St. Leonard, MD – New Direction Community Theater in Calvert County, now in its Seventh season with its 17th major production, is presenting “The Complete Works of William Shakespeare, Abridged,” by Adam Long, Daniel Singer, and Jess Winfield through special arrangement with Broadway Play Publishing, Inc. NYC.
Do not worry that you might be unfamiliar with some of the 37 plays performed by three actors in a mere 97 minutes. Previous knowledge of these plays is not required or even recommended; everything you need to know about the works of Shakespeare (not just the comedies, tragedies, and histories, but the sonnets as well!) will be made perfectly clear in this epic version of the Bard’s literary output.
Originally produced by the Reduced Shakespeare Company, NDCT’s presentation features versatile veteran stage actors Keith Mervine, Justin McCright, and Ethan Croll (under the imaginative direction of Didi Olney), who portray all of the characters (both male and female) and occasionally, a prop or two (example: Juliet’s balcony).
Performances will run Fridays and Saturdays March 11, 12, 18 and 19 at 7 p.m., and Sundays March 13 and 20 at 2 p.m. at the Long Beach Community Center located at 5825 Calvert Boulevard in St. Leonard. Tickets are priced at $15 for adults; $12 for students and seniors. Reservations are recommended and may be made by contacting ndctheater.org or 443-342-6920.
This parody of the plays of William Shakespeare was premiered at Edinburg Festival Fringe in 1987. It was London’s second longest- running comedy (10 years in the West End Theatre district). Highlights of the show feature the actors speaking directly to the audience members, and audience participation with an emphasis on improvisation.
Judging from the array of props stacked on tables around the rehearsal space on March 5- a plastic skull, a single roller skate, a stuffed mannequin, plastic dinosaurs and a tiara – I knew I was in for an interesting run-through.
Keith Mervine introduced the play and gave pertinent announcements (regarding cellphones, exits, etc.) He informed the audience that this would be a precedent in presenting the majestic complete works of Shakespeare – 14 comedies, 12 tragedies, and 11 histories.
Immediately following Mr. Mervine’s welcoming speech, Justin McCright took over as the evening’s “expert”, having read two books on Shakespeare.(Be sure to check out his fashionable necktie). Mr. McCright used a tent-revival style delivery to sing the praises of these plays.
Next up was Ethan Croll who continued with introductory remarks, but he experienced some difficulty with his out-of-chronological-order notecards and inadvertently confused the bio information of William Shakespeare with that of Adolf Hitler.
Justin returned to add that “one man in his time plays many parts” and segued into a rendition of Romeo and Juliet with the three actors playing all – and make that all – the parts
Well, we know how this particular love story ends. The untimely deaths of the hero and heroine come after a circuitous 12-minute compressed path to its conclusion.
But there is no time to mourn these star-crossed lovers as we move on to Titus Andronicus re-imagined as a cooking show with Justin McCright as the hilarious slightly demented chef, eagerly dispensing precise instructions for cooking up a head. (That’s not a head of cabbage or a head of lettuce; it’s a real head). We are told that this play was written during Shakespeare’s “Quentin Tarantino” phase.
Then, continuing our whirlwind tour of Shakespeare’s works, we move on to Mr. Croll in Othello who has confused the Moor of Venice with a moor for boats. The story is re-told here by the three actors who pull off a rap version to a “beat”.
In order to make the great playwright seem more like an ordinary person, Ethan and Keith tell the audience that Shakespeare simply distilled the four or five popular gimmicks of his time and used and re-used the same tricks over and over again.
And next we are treated to a condensed combination of many plays with the actors reading from stands as they are dressed in disguises that include goggles, a clown nose and Groucho Marx glasses.
Of course, the next logical play to dissect is the “Scottish play”, Macbeth (the actual name is cursed if it is said out loud unless you’re performing it, which the three actors entertainingly do with “perfect Scottish accents”). Note here the unconventional use of golf clubs.
Next up is Julius Caesar; Caesar was warned by a soothsayer to “beware the Ides of March’, which subsequently, of course, leads us to Antony and Cleopatra. And this leads us, quite naturally, to an interpretive dance performance of Troilus and Cressida (written in 1603) and this, again, quite naturally, is where the robotic plastic dinosaurs come in to use.
