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"The play is very impressively staged, particularly for such a bare-bones performance space." - PlayShakespeare.com |
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"...the acting is very, very good by this talented cast, the direction (by Troy Miller) is inventive and at times ingenious, the fight choreography (by Rini) is well done and its execution by the company is impressive. Even the music is nicely done and, in true ensemble fashion, all five of the players are credited with its composition." - nytheatre.com |

PERFORMANCES
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"...scene is reproduced by a group of five actors who form a sort of chorus for the play and whom Horatio (Richard Gallagher, in an outstanding performance)..." -offoffonline.com |
at |
Director Troy Miller, however, enlivens the project with imaginative and highly theatrical staging..." -Backstage.com |
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"Assante’s bold experiment with the hallowed
Hamlet will linger in the mind long after its much less bloody
conclusion." -offoffonline.com |
CAST
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"Assante's means to her end is in itself quite clever...a massive and impressive undertaking." -nytheatre.com |
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"This is exciting, but challenging. Shakespeare scholars and anyone who enjoys parsing difficult plays should plan to attend at least twice in order get the most from the experience that is Horatio." -offoffonline.com |
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"Pasha, wild-eyed, terrifies those on stage as
well as everyone in the audience." -offoffonline.com |
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"Horatio is an interesting experiment and an entertaining play..." - PlayShakespeare.com |
| Horatio | Hamlet | |||
| Richard Gallagher | John Pasha | |||
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| The Players | ||||
| Matt Stapleton | Wayne Henry | Matt Hussong | Ian
alda |
Matthew Rini |
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Gallagher’s Horatio is wry and deep, and Gallagher’s command of the language makes him great to watch. - PlayShakespeare.com |
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The Players
also provide the music, and this is perhaps one of the most
enthralling elements of the show. They sing, they hum in harmony,
and in the climactic sword fight, they provide a riveting fight
theme with only a recorder and the percussion of hands against the
trunk and the floor. Their score is so fitting and well performed
that one often forgets that it’s not being piped in through
speakers, but is actually being performed with no instruments by the
actors on stage. |
Production Photographs
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Shakespeare often inspires dramatic stagecraft, and there's no shortage of that in Isabelle Assante's "Horatio." -TimeOutNY |
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HORATIO on myspace!
ISABELLE
ASSANTE:
Currently a resident of New York, Isabelle's plays are produced all over Europe,
the U.S. and Canada. She studied with luminary playwrights such as Mac Wellman
and Christopher Shinn. Her repertoire includes plays written in her native
French as well as in English. She is published in France by Art et Comédie. Her
radio play (Life and The Theater) was featured in the NYU literary magazine,
www.epyphanyzine.com. Her latest play - ARTICLE 5 - is presently getting a stage
reading in France, UK, Canada and Australia.
http://booksbyisabelleassante.blogspot.com/
Richard
Gallagher:
New York:
A Taste of Heaven, NY Fringe (2003); Genesis: 7
Breakthrough Plays, First Hand Theatre Company. Regional work
includes work at Yale Repertory Theatre, North Shore Music Theatre
and a number of San Francisco Bay Area credits: Fugitive Kind,
Marin Theatre Company; Old Money and Spinning Into Butter,
TheatreWorks, Palo Alto; The Magic Theatre; New Conservatory Theatre
Center; Playground Festival; Theatre Rhinoceros. Upcoming film:
El Camino, with Leo Fitzpatrick, Elisabeth Moss, & Christopher
Denham. Richard holds an MFA in Acting from the Yale School of
Drama.
