Arts & Entertainment

The wild west

Shakespeare production works well in Folger variation

Published

14 years ago

May 10, 2012

‘The Taming of the Shrew’
Through June 10
Folger Theatre
201 East Capitol Street, SE
$39-$65 (discounts available)
202-608-1719

From left, Danny Scheie, Cody Nickell and Kate Eastwood Norris in ‘The Taming of the Shrew’ at Folger Theatre. (Photo by Jeff Malet courtesy Folger)

It was while watching the HBO series “Deadwood,” writes/director Aaron Posner in the program notes for Folger Theatre’s “The Taming of the Shrew,” that he first became inspired to set his production in the American West, circa 1890. While Posner admits it’s not a totally original take on the Bard’s battle of the sexes — it’s been done before — the move from Padua to the Old West works: the raucous, defiant aspects of Shakespeare’s early comedy translate quite nicely.

Because Posner has dropped the play’s official Induction, a cute framing device that establishes “Shrew” as a play within in a play, his fast-paced and funny production jumps quickly into the unconventional courtship of fortune-hunting gambler Petruchio and Katherine, the ornery shrew (played by real life husband and wife Cody Nickell and Kate Eastwood Norris). At first, Katherine wants no part of love and marriage, but through an assortment of carefully executed psychological and physical tortures Petruchio remarkably alters her into the most obliging of wives.

Norris’ Katherine is a sort of hard-drinking, pistol-packing Calamity Jane for whom a future of happy domesticity seems impossible or a real longshot at best; but, again, Petruchio’s abuse works wonders in tempering Katherine’s obstinate disposition. Yes, it’s all very sexist stuff, but Norris is a smart actor with a deft touch, and her transformation from shrew to obedient wifey is nuanced — it’s more about discovering love and finding a new way to live.

Similarly, Nickell’s charming Petruchio is clearly smitten with his Kate, and it’s a love that proves sincere. When he outfits his bride in elegant new duds, Petruchio strives to please by giving her pants and a beautiful pair of black boots complete with spurs. And after proving his wife’s changed nature in a high stakes bet, he hands the winnings over to Katherine. The pair is a team, and it bodes well for a happy and equal marriage.

The comedy’s secondary romantic subplot involves a complicated competition between the suitors of Katherine’s younger more desirable sister, Bianca (Sarah Mollo-Christensen). Her eager wannabe husbands are played by Marcus Kyd, Craig Wallace and Thomas Keegan. Katy Carkuff is a standout as a boozy, well-off widow. James Gardiner and gay actor Danny Sheie play the comic servants.

In a nod to the changing roles of frontier women, Posner has made some intriguing gender-bending choices. The part of Katherine and Bianca’s father Baptista has been changed to a same-named, marriage-brokering mother played by Sarah Marshall, who’s gay. Her Baptista is comically reminiscent of the silver screen types played by Jo Van Fleet and Mercedes McCambridge: Prosperous, independent, tightly wound and willing to level a shotgun when necessary.

The traditionally male Tranio, a clever servant who goes undercover for his master, is also female for this production. As Tranio, Holly Twyford (also gay), swaps out a dull long dress and petticoat for a dapper copper suit and jauntily worn boater. Tranio’s put on squared-off shoulders and masculine walk are belied by touching instances when Twyford reveals the vulnerable young woman beneath the phony moustache, and these are lovely moments indeed.

Tony Cisek’s set is a two-tiered saloon made from roughly hewn wood. Through its swinging doors lie endless plains and big sky. Helen Q. Huang heightens the effect of her beautiful period costumes with subtle flourishes of fancy, freeing them from being too overly moored to time and place.

Additionally, singer/songwriter Cliff Eberhardt in the role of “The Blind Balladeer” performs his bluesy, witty, heartfelt tunes intermittently throughout the play. It’s a wonderful touch that entertainingly trains the spotlight on the characters’ intentions and passions.

At the top of the show, we’re told the evening will end “after [the players] dance.” It’s a promise kept. Posner closes the play with an old fashioned rousing line dance, sending the audience off with a big shot of the Wild West, fun and romance.

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Photos

PHOTOS: ‘Studio 69’

Glitterati Productions hold party at Bunker

Published

4 hours ago

May 11, 2026

Michael Key

'Studio 69' was held at Bunker on Friday. (Washington Blade photo by Michael Key)

Glitterati Productions held the “Studio 69” party at Bunker on Friday, May 8.

(Washington Blade photos by Michael Key)

Arts & Entertainment

Washington Blade’s Pride on the Pier returns June 13 to kick off D.C. Pride week

Pride on the Pier officially launches Pride Week in D.C.

Published

10 hours ago

May 11, 2026

Staff reports

The Washington Blade’s annual Pride on the Pier celebration returns to The Wharf on Saturday, June 13, 2026 from 4-9 p.m., bringing thousands of LGBTQ community members and allies together for an unforgettable waterfront celebration to kick off Pride week in Washington, D.C.

Now in its eighth year, Washington Blade Pride on the Pier extends the city’s annual celebration of LGBTQ visibility to the bustling Wharf waterfront with an exciting array of activities and entertainment for all ages. The District Pier will offer DJs, dancing, drag, and other entertainment. Alcoholic beverages will be available for purchase for those 21 and older.

“Pride on the Pier has become one of the signature moments of Pride in D.C.,” said Lynne Brown, publisher of the Washington Blade. “There’s nothing like watching our community come together on the waterfront with live music and incredible energy as we kick off Pride week.”

