partner with

1242:

This was followed by a Commedia dell'arte production of

578:

In the spring of 1978, the company mounted the complete

410:

of New York City was founded in 1977 as a professional (

2116:

In 1985, the company mounted a very Italian version of

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The next season opened with a full stage production of

3089:, Carol Martin, Henry Bial, editors (Routledge, 2000). 2946:"Dickens lends the Bard a Hand", by Patricia O'Haire, 2558: 2260:– with Edwin Richfield (of the RSC's highly acclaimed 321:

A major contributor to this article appears to have a

3013: 3011: 2673:, with which Riverside began its first production of 2585: 2288:) – conducting workshops and seminars and performing 2185:

for training American actors in use of Shakespeare's

2076:

The production opened at the Bandshell in New York's

1853:) Tate's equally popular adaptation of Shakespeare's 1258:

Riverside Shakespeare Salutes Shakespeare at Citicorp

3707:

Shakespearean theatre companies in the United States

3567:(Routledge Press, November 2001), brought his first 3565:

Secrets of Acting Shakespeare: The Original Approach

2871: 2869: 2189:

as a cornerstone of professional stage performance.

1940: 1492: 1110: 1048:

Shakespeare, a major Equity staging of the complete

3507: 3505: 2804:"Midsummer Thoroughly Enjoyable", by Ari Panagako, 2742: 2740: 2416:of the Royal Shakespeare Company, MacIntyre Dixon, 2278:, Jennie Stoller and John Kane (the later two from 1900:

