The Girlhood of Shakespeare's Heroines, a Play about Shakespeare's Women
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The last date listed for The Girlhood of Shakespeare's Heroines was Wednesday February 10, 2010 / 8:00pm.
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Spring Awakening took Broadway by storm when it debuted, winning eight Tony Awards (including Best Musical). Punctuated by an electrifying and hauntingly beautiful rock score by Duncan Sheik and Steven Sater, Spring Awakening follows a group of teenagers as they navigate the confusing and often troubled waters of adolescence and their budding sexuality. Based on an Expressionist play that caused a scandal in 19th-century Germany, it's a bold and touching musical that captures the timeless and turbulent experience of youth transitioning to adulthood. The characters must grapple with issues like teen suicide, pregnancy and identity -- tough topics that remain as relevant as ever. Learn More
Reviews & Ratings
Featured review from Goldstar Member
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I purchased tickets on a lark because I have a british friend and I thought this would be an interesting event. I found it to be quite interesting. The performers were excellent (even if I didn't quite understand everything). I do plan to watch for upcoming programs.
In “Dead Men’s Fingers” Ophelia is revived to tell us about Hamlet’s childhood (he was a bit of a bully), Yorick’s failure as a jester and success as a lover, and what a nice man Claudius was when he wasn’t plotting regicide. Then we meet Zoe, a contemporary woman who once took a Shakespeare class with “Axis Sally” and learned more about betrayal and guilt than she wanted to know. In “How Many Children Had Lady Macbeth” an actress reveals how her lifelong ambition to play that character was fulfilled …and how painful it can be when life emulates art! “Sometimes,” she says, “Acting is like being punished for a crime you didn’t commit.” “Notes from the Moated Grange” gives Mariana, a minor character in Measure for Measure, a chance to tell the story of the play from her perspective, voice her resentment at Shakespeare’s treatment of her, and suggest that Angelo’s wedding night might not be all he’d hoped for. Finally, in “Full Fathom Five,” an unabashedly adolescent Miranda explains what it’s like to be a teenager on a desert island, with a wizard for a father and a horny monster for a suitor. Don Nigro’s notion is that Prospero’s magic makes him a playwright and the island a stage, and if Daddy is doing one of his “experimental fantasies,” what’s a girl to do?
Playwright Don Nigro is an amazing verbal pyrotechnician. He has written more than two hundred plays, which have been produced around the world, yet he remains virtually unknown. If you are among the many who don’t know his work, this is a great opportunity to see him at his best, with a cast (Tania Getty, Kristen Hansen, Julie Marie Hassett, Ela Kitapci, and Morgan Wilday) who have the ability and insight to bring his characters to life. They aren’t hard to look at, either.