Coriolanus (Independent Shakespeare Company's 2026 Production) Theatre Review

It's summer in Los Angeles, and that means it's time for Shakespeare in Griffith Park. Progress is being made on the Independent Shakespeare Company's permanent stage, and word is it will be ready for next season's performances. But for now the company is performing in that more intimate space farther up the hill, which is actually wonderful, for it means the performance space is in the middle of the audience, allowing the company to easily divide the crowd into plebians and patricians for the new production of Coriolanus. Which side do you want to be on? As I'm sure you're aware by now, Shakespeare is always relevant. Whatever is going on in the world, Shakespeare has something to say about it. And Coriolanus is a perfect choice for this moment, dealing in part, as it does, with a populace that is easily manipulated (through the use of fear) and at times votes against its own interests. This production has a fantastic cast, led by Brent Charles as Coriolanus, Patrick Batiste as Aufidius, Melissa Chalsma as Volumnia, Bernardo De Paula as Brutus, and Daniel DeYoung as Sicinius. It is directed by David Melville, co-founder of the company, who also plays Cominius. Several cast members play multiple roles, but there is never any confusion about who is who, in part because of the great work of costume designer Garry Lennon. Jack Fulkerson, in particular, does a wonderful job in several roles, including Titus Lartius, a soldier, aedile and messenger.

As the performance begins, the people are rioting, understandably angry over a food shortage. And that means danger for those people in loftier positions, including the audience members seated in chairs playfully indicated by First Citizen on the word "patricians." Ah, the enemy has been identified, at least to those of us seated on blankets, which of course is the majority of people. This company does a great job of getting the audience involved right from the beginning. The angry crowd is determined to go "To the Capitol," until Menenius Agrippa (Lorenzo González) speaks to them. The stage, which has the look of a chessboard with darker and lighter grey squares, includes a raised platform, often used to indicate who is in power at a given moment, and Menenius steps onto it while speaking to the crowd, everyone else remaining below. And so effective is his speech that the citizens soon relax, some even sitting upon the stage. His delivery of the line "You the great toe of this assembly" is funny, as he takes delight in poking fun at one of the citizens. Later he is equally delightful when delivering the pointed remark "I know you can do very little alone."

When Caius Martius (Brent Charles) enters (not yet known as Coriolanus), there is a certain air of someone who is completely unwilling to tolerate any nonsense, and of someone without fear. The citizens might still be volatile, but he steps straight up to them on "What would you have, you curs" without hesitation or worry, seemingly ready to battle anyone at any time, and so perhaps more volatile than the citizenry. It's an intriguing character, someone who is clearly arrogant and disdainful of anyone he considers beneath him (which, let's face it, is nearly everyone), but that doesn't make him wrong. And his distaste for the game of politics, for the inherently dishonest theatrical element of it, is certainly admirable. Brent Charles does a brilliant job of embodying the spirit of the character, his virtues and faults (what fits into which category greatly depends on the audience's point of view). He was wonderful as Berowne in last year's production of Love's Labour's Lost, and delivers another phenomenal performance here. And, interestingly and tellingly, Caius Martius has taken the raised platform before the end of the scene.

Company co-founder Melissa Chalsma, who was a delight as the Princess of France in Love's Labour's Lost, is spectacular here as Volumnia. When she speaks of her son, her voice is filled with passion and pride. Justine Faith is wonderful as Virgilia, wife to Coriolanus. Volumnia, upon saying "I see him stamp thus," loudly stamps her foot upon the stage, which clearly unnerves Virgilia. When Valeria (Carene Rose Mekertichyan) enters, she speaks downstage (at least to the majority of the audience, the plebians), while Volumnia and Virgilia are on the raised platform section of the stage, which is interesting, as far as the power dynamic goes. Virgilia, listening, finally breaks vocally, which leads to her "A crack madam," offered as a sort of explanation. A really nice moment. Justine Faith is particularly good in this scene. When Valeria mentions "news of your husband," Volumnia is just as interested as Virgilia, if not more. And in a later scene when she receives news of Coriolanus, Melissa Chalsma is both funny and captivating. Her delivery of "his wife another" is funny, as Virgilia is standing right next to her, but Volumnia does not address her. She is completely caught up in her cherished image of her son, and obviously believes herself to be the most important woman in his life. She raises her hand in pride and excitement bordering on ecstasy when she exclaims that he has been wounded, which is hilarious. She basically wants to lead the populace in cheering for her son, so it is interesting that when he arrives to great cheers, he immediately says, "No more of this," And he means it. And it seems that Volumnia is correct in believing herself the most important woman in Coriolanus' life, for on his line "Your hand, and yours," it is his mother's hand he takes first, and then Virgilia's. And later it is wonderful when Volumnia counts Virgilia as an ally. 