Riverside Shakespeare tours produced by Joseph Papp

1352:proved so popular, that it was later mounted as an 3008: 2791:"Outdoor Performances in New York" by Erika Munk, 2787: 2785: 2684:Dell'Arte International School of Physical Theatre 2092:, Richard Horner and Lynne Stuart. Opening night, 859:review of March 14, 1979, Jan Rucquoi noted that: 402:. Peter Siiteri, Stuart Rudin, Eloise Watt. (1977) 2866: 1544:The production featured stage and screen veteran 3698: 3502: 3438:make merry in city parks", by Patricia O'Haire, 2832:Program for the Riverside Shakespeare Company's 2817:"Remounting the Classics", by Donald R. Wilson, 2737: 1671: 257:, potentially preventing the article from being 2782: 1606:After the opening on February 24, Riverside's 941:at Stage 73, and on tour through New York City 817:, in the large second floor auditorium of the 3307:, with an historical toga-clad production of 2981:, Vol. 33, No. 2 (Summer, 1982), pp. 218–222. 2730:"A Troupe Born to Greatness" by Judy Thrall, 2142:at the Riverside School for Shakespeare, 1983 1773:Responding to the production, Sy Syna of the 1768:It's the political horror show for our times. 1488:Subscription season at the Shakespeare Center 789:Tom Hanks and Michael Wolff in Machiavelli's 425: 16:Late-20th-century theatre company in New York 3190:Bulletin of the New York Shakespeare Society 2447:In 1986 the popular benefit presentation of 2109: 2017:For each of these summer tours sponsored by 1652:Bulletin of the New York Shakespeare Society 955:as a late night double bill in repertory at 910:In late spring of 1979 the company produced 627:Heights/Innwood Newspaper of North Manhattan 3621:"F. Murray Abraham To Say, 'Bah, Humbug'", 1803: 740:New York premiere of the "madrigal comedy" 471:. The production was directed by McDowell. 55:Learn how and when to remove these messages 3737:Defunct theatre companies in New York City 3732:1997 disestablishments in New York (state) 3712:Shakespeare festivals in the United States 2746:Ari Panagako, "Dandy Hamlet Bows Uptown", 2217: 2012: 1625: 1289:, the company opened its next season with 1276:This Bud of Love: Scenes of Awakening Love 441:Founded with a core of graduates from the 277:reliable, independent, third-party sources 146:. Please do not remove this message until 3350:Herbert Mitgang, "Stage: Modern Caesar", 3173:The New York Shakespeare Society Bulletin 1791:The famous Mercury Theater production of 1446:with Dan Southern and Timothy Oman, 1982. 1139: 945:The success of Riverside's production of 437:, with Eric Hoffmann as Puck. Summer 1978 374:Learn how and when to remove this message 356:Learn how and when to remove this message 295:Learn how and when to remove this message 225:Learn how and when to remove this message 166:Learn how and when to remove this message 105:Learn how and when to remove this message 3722:Performing groups disestablished in 1997 3464:"'The Merry Wahvs of Windzuh' [ 3017:"Delightful Cuckolds" by Marily Stasio, 2562: 2379: 2240: 2229: 2134: 2055:Poster for the 1984 5-borough Parks Tour 2050: 2000: 1976:an "evening with the Basin Street Bard." 1882:The Riverside Shakespeare production of 1744:, revised, was subsequently optioned by 1631: 1438: 1058:, mounted on a replica of Shakespeare's 795: 645: 565: 429: 393: 390:Riverside Shakespeare Company logo, 1977 385: 328:Relevant discussion may be found on the 271:by replacing them with more appropriate 142:Relevant discussion may be found on the 3076:. Third rev. ed. (Methuen, 1967) 25–26. 