Director Charles McMahon equates the hot-blooded battle of wills between Kate and Petruchio with the intense, sensual, and stylized dance of the tango.
Lantern Theater Company
It may be daunting for theaters to produce the original theatrical source for a well-regarded movie, but Lantern Theater Company’s DOUBT shows why some plays are worth reclaiming for the stage.
But you don’t have to be an egghead to enjoy this play. It’s a great show for non-physicists, a category that includes a whole lot of us.
Peter DeLaurier reprises his role as physicist Richard Feynman in Lantern Theater Company’s remount of its 2006 hit.
Phindie writer Michael Fisher introduces his multi-part critical experiment, using the Lantern’s production of ARCADIA as his guinea pig subject.
For the second year, Phindie asked local theater writers to vote on the best theatrical work produced in or near the city in the 2013/14 theater season.
The fault, dear Brutus, Act III: Makoto Hirano interviews Lantern AD Charles McMahon about “Super Racist” Julius Caesar
Makoto Hirano asks Lantern artistic director Charles McMahon some tough questions about the “Super Racist” Julius Caesar. And a clearly contrite McMahon does his best to explain the process that lead to the company’s misguided choices.
There’s something haunting Roelf (Peter DeLaurier) in the Lantern Theater Company’s atmospheric production of Athol Fugard’s THE TRAIN DRIVER. Disturbed by the memory of a young woman and baby “pulverized”…
Phindie looks at tax returns for local theaters to see how much they brought in from what sources. We also look at who the best paid employee was for each “non-profit”.
You may have seen the Lantern Theater Company’s JULIUS CAESAR, which recast Shakespeare’s political tragedy in Feudal Japan. You may also have seen the open letter that local playwright and performer Makoto Hirano hand-delivered to The Lantern on “How to Stage Your Show Without Being Super Racist,” which he signed “Makoto Hirano, Dance-theatre artist, actual Japanese person, and actual Samurai descendent,” reposted on Phindie with Hirano’s consent.
“Will it be in yellow face,” my friend asked when I told him about Lantern Theater Company’s decision to stage Shakespeare’s Julius Caesar in feudal Japan, when what the meant was “in kimonos with some Japanese screens and music” seemed somehow culturally tone deaf.
If William Shakespeare was alive today he’d be a …. well, he’d probably be a poet and playwright, but he’d also make a damn good political speechwriter. The crux of his JULIUS CAESAR, now in an accessible production by Lantern Theater Company, comes in a speech following the title character’s assassination.
On the Universality of Shakespeare: Roman History through a Shoji Screen in the Lantern’s THE TRAGEDY OF JULIUS CAESAR
Director Charles McMahon, founding artistic director of the Lantern Theater Company, asserts that all of Shakespeare’s plays, whenever or wherever they’re set, are in fact observations about contemporary England. By shifting the locales to places outside of his homeland.