John
Pasha:
Most recently, Pasha played Darcy in Pride and
Prejudice and Nick in Expecting Isabel at the Asolo Repertory
Theatre. Other regional theater credits include: the title role in Dracula:
Lord of the Undead at The Fulton Opera House, Hamlet (Taiwan national
tour) at the American Shakespeare Theater, Cat on a Hot Tin Roof at
Alabama Shakespeare Festival, Bloodline: the Children of Argos at The
Hangar Theater, The Mousetrap at The Pioneer Theater Company, Private
Lives at The Repertory Theater of St. Louis, The Illusion at The
Clarence Brown Theatre Company, Arms and the Man at The Sacramento
Theater Company, The Sins of Sor Juana at Southwest Repertory and seasons
at Pennsylvania Shakespeare Festival, New Mexico Shakespeare Festival, Colorado
Shakespeare Festival, Utah Shakespearean Festival, & The Shakespeare
Theatre (D.C.) TV/ Film credits include Pop Rocks, which won the Audience
Award Best Short at the Breckenridge Film Festival, One Life To Live, All My
Children, Guiding Light, As the World Turns, and John can be seen in the
documentary Within a Play on the Sundance Channel. Training: M.F.A. The
University of Delaware PTTP; B.F.A. Boston University ; RADA
Matt
Stapleton:Matt Stapleton is excited to be working yet
again with director Troy Miller, having worked with him at Emerging Artists
Theatre and other venues. He has most recently been seen performing with
Phoenix Theatre Ensemble and Milk Can Theatre Co. Other theatres include HERE
Arts Center, Shakespeare on the Sound, Berkshire Theatre Festival. He is a
graduate of Sarah Lawrence College.
Wayne
Henry:earned
his BA in Theatre Arts at Brandeis University and trained in London with RADA.
TV appearances include “Saturday Night Live,” “Good Day New York,” and “The
Colin Quinn Show.” Wayne performs improv with the troupes The Hamptons and
AfterPants, and is one-half of the comedy team of Henry & Stein with his friend
Suzanne Stein. They appear all over NYC including at Caroline’s, The P.I.T, The
Magnet, and The Upright Citizens Brigade Theater. Numerous Off-Off Broadway
credits include the past 4 years as a resident actor with Emerging Artists
Theatre. This is Wayne’s second play directed by Troy Miller. Perhaps someday
there will be a third. Wayne wrote “Jaws: the Unauthorized Musical” winning the
Strawberry One-Act Festival in 2003…and he’s still talking about it.
Matt Hussong: Originally from Indiana, Matt has called New York City home for over 10 years now. “Horatio” marks his return to the boards after spending a year studying pre-med. Now that he knows what a “duodenum” is, he’s excited to get back to his first love. Other stage credits included Captain Hook in “Peter Pan” (Theaterworks USA), Sir Walter Raleigh in “The Lost Colony” (Manteo, NC) and Leo in “Lead Heavy Sky” (NY Int’l Fringe Festival, 2003). Matt holds a B.A. in theater from Anderson University and is a graduate of the American Musical and Dramatic Academy (AMDA) in NYC.
Ian
Alda:
Ian Alda is a recent graduate of the Conservatory
of Theatre Arts and Film at SUNY Purchase. Purchase Repertory credits include
Konstantine in The Seagull, Duke Vincentio in Measure for Measure,
and Freddy in James Joyce's The Dead. Other credits include Puck
in A Midsummer Night's Dream with Shakespeare Santa Barbara and
Antipholus of Ephesus in Comedy of Errors with TheatreWorks Colorado.
Training: BFA SUNY Purchase College.
Matthew
Rini:
Has a BFA from New York University's Tisch School
for the Arts. He has performed many of the Bard's works, including Midsummer,
Shrew, Much Ado, Romeo & Juliet, Twelfth Night and Antony &
Cleopatra. Contemporary plays include Dancing at Lughnasa, Rumors, Museum, Cosi
and the premiere of the new play Sex and Hunger. In addition to acting,
Matthew is also a working fight choreographer, and a member of the Society of
American Fight Directors. Matthew has choreographed for a variety of companies
including Piper Theatre Productions, The Lark Theatre Company and the Access
Theatre, and, on occasion, teches stage combat as well.
Set Design: Matthew Miller
Lighting Design: Matthew Miller
Costume Design: Summer Lee Jack
Stage Manager: Amanda Elaan
To tell my Hamlet’s story or not to
That is the journey we must travel on.
Is’t nobler to tell true or to suffer?
Can I take arms against the sea of deceit,
And by opposing, end them. To live, to speak
Hamlet’s story; and by that story give him life.