2877:Heights/Inwood Press of North Manhattan 2806:Heights Inwood Press of North Manhattan 2748:Heights/Inwood Press of North Manhattan 2732:Heights/Inwood Press of North Manhattan 1923: 962:Subsequent to its two indoor stagings, 884:Heights/Inwood Press of North Manhattan 857:Heights/Inwood Press of North Manhattan 625:at Columbia University was reviewed by 559:First Folio production of the complete 543:Heights/Inwood Press of North Manhattan 254:too closely associated with the subject 3699: 2647:, all of whom became founding members. 711:The following fall the company staged 670:was expanded to play locations in two 3717:Performing groups established in 1977 3550:See "Welcome to the Public Theater". 3496:See "Welcome to the Public Theater". 3470:] Tours City", by Nan Robertson, 3451:See "Welcome to the Public Theater". 3303:inaugurated its Shakespeare Marathon 3061:Leben Eduards des Zweiten von England 1332:– from the bulbous-nosed clowns, the 986:As in the Riverside tradition of the 574:with Kaeren Peregrin as Ophelia, 1978 3727:1977 establishments in New York City 3421:See "Welcome to the Public Theater, 2444:on the Upper Westside of Manhattan. 1912:. These were all produced under an 1643:Later that year the company mounted 906:at Manhattan Theatre Club's Stage 73 707:at Manhattan Theatre Club's Stage 73 443:University of California at Berkeley 306: 236: 177: 116: 61: 20: 2680:Dell'Arte School of Mime and Comedy 2559:Riverside Shakespeare reunion, 2008 1622:statue that will never walk away." 1239:called "a charming chamber piece." 13: 3680: 3453:Merry Wives of Windsor, The (1983) 3395:for Optimists", by Howard Kissel, 2205: 1857:was the only performed version of 1639:, Diane Ciesla, Dan Southern, 1983 1248:directed by Dan Southern produced 77:tone or style may not reflect the 14: 3748: 474:An opening-night announcement in 36:This article has multiple issues. 2607: 2595: 1705:In 1984 the company presented a 1506:, about which Marilyn Stasio of 1400:The Life of Edward II of England 1377:The Life of Edward II of England 1370:The Life of Edward II of England 1012: 336:. Please discuss further on the 311: 252:may rely excessively on sources 241: 182: 121: 87:guide to writing better articles 66: 25: 3664: 3642: 3628: 3615: 3602: 3586: 3574: 3557: 3552:Taming of The Shrew, The (1985) 3544: 3531: 3518: 3490: 3477: 3458: 3445: 3428: 3415: 3402: 3377: 3357: 3344: 3331: 3322: 3256: 3243: 3232:, cast member in Orson Welles' 3222: 3209: 3195: 3178: 3165: 3153: 3130: 3117: 3104: 3092: 3079: 3066: 3053: 3036: 3024: 2996: 2984: 2967: 2953: 2940: 2927: 2915: 2894: 2882: 2857: 2839: 2826: 2811: 2798: 2773: 2763: 2300:, and the New York premiere of 1403:in 1982, also sponsored by the 1054:. This was Riverside's second 728:The production was attended by 44:or discuss these issues on the 3650:"ThinkTV, Education, Contacts" 3593:The First Folio of Shakespeare 3563:Patrick Tucker, the author of 3387:at Riverside", by Mel Gussow, 3042:"Brecht; Another Production", 2753: 2724: 2714: 2697: 2663: 2650: 2636: 2627: 1368:New York premiere of Brecht's 541:Stage 73. Judy Thrall, in the 518: 1: 3687:Riverside Shakespeare Company 3423:Comedie of Errors, The (1982) 3301:New York Shakespeare Festival 3188:: A Review", by Sy Isenberg, 3162:broadcast, February 23, 1982. 3123:Review by Murile Broadman in 2620: 2486: 2151:, headed by John Clingerman. 