the globe theatre assignment

Macbeth: 12th Grade English: The Globe Theatre

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Shakespeare Research Presentation Assignment

Guiding Questions

• Why was  The Globe  built?
• What are some features of the theater?
• What was it like to go to this theater during Shakespeare's time?
• What has happened to the theater throughout it's history?

"Globe Theatre."  World History: The Modern Era ,  ABC-CLIO,  2018, worldhistory.abc-clio.com/Search/Display/421354. Accessed 3 Feb. 2018.

http://www.shakespearesglobe.com/uploads/files/2014/01/the_globe.pdf 

Books to Investigate

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Shakespeare's Globe

Works Cited on this Page:

"Globe Theatre."  World History: The Modern Era ,  ABC-CLIO,  2018, worldhistory.abc-clio.com/Search/Display/421354. Accessed 3 Feb. 2018. Langley, Andrew, and June Everett. Shakespeare's Theatre . Oxford, Oxford UP,      1999.

Morley, Jacqueline, and John James. Shakespeare's Theater . New York, Peter      Bedrick Books, 1999.

Rosen, Michael, and Robert Ingpen. Shakespeare: His Work and His World .      Cambridge, Candlewick Press, 2001.

Woog, Adam. A History of the Elizabethan Theater . San Diego [Calif.], Lucent      Books, 2003.

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29 Shakespeare Activities & Printables for the Classroom

A lesson plan! a lesson plan! My kingdom for a lesson plan!

Think teaching Shakespeare is all toil and trouble? Methinks thou dost protest too much! These Shakespeare activities and printables will help you screw your courage to the sticking place and remember that the play’s the thing!

Shakespeare Activities

1. solve a cold case.

Ripped from the headlines! Set up a crime scene and challenge your class to find the motivation behind Caesar’s murder. Who says Shakespeare has to be boring?

Source: Ms. B’s Got Class

2. Craft Bumper Stickers

This works for any play. Have your students design bumper stickers! Simple concept but lots of room for creativity.

Source: theclassroomsparrow / instagram

3. Build a Globe Theatre Model

Knowing about the theater where Shakespeare’s plays were first performed is essential to understanding the plays themselves. Have your students build this simple paper model as you learn about the Globe Theatre.

Get it: Papertoys.com

4. Design a Mask for the Ball

Have students create a mask for a specific character to wear to the Romeo and Juliet masquerade ball. They must justify their color and style choices for that character—a fun way to do character analysis.

Source: Lily Pinto / Pinterest

5. Transl8 a Scene 2 Txt

The language may be archaic, but the stories are endlessly modern. Have your class re-write a scene or sonnet in text, tweets, or other social media for a fun twist.

Source: fifteen eightyfour

6. Replace Words With Emojis

Take things a step further and remove words from the equation entirely! Have students devise book covers or re-write a scene or sonnet using only emojis to tell the tale. Discuss the difficulty of encapsulating some concepts in brief images and compare them with Shakespeare’s word choices.

Source: For Reading Addicts

7. Design a Book Cover

Combine art and graphic design with literature when you have kids originate book covers for a Shakespeare play. They make a fun classroom display too!

Source: Small World at Home

8. Dress the Part

Dramatic readings are much more fun with a few props and costumes! This easy DIY paper ruff is made from coffee filters, and younger kids will love dressing up while they learn.

Source: Red Tricycle

9. Make Shakespearean One-Pagers

Challenge students to represent a play visually—all on one page. Templates are available at the link below to help get you started.

Source: Spark Creativity

10. Generate Word Clouds

Use a computer program like Tagxedo or Wordle to build a word cloud identifying important words from a play or sonnet. (Tagxedo allows you to create word clouds in a variety of shapes.) Discuss these words and their importance.

Source: Mrs. Orman’s Classroom

11. Try Running Dictation

Get kids up and moving with “running dictation.” Print out a sonnet, prologue, monologue, or other important speech. Cut it up by lines and hang the sections up around a room or other area. Students find the lines, memorize them, report them to a scribe, and then put them in order.

Source: theskinnyonsecondary / Instagram

12. Fashion Upcycled “Laurel” Wreaths

Need some impromptu costumes for Julius Caesar or Coriolanus ? These clever “laurel” wreaths are made from plastic spoons!