Pride on the Pier is free and open to the public, with VIP tickets available for exclusive pier access to the Dockmaster Building. To purchase VIP tickets visit www.prideonthepierdc.com/vip.

Additional entertainment announcements, sponsor activations, and event details will be released in the coming weeks.

Event Details:

📍 Location: District Pier at The Wharf (101 District Sq SW, Washington, DC)
📅 Dates: Friday, 13, 2026

⏱️ 4-9PM
🎟️ VIP Tickets: www.PrideOnThePierDC.com/VIP

Theater

National tour of ‘Gatsby’ comes to National Theatre

Out actor Edward Staudenmayer talks playing the show’s gangster

Published

1 day ago

May 10, 2026

Patrick Folliard

Edward Staudenmayer plays Meyer Wolfsheim in ‘The Great Gatsby.’ (Photo courtesy National Theatre)

‘The Great Gatsby’
May 12-24
The National Theatre
1321 Pennsylvania Ave., N.W.
$59-$196
Thenationaldc.com

Often dubbed “The Great American Novel” for its depiction of ambition and self-invention alongside the reversals of success, F. Scott Fitzgerald’s “The Great Gatsby” says it all in a fast read.

Set against the excesses and energy of the Roaring Twenties, “The Great Gatsby,” novel and now the same-titled hit Broadway musical with a jazz/pop original score by Jason Howland and Nathan Tysen, tells the story of Nick Carraway and his friendship with Jay Gatsby, an enigmatic millionaire intent on reuniting with ex-lover, Daisy Buchanan.

It was during a four-month 2025 run in Seoul, South Korea, that out actor Edward Staudenmayer first played the show’s heavy, Meyer Wolfsheim, a gangster who helped Gatsby make his murkily acquired fortune. As Meyer, Staudenmayer opens the second act with, appropriately enough, “Shady.”

Now three months into a year-long North American tour, the show is poised to enjoy a brief run at Washington’s National Theatre (5/12-5/24).

While putting on his eyeliner prior to a recent Wednesday matinee at Chicago’s Cadillac Palace Theatre, the upstate New York-based actor shared about Gatsby and a life in theater.

WASHINGTON BLADE: Despite your good looks and terrific voice, you’re rarely the leading the man. How is that?

EDWARD STAUDENMAYER: I’m definitely a character man. I’ve been painting lines on my face to play old men since I was in high school. I was the youngest freshman in college playing old Uncle Sorin [in Chekhov’s “The Seagull”].

There have been many villains. Some darker than others. Meyer Wolfsheim is a very bad guy, but he doesn’t haunt me once I’m offstage. I play a lot of pickleball.

BLADE: Is it true that like so many of Fitzgerald’s characters, Wolfsheim is famously based on someone the writer encountered in life.

STAUDENMEYER: That’s true, Wolfsheim is pretty much a direct portrayal of real-life mobster and 1919 World Series fixer [Arnold Rothstein].

BLADE: When did the 1925 novel first surface on your radar?

STAUDENMAYER: Like many of us, I was assigned “The Great Gatsby” in high school. It was short, and filled with sex and illicit activities. I thought it was great. Definitely wasn’t a Judy Blume novel.

Interestingly, the book wasn’t originally a huge a success for Fitzgerald, but because it was about war and having the girl at home, they gave it to GIs leaving for WWII. After returning, a lot of those guys went on the GI Bill and became English teachers. They assigned the book to their students.

BLADE The idea that the book’s first-person narrator, Nick Carraway, is gay and enamored with Jay Gatsby is long discussed among readers and scholars. Does the musical touch on that?

STAUDENMAYER: Yes, there’s conjecture about Jay and Nick, and it’s implied in our show. It’s also implied about Jordan Baker, Jay’s fleeting romantic interest. Ultimately, she’s a confirmed bachelor, and a professional golfer who only wears pants.

Our performers are really good. Josh Grasso who plays Nick is fantastic. I’ve had to stop watching him in his last scene; it’s not good for Meyer Wolfsheim to take his curtain call crying. Our Gatsby, Jake David Smith, is good too. He’s gorgeous like Superman and sings like an angel.

BLADE: Do you ever imagine backstory for your characters whose sexuality is undefined?

STAUDENMAYER: I do, but not with Wolfsheim. I don’t see it. I’m trying to be as butch as possible with this ruthless killer.

BLADE: Have you had to do that in your career?

STAUDENMAYER: For a long time, I wore a mask to hide my gayness. I worked hard on being believable, that I was into the girl or that I was a tough guy.

It’s a different world now, and it’s so refreshing to be around the younger actors today; they’re remarkably open and comfortable.

BLADE: What was your coming of age like?

STAUDENMAYER: I played high school football in Palm Springs [he chuckles, alluding to the arid gay mecca], and I was pretty good too. But much to the chagrin of my parents and coaches, I quit the team to act in our senior year play. My super butch dad played semi-pro football and he was an ex-cop. I’m named after him. While I didn’t become my dad, I’ve played him often on stage. He was a true Gaston [the bumptious rival in “Beauty and the Beast”]. And like Gaston, he used antlers in all his interior decorating.

BLADE: Did he live to see your success in theater?

STAUDENMAYER: He did. Life was challenging growing up but the last 10 years of his life we couldn’t get off the phone with each other [his voice catches with emotion]. He accepted me entirely, and we became very close.

BLADE: Looking ahead, is there a part you’d especially like to play?

STAUDENMAYER: Like all baritones I’d love to play Sondheim’s “Sweeney Todd.” I’ve come close but it hasn’t happened yet. There’s still time.