Also delivering particularly excellent performances in this production are Bernardo De Paula and Daniel DeYoung as the two Tribunes. They are supposed to represent the people, but of course have their own ambitions, their own designs on power, and so end up manipulating the people. That, of course, should sound familiar. On Sicinius' "Doubt not the commoners," he indicates the audience on their blankets. And we the commoners must accept our own blame in the decisions of our representatives, for it is here, in part because of their wonderful performances, that we can't help but fall for Sicinius and Brutus. We like them. It is interesting that when Coriolanus takes his position on the raised platform, the two tribunes are actually just off the stage with the audience. They are with us, and we can't help but be with them, even as we recognize how they are manipulating us. What does that say about us in our modern predicament? They are also cowardly. They are especially funny during the "no further" lines to Coriolanus. Coriolanus is also wonderful in that scene, particularly on his "Triton of the minnows," taking great delight in his words there. The tribunes gleefully wave goodbye to Coriolanus when he is banished, and then shake hands with some folks in the audience, ever the politicians.

The battle between Coriolanus and Aufidius is handled really well, with the combatants using the bucklers as weapons in addition to the swords. And though the play remains a period piece, the production does make interesting use of modern instrumental rock music to punch up key moments, such as the battle. In the moment when Aufidius gets the upper hand, he takes the raised platform part of the stage. Patrick Batiste never fails to deliver an enjoyable and nuanced performance. He is particularly good during that "Five times, Martius,/I have fought with thee" scene. It is a fascinating relationship between the two men, especially when they meet again after Corionalus' banishment. Their initial exchange then is exciting. Coriolanus is more measured here, then raises his voice when he vows himself willing to fight against his own country. There is a fantastic moment when Aufidius embraces Coriolanus and has the opportunity to literally stab him in the back with his own dagger, and then sheaths it. Perhaps it was due to it being Pride Night when I attended, but some of Aufidius' speech was greeted with unexpected cheers, even before the "fisting each other's throat" line. Aufidius' questioning expression at the end of the scene is funny. But Patrick Batiste is even more fascinating as Aufidius when his soldiers begin to support Coriolanus. His delivery of "Do they still fly to the Roman?" says it all. 

Just as important, if not more so, is the relationship between Coriolanus and Volumnia. For it is that relationship that eventually offers an end to the trouble. It is interesting that this great political drama comes down to the most basic of human relationships, of parent to her offspring. When Volumnia urges Coriolanus to tell the people what they want to hear, she takes the raised platform, assuming a position of power, and assuming her advice should be taken. She is more invested in his advancement than he is, which is perhaps the way with all mothers, perhaps all parents, for she does seem to be both father and mother to Coriolanus. And when she tells him, "I am in this," we know that to be true, the way overbearing parents put great stake in their children's success at certain activities. Volumnia is extraordinary on "The valiantness was mine." And when she succeeds in convincing Coriolanus to go to the marketplace, he puts a little dance in his step on "Look, I am going," showing that he's putting on an act. Performing for his mother? Brent Charles is riveting when he is named a traitor, the last thing he'd expect to be called. As the people react, he is shocked. We see he is not in control, that he can't fathom the people's reactions. In that momentary loss of control, he is spellbinding, and it seems that anything might happen then. He does a great job with the "You common cry of curs" speech. And Volumnia is fantastic on the "Anger's my meat" speech. The entire production is excellent. This is, surprisingly, the first time the Independent Shakespeare Company has done Coriolanus, the last of Shakespeare's great tragedies.