Source: A Subtle Revelry

13. Write a Scene in Comic Form

Like storyboarding, writing a scene in comic form helps capture the essence of the action. Kids can use the actual text from the scene or add in their own sense of humor. (Mya Gosling has re-written most of Macbeth in this form. For inspiration, check it out at the link below.)

Source: Good Tickle Brain

 14. Write Concrete Poems

Turn pivotal quotes from a play into concrete poems, using shapes that represent the concept. Students can do this by hand or using the computer.

Source: Dillon Bruce / Pinterest

15. Stage Scene Snapshots

Performing an entire play takes a lot of time. Instead, have student groups stage scene snapshots capturing key moments from the play. Assemble them into a storyboard that covers the whole play.

Source: The Classroom Sparrow

16. Enjoy a Musical Interlude

Compile a playlist for the play, act by act. Have students explain their song choices and listen to some of them in class.

Source: Cal Shakes R + J Teacher’s Guide

17. Write in Style

Get younger kids excited about Shakespeare when they write with their own “quill” pens. Color, cut out, and tape around a pen or crayon for old time fun!

Source: Crayola

Shakespeare Printables

18. william shakespeare coloring page.

Meet the Bard! Use this coloring image to introduce Shakespeare to young readers or as an anchor for other creative activities.

Get it: Super Coloring

19. Cheer Up, Hamlet! Paper Doll

Have a little fun when teaching Hamlet . This free printable paper doll collection includes standard costumes but also hilarious extras like Captain Denmark and Doctor Who.

Get it: Les Vieux Jours

20. Shakespeare Mad Libs

Remove key words from scenes or sonnets, fill in some new ones, and let the fun begin! Hit the link below for several pre-made games. You or your students can also make your own.

Get it: Homeschool Solutions

21. Shakespeare Lettering Sets

Download these free letter sets (one for general Shakespeare, one for Macbeth ) to create bulletin boards or other classroom displays.

Get it: Instant Display

22. Elizabethan Language Terms

Print a copy for each student to keep handy as they tackle Shakespeare’s works.

Get it: readwritethink

23. A Midsummer Night’s Dream Coloring Pages

Introducing younger students to A Midsummer Night’s Dream ? These printable coloring pages and finger puppets are just the ticket.

Get it: Phee Mcfaddell

24. Phrases We Owe to Shakespeare Poster

Shakespeare’s language becomes much more relatable when you realize how many of his phrases are still in use today . Hang this poster to introduce your students to some of these phrases.

Get it: Grammar.net

25. Shakespeare Notebooking Pages

Keep students organized with these free printable notebooking pages for a variety of Shakespeare plays.

Get it: Mama Jenn

26. Shakespeare’s Life Poster

Hang this tongue-in-cheek timeline of the man himself to give students an overview of his life.

Get it: Imgur

27. Shakespeare Plays Word Search

Print this simple word search to familiarize your class with Shakespeare’s plays.

Get it: Word Search Addict

28. Vintage Shakespeare Quote Printables

These pretty vintage images with Shakespeare quotes will add a touch of class to your classroom.

Get it: Mad in Crafts

29. Shakespeare Plays Flowchart

Wondering which Shakespeare play to see? This flowchart has got you covered! You can print your own version for free or buy a full-size poster.

Get it: Good Tickle Brain

What are your favorite Shakespeare activities and printables? Come and share in our  WeAreTeachers HELPLINE group  on Facebook.

Plus,  How to Teach Shakespeare So Your Students Won’t Hate It .

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Shakespeare’s Globe Theatre

This article gives an in-depth view of The Globe Theatre. If you’re after some quick, interesting facts on The Globe Theatre click here !

Drama at Shakespeare’s time – and at Shakespeare’s Globe Theatre – was characterised by a tug of war between a disapproving puritanical attitude to theatre by the city councillors on the one hand, and royal approval on the other. The city fathers resented royal patronage and regarded it as interference in their affairs. This battle went on until finally, in 1642 and 1644, all the theatres were destroyed under order of Parliament.

We have therefore had great difficulty in gaining a good picture of what Elizabethan theatres were really like. We don’t even know exactly where the Shakespeare’s Globe Theatre stood, although we can get quite close, and indeed, there is  a splendid reconstruction of it , which is now one of London’s most popular theatres and biggest tourist attractions.