2061:New York Shakespeare Festival 2023:New York Shakespeare Festival 1910:New York Shakespeare Festival 1820:, from William Shakespeare's 1616:New York Shakespeare Bulletin 1387:New York Shakespeare Festival 1358:New York Shakespeare Festival 408:Riverside Shakespeare Company 3673:, September 27, 1991, p. 45. 3412:, Wednesday, March 20, 1985. 2711:, Thursday, August 30, 1979. 2656:"Shakespeare on the Drive", 2350:, and by Tony Award-nominee 1610:was broadcast on New York's 1450:The Riverside production of 1266:directed by Jere O'Donnell, 621:The torchlit performance of 487:The inaugural production of 207:Knowledge's inclusion policy 7: 3192:, May 1983, Vol. 1, No. 11. 2581: 2426:Mary Elizabeth Mastrantonio 1534:New York City Brass Quintet 1458:According to singer/writer 1270:directed by Timothy Minor, 970:in the Brooklyn, hosted by 545:reviewed the production of 148:conditions to do so are met 10: 3755: 2451:was remounted, again with 2364:) in his one-person show, 2282:'s landmark production of 2223: 1974:The Merry Wives of Windsor 1961:The Merry Wives of Windsor 1948:The Merry Wives of Windsor 1918:Actors' Equity Association 1795:in modern dress staged by 1374: 1180:in a ceremony attended by 1158:and the set of Broadway's 1143: 1040:First Folio production of 592:before the Low Library at 426:Establishment and heritage 2979:The Shakespeare Quarterly 2964:, Sunday, March 18, 2007. 2356:Royal Shakespeare Company 2315:said on opening night of 2285:A Midsummer Night's Dream 2258:Royal Shakespeare Company 2183:Royal Shakespeare Company 1895:was a helluva lot of fun! 1414:The New York premiere of 1170:Royal Shakespeare Company 672:boroughs of New York City 668:A Midsummer Night's Dream 660:A Midsummer Night's Dream 651:A Midsummer Night's Dream 641:A Midsummer Night's Dream 614:in under three hours. A 435:A Midsummer Night's Dream 414:) theatre company on the 2875:Review by Jann Racquoi, 1884:The History of King Lear 1835:The History of King Lear 1813:The History of King Lear 1805:The History of King Lear 1728:The production featured 1700:The History of King Lear 1086:, Ted Bank, noted that: 3541:article, June 11, 1984. 3498:Romeo and Juliet (1984) 3440:The New York Daily News 3372:Oxford University Press 3264:The New York Daily News 3186:The Taming of the Shrew 2948:The New York Daily News 2692:The North Coast Journal 2497:Wright State University 2459:on Broadway, featuring 2317:The Shakespeare Project 2313:Christopher Ravenscroft 2264:), Heather Canning (of 2254:The Shakespeare Project 2226:The Shakespeare Project 2219:The Shakespeare Project 2119:The Taming of the Shrew 2111:The Taming of the Shrew 2013:The Riverside Greenshow 1941:"The Basin Street Bard" 1660:The Taming of the Shrew 1627:The Taming of the Shrew 1263:The Taming of the Shrew 1245:Two Gentlemen of Verona 1214:comedian Fredi Dundee. 1028:The Shakespeare Gardens 696:Midsummer Night's Dream 3391:, April 5, 1985, and " 3366:, "Introduction" from 3251:Harold Scott, Director 2973:Review by Mel Gussow, 2906:Much Ado About Nothing 2568: 2522:, David Edward Jones, 2391: 2291:The Merchant of Venice 2249: 2248:, C. Ravenscroft, 1983 2238: 2203: 2149:The Shakespeare Center 2143: 2103: 2074: 2056: 2009: 1999: 1978: 1897: 1801: 1771: 1669: 1640: 1597:The Shakespeare Center 1591:During rehearsals for 1565:, an uncut staging of 1563:First Folio Production 1525: 1477: 1447: 1433:The Shakespeare Center 1342: 1287:The Shakespeare Center 1152:The Shakespeare Center 1146:The Shakespeare Center 1140:The Shakespeare Center 1097: 1056:First Folio Production 957:Manhattan Theatre Club 952:Much Ado About Nothing 