Riverside Shakespeare Company

The Riverside Shakespeare Company of New York City was founded in 1977 as a professional (AEA) theatre company on the Upper West Side of New York City by W. Stuart McDowell and Gloria Skurski. On Friday, August 19, opening night of the theatre company's inaugural production of "Romeo and Juliet", "The New York Times" commented::The Riverside Shakespeare Company is taking up where Joseph Papp left off this summer by presenting free Shakespeare in the park...The production will be done in traveling minstrel style, evocative of Shakespeare's time. Beforehand, to set the period mood, performers will be scattered around the park--jugglers, fencers, singers, poetry readers. Then a fanfare will call the players to the stage, and the tale of star-cross'd lovers will begin. ["Shakespeare on the Drive," "The New York Times", August 19, 1977.]

Establishment and Heritage

Originally founded with a core of graduates from the University of California at Berkeley, including Stuart McDowell, Gloria Skurski, Mary Skinner, Peter Siiteri, Kent Odell, John Jonas, Bob Helsel, and Dan Southern, The Riverside Shakespeare Company of New York City opened its first production "Romeo and Juliet" on August 19 1977 on the northern steps of Soldiers and Sailors Monument at 89th and Riverside Drive, directed by McDowell with fight choreography by Joel Leffert and music by Michael Moore, featuring Peter Siiteri, Dan Southern, Mary Skinner, Kent Odell and Eric Hoffmann, Jim Brewster, Stuart Rudin and Eloise Watt (with Siiteri in poster, above, right), all of whom became founding members. Riverside Shakespeare Company opened its first production of "Romeo and Juliet" in Riverside Park, and then commenced a free parks tour through Manhattan, performing in Washington Square, John Jay Park, Fort Tryon Park, and Columbia University.

) in Blue Lake California, where McDowell and Southern had acted and trained as part of the inaugural summer festivals established by Mazzone and Hill during the summers of 1973-1974. According to Michael Fields, Company Producing Artistic Director of the current Dell'Arte School, Carlo Mazzone-Clementi "...brought to the United States a living breathing theatrical form that changed, moved, inspired and transformed generations of performers." It was this intensive form of physicalization that characterized the carefree Greenshows and a performance style that became hallmarks of Riverside's subsequent outdoor productions. "Behind the Mask: Carlo Mazzone-Clementi, 1920-2000," Bob Doran, "The North Coast Journal", Nov. 16, 2000.]

The following autumn, the company began a series of readings of the works of Shakespeare, reading through the entire canon the first year. Growing out of these readings, the company inaugurated a series of free radio broadcasts of Shakespeare's works on the New York public radio station, WBAI. A Board of Directors was soon formed under the guidance of founding Chairperson, Elena Scotti of Lincoln Center. At its founding in 1977, the Riverside Shakespeare Company became New York City's only year-round professional Shakespeare company dedicated to the performance of the works of Shakespeare, his contemporaries, and Commedia dell'Arte. [Three years after the founding of Riverside Shakespeare, "Show Business" noted that "Going into its third season as New York's only year-round Shakespeare producer, Riverside has established a fine reputation for producing high-quality classic theatre." "Show Business," Thursday, August 30, 1979.]

Early Years

During its inaugural season, 1977–1978, after its parks tour of "Romeo & Juliet", the Riverside Shakespeare Company presented a free 'Equity library tour' of "Twelfth Night", directed by Gloria Skurski with original music by Michael Moore and costumes by Sherry Amott, which then had an extended run Off Broadway at the Manhattan Theatre Club Stage 73 featuring Peter Siiteri, Eloise Watt, Mary Skinner, and Eric Hoffmann, who were joined by Frank Fico, Bob Helsel, Ellen Martin, Jim Maxson, Kieron Murphy, Howard Shalwitz, and Tim Snay. Judy Thrall, in the "Heights/Innwood Press of North Manhattan" heralded the production of "Twelfth Night" in the first major article written about the six month old company, in which she wrote:

:Some theatre companies - those which start out with talented and intelligent actors - are born great. Some companies - those which start out with diffident, inexperienced people who soon mature with their art - achieve greatness. And some companies - those which start out untrained and unguided - can, with the advent of a brilliant force, have greatness thrust upon them. In the first hyperbolic category is one of the city's newest theater groups, the Riverside Shakespeare Company...Now the group is well on its way to becoming an important theatrical force in Upper Manhattan and elsewhere. ["A Troupe Born to Greatness" by Judy Thrall, "Heighs Inwood Press of North Manhattan", Nov. 11, 1977.]