One of the most valuable sources of our knowledge about the actual architecture of the theatre is a drawing done by a Dutchman, Arend van Buchell, who did the drawing from a sketch made by his friend, Johannes de Witt, who attended a play at the Swan Theatre. Buchell said of it: ‘ the largest and most remarkable of the theatres in London is the Swan, which is able to accommodate three thousand spectators. ‘ This is his drawing:

Shakespeare’s Swan Theatre

After the old Globe Theatre was built in early 1599 the first production was As You Like It , followed by works by Shakespeare, Jonson, Beaumont, Fletcher, and others . In 1613, during a performance of Henry VIII , a cannon went off to mark the entrance of the king, and a stray spark set the thatch roof aflame. In one hour, the theatre was destroyed.

Reconstruction of the Globe began immediately, and it was finished by June 1614. Performances continued until 1642, when the Puritans, who found theatre vulgar and intolerable, shut all theatres down. Two years later the Globe was levelled to make way for tenement dwellings.

Plays were big business for those who owned them: Shakespeare was only one man who became rich from his involvement as a shareholder in the most popular theatre. The plays produced by the Globe were very high in quality and the theatre was always full.

The competition among the theatres created a huge demand for new material and is the single most important factor in the flowering of drama that is now known as the ‘golden age’ of English drama. Apart from Shakespeare’s, scores of the plays of that period are regularly performed today. This great demand is reflected in Shakespeare’s vast output. If you look at a  timeline of Shakespeare’s life you will see how fast he worked. He wrote up to four plays in some years and averaged 1.5 plays a year during his working life.

A day out at the Globe Theatre was a real treat. The grounds around the theatre would have been bustling, with plenty of entertainment . Even people not attending performances would flock to the Globe for the market stalls and the holiday-like atmosphere. There were many complaints about apprentices missing work to go to the theatre.

The groundlings paid a penny to stand in the pit of the Globe Theatre. The others sat in the galleries. The very grand could watch the play from a chair set on the side of the stage itself. Theatre performances were held in the afternoon because they needed the daylight. The turnover of plays was unimaginable to the modern mind. The theatres could often present eleven performances of ten different plays in two weeks. The actors generally got their lines only as the play was in progress – very different from the well-rehearsed performances that we expect these days. There would be someone backstage whispering the lines and the actors would then repeat them. Women were not allowed to appear on the stage so the female roles were played by men and boys.

Shakespeare was not only a shareholder in the Globe and a prominent writer; he also acted in some of the plays. We don’t know exactly how many roles he played himself, although we do have some documented information.

Shakespeare had begun his career on the stage by 1592. It is probable that he played the title role in Edward I by Edward Peele in 1593. Regarding the major roles in his own plays, he was probably directing because he gave way to the other actors and played small, peripheral parts, including Adam in As You Like It ; Duncan in Macbeth ; King Henry in Henry IV Part 1 and Part 2 ; and the ghost in Hamlet . Shakespeare’s first biographer, Nicholas Rowe, refers to a role by Shakespeare as ‘the Ghost in his own Hamlet’ and says that he was at ‘the top of his performance’.

Pictures of Shakespeare’s Globe Theatre – Then & Now

The Globe Theatre stage by night

Shakespeare’s Globe Theatre from 1700

Globe Theatre interior from 1700’s

Exterior of The Globe Theatre today

The 20th Century Rebuilding of Shakespeare’s Globe Theatre

In London Shakespeare circles there is a name almost as famous as that of William Shakespeare himself. It is that of Sam Wanamaker, an American actor whose vision almost matched Shakespeare’s.

A new acting space has opened  in the Shakespeare Globe complex   named ‘ The Sam Wanamaker Playhouse .’ Near to the Globe on the south bank of the River Thames there is a plaque that reads: In Thanksgiving for Sam Wanamaker, Actor, Director, Producer, 1919–1993, whose vision rebuilt Shakespeare’s Globe Theatre on Bankside in this parish.

When Sam Wanamaker first visited London in 1949 he did what most first-time visitors did – he wandered around, overwhelmed by London’s beauty and history. One of the things he did was look for traces of Shakespeare’s Globe and he was astonished to find nothing more than a blackened plaque on a wall of an abandoned brewery. He failed to understand how Londoners, who should have been so proud of their famous writer, could be so neglectful.

