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"Shakespeare as it should be. OST is hammering out a new tradition…first rate entertainment."

- Orlando Weekly

Plays and Events

19th Season (2007 - 2008)

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Oz As You Like It
The Comedy of Errors Opus
Shylock PlayFest! The Harriett Lake Festival of New Plays
The Secret Garden If You Give a Mouse a Cookie
A Tuna Christmas Macbeth

June 19 - July 29, 2007

Based on the book by L. Frank Baum
Adapted by Patrick Shanahan

"Home is where you are loved. With brains, courage, heart and most
important, imagination...you'll walk through life with ruby slippers!"

While author L. Frank Baum is writing "The Wonderful Wizard of Oz", his
housekeeper and a girl named Dot get swept up in his magical tale. Watch how ordinary objects become the enchanted land of OZ and its delightful characters...and yes, Toto too!

Showtimes Sponsors

Goldman Theater

- Tues - Thurs: 10:30 a.m.

- Sat:. 2 p.m.

- Sun.: 4:30 p.m.

No performance on Wednesday, July 4.

Darden Foundation
Mrs. Fields

Preview Video
Coming Soon
Dramatis Personae

- Dot: Lexi Langs
- Bridgey: Melissa Mason
- L. Frank Baum: Brandon Roberts

Production Team

- Director: Patrick Flick
- Scenic Design:
Robbin Watts
- Lighting Design:
Amy Hadley
- Costume Design:
Denise R. Warner
- Sound Design:
PJ Albert
- Stage Manager:
Jamie Mykins
- Assistant Stage Manager:
Nicole Peters

*Denotes a member of Actors' Equity Association **Denotes a member of United Scenic Artists

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September 12 October 7, 2007

By William Shakespeare

"Me thinks you are my glass, and not my brother;
I see by you I am a sweet-fac'd youth!"

In Shakespeare's funniest and shortest comedy, two identical twin brothers
and their identical servants end up in the same town, having no idea the other
exists. Hilarity ensues with mistaken identities, confusion, and mayhem as the events build to the side-splitting solution!

The Comedy of Errors
Theater review: 'The Comedy of Errors' a comedy of hair
Elizabeth Maupin, ORLANDO SENTINEL

Behold Antipholus of Syracuse, all done up in cantaloupe-colored robes and cascading curls like a Christmas gift from a Hare Krishna.

There's an actor beneath all that hair. And his extravagant coif, along with his fanciful beard and dress, are both blessing and curse for The Comedy of Errors, Orlando Shakespeare Theater's season opener.

There's no denying that Comedy's cast members look not only fabulous but loony -- those Lincolnesque beards, those fetching tie-dyed togas, those rivulets of hair. But it's hard to see the performers behind all that finery, and it's sometimes hard to get Shakespeare's words behind all the commotion onstage.

Granted, The Comedy of Errors is Shakespeare at his silliest: You're not missing many earth-shattering insights if you don't understand every allusion in what may be Shakespeare's very first play. Lots of people will be happy just to revel in the foolishness, and for them there are plenty of heads bashed with turkey drumsticks and a long display of what the woman behind me called "Mel Brooks moments" -- in other words, an extended sequence of breaking wind.

Director Patrick Flick makes much of such moments, and he has on hand an array of actors who could pull laughs out of a rock. He also has the benefit of a great-looking production, with set designer Bert Scott's ancient-Greece set, all arches and ivy and baroque-looking statues; and costume designer Jack Smith's flights of fancy in shades of melon and blueberry and gold.

There amid the frippery unfolds the story of two sets of identical twins, both shipwrecked as children. One pair, the master Antipholus and his servant Dromio, winds up in ancient Ephesus, and the other pair -- also, strangely enough, named Antipholus and Dromio -- land in ancient Syracuse. When the Syracusian twins turn up in Ephesus, everybody seems to know them, and all hell breaks loose.

Comedy's actors do a lot with the situation, and some of them are masters of such stuff. Suzanne O'Donnell is a stitch as the spitfire Adriana, the bombastic wife of Antipholus of Ephesus; Sarah Ireland turns Luciana, Adriana's sister, into a cartoon-like baby doll. As Antipholus of Syracuse, Robby Pigott shows the comical frustrations of a traveler who stumbles into a world gone mad. And Brad DePlanche and Brandon Roberts make a perfect pair of mismatched twin servants -- Roberts the size of a twig, DePlanche quite a bit chunkier, both of them able to turn deadpan into a work of art.

Mark Lainer and Jason Horne are funny in smaller roles, and Anne Hering and Bob Dolan do well in serious ones. But too many of Comedy's cast members make too little impression, and you have to look hard to tell who's who behind the hair.

And too few of the actors know how to bring Shakespeare's verse to life. This tale of separated families shouldn't lose you in the telling, no matter how many pairs of carbon-copy twins set loose onstage. Too bad that the beauty of Shakespeare's words is lost in the tomfoolery.
Showtimes Sponsors

Margeson Theater

- Wed & Thurs: 7 p.m.

- Fri & Sat: 8 p.m.

- Sun: 2 p.m.

- Previews: Wednesday, Sept. 12 & Thursday, Sept. 13 at 7 p.m.

- Senior Matinees: Wednesday, September 19 at 2 p.m.

