THEATRE

Shakespeare's Women

Presented by Hattiloo Theatre at Hattiloo Theatre

March 11-March 28, 2010

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In celebration of Women's History Month, we stage scenes, soliloquies and songs to present an imaginative exploration of the Bard's women, from his celebrated leads (Rosalind, Juliet, and Lady Macbeth) to his lesser-known but no less intriguing ladies (such as Othello's Emilia and Henry VI's Joan). Shakespeare's female characters represent not only the many faces of womanhood; they illuminate the depth of human experience. Directed by Leslie ‘Stickey’ Reddick.

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  • Venue Info

    Hattiloo Theatre

    656 Marshall
    Memphis, TN 38103-3218

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  • Admission Info

    Tickets:

    $15.00 - $22.00

    Info Phone: 901.525.0009

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  • Dates & Times

    Dates:
    March 11-March 28, 2010

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    • Event Name: Shakespeare's Women
      "Review by Bo List - ArtsMemphis Rants & Raver"
      Comment posted by: Bo List - ArtsMemphis Rants & Raver from Memphis, TN, Mar 23, 2010
      

      A Nina Simone recording pleads musically, amidst the scene changes of Hattiloo Theatre’s current production Shakespeare’s Women, “I’m just a soul whose intentions are good…oh Lord, please... Expand

      A Nina Simone recording pleads musically, amidst the scene changes of Hattiloo Theatre’s current production Shakespeare’s Women, “I’m just a soul whose intentions are good…oh Lord, please don’t let me be misunderstood!” Willy S. himself couldn’t have more poetically expressed the pleasures and challenges of Hattiloo’s ambitious effort. Earnest and aspirant, this hodgepodge of scenes and speeches from the Stratfordian’s more estrogen-filled works tickles and amuses and intrigues with the implication that an empowering and unifying thread runs through the plays – though never makes the connection. As an academic exercise (and perhaps even more as a company-enriching endeavor), this pastiche of the Bard’s bits and pieces is a success. Revealed compellingly is the fact that a few hundred years before women were voting, they were - at least in the fantasy of the theatre – trying court cases, taking the reins of romantic courtship and influencing world events. That Hattiloo Theatre (which bills itself as a black repertory) has tackled this project is a further testament to the universality and pliability of the source material. Shakespeare may have originated from an oppressively white literary tradition, but his words and ideas sound swell coming out of anyone. As a theatrical event, Shakespeare’s Women comes off as, well, bits and pieces and not a whole. Unclear is why these particular scenes were assembled (what, no Cleopatra?), what idea runs through them all and – alas – no playfulness in how they are presented, save for a few sung moments in Act II. A conceptual piece with no concept, it would be hoped that focus would have been spent on the language but, with some notable exceptions, the varied experience of the company occasionally obscures the work of the author. Standouts include, but are not limited to, Lorna Jefferson, (acting out a powerful Queen Elizabeth and “Mad” Margaret and singing out “Valentine’s Day”), Pamela Poletti (as splendid Viola and Hermia) and Don Rico Webber (a simmering Shylock). Once, in a Shakespeare-in-Film class, I got back the following comment on a paper: “As charming as your ramblings are, this rambles.” So too does Shakespeare’s Women, though with charm to spare and potential abounding. Collapse

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    Add review/comment

    • Event Name: Shakespeare's Women
      "Review by Bo List - ArtsMemphis Rants & Raver"
      Comment posted by: Bo List - ArtsMemphis Rants & Raver from Memphis, TN, Mar 23, 2010
      

      A Nina Simone recording pleads musically, amidst the scene changes of Hattiloo Theatre’s current production Shakespeare’s Women, “I’m just a soul whose intentions are good…oh Lord, please... Expand

      A Nina Simone recording pleads musically, amidst the scene changes of Hattiloo Theatre’s current production Shakespeare’s Women, “I’m just a soul whose intentions are good…oh Lord, please don’t let me be misunderstood!” Willy S. himself couldn’t have more poetically expressed the pleasures and challenges of Hattiloo’s ambitious effort. Earnest and aspirant, this hodgepodge of scenes and speeches from the Stratfordian’s more estrogen-filled works tickles and amuses and intrigues with the implication that an empowering and unifying thread runs through the plays – though never makes the connection. As an academic exercise (and perhaps even more as a company-enriching endeavor), this pastiche of the Bard’s bits and pieces is a success. Revealed compellingly is the fact that a few hundred years before women were voting, they were - at least in the fantasy of the theatre – trying court cases, taking the reins of romantic courtship and influencing world events. That Hattiloo Theatre (which bills itself as a black repertory) has tackled this project is a further testament to the universality and pliability of the source material. Shakespeare may have originated from an oppressively white literary tradition, but his words and ideas sound swell coming out of anyone. As a theatrical event, Shakespeare’s Women comes off as, well, bits and pieces and not a whole. Unclear is why these particular scenes were assembled (what, no Cleopatra?), what idea runs through them all and – alas – no playfulness in how they are presented, save for a few sung moments in Act II. A conceptual piece with no concept, it would be hoped that focus would have been spent on the language but, with some notable exceptions, the varied experience of the company occasionally obscures the work of the author. Standouts include, but are not limited to, Lorna Jefferson, (acting out a powerful Queen Elizabeth and “Mad” Margaret and singing out “Valentine’s Day”), Pamela Poletti (as splendid Viola and Hermia) and Don Rico Webber (a simmering Shylock). Once, in a Shakespeare-in-Film class, I got back the following comment on a paper: “As charming as your ramblings are, this rambles.” So too does Shakespeare’s Women, though with charm to spare and potential abounding. Collapse

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