While filming in the UK in 1952 he learned that he had become one of the many Hollywood victims of the McCarthy witch hunt and decided not to return to America. He had joined the Communist Party as a very young man and although he had long before abandoned that involvement it was enough for him to be blacklisted. So there was no career possible in America but he made a successful and distinguished career in the UK in film and theatre.

He became obsessed with his big idea – the resurrection of the lost Globe Theatre. In 1970 he launched the Shakespeare Globe Trust, and later obtained a piece of land near to the original site. He had considerable difficulty obtaining permission to build the theatre due to a hostile local council that blocked his efforts for years. He was also ridiculed by the theatre and film establishment but, undaunted, he carried on, using his own earnings from acting and directing to finance the project.

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WHAT DID GLOBE THEATRE LOOK LIKE INSIDE? AND HOW BIG WAS IT

The theater was as big as your fat head.

not needed mate

what was the atmosphere like in the globe

Very interesting. I like Shakespeare. He was a cool dude. I have to study him for school. This helped me a lot.

Hell yeah very cool dude, thanks for the information

i like. remeo and juliet

I prefer Hamlet and Macbeth.

i love shakesphere, can you guys talk about sonic next

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Related Resources

Life in the Time of Shakespeare: The Globe Theatre Actors

Research tools, globe theatre actors.

Globe Theatre Acrtors

The Lord Chamberlain's Men

History of the Globe Theatre

• Download the Assignment Here Did you lose your assignment? This is a copy of the Research Assignment for you to download and print.

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Your task is to research the actors.  Be sure to answer the following questions:

• Who were they?
• How much did they make?
• How is Shakespearean acting different from today’s stage acting?
• Was acting a respectable profession? Explain why. 
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Shakespeare's Globe

GLOBE THEATRE.

Everything you need to know about the Globe Theatre at Shakespeare’s Globe

• Construction
• Related stories

We have two performance spaces here at Shakespeare’s Globe – the Globe Theatre and the Sam Wanamaker Playhouse . Now 25 years old, the Globe Theatre remains one of the most unique, remarkable and breathtaking theatrical spaces in London.

Use the page below to find out more about the Globe Theatre – explore fun facts , history , construction , photos and more.

A 1,570 capacity open-air theatre.

Bankside, London, UK, SE1 9DT.

Opened in 1997, still open today.

Shakespeare called his theatre a ‘wooden O’ and like his historic playhouse our Globe Theatre is a 360° auditorium. With no roof over the central yard, the theatre is open-air and audiences who attend performances and tours are told to dress for the weather! Events will go ahead in rain, shine and snow.

Seats are arranged in galleries all around the wide, open stage, so spectators and performers can see each other at all times. The Globe Theatre is a space where the audience has always been a vital component of the performance.

The Globe Theatre officially opened in 1997, although workshops and performances had taken place on the stage since 1995.

It also isn’t our only performance venue. Shakespeare’s Globe is home to the candlelit Sam Wanamaker Playhouse and we perform plays and readings in other spaces on site. We also tour around the world!

And we don’t just stage the works of Shakespeare. We programme a range of Renaissance playwrights, as well as new writing, music concerts, film screenings, family events, educational workshops, community projects, guided tours and more.

Don’t get your ‘Globes’ mixed up! ‘Shakespeare’s Globe’ is our company name and how we refer to our entire site, ‘The Globe’ is how we talk about the original theatres from Shakespeare’s time, and the ‘Globe Theatre’ is the name of today’s reconstruction.

Did you know that we aren’t the only living ‘Globe’? There are many replicas and pop-up venues all across the world that seek to recreate Shakespeare’s original performance space.

After being closed for the majority of 2020 due to the Coronavirus outbreak, the Globe Theatre reopened in 2021 for tours and performances.

A ‘roofless’, open-air theatre (bring your coats!).

Shape is an icosagon , a 20 sided polygon.

Can hold 1,570 people , 700 standing and the rest seated.

The twelve signs of the zodiac are painted on this roof over the stage (which we call ‘The Heavens’ ).

Built from oak beams , lime-plaster walls and a water-reed thatched roof .

The only thatched-roof building in London.