926:Much Ado About Nothing 919:Manhattan Theatre Club 913:Much Ado About Nothing 893: 869: 808: 719:Manhattan Theatre Club 701: 654: 636: 575: 556: 539:Manhattan Theatre Club 485: 438: 403: 391: 3410:New York City Tribune 3204:Stu Hamstra's Hotline 3087:The Brecht Sourcebook 2669:The tradition of the 2566: 2383: 2306:The Tarnished Phoenix 2244: 2233: 2198: 2138: 2098: 2069: 2054: 2004: 1989: 1969: 1880: 1875:New York City Tribune 1872:The reviewer for the 1833:Tate's adaptation of 1789: 1753: 1656: 1635: 1512: 1496:with brass and chorus 1464: 1444:The Life of Edward II 1442: 1326: 1304:New York premiere of 1088: 888: 861: 799: 692: 649: 631: 569: 551: 480: 433: 397: 389: 334:neutral point of view 3625:, November 27, 1986. 3537:Quoted in the above 3150:, February 25, 1983. 3127:, December 24, 1982. 3114:, November 16, 1982. 3033:, February 11, 1981. 3021:, February 11, 1981. 2836:, November 10, 1978. 1925:The Comedy of Errors 1779:wrote: "Riverside's 1268:Love's Labour's Lost 1224:Love's Labour's Lost 1134:William Sloan Coffin 990:, the production of 882:. According to the 451:, in August 1977 in 3660:on January 9, 2008. 3612:, October 22, 1983. 3171:"Sunny Winter", in 2933:This production of 2823:, November 2, 1978. 2528:Robert Sean Leonard 2479:, MacIntyre Dixon, 2372:Riverside presents 2352:Edward Petherbridge 2246:Shakespeare Project 2235:Shakespeare Project 2037:on the mobile stage 1658:This production of 1646:Taming of the Shrew 1637:Taming of the Shrew 1546:J. Kenneth Campbell 1395:Christopher Marlowe 1156:Helen Hayes Theatre 1114:at Riverside Church 1064:Columbia University 779:Columbia University 594:Columbia University 469:Columbia University 135:of this article is 3569:Acting Shakespeare 3472:The New York Times 3397:Women's Wear Daily 3389:The New York Times 3352:The New York Times 3289:The New York Times 3044:The New York Times 3003:The New York Times 2991:The New York Times 2975:The New York Times 2962:The New York Times 2924:, August 30, 1979. 2852:The New York Times 2808:, August 22, 1978. 2795:, August 23, 1978. 2682:(now known as the 2660:, August 19, 1977. 2658:The New York Times 2569: 2526:, Laurie Kennedy, 2516:Henderson Forsythe 2392: 2250: 2239: 2144: 2057: 2025:, the traditional 2010: 1965:The New York Times 1953:Anna Deavere Smith 1933:A Comedy of Errors 1916:contract with the 1641: 1448: 1381:Beginning in 1982 1350:The Three Cuckolds 1346:The Three Cuckolds 1344:The production of 1313:The Three Cuckolds 1306:The Three Cuckolds 1219:Romeo & Juliet 1099:The popularity of 1092:Henry IV, Part One 1051:Henry IV, Part One 1042:Henry IV, Part One 1032:Commedia dell'arte 981:Commedia dell'arte 968:Shakespeare Garden 924:The production of 895:The production of 850:The production of 847:" in spring 2013. 809: 807:as Callimaco, 1979 747:The production of 686:Erika Munk of the 679:each performance. 666:The parks tour of 655: 576: 525:Romeo & Juliet 501:Commedia dell'arte 476:The New York Times 439: 404: 400:Romeo & Juliet 392: 3610:The New York Post 3583:, March 13, 1981. 3524:Above article in 3399:, March 22, 1985. 3354:, March 14, 1984. 3341:, March 14, 1984. 3293:Samuel H. Scripps 3219:, April 22, 2003. 3217:The Dance Insider 3206:, April 20, 2003. 3148:The Winter's Tale 3139:The Winter's Tale 3112:The New York Post 3031:The New York Post 3019:The New York Post 2993:, August 3, 1981. 2879:, March 14, 1979. 2854:, April 12, 1992. 