Stage Write

  To return to the American Players Theatre after the pandemic hiatus is magical. All the elements that we’ve missed for the past year are waiting for audiences at the top of the hill. Cymbeline The theatre’s production of Cymbeline is a revelation. The all-female cast flips the tone from oppressive misogyny to tongue-in-cheek barbs and iconic strength. What originates as a story about the value of women based on their chastity and rooted in the mistrust of Imogen’s word over an almost stranger’s transforms into a story of her carving out her own life. The core of that strength always existed in Shakespeare’s words, but the show is often played with Imogen acting only as a casualty of circumstance, a path to her husband Posthumus’ fall and redemption. In director Marti Lyon’s hands and Melisa Pereyra’s barely-contained rage, Imogen has a chance to rise above the role of victim. Cymbeline has always been a fascinating show because unlike Othello and other popular Bard plays, the cha...

  From the moment Matt Anderson takes the stage, his seething and scheming Richard III demands your full attention. It's a role that would be easy to over act, but instead Anderson's portrayal is raw and visceral. He has frequently popped up in supporting roles over the years, but this play gives him a chance to stretch his wings and show what he can do. He is mesmerizing as the simpering villain. Under Glenn Dobbs’ direction, some of the simplest moments are the most powerful. There's a scene where the two ill-fated nephews grasp hands, and that simple gesture conveys so much emotion.   The set is simple, consisting of only a few chairs or benches. The audience surrounds the stage on three sides and the cast makes the most of the intimate space.   Christina Howard’s plays both Lady Anne and Lord Grey, but it’s her performance as the grieving widow that is particularly powerful. She and Allison Clark Reddick (playing Queen Elizabeth) are both beautiful studies o...