We had to fight for special permission to have our thatched roof, as there has been a law against thatched buildings in London since the Great Fire of 1666!

We think that the first Shakespeare play to be performed at the original Globe was Julius Caesar , in 1599. Other playwrights wrote for the Globe too, including Ben Jonson, Thomas Dekker and John Fletcher.

The Globe Theatre you see today in London is the third Globe.

The first opened in 1599 and was built by the Lord Chamberlain’s Men, the company that William Shakespeare wrote for and part-owned.

We think that the first play Shakespeare wrote for the original Globe was Julius Caesar in spring 1599. Later that year he also wrote As You Like It and made a start on Hamlet . Over the next fourteen years Shakespeare wrote some of his greatest plays, including Twelfth Night , Othello , King Lear , Macbeth , and Antony and Cleopatra . Other playwrights wrote for the Globe during this time too, including Ben Jonson, Thomas Middleton and John Fletcher.

In 1613, during a performance of Shakespeare’s Henry VIII (co-written with Fletcher), a mis-fired prop canon caused the thatch roof to catch fire. The entire theatre burnt down within two hours, according to eyewitness reports (miraculously, no one was killed). The company rebuilt the Globe in a year – with a tiled roof. The second Globe operated until it was closed down by parliamentary decree in 1642.

In 1609 Shakespeare’s company started performing in the indoor Blackfriars playhouse as well as the Globe. It was here that Shakespeare conceived his final great plays, including The Tempest .

The current Globe Theatre opened in 1997, after many years of campaigning by the founder of the Shakespeare’s Globe Trust, Sam Wanamaker.

CONSTRUCTION

In 1949 our founder Sam Wanamaker visited London with a mission to find the site of the original Globe, and was surprised to find only a small plaque commemorating the site (which got some details wrong!).

In 1970 Sam set out to build a reconstruction of Shakespeare’s original Globe on Bankside. He founded the Shakespeare Globe Trust in 1971 with a mission to recreate the 1599 amphitheatre as accurately as he possibly could.

Despite many obstacles, Sam persevered with his ambition for two decades. Sadly, he did not live to see the theatre’s completion. He died in 1993, and in 1997 the Globe Theatre was opened by Her Majesty the Queen.

Find out more about the construction of the Globe Theatre .

The Globe Theatre

Related stories, this wooden o: the history of our unique shape, the old and the new collide: the globe's new visual identity, building shakespeare's globe.

Find out more about Shakespeare’s Globe

VIRTUAL TOUR

Walk around the Globe Theatre

SAM WANAMAKER PLAYHOUSE

Everything you need to know about the Sam Wanamaker Playhouse

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• DMITRY KORCHAK Playlist 57 great video clips

FULL DMITRY KORCHAK Playlist 57 great video clips

Information on the Performance

• Work Title: DMITRY KORCHAK Playlist   
• Composer: various   
• Libretto: various     Libretto Text, Libretto Index
• Venue & Opera Company: various  
• Recorded: various
• Type: Staged Opera Live
• Singers: Dmitry Korchak
• Conductor: various   
• Orchestra: various  
• Stage Director:   
• Costume Designer:   

Information about the Recording

• Published by: OoV   
• Date Published: 2023   
• Format: Streaming
• Quality Video: 3 Audio: 3
• Subtitles: nosubs   
• Video Recording from: YouTube      FULL VIDEO

ADDITIONAL INFORMATION ON THIS PERFORMANCE

Dmitry Korchak (born February 19, 1979 in Elektrostal/Moscow Oblast) is a Russian tenor and conductor.

Korchak received his musical education at the Moscow Choral Academy. In 2004 he won prizes at the “Francisco Viñas” International Singing Competition in Barcelona and at the Plácido Domingo Operalia International Competition in Los Angeles.

As a singer he has appeared at La Scala in Milan, the Vienna State Opera, the Berlin State Opera Unter den Linden, the Paris Opera Bastille, London’s Covent Garden and New York’s Carnegie Hall. He has collaborated with artists such as Daniel Barenboim, Riccardo Chailly, Plácido Domingo, Lorin Maazel, Zubin Mehta and Kent Nagano.

From 2017 to 2020, Dmitry Korchak was Principal Guest Conductor at the Novosibirsk Academic Opera and Ballet Theater, where he directed his own festival, and Guest Conductor at the Mikhailovsky Theater in Saint Petersburg.