2793:The Village Voice 2493:Samuel H. Scripps 2463:as Scrooge, with 2461:F. Murray Abraham 2449:A Christmas Carol 2405:A Christmas Carol 2374:A Christmas Carol 2361:Nicholas Nickleby 2275:Nicholas Nickleby 1850:Nicholas Nickleby 1746:Samuel H. Scripps 1675:with Bertram Ross 1608:The Winter's Tale 1601:Barney Greengrass 1593:The Winter's Tale 1568:The Winter's Tale 1555:The Winter's Tale 1508:The New York Post 1409:Lion Feuchtwanger 1393:'s adaptation of 1260:, which included 1166:Nicholas Nickleby 1161:Nicholas Nickleby 1101:Henry IV, Part IV 783:Bernard Beckerman 639:Expanded tour of 603:marked its first 457:Washington Square 384: 383: 376: 366: 365: 358: 325:with its subject. 305: 304: 297: 235: 234: 227: 176: 175: 168: 115: 114: 107: 81:used on Knowledge 79:encyclopedic tone 59: 3744: 3674: 3668: 3662: 3661: 3656:. Archived from 3646: 3640: 3639: 3632: 3626: 3619: 3613: 3606: 3600: 3590: 3584: 3578: 3572: 3561: 3555: 3548: 3542: 3535: 3529: 3528:, June 11, 1984. 3522: 3516: 3515:, June 11, 1984. 3509: 3500: 3494: 3488: 3487:, July 26, 1983. 3481: 3475: 3474:, July 15, 1983. 3462: 3456: 3449: 3443: 3442:, July 26, 1983. 3436:Wives of Windsor 3432: 3426: 3419: 3413: 3406: 3400: 3381: 3375: 3361: 3355: 3348: 3342: 3339:New York Tribune 3335: 3329: 3326: 3320: 3262:See Harry Haun, 3260: 3254: 3247: 3241: 3226: 3220: 3213: 3207: 3199: 3193: 3182: 3176: 3169: 3163: 3157: 3151: 3134: 3128: 3121: 3115: 3108: 3102: 3099:William Warfield 3096: 3090: 3083: 3077: 3070: 3064: 3057: 3051: 3040: 3034: 3028: 3022: 3015: 3006: 3000: 2994: 2988: 2982: 2971: 2965: 2957: 2951: 2944: 2938: 2931: 2925: 2919: 2913: 2912:, June 10, 1979. 2908:", by Ted Bank, 2898: 2892: 2891:, June 30, 1979. 2886: 2880: 2873: 2864: 2861: 2855: 2843: 2837: 2830: 2824: 2820:SoHo Weekly News 2815: 2809: 2802: 2796: 2789: 2780: 2777: 2771: 2767: 2761: 2757: 2751: 2750:, June 14, 1978. 2744: 2735: 2728: 2722: 2718: 2712: 2701: 2695: 2675:Romeo and Juliet 2667: 2661: 2654: 2648: 2640: 2634: 2631: 2612: 2611: 2610: 2600: 2599: 2591: 2536:Austin Pendleton 2532:Stephen McHattie 2376:with Helen Hayes 2336:Nicol Williamson 2294:, Dylan Thomas' 2044:Romeo and Juliet 2035:Romeo and Juliet 1844:Romeo and Juliet 1776:New York Tribune 1460:William Warfield 1229:Madeleine Potter 1221:was followed by 1210:Romeo and Juliet 1082:The reviewer of 1016: 763:The Western Wind 489:Romeo and Juliet 448:Romeo and Juliet 379: 372: 361: 354: 350: 347: 341: 323:close connection 315: 314: 307: 300: 293: 289: 286: 280: 245: 237: 230: 223: 219: 216: 210: 186: 185: 178: 171: 164: 160: 157: 151: 125: 124: 117: 110: 103: 99: 96: 90: 89:for suggestions. 85:See Knowledge's 70: 69: 62: 51: 29: 28: 21: 3754: 3753: 3747: 3746: 3745: 3743: 3742: 3741: 3697: 3696: 3683: 3681:Further reading 3678: 3677: 3669: 3665: 3654:www.thinktv.org 3648: 3647: 3643: 3634: 3633: 3629: 3620: 3616: 3607: 3603: 3591: 3587: 3579: 3575: 3562: 3558: 3549: 3545: 3536: 3532: 3523: 3519: 3510: 3503: 3495: 3491: 3482: 3478: 3463: 3459: 3450: 3446: 3433: 3429: 3420: 3416: 3407: 3403: 3382: 3378: 3362: 3358: 3349: 3345: 3336: 3332: 3327: 3323: 3319:as Marc Antony. 3315:as Brutus, and 3261: 3257: 3248: 3244: 3230:Stefan Schnabel 3227: 3223: 3214: 3210: 3200: 3196: 3183: 3179: 3170: 3166: 3158: 3154: 3135: 3131: 3122: 3118: 3109: 3105: 3097: 3093: 3084: 3080: 3071: 3067: 3058: 3054: 3041: 3037: 3029: 3025: 3016: 3009: 3001: 2997: 2989: 2985: 2972: 2968: 2958: 2954: 2950:, Sep 13, 1982. 2945: 2941: 2932: 2928: 2920: 2916: 2899: 2895: 2887: 2883: 2874: 2867: 2862: 2858: 2844: 2840: 2831: 2827: 2816: 2812: 2803: 2799: 2790: 2783: 2778: 2774: 2768: 2764: 2758: 2754: 2745: 2738: 2734:, Nov 11, 1977. 