Arts & Entertainment

Reign of terror

Folger brings Bard classic roaring to life

Published

12 years ago

February 5, 2014

Drew Cortese as King Richard in Folger Theatre’s production of ‘Richard III.’ It runs through March 9. (Photo by Jeff Malat; courtesy Folger)

‘Richard III’

Through March 9

Folger Theatre

201 East Capitol Street, S.E.

$40-$72 (some discounts available)

202-544-7077

folger.edu/theatre

Early in Shakespeare’s “Richard III,” the title character makes it crystal clear that he’s a hater, not a lover. He ascribes his villainy to his physical deformity (a hunchback and withered arm), explaining that because he’s built for neither love nor sport, he’s unable to enjoy the days of elder brother’s peaceful reign.

So instead, he devotes himself to furthering his titanic ambitions, devising twisted plots and lethal machinations, and stopping at nothing to make the throne his own.

As Richard in Folger Theatre’s take on the epic blood fest, Drew Cortese makes a most appealing sociopath. He is at turns many things: disarmingly charming, seductive, coldblooded, malevolently ruthless, and — for a split second or two — vulnerable. And while he possesses all of Richard’s sinister means of persuasion, Cortese limits his Richard’s deformity to a heavy limp. And you’ll find the actor is hardly “rudely stamp’d” — the crown sits nicely on his handsome shaved head and he doesn’t look bad in his leather pants, but I digress.

When we meet Richard, he’s already killed King Henry VI and his heir. In further clearing his path to the throne, he kills a kindly older brother Clarence, his two child nephews, his wife, trusted friends and sundry others. It’s an unparalleled royal killing spree. Of course, Richard doesn’t do the actual murdering. He has two muscled flunkies for that, but he’s never far from the crime. In the case of his accused traitor Hastings, Richard asks that his severed head be promptly delivered for his viewing. Here, it arrives in a large jar.

Even Buckingham, Richard’s cousin and closest conspirator, isn’t immune to his liege’s heedless wrath. The moment he shows a hint of hesitation in carrying out Richard’s most heinous of plots, his days are numbered. With Richard, no one is safe.

Hardly surprising, Richard doesn’t want for enemies. Henry IV’s vengeance-seeking widow Queen Margaret calls for his demise describing him as a “hell–hound that doth hunt us all to death…” And even Richard’s own mother, the Duchess of York, curses his existence as he heads off to the battlefield for the final time.

For this fast-paced, boldly accessible production, director Robert Richmond has altered the Folger into theater-in-round, brilliantly making the audience part of the action and seemingly privy to Richard’s next diabolical move. Tony Cisek’s set is a slightly raised, sleek black rectangular stage. Its many trap doors serve as exits through which Richard’s selected victims disappear — his beleaguered wife (Alyssa Wilmoth Keegan) goes willingly; some are coaxed, and others go out fighting.

Despite having ample doses of humor, the production is dark. At times Jim Hunter’s lighting is eerily moody. Eric Shimelonis supplies the increasingly ominous beats and, after each murder, the sound of slamming doors. Mariah Hale’s costumes are goth.

Cortese, who was terrific as a recovering addict in “The Motherf***ker with the Hat” at Studio Theatre last season, has a reassuring grasp on the language and brings great nuance to the part. He is surrounded by a capable cast including Howard W. Overshown as Buckingham, and Nanna Ingvarsson who smolders with quiet fury as Richard’s righteously aggrieved mother, the Duchess of York.

The historical Richard III died in battle. His skeletal remains were discovered under a parking lot in Leicester, England, in August 2012.

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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.

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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.