This production of Coriolanus runs through July 26th. Visit the Independent Shakespeare Company's website for the complete schedule. There is one intermission, which comes at the end of Act III Scene i. The perfomance is free, but donations are encouraged. There is also a booth with Coriolanus T-shirts and other items for sale. As I'm sure you're aware, the arts are in great need of support these days.

Shakespeare References in Nobody Walks In LA

John Bwarie's novel Nobody Walks In LA contains a couple of Shakespeare references. Bwarie writes, "I decided to audition for the Fall Drama, A Midsummer Night's Dream, my freshman year" (p. 70). And then: "I was working on an assignment for Ms. Davis's class, Pete was reading a book off the shelf, and Chris was reading Hamlet for English class" (p. 159).

Nobody Walks In LA was published in 2003, through Twin Dolphin Publishing Company.

Shakespeare References in Deceptions

Deceptions, a novel by Judith Michael (who is actually two people, the husband-and-wife team of Judith Barnard and Michael Fain), contains a couple of Shakespeare references. Both are to Shakespeare himself rather than a specific play. The first comes fairly early in the book: "Shakespeare's troupe entertained in Treveston's Great Hall, and generations of farsighted Longsworths filled the castle with a priceless collection of Titians, Rembrandts and Gainsboroughs, rare books and prints and seventeenth-century tapestries and furniture" (p. 53). The second comes in dialogue, with Lloyd Strauss saying to Garth: "I had weeping girls in here, outraged parents, remorseful professors...more drama than Shakespeare. The guy who started it - called the president, bellowing about his little girl being corrupted - happesn to be a big contributor to the new football stadium. It would be football, wouldn't it? Can't ignore football. So the stink spread, and the president ordered me to clear it up before word got out. Word, of course, got out; the Standard, damn its industrious student hide, got the details into last week's paper before I'd even arranged my Shakespearean session" (p. 372).

Deceptions was published in 1982. The copy I read was a hardcover Book Club Edition.

Romeo And Juliet (Will Geer Theatricum Botanicum 2026 Production) Theatre Review

The new production of Romeo And Juliet at Will Geer Theatricum Botanicum relocates Shakespeare's play to New York in the year 1885, a place and time of great division between the rich and poor in this country. It was the so-called Gilded Age, and yet poor immigrant families were crowded into tenements. That also happened to be the year the Statue of Liberty arrived (though the official dedication was not until the following year). And so it is to the streets of New York that the families of the Mulligans (the Montagues of this telling) and the Callahans (the Capulets) take their quarrels. This production was directed by Willow Geer, and stars Asher Hagler and Quinnlyn Scheppner as the pair of star-crossed lovers.

This company always makes great use of the theatre's beautiful space, and does so right from the beginning of this production, with actors entering from various spots in the woods behind and to the sides of the stage and audience, which immediately immerses the audience in the action, in the performance, something that certainly adds to the enjoyment of the production. The opening speech, done by the Chorus in the text, is given by Friar Lawrence (Max Lawrence) from his spot in the upper stage-right section of the space, with the rest of the cast below receiving it like a sermon, which is interesting. Often when Shakespeare's plays are moved to a different time period or different location, the text remains the same, despite certain inconsistencies that are then created. That isn't so with this production. Some of the lines are changed, and that is clear from that first speech. In the text, the Chorus says "In fair Verona where we lay our scene." Here Friar Lawrence says, "In New York City where we lay our scene." And because this production is making a point of class distinctions, the line "both alike in dignity" perhaps no longer applies, and so the line is changed to "spread apart by disparity." So this opening speech becomes even more important than usual, for it not only does its usual job of setting the scene, but also cues the audience that the text might not always be strictly followed.