2729: 2725: 2719: 2715: 2702: 2698: 2694:, Nov 16, 2000. 2668: 2664: 2655: 2651: 2641: 2637: 2632: 2628: 2623: 2618: 2608: 2606: 2594: 2586: 2584: 2561: 2524:Charles Keating 2489: 2457:Marquis Theatre 2400:Charles Dickens 2389:Christmas Carol 2378: 2297:Under Milk Wood 2228: 2222: 2208: 2206:The First Folio 2133: 2114: 2039: 2015: 1943: 1928: 1902: 1840: 1808: 1764: 1758: 1703: 1677: 1630: 1559: 1498: 1490: 1471:was brilliant. 1379: 1373: 1360:beginning with 1309: 1217: 1198:Mildred Natwick 1148: 1142: 1116: 1069: 1045: 1037: 1036: 1035: 1022: 1017: 976:Estelle Parsons 943: 908: 794: 775: 759:L'Amfi Parnasso 745: 730:Mildred Natwick 709: 644: 590:University Walk 564: 521: 465:Fort Tryon Park 428: 416:Upper West Side 380: 369: 368: 367: 362: 351: 345: 342: 327: 316: 312: 301: 290: 284: 281: 266: 246: 231: 220: 214: 211: 197:Please help by 196: 187: 183: 172: 161: 155: 152: 141: 126: 122: 111: 100: 94: 91: 84: 75:This article's 71: 67: 30: 26: 17: 12: 11: 5: 3752: 3751: 3740: 3739: 3734: 3729: 3724: 3719: 3714: 3709: 3695: 3694: 3682: 3679: 3676: 3675: 3663: 3641: 3627: 3623:New York Times 3614: 3601: 3585: 3573: 3556: 3543: 3530: 3517: 3501: 3489: 3476: 3457: 3444: 3427: 3414: 3401: 3376: 3374:, 2000, p. 63. 3356: 3343: 3330: 3321: 3281:Treat Williams 3268:Julius Caesar. 3255: 3242: 3221: 3208: 3194: 3177: 3164: 3152: 3129: 3116: 3103: 3091: 3078: 3072:John Willett, 3065: 3052: 3035: 3023: 3007: 3005:, May 6, 1984. 2995: 2983: 2966: 2952: 2939: 2926: 2914: 2893: 2881: 2865: 2856: 2838: 2834:As You Like It 2825: 2810: 2797: 2781: 2772: 2762: 2752: 2736: 2723: 2713: 2696: 2662: 2649: 2635: 2625: 2624: 2622: 2619: 2617: 2616: 2604: 2583: 2580: 2560: 2557: 2540:Stuart Vaughan 2488: 2485: 2442:Symphony Space 2434:Carole Shelley 2377: 2370: 2366:Acting Natural 2302:D. H. Lawrence 2224:Main article: 2221: 2216: 2207: 2204: 2164:Barnard Hughes 2132: 2129: 2113: 2108: 2090:Lucille Lortel 2038: 2032: 2014: 2011: 1942: 1939: 1927: 1922: 1901: 1898: 1807: 1802: 1785:New York Times 1702: 1692: 1676: 1670: 1667:kisses us all. 1629: 1624: 1558: 1551: 1497: 1491: 1489: 1486: 1482:Weimar Cabaret 1391:Bertolt Brecht 1372: 1366: 1318:Marilyn Stasio 1308: 1302: 1237:New York Times 1190:Barnard Hughes 1144:Main article: 1141: 1138: 1115: 1109: 1044: 1038: 1019: 1018: 1011: 1010: 1009: 942: 936: 907: 901: 793: 787: 774: 771: 750:As You Like It 744: 738: 714:As You Like It 708: 705:As You Like It 702: 643: 637: 563: 557: 520: 517: 513:Lincoln Center 453:Riverside Park 427: 424: 382: 381: 364: 363: 319: 317: 310: 303: 302: 249: 247: 240: 233: 232: 190: 188: 181: 174: 173: 129: 127: 120: 113: 112: 74: 72: 65: 60: 34: 33: 31: 24: 15: 9: 6: 4: 3: 2: 3750: 3749: 3738: 3735: 3733: 3730: 3728: 3725: 3723: 3720: 3718: 3715: 3713: 3710: 3708: 3705: 3704: 3702: 3692: 3688: 3685: 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2897: 2890: 2889:Show Business 2885: 2878: 2872: 2870: 2860: 2853: 2848: 2842: 2835: 2829: 2822: 2821: 2814: 2807: 2801: 2794: 2788: 2786: 2776: 2766: 2756: 2749: 2743: 2741: 2733: 2727: 2717: 2710: 2709:Show Business 2706: 2705:Show Business 2700: 2693: 2689: 2685: 2681: 2676: 2672: 2666: 2659: 2653: 2646: 2639: 2630: 2626: 2615: 2614:New York City 2605: 2603: 2598: 2593: 2592: 2589: 2579: 2576: 2572: 2565: 2556: 2552: 2550: 2549: 2543: 2541: 2537: 2533: 2529: 2525: 2521: 2517: 2513: 2509: 2504: 2502: 2498: 2494: 2484: 2482: 2478: 2474: 2470: 2466: 2462: 2458: 2454: 2450: 2445: 2443: 2439: 