“Speak what we feel not what we ought to say.” A quote from Edgar in Act V; Scene III of Shakespeare’s King Lear, one which actually did make it into this rendering of King Lear as presented by The Rude Mechanicals at the Greenbelt Arts Center through September 7th 2025. Often a show will sit and rankle with me, because of a certain line, a certain choice, a certain approach,
It may be the opinion of some that I was born to speak all mirth and no matter, but one doth not know how much an ill word can empoison liking. Let’s hope that’s enough mangled lines from the Bard’s source material to bait the proverbial bear and get this review of The Rude Mechanicals’ Much Ado About Nothing underway. Directed by Shirely Long, this Shakespearean comedy about— well, mostly a fuss made over nothing,
Everyone must write what they feel as best they know how. Chekhov said it. Maybe. Probably. Hard to tell what’s direct source material versus creative licensing with this rather impressive new production of The Seagull being produced by The Rude Mechanicals at The Greenbelt Arts Center. Directed by Melissa Schick, this imaginative reinterpretation and musical adaptation of one of Chekhov’s more depressing works is surprisingly charming, well-parsed and paced, and delivers a refreshing new spin on an old war-horse-staple of the theatrical canon.
What hempen home-spuns have we swaggering here? Tis a crew of Rude Mechanicals and they indeed find themselves Ill Met By Moonlight. Some six years in the making, TRM finally gets to bring their dream production of Shakespeare’s A Midsummer Night’s Dream to light. UV light, that is. Playing at the Greenbelt Arts Center through September 9th 2023 and Directed by Joshua Engel, this judiciously rendered production of Midsummer is not your grandfolks’ fairy-tale.
It’s all true— it’s all true— hilarity will ensue! Down at The Dew Drop Inn— you’ll laugh too— it’s all true! Now granted, my lyrical composition isn’t nearly as hysterical as Jaki Demarest’s when it comes to scribbling together crackpot-laughable words for the 70’s heehaw hoe-down spin-about that happens pretty darn close to the end of Act I with some of the blokes box-stepping ‘round one another in sheer nonsense-grade bliss. Wait— sorry— TIMEWARP!! Back it up— all the waaaay back to the 1970s,
Hello.
My name is Amanda Gunther.
You killed all 37.
Prepare to be reviewed.
Going out with a rather impressive bang— though by no means are they finished producing or existing— The Rude Mechanicals, now in full-time residence at The Greenbelt Arts Center, have attained one of their coveted company goals: Produce all 37 of Shakespeare’s plays. Cymbeline, Directed by Erin Nealer, completes the quest of all 37.
Amanda N. Gunther | TheatreBloom
Uncle Vanya, written by Anton Chekhov, is the story of a group of people embittered by loss, disappointment, disillusionment, and hardship, and the power of faith through adversity. A retired professor, Alexandre (Bill Bodie), and his glamorous young wife Yelena (Erin Nealer) visit the rural estate that funds their city lifestyle. The estate is run by Vanya, (Nathan Rosen) Alexandre’s deceased former wife’s brother,
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.
“Men’s evils manners live in brass; their virtues we write in water.” And we shall now ascribe the virtues of The Rude Mechanicals production of Henry VIII in ink. Well, digital ink. Directed and Choreographed by Liana Olear, this ‘lost history’ (the most boring of the boring and banal of banal Shakespearean histories) is revitalized and given a new lease on life. Olear’s strategic placement of the historical recounting of the eighth Henry in the mid 1910’s lends itself to her dancer’s passion,
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, and the perfectly pared-down rendition of what is otherwise a lengthy history lesson in the trajectory arc of Prince Hal to King Harry.
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,
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.