The opening quarrel is then performed center stage, and here Benvolio (Jesse Corwin) says "put up your blades" rather than "swords," for many of the people carry knives instead of longer weapons. Tybalt (last night performed by understudy Shane McDermot), however, has a sword. He is further set apart by his red suit, something that shows his fiery personality and disposition. The costumes were designed by A. Jeffrey Schoenberg. Rather than a Prince, this production has a Magistrate, played by Franc Ross, and he is dressed in black with a top hat. Mulligan (Billy Walker) is in brown pants and vest, while Callahan (performed last night by understudy Ethan Haslam) is in black jacket and top hat. Furthermore, both Callahan and the Magistrate carry walking sticks, and those similarities in their dress show that the Callahan family has a perceived advantage over the Mulligan family in this telling, aligning them with the power of the city, which is interesting. Paris (performed last night by Tomas Francois) also wears a top hat, though his is grey.

Romeo (Asher Hagler) makes his first entrance from the audience, and right away displays the right youthful energy. He and Benvolio sit at the edge of the stage. Benvolio delivers his "In love" line to the audience, while motioning to Romeo, which is adorable. And Romeo inserts a pause after the word "love" in the line, "I do love a woman." And on that line, he looks up at the sky, smiling, like Rosaline is an angel, some heavenly being. It's a wonderful way to show his youthful infatuation, and prepares us for his readiness to fall completely for Juliet. There is also some roughhousing between Romeo and Benvolio, further displaying their youth. I love how this production is keen on reminding the audience just how young these characters are. Though, interestingly, it does add two years to Juliet's age, with Lady Callahan's line being "She's not sixteen" rather than the text's "She's not fourteen." By the way, Juliet (Quinnlyn Scheppner) makes her entrance running in from the woods, again showing the youth of the main characters. Her birthday is changed to Independence Day from the text's Lammas Eve (so still in July). Quinnlyn Scheppner is endearing straight away. In her line "It is an honor that I dream not of," she begins with that sense of duty that has clearly been taught her, then suddenly switches her tone after the word "honor" to something that is more honest, getting a big laugh from the audience in the process. As expected, Ellen Geer is absolutely delightful as the Nurse, and some lines are added to account for the Nurse's age. We hear the Nurse's own attraction to Paris in her delivery of lines to Juliet about the man's worth.

Mercutio (Rhett Curry) gets so into his Queen Mab speech that the others worry about him, an interesting touch. Because of the disparity in wealth between the two families, and thus in their clothing, it should be rather obvious to the Callahans that members of the Mulligans are present at the party, though Tybalt still seems to discover Romeo's identity from his voice. Callahan makes it quite clear how eager for violence Tybalt is, how out of control he is, during their exchange at the party. Romeo delivers his initial description of Juliet to the audience from his place in front of the stage. His "two blushing pilgrims" speech is given to Juliet while they dance together. Interestingly, his mask is up so that she is able to see his face, though she still does not know him. On her "You kiss by the book," it is clear she is pleased, happy at the way he kisses. The Nurse delivers her "The only son of your great enemy" line as if that information puts an end to the whole matter, a wonderful reading. And it perhaps is the first hint of any division between Juliet and the Nurse, or at least sets in the audience's mind that a later division is possible. Though mostly what we see of the Nurse is her fierce love for Juliet, as later when she warns Romeo against leading her into a fool's paradise. At that moment, we have no doubt that the Nurse would do whatever was necessary to defend Juliet.

As for the famous balcony scene, Romeo begins it to the right of the audience, so that he is essentially with the audience in his view up at her. And when Juliet enters, she dances onto the balcony, a delightful way to show her youthful excitement at having shared a kiss with Romeo. Quinnlyn Scheppner is excellent here. Strangely, this production uses the Q1 reading of "a rose by any other name," rather than the preferred Q2 and Folio readings of "by any other word." Juliet is so startled when Romeo speaks up that she automatically hides, an adorable and humorous moment. Her delivery of "Or if thou think'st I am too quickly won" is especially good. In her delivery, she realizes that maybe she's given away too much of her thoughts, her desires. On Romeo's "If my heart's dear love," he begins to strike a pose, and Juliet quickly interrupts him, "Well, do not swear." It's a really funny moment. What's especially wonderful about it is that up to that moment, the two have been honest, candid with each other, caught in the moment, in the excitement of their attraction. And this is the first moment when Romeo begins to act, begins to take on the role expected of him as a man proclaiming his love, and Juliet immediately sees the difference and dislikes it, and puts a stop to it. She speaks for everyone in the audience who wishes to experience true love. Both are superb in this scene. One other thing about this scene in relation to this particular telling of the story: her being above him in the balcony could be seen in relation to her family's position in society over his.