2435: 2431: 2427: 2423: 2419: 2415: 2411: 2407: 2406: 2401: 2397: 2390: 2386: 2382: 2375: 2369: 2367: 2363: 2362: 2357: 2353: 2349: 2345: 2341: 2340:Andre Gregory 2337: 2333: 2329: 2328:Sinéad Cusack 2325: 2320: 2318: 2314: 2309: 2307: 2303: 2299: 2298: 2293: 2292: 2287: 2286: 2281: 2277: 2276: 2271: 2267: 2266:Paul Scofield 2263: 2259: 2255: 2247: 2243: 2236: 2232: 2227: 2220: 2215: 2213: 2202: 2197: 2195: 2192:According to 2190: 2188: 2184: 2180: 2175: 2173: 2169: 2165: 2161: 2157: 2152: 2150: 2141: 2137: 2128: 2126: 2121: 2120: 2112: 2107: 2102: 2097: 2095: 2091: 2087: 2083: 2079: 2073: 2068: 2066: 2062: 2053: 2049: 2046: 2045: 2036: 2031: 2028: 2024: 2020: 2007: 2003: 1998: 1995: 1988: 1986: 1985:New York Post 1982: 1977: 1975: 1968: 1966: 1962: 1957: 1954: 1950: 1949: 1938: 1935: 1934: 1926: 1921: 1919: 1915: 1911: 1907: 1896: 1894: 1890: 1885: 1879: 1877: 1876: 1870: 1867: 1862: 1860: 1856: 1852: 1851: 1846: 1845: 1838: 1836: 1831: 1827: 1825: 1824: 1819: 1815: 1814: 1806: 1800: 1798: 1794: 1793:Julius Caesar 1788: 1786: 1782: 1778: 1777: 1770: 1769: 1765: 1763: 1759: 1757: 1756:It's America. 1752: 1749: 1747: 1743: 1737: 1735: 1731: 1726: 1724: 1723: 1718: 1714: 1713: 1712:Julius Caesar 1708: 1701: 1698:and historic 1697: 1694:Modern dress 1691: 1688: 1687:Martha Graham 1684: 1683: 1674: 1668: 1666: 1661: 1655: 1653: 1648: 1647: 1638: 1634: 1628: 1623: 1621: 1617: 1613: 1609: 1604: 1602: 1598: 1594: 1589: 1585: 1583: 1577: 1574: 1573:Tonya Pinkins 1570: 1569: 1564: 1557:in a blizzard 1556: 1553:The complete 1550: 1547: 1542: 1539: 1535: 1531: 1530: 1524: 1522: 1517: 1511: 1509: 1505: 1504: 1495: 1485: 1483: 1476: 1474: 1470: 1463: 1461: 1456: 1453: 1445: 1441: 1437: 1434: 1428: 1426: 1421: 1417: 1412: 1410: 1406: 1402: 1401: 1396: 1392: 1388: 1384: 1378: 1371: 1365: 1363: 1359: 1355: 1351: 1347: 1341: 1339: 1335: 1331: 1325: 1323: 1322:New York Post 1319: 1314: 1307: 1301: 1299: 1294: 1293: 1288: 1285:Meanwhile at 1283: 1281: 1277: 1273: 1269: 1265: 1264: 1259: 1253: 1251: 1247: 1246: 1240: 1238: 1234: 1230: 1226: 1225: 1220: 1215: 1212: 1211: 1205: 1203: 1199: 1195: 1194:Sam Waterston 1191: 1187: 1183: 1182:Gloria Foster 1179: 1175: 1171: 1167: 1163: 1162: 1157: 1153: 1147: 1137: 1135: 1131: 1127: 1123: 1122: 1121:Twelfth Night 1113: 1112:Twelfth Night 1108: 1106: 1102: 1096: 1093: 1087: 1085: 1084:Show Business 1080: 1077: 1076:Globe Theater 1072: 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401: 396: 388: 378: 375: 360: 357: 349: 339: 335: 331: 326: 324: 318: 309: 308: 299: 296: 288: 278: 274: 270: 264: 260: 256: 255: 250:This article 248: 244: 239: 238: 229: 226: 218: 208: 204: 200: 194: 191:This article 189: 180: 179: 170: 167: 159: 149: 145: 139: 138: 134: 128: 119: 118: 109: 106: 98: 88: 82: 80: 73: 64: 63: 58: 56: 49: 48: 43: 42: 37: 32: 23: 22: 19: 3690: 3670: 3666: 3658:the original 3653: 3644: 3630: 3622: 3617: 3609: 3604: 3592: 3588: 3580: 3576: 3568: 3564: 3559: 3546: 3538: 3533: 3525: 3520: 3512: 3492: 3484: 3479: 3471: 3465: 3460: 3447: 3439: 3435: 3430: 3417: 3409: 3404: 3396: 3392: 3388: 3384: 3379: 3367: 3359: 3351: 3346: 3338: 3333: 3324: 3313:Martin Sheen 3308: 3305:Off Broadway 3297:Cicely Berry 3288: 3277:Philip Bosco 3267: 3263: 3258: 3245: 3233: 3224: 3216: 3211: 3203: 3197: 3189: 3185: 3180: 3172: 3167: 3159: 3155: 3147: 3143: 3138: 3132: 3124: 3119: 3111: 3106: 3094: 3086: 3081: 3073: 3068: 3060: 3055: 3043: 3038: 3030: 3026: 3018: 3002: 2998: 2990: 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