First Folio Production of the complete "Hamlet"

The following spring, after ten weeks of intensive rehearsal on the text, the company mounted the complete "Hamlet" on the courtyard roof of Riverside Church in Manhattan in late afternoon sunlight. The success of this production enabled the company to remount its "Hamlet" - this time lit only by torches in the late evening - on the main "University Walk" before the Low Library at Columbia University, using a large stage surrounded by sheets of steel, erected to create an ideal natural reflective environment for the natural voice "and" the night-time illumination by torches.

Riverside Shakespeare's "Hamlet" was designed and directed by W. Stuart McDowell with original music composed and played by Michael Moore and costumes by Vernon Yates, and featured Peter Siiteri, Dan Southern, Stuart Rudin, Eric Hoffmann, Jim Maxson, Kieron Murphy, Jim Brewster, Michael Arabian, Kaeren Peregrin, Robert Lanchester, Leslie Blake and John Rowe.

Production"', in which the entire text of Shakespeare's play was presented in a lively, action-filled production, enabling the company to mount the complete "Hamlet" in under three hours. A "Greenshow" also preceded each outdoor performance, entertaining the audience as they arrived in a spoof of the play to follow, which was staged, in effect, by the Players en route to Elsinore.

The torchlit performance of "Hamlet" at Columbia University was reviewed by "Heights/Innwood Newspaper of North Manhattan":

:Siiteri's sly innuendoes and elegant gestures as Hamlet were put to good use. His reactions in his father's ghost and in Ophelia's death had traces of the vulnerability and humanity seen in the finest Hamlets. Others in the cast ranged from very good to superb. Kaeren Peregrin as Ophelia gave a chilling "mad scene" [in photo, above left] . Robert Lanchester as Claudius was delightfully depraved, and Frank Fico as Polonius was wonderfully amusing without turning the endearing and gentleman into a buffoon. Bravo also to John Rowe as Laertes...All of the actors projected magnificently without the aid of microphones--and this in the open air!, [Ari Panagako, "Dandy Hamlet Bows Uptown", "Heights/Inwood Press of North Manhattan", June 14, 1978.]

Expanded Tour of "A Midsummer Night's Dream"

", with Eric Hoffmann as Puck (above, right), featuring Eloise Watt, Kent Odell, Mary Skinner, and Jim Brewster (in poster, right), as well as Stuart Rudin, Ronald Lew Harris, Larry Attile, Jim Aucoin, Robert Cendella, Sarah Fairfax, Lisa Kramer, Mike Logan, Arland Russell and Karen Hurley as Titania and Eric Conger as Oberon (see curtain call, left), and directed by Gloria Skurski with an original score composed by Debra Awner for strings and brass and performed live by the touring group "Brass", with costumes, puppets, and make-up designed by renowned Muppet designer Sherry Amott.

The parks tour of "A Midsummer Night's Dream" was expanded to play locations in three boroughs of New York City, including Wave Hill in the Bronx, which became a favorite annual summer performing site for the company.

In what was becoming a Riverside tradition, each performance was preceded a half hour before curtain by a "Greenshow" of Commedia entertainment by the cast and musicians on the stage and throughout the audience. ["Midsummer Thoroughly Enjoyable", by Ari Panagako, "Heights Inwood Press of North Manhattan", August 22, 1978.]

Erika Munk of the "Village Voice" wrote:

:Shakespeare at the Delacorte always disappoints me because it's overmiked and not in tune with park life; but I saw a charming "Midsummer Night's Dream" by the Riverside Shakespeare Company: no mikes, no lights, no seats; only clever placement at the bottom of Soldier and Sailors Monument to give the audience a view from the steps; broad acting and old-fashioned projection so that everyone could follow; an ability to capitalize on the audience's pre-disposition to enjoy itself; the flexibility to deal with dogs, kids, jets, and drunks; and splendid timing - the play ended as the sun went down. ["Outdoor Performances in New York" by Erika Munk, "The Village Voice", August 23, 1978.]