A football game (with the tiara used as a British crown turned football) compresses about a dozen plays (no pun intended!)
So with 36 plays down and only one remaining, Justin and Keith attempt to corral/coerce/convince Ethan, who has escaped from the theater, to join them in the tour de force Finale (Hamlet). But before they can succeed, Keith reveals his “actor’s nightmare” dream, and lights go out for Intermission.
As Act II begins, we expect to be treated to the abridged Hamlet, but first there is a discussion of the Sonnets which is interrupted by the return of Ethan.
At last Helmet, the Tragedy (otherwise known as Hamlet, Prince of Denmark) begins. Ethan, as the Ghost, is a scene-stealer. He then returns as Ophelia, in a repeat scene-stealing interpretation. Not to be outdone, Justin delivers Hamlet’s famous Soliloquy (“to be or not to be”) with appropriate histrionics being the pre-eminent Shakespeare authority that he is.
Eventually, Hamlet reaches Act 3, Scene 2, the “play within a play”, complete with hand puppets (you have to be there!) with Keith Mervine as the MC supplying background “Jaws” sound effects.
The three actors’ lines and thespian acrobatics are completely intertwined and connected, evidence of true dedication to disciplined rehearsal. The camaraderie of the ensemble is what makes this show work. The non-stop action, precise comedic timing, and audience interaction combine in a hilarious rendition of the Bard’s greatest hits.
Keith Mervine has an enviable history of creating nuanced leading roles; he continues that tradition with The Complete Works of Shakespeare, Abridged. Previous roles include the Voice of Audrey II in Little Shop of Horrors, Alan in NDCT’s Come Blow Your Horn, and Lenny in Rumors with Twin Beach Players. He was seen recently as Lloyd in the TBP production of Noises Off.
Justin McCright holds a B.S. Degree in Metallurgical and Materials Engineering from the Colorado School of Mines and an MBA from the University of Texas at Brownsville. (These credits, in addition to the two books about Shakespeare which he boasts that he’s read, are certainly what qualify him as the evening’s Shakespeare expert!) He moonlights as a casino craps dealer. He has appeared previously with NDCT in Come Blow Your Horn, and Lend Me a Tenor.
Ethan Croll and his resonant speaking voice are well-known to local audiences through his previous appearances with TBP in Noises Off, The Mousetrap, and most recently, The Island of Dr. Moreau.
DiDi Olney is directing her fourth NDCT show – her second in a row with men in tights. Her creative blocking kept the actors continually on the move. The talented Ms. Olney is an actress in her own right, having appeared with TBP in Noises Off, and with NDCT in Come Blow Your Horn. Her Director’s program notes invite the audience not to expect a serious performance in perfect iambic pentameter. She reminds everyone that this show is a comedy and you are encouraged to laugh as hard, loud, and long as you desire, which will most likely contribute to the spontaneity of the actors’ performances.
Producers for this show are Laurie Foster – as a first-time producer – and Sherry Mervine, in her 20-millionth producing role.
Also making major contributions to this show are the backstage costume/makeup crew, without whom the performances would not be possible. In addition to juggling the above-mentioned props with lightning-paced speed, other unique artifacts include a kazoo, cloaks, chalices, wigs, swords and tennis balls (strategically placed). These quick changes certainly keep the backstage crew on high alert as they perform their amazing organizational wizardry (this was all managed single-handedly by Kayla Mervine at the rehearsal I attended; Laurie Foster is also part of this crew).
Some of the costume pieces for this show are by Barony of Dun Carraig, a branch of The Society for Creative Anachronisms, an international organization dedicated to researching and re-creating the arts and skills of pre-17th-century Europe.
Additional crew positions are held by Laurie Foster as Stage Manager, Kevin Flynn as House Manager, Scott Jacoby as Sound/Light Manager, and Laurie Foster as Set Designer.
Upcoming NDCT shows will be Plaza Suite from September 21 to October 1 at the Long Beach Community Center, and Annie Junior during the winter of 2016 at LBCC.
NDCT is dedicated to bringing quality theater to Calvert County as well as to the neighboring counties. NDCT was established in 2010 and is a non-profit organization showcasing local talent, both onstage and behind the scenes.