Dean, Mead, Egerton, Bloodworth, Capouano
& Bozarth, PA
Massey Services
Bright House Networks
Orlando Utilities
Radio One/Motorola
Southern Printing
TKO Advertising

Preview Video
Coming Soon
Dramatis Personae
- Duke Solinus: Chris Bellinger
- Aegeon: Bob Dolan*
- Antipholus of Syracuse: Robby Pigott*
- Antipholus of Ephesus: Daniel Harray*
- Dromio of Syracuse: Brad DePlanche*
- Dromio of Ephesus: Brandon Roberts
- Balthazar, a merchant of Venice: Jason Horne
- Angelo, a goldsmith: Mark Lainer*
- Doctor Pinch: Jason Horne
- First Merchant: Brian McNally
- Second Merchant: Chantry Banks
- Aemilia, Abbess at Ephesus: Anne Hering*
- Adriana, wife of Antipholus of Ephesus: Suzanne O'Donnell*
- Luciana, Adriana's sister: Sarah Ireland*
- Nell, a kitchen maid: Erika Wilhite
- Courtesan: Jennifer Drew
- Soldier: Chantry Banks
- Drunk: Brian McNally
- Charm Seller: Erika Wilhite
- Priestess: Jennifer Drew & Jennie Siriani*
- Drunk: Chris Bellinger
- Attendant/Officer: Joe Kemper
- Executioner: Jennie Siriani*
- Attendant: Jason Horne
- Fishmonger: Anne Hering*

- Antipholous of Syracue: Joe Kemper
- Antipholous of Epheseus: Benjamin Cole;
- Dromio of Syracuse/Attendant/Officer/Soldier/Merchants/Drunk: Corey Loftus
- Adriana: Jennifer Drew
- Angelo: Chantry Banks
- Luciana/Courtesan/Priestess/Nell/Charm Seller: Jennie Siriani*
- Aegeon: Chris Bellinger
- Aemilia: Erika Wilhite
- Dromio of Epheseus: Brian McNally
- Bathazar/Pinch/Duke/Drunk: Benjamin Cole
- Exec/Gaoler/Priestess: Samantha Stern*

Production Team
- Director: Patrick Flick
- Scenic Designer:
Bert Scott**
- Lighting Designer:
Joseph P. Oshry**
- Costume Designer:
Jack Smith
- Sound Designer:
Michael Andrews
- Stage Manager:
Amy Nicole Davis*
- Assistant Stage Managers:
Rachel Moll & Robert Schupbach
- Sound Board Operator:
Samantha Stern
- Light Board Operator:
Justin Sanchack
- Fight Choreographer:
Benjamin Cole
- Wardrobe:
Erin Rodgers & AraBella Fischer
*Denotes a member of Actors' Equity Association **Denotes a member of United Scenic Artists

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October 10 - November 11, 2007

By Gareth Armstrong

"Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions,
senses, affections, passions...?"

This riveting one-man play fresh from a successful run Off-Broadway, explores
The Merchant of Venice through the eyes of its controversial character, Shylock. Experience an invigorating and thought-provoking evening exploring art, racism, power, religious persecution, villainy and self-identity.


New light shines on dark 'Shylock': The title character is easy to hate, but this gripping play elicits understanding and sympathy.
Elizabeth Maupin, ORLANDO SENTINEL

No wonder everyone is afraid of Shylock.

Look at the man, dressed all in black, his sober homburg resolutely covering his head. Listen to him denounce the Christians who have treated him ill.

But lend an ear to his story in Gareth Armstrong's intriguing play Shylock, and you'll think differently of Shakespeare's much-maligned creation.

For four centuries, Shylock has been one of the most difficult of Shakespeare's characters -- The Merchant of Venice's comical Jewish villain, the ogre who demands a pound of a Christian's flesh when the man neglects to repay a debt. Many theatergoers loved to hate him. Jewish theatergoers recoiled. Hitler is said to have loved the play. Some American schools have banned it.

So, in Shylock, writer-director Armstrong fills in all of Shylock's backstory. He doesn't let the intractable moneylender off the hook. But this one-person play so engagingly makes its case that your anger turns to pity, and understanding replaces disgust.

Shakespeare probably never met a Jew, at least not officially: They were banished from England in 1290 and not allowed back until 1656, 40 years after the playwright's death. So it was with the attitudes of Elizabethan society that he created Shylock, the Jewish usurer who is jeered and disdained by the men with whom he does business.

It's not clear what Shakespeare thought of Shylock (although he certainly gave the character more ambiguities than his contemporary Christopher Marlowe gave the title character in The Jew of Malta, who poisons an entire convent). Perhaps Shakespeare never knew about the "Jew badge" Shylock would have had to wear, or the belief in blood libel -- the allegations that Jews sacrificed Christians and drank their blood -- or the epithets Shylock might have been called, which are scrawled across the proscenium of Bob Phillips' expressive set.

For Orlando Shakespeare Theater, Armstrong has directed, with actor Steven Patterson taking on all the characters -- most significantly Tubal, a character with only eight lines in The Merchant but, importantly, a Jew who seems to be Shylock's only friend.

As Shylock, Patterson appears tall, shrewd and bitter; as Tubal, he's small and unprepossessing, and not only because he takes off Shylock's