There is a funny moment when Friar Lawrence is alone with his basket of flowers and weeds (the flowers, by the way, are purple, matching the flowers wrapping around the post beneath what was Juliet's balcony). On his "being smelt," he offers a flower to an audience member to smell, and then on his "being tasted," jokes about offering it to another audience member to taste. There is also some delightful humor when the Nurse and Peter (Elliott Grey Wilson) return to Juliet, Juliet eager to hear news of Romeo, and the Nurse, tired from the errand, is slow to give it. The Nurse gives a rather serious delivery of "Do you not see that I am out of breath," which makes Juliet's response funnier. It's been said before that Romeo And Juliet is a play that starts as a comedy and ends as a tragedy, and this production puts the intermission at perhaps the very moment when things change, at the end of the second act, when Friar Lawrence goes to marry them, rather than after Tybalt has been killed, as is often done. What's also wonderful about that is that Romeo is not at first aware of the change. After the intermission, he is not aware that he is now in a tragedy. So when Tybalt throws his glove at Romeo in challenge, Romeo kindly retrieves the glove and hands it back to him, a really nice touch. Romeo is at his most blissful here, not cognizant of the change in atmosphere. The difference in the performances here between Tybalt and Romeo is striking, and even those unfamiliar with the play would know something is bound to go wrong.

The scene where the Magistrate and the families enter following the fight between Romeo and Tybalt is especially powerful in this production, and it is where we see that everything has changed. There is a general woe, and no one is pleased. In fact, the last person to remain happy, but not for long, is Juliet, for she is unaware of what has just transpired. And she gives her "Gallop apace" speech down below, rather than above, Juliet taking center stage here, for at this point she believes she is in control, at least somewhat, of her story. She's eager to go to bed with her husband, and nothing else matters. But with the Nurse's entrance and the news she brings, that changes. Quinnlyn Scheppner is fantastic in this scene, kneeling down, weakened by the news as it hits her. It's also wonderful how the Nurse quickly returns to her need to protect and comfort Juliet, pulling herself out of her own despair over Tybalt. When Friar Lawrence gives Romeo the news of his banishment, Romeo too falls to his knees, connecting him to Juliet even as they are apart. Interestingly, the Nurse is then a commanding presence before Romeo, ordering him, "Stand up, if you be a man." Because of the change in location of this production, Friar Lawence's mention of Mantua becomes a mention of Jersey City, which gets an unintentional laugh. New Jersey has long been the punchline of jokes, and the idea of being banished from New York to New Jersey is hilarious, in part because many see it as a real punishment. It is perhaps the only time that the change in location works against the production. (Later, Hoboken is mentioned, also getting a laugh.)

There is some really nice work in the scene where Callahan tells Juliet of the match he's arranged for her with Paris. It's not an easy scene, particularly for Callahan and Lady Callahan (Michelle Jasso), who sometimes come across as monsters devoid of any parental love whatsoever. But in this production when Callahan tells Juliet about how he's worked to find her a proper match, we do see that something in him cares for Juliet, that he is trying to do the right thing for her. And that moment when Juliet realizes she's alone, when even the Nurse seems to have turned against her, is outstanding. Maybe the thought of being alone in that manner isn't quite as terrifying for someone on the verge of sixteen as it is for someone on the verge of fourteen, but it is still striking. When Juliet goes to Friar Lawrence, the position and posture she assumes on the floor when threatening to kill herself is nearly identical to that of Romeo earlier, again connecting them even when they are apart. And when Juliet returns home to pretend to agree to the wishes of her father, Callahan is so pleased, so excited, that it makes sense that he wants to set the plan in motion immediately, a day early. And that excitement carries the family through into the next morning, when there is a festive air, while Juliet lies still in the area above them. What a fantastic stage picture that makes. It is excellent that the audience can view Juliet while the family rushes about in joyful preparation for the wedding.

