How goes the world? A loaded question if ever there was one to be asked, especially in this day and age. But set yourself back from this day and age, set your dial of existence back to 1978 in order to prepare yourself to digest The Rude Mechanicals’ latest offering: Timon of Athens. Directed by Joshua Engel, this miscreant play of Williams Shakespeare’s is finding a new lens through which to be viewed in the hands of The Rude Mechanicals.
Neither a borrower nor a lender be. While The Rude Mechanicals aren’t currently producing Hamlet, there’s logic in that quote that could and should be readily applied to The Merchant of Venice, which The Rude Mechanicals are currently producing. Said advice would go far for both Antonio and Shylock and save everyone the trouble of their various plights fraught with woe and unfortunate circumstances.
What fire is in my ears? All of Shakespeare’s women in one show? Can it be so? Well, that might be a bit absurd, even for The Rude Mechanicals, but they do come close, featuring a varied assortment of all of the Bard’s leading ladies in just shy of two hours’ stage traffic! Conceived and Directed by Leanne G. Stump, this selection of scenes showcases some of the finer moments of Shakespeare’s female characters,
Discomfort guides this servant’s tongue, you see
When first to speak on the venue known as the DCAC
But fear not, playgoers, for I share with you
Good news of The Rude Mechanicals and their show of Richard II
Laboriously titled The Life and Death Of
They present to you from one floor above
A judiciously rendered version that moves quite free
Of this early and poetic tale of history
Directed by Michael F.
Suppose within the girdles of the Greenbelt Arts Center’s walls are now confined two mighty forces— The Rude Mechanicals: a community theatre troupe that delivers judiciously trimmed and readily accessible Shakespearean plays— and Henry V: Shakespeare’s middle Henry history play. Directed by Rebecca Speas, this muse of fire finds its place among the Bard’s canon in true Rude Mechanicals style and delivers swiftly the plot, the point,
Before Luke Skywalker becomes a man, he started out hanging out with an old man and a pack of ne’r do wells in a crap bar while his dad and more useful sibling were out there ruling the universe. George Lucas snagged a page from Shakespeare and made it his own into the form we know and love today. The Rude Mechanicals have taken this tumultuous two-part history of Henry IV about life,
Girl wants boy. Boy wants different girl. Girl tricks boy into wanting her. And they live happily ever after. Other stuff happens. There’s a fool involved somehow. And a king. And a fistula. That the girl magically cures the king of with her magical powers, or her herbs and whatnot. And then they live happily ever after. Also some love letters and a ring. Maybe some secretive identities, a ten-o’clock kidnapping, and a horse?
Ne’er so bethump’d with words has this critic found herself when staring down an amalgamation of a Shakespearean remount dipped in Pythonian humor and sprayed liberally with truncation across the Greenbelt Arts Center’s intimate black box stage, than she has in this very moment in attempting to report upon The Life and Death of King John as presented by The Rude Mechanicals. A history most boring upended ass over tea-kettle by Director Alan Duda,
Friends! Romans! Washingtonians! The time has come to take a stand against the inconstant shifting nature of theatre in Washington DC! Hail The Rude Mechanicals and their rebellious production of Shakespeare’s Julius Caesar. Directed by company founder Jaki Demarest, this scandalous production takes the great Roman Empire to 1920’s soviet occupied Russia. Stalin, proletariat, rebellion; all encompassed in Demarest’s revolutionary vision of one of the Bard’s milder tragedies.
With honor in one eye and death in the other,
Light and darkness make fools both of the eyes. But it is oft better to live in the bliss of darkness than in the harsh intelligence of the light for once a thing is known and learned it can never be unknown. The Rude Mechanicals illustrate this concept with exception as their bring their 2014 Capital Fringe Festival production of Shakespeare’s Macbeth: The Instruments of Darkness to the Greenbelt Arts Center for a limited five show engagement.
What would your vagina say if it could talk? Mine would say that you need to go see the Rude Mechanicals and their production of Eve Ensler’s The Vagina Monologues at the Greenbelt Art Center. Co-Directed by Lauren Beward and Jaki Demarest, this particular production of the iconic feminist piece is defying the standards of which the original was formed with and setting the benchmark extremely high for all future productions.