Revolution Shakespeare

Suit the action to the word, the word to the action

Revolution Shakespeare, based in Philadelphia, PA, invites audiences to experience the variety and vitality of Shakespeare's works with bold and honest productions at little to no cost for patrons.

TROILUS & CRESSIDA: A Revolt Against the Patriarchy Staged Reading

  • The Painted Bride Arts Center 230 Vine Street Philadelphia, PA, 19106 United States

Star crossed lovers, epic heroes, embattled kings, and a sinister, snarky fool make Shakespeare’s epic of the Trojan War one of his greatest legends. This season's enhanced staged reading will feature Greek food and drink, a cast of 12 dynamic actors, and a fresh take on Shakespeare's biggest "problem play".

DIRECTED BY
Brenna Geffers ( dir. Henry VI, Part III )

FEATURING
Colleen Corcoran
D'Arcy Dersham
Mattie Hawkinson (seen in Titus Andronicus)
Colleen Hughes
Dana Kreitz (seen in Five Kings and Macbeth)
Donovan Lockett
Kelly McCaughan
Aneesa Neibauer
Katherine Perry
Amanda Schoonover
Hannah Van Sciver (seen in Love's Labour's Lost and King John)
Tai Verley

DATE & TIME
Sunday May 14, 2017 at 6:30pm

LOCATION
The Painted Bride Arts Center
230 Vine Street
Philadelphia, PA, 19106

TICKET PRICE
$15 General Admission (includes a drink and a hand-made Greek inspired food item)
Contact us for group rate information.

DIRECTOR'S NOTE

One of the interesting things about Troilus and Cressida is that it is rooted in an exploration of Anti-heros. Heroic characters that would have been familiar to Shakespeare's audiences are skewed in a way that would have made people lean in a little closer, presumably enjoying the dark take-down of these mythic men. What does this mean for our modern audiences?  What can we recognize in this world where pride and desire threaten to devour everything. 

This is also a story where female sexuality lies at the center of the conflict. The story begins with a woman whose infidelity  "launches a thousand ships" and is the root cause of so many deaths. It follows another faithless woman, whose precarious position as a spoil of war is completely ignored in the text's judgement of her actions. And it climaxes with a man whose bi-sexual, panamorous activites are blamed for his refusal to engage in violence. When this story is told by actors who do not identify as male, how do we hear it? What can be gained by allowing the sexism that is part of the text's DNA to be superimposed onto female-bodies? What do we do with texts like these now? – Brenna Geffers