The performance moves at a fast pace, particularly toward the end, when it seems to be caught in its own momentum. This works fairly well for the most part, except once it gets to Juliet's tomb, and then the speed seems somewhat at odds with what the characters are doing. It feels that some of the exchange between Paris and Romeo is cut, an important exchange that is needed. And, stranger still, Romeo seems to be in a rush to kill himself once he is by Juliet's side, which doesn't feel right. Often, even when we in the audience know very well the outcome, there is that thought, that hope, that if Romeo lingers a little longer before taking the poison Juliet will awaken and all will be well. That is lacking in this production because Romeo moves with such haste. On the other hand, it works quite well that Friar Lawrence moves quickly. In fact, it's wonderful how frantic he is in this production, for we know then that he can't really be of help to Juliet. Juliet is quick too, but there are the sounds of other people approaching, so her haste makes more sense. The performances are so good that we want a little more time with the two lovers before the very end.

This production of Romeo And Juliet runs through September 26, 2026, running in repertory with A Midsummer Nigh's Dream and a few non-Shakespeare plays. Visit the theatre's website for the complete schedule. There is one intermission, coming at the end of Act II. Will Geer Theatricum Botanicum is located at 1419 N. Topanga Canyon Blvd. in Topanga, California.

Shakespeare References in Portrait Of A Marriage

Nigel Nicolson's book about his parents, Portrait Of A Marriage, contains a few Shakespeare references. The first reference, I assume, is to The Merchant Of Venice, though it could also be to Julius Caesar: "He was invited to Knole in June, as Lady Sackville's guest more than Vita's, and sat in the pouring rain to watch Vita's performance as Portia in an open-air Shakespearean masque" (p. 84). The more famous of Shakespeare's Portias is the one in The Merchant Of Venice, but Portia is also the wife of Brutus in Julius Caesar. There is also a Hamlet reference, with Nicolson writing, "That was the rub" (p. 192). While Shakespeare didn't invent that word, he popularized it, using it first in Hamlet, and then in two other plays. The book also contains a reference to Othello. This comes in a quoted passage from his brother's diary: "D. said she was like Iago, and that nobody would ever believe that such a person could exist" (p. 198).

Portrait Of A Marriage was published in 1973. The copy I read was the paperback Bantam edition from 1974.

Shakespeare Refences in The Devil Wears Prada

Lauren Weisberger's novel The Devil Wears Prada contains a couple of Shakespeare references. The first is a Macbeth reference, with Weisberger writing, "Within twenty-four hours of being 'put on notice' that I would be needing some makeup and more than a few tips, she had created the Be-All, End-All Cosmetic Catchall" (p. 292). The phrase "be-all, end-all" comes from Macbeth, when Macbeth says, "If th' assassination/Could trammel up the consequence and catch/With his surcease success, that but this blow/Might be the be-all and end-all here." The other reference is to the sonnets. Weisberger writes, "Isaac sneezed a very cute baby sneeze in response, and Jill looked as though he'd just risen up from her arms a full-grown man and recited a few Shakespearean sonnets" (p. 345). This book was published in 2003. The copy I read was a hardcover edition that was originally a library book.

Shakespeare Reference in Conquest

Mark A. Calde's novel Conquest contains a reference to A Midsummer Night's Dream. Calde writes, "In all, she was an enticing creature, radiant in her youth and confident in her beauty while projecting a hint of the puckish impudence that had more than once raised a few eyebrows within the staid confines of Vassar" (p. 60). Though the idea of Puck existed before Shakespeare's play, the word "puckish" is related specifically to Shakespeare's characterization, which differed from what had been known previously.

Conquest was published in 1980. The copy I read was the hardcover edition.