"As You Like It" at Manhattan Theatre Club's Stage 73

's Stage 73, featuring Robert Boyle, Timothy Hall, Margo Gruber and Caryn West (right - all making their New York stage debut) with Kent Odell (in photo, left, with Caryn West), Jim Maxson, Stuart Rudin, Ken Grantham, Timothy Hall, Peter Jensen, Kenneth Lane, Gannon McHale, Sheri Meyers, Uriel Menson, Brock Seawell, Daniel Tamm, and David Robert Westfall (stage manager), and directed by Eric Hoffmann, with set designed by David Lockner, costumes by Deborah Otte, and lighting by Nat Cohen.

Hoffmann set Shakespeare's most pastoral play with an autumnal setting in Colonial American, using leaves gathered from Central Park which gradually filled the stage with knee-deep piles of leaves, and underscored with original guitar music played by Robert Mamary and Joseph Poshek. The production was acclaimed for its creative setting in this bucolic, pre-American revolutionary time, in which Amiens, played by Larry Kirchgaessner, became a Native American in the American forest of Arden. ["Remounting the Classics", by Donald R. Wilson, "Soho Weekly News", November 2, 1978.]

. At this production, it was announced that the company's ultimate goal was "to build a replica of Shakespeare's Globe Theater on the banks of the Hudson River in New York City." [Program for the Riverside Shakespeare Company's "As You Like It," November 10, 1978.]

"'New York Premiere of the "madrigal comedy" "L'Amfiparnaso"

The production of "As You Like It" was joined at Stage 73 by the New York premiere of the Commedia dell'Arte scenario, the 16th century "madrigal comedy" by Orazio Vecchi, "L'Amfi Parnasso", directed by Dan Southern featuring company members performing with Renaissance music arranged and played by the chamber group The Western Wind. This production was the company's first purely Commedia dell'Arte style production, and featured the use of hand-crafted leather masks, improvisation, stylized movement and comic lazzi.

In April 1979, the theatre company mounted a new production of "Twelfth Night", set in an Art Nouveau style, directed by John Clingerman, with Andrew Achsen, Kristin Rudrud, Stuart Cohen, Alison Edwards, Beata Jachulski, Will Lecki, Scott Parson and Ted Polites, staged in the round (with audiences on four sides) in the lower chamber of Riverside Church in Manhattan. This production was one of many that the theatre company opened on Shakespeare's birthday, April 23; this time, the production was inaugurated by a special celebration, culminating with the reading of a Shakespearean sonnet by the pastor of Riverside Church, fellow Bardophile, Rev. William Sloan Coffin. [This production of "Twelfth Night" in 1979 proved to be one of only two staged at Riverside Church; the company was named not after the church, but the park where it began its first production in 1977.]

The Professional Shakespeare Company at Columbia University

, with audition, construction, storage and rehearsal spaces in Prentice Hall on West 125th Street west of Broadway, just a stone's throw from the Hudson River. A core company of twelve to fifteen professional actors were often complimented with Columbia University students both backstage and onstage as performers, working as student apprentices within the company, not unlike Shakespeare's company 400 years before.

"Much Ado" at Manhattan Theatre Club's Stage 73

's Stage 73. The production was set in the roaring 20's, as if F. Scott Fitzgerald had imagined the meeting of Beatrice and Benedict at a festive garden party on Cape Cod.

The production of "Much Ado About Nothing" as staged as the first part of a double bill, followed by a glass of wine and then, on the same stage with a quick change of scenery, by Niccolo Machiavelli's "The Mandrake" (see also "The Mandrake", below). ["Show Business", June 30, 1979.]

First Folio Production of "Henry IV, Part One"

The company then mounted its first History Play by Shakespeare. In the late spring of 1979, after two months rehearsal of the armies of King Henry and Hotspur on the rooftop of Columbia University's Prentice Hall in southern Harlem, the company opened its third annual outdoor production of free Shakespeare