Korchak has made several guest appearances at the Kissinger Sommer, the Salzburg Festival and the Rossini Festival in Pesaro, where he also worked as a conductor. Korchak also worked with the Bavarian Radio Orchestra and the Chicago Symphony Orchestra, among others.

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Thank you for this, he’s brilliant!

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‘Romeo and Juliet’ keeps with the times in new FSU/Asolo Conservatory production

D irector and acting teacher Jonathan Epstein has been thinking about his upcoming FSU/Asolo Conservatory production of Shakespeare’s “Romeo and Juliet” for years.

It was initially planned to be presented outdoors four years ago at Selby Botanical Gardens until the start of the COVID pandemic forced all theaters to shut down.

Epstein, a longtime member of Shakespeare & Company in Lenox, Massachusetts, teaches Shakespeare to the graduate acting students in the Conservatory and has directed productions of his plays for more than a decade.

He said he was even casting the play in his mind when the current class of second-year students auditioned for the program. “We hadn’t even invited them in yet, but I could see some of them in these roles.”

The Conservatory’s most recent Shakespeare productions have been presented outdoors, first at Selby Gardens, and last year on The Ringling grounds. This year’s show, however, is moving indoors to the Conservatory's home in the Cook Theatre, which will be turned into a thrust stage reminiscent of the historic Globe Theatre in London.

The Barancik Foundation has funded construction of the set that Epstein expects to be used for years to come for Shakespeare productions.

“It’s a real Elizabethan set we’re building and it will come back every spring,” Epstein said, adding that it will keep the audience closer to the action of the plays.

Early casting

When he first saw student Caitlin Rose during auditions for the program, Epstein said, “I thought Good Lord, this is Romeo or maybe Hamlet. She had such quick access to very strong passion and such quick access to complex thought, thinking two or three things at once.” 

Rose may be a grown woman, “but as a boy she looks about 15. Those are powerful qualities you don’t usually get. Romeo and Juliet are underage and having these powerful experiences as adolescents do and handling them with as much wisdom as adolescents have.”

Rose, who was recently seen in the Conservatory’s production of “Miss Julie,” will star opposite Ashley McCauley Moore as Juliet, who was in the Conservatory production of “Clyde’s” earlier this year.

Epstein said he had similar thoughts about Moore’s appropriateness for Juliet and he could only imagine the pairing they would make as the tragic and doomed lovers from rival families who try to find a way to be together.

Epstein’s adaptation plays around with gender. Jonathan Acosta, for example, is “playing the Nurse as a woman, in full drag, with a large bosom and a full butt,” he said. “With Caitlin, I think it’s quite likely we’ll forget it is a woman altogether.”

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Two couples tested: Friendships go to the dogs in Urbanite Theatre world premiere ‘Westminster’

Jasmyn Ackah plays Mercutio as a male or a non-binary character, while Ayda Ozdoganlar plays a female version of Benvolio.

“When you do this, you find aspects of the play you didn’t think of before. Romeo is a young man, Jasmyn and Ayda play the mid 20s. You have two female-presenting folk making revolting vulgar jokes to a 15-year-old boy and he responds with fascination and horror. In some ways, it’s making them more explicit than you normally would.”

The cast also includes Elle Miller as Lady Capulet and Ibukun Omotowa and Rickey Watson Jr. (a third-year student) alternating as Lord Capulet. Friar Laurence becomes Sister Laurence in this version as played by Catherine Lucian. John Leggett plays Tybalt.

‘Romeo and Juliet’

By William Shakespeare. Directed by Jonathan Epstein. Runs April 2-28 in the Cook Theatre, FSU Center for the Performing Arts, 5555 N. Tamiami Trail, Sarasota. Tickets are $32. 941-351-8000; asolorep.org/conservatory/season

Follow Jay Handelman on  Facebook ,  Instagram  and  Twitter . Contact him at  [email protected] . And please support local journalism by  subscribing to the Herald-Tribune .

This article originally appeared on Sarasota Herald-Tribune: ‘Romeo and Juliet’ keeps with the times in new FSU/Asolo Conservatory production

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Wilbury Theatre Group’s ‘Wolf Play’ explores the power of the pack

After being adopted — for a second time — a south korean boy uses his imagination to protect himself as he adjusts to another new family.

PROVIDENCE — Adoptions are always an emotional process. As seen in Hansol Jung’s intriguing “Wolf Play,” adoption is even more traumatic for a child who has gone through the process twice and believes himself to be a wolf.

The one-act work was part of the National New Play Network’s Rolling World Premiere program, which came through Boston’s Company One Theatre in March 2020. It opened off-Broadway in 2022 and is currently on stage at The Wilbury Theatre Group.

“Wolf Play” features the broken adoption of a 6-year-old boy named Jeenu (Sara States), who was extracted from South Korea, raised by Americans Peter (Jeff Ararat) and Katie (unseen), and then pawned off via a Yahoo posting after the couple had a daughter of their own and decided they could no longer handle both children. This instance of online human trafficking grabbed the attention and sympathy of Robin (Beth Alianiello). She decided to bring the child into her home with only a power of attorney document and without the approval of her no-nonsense wife, Ash (Ellen Zahniser), who is a boxer in the midst of turning pro, or her self-centered brother, Ryan (Teddy Lytle), who is a trainer prepping Ash for her career-defining bout.

Things turn tense for the adults given their preconceived notions of what constitutes a family and how the abrupt introduction of Jeenu disrupts their busy lives and their existing relationships. As for the twice-orphaned, quiet but volatile child, he has weathered the trauma of parental abandonment and his Koreanness being ignored by imagining himself as a lone wolf seeking out his proper pack. In an inspired act of imagination and playful theatricality, the playwright asks that the boy be portrayed as a puppet. In this Wilbury Theatre Group production, he is a faceless, loose-limbed creature that rises just a few feet off the floor. He was designed by director Marcel A. Mascaró and is operated by States, who is also tasked with offering a direct-address running narrative about the ways of wolves (“Wolves are cautious, the masters of survival.” “Wolves suck at being alone.”) to the audience. She is terrific.

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Jeenu being a puppet and, at times, physically manipulated by Peter, Robin, Ryan, and Ash, offers subtle commentary on the process of adoption and adds a certain poignancy to the production. And by having no discernible facial characteristics to express emotion, Peter’s pathetic expression of seller’s remorse to the boy he calls Junior, Robin’s failed efforts to break through to the boy, and Ryan’s inept attempts to talk sense into him become wonderful acting moments that ask the talented Ararat, Alianiello. and Lytle to do the heavy lifting in communicating Jeenu’s rejection and their characters’ frustration. In the case of Jeenu reaching out to Ash and making a connection, Zahniser’s understated expression of unexpected delight is priceless.

Though arguably adorable, the puppet’s lack of structural integrity — he has free-hanging legs that often move in opposite directions and a torso that loses definition while sitting — makes him out to be more of a therapy doll than a little boy. It also suggests that the boy has physical problems — like no bones — that were never intended by the playwright.

It also seems that staging this play on a traverse stage with the audience clustered at one end, which often places the players at too great a distance for a play so intimate, is not in the playwright’s best interest. Scenic designer Shanel LaShay Smith’s efforts to creatively compensate for this — the use of enlarged shadow images on a screen to display Ash’s boxing scene and the large set pieces that are routinely dismantled and reassembled — offer little return for the effort. Andy Russ’s simple, dramatic lighting design is used to much greater effect.

Did you know that the informal, internet-driven, non-legalized custody transfers like the one played out in “Wolf Play” are actually a thing? Not I. Knowing this prior to the show would have paid dividends in terms of the audience’s engagement during the show and better fulfill Wilbury Theatre Group’s mission to encourage thought-provoking conversations afterward.

States suggests in the play’s provocative, attention-getting opening monologue that we are all more than what we seem. She and, by extension, Jeenu, are not just “what you think you see” and each audience member is not just “an idiot that decided to pay to be squeezed in that little seat in the dark.” That would certainly be true if only we were better informed.

Play by Hansol Jung. Directed by Marcel A. Mascaro. At Wilbury Theatre Group, WaterFire Arts Center, 475 Valley St., Providence. Through April 7. Tickets are $5-$35. 401-400-7100, thewilburygroup.org .

Bob Abelman is an award-winning theater critic who formerly wrote for the Austin Chronicle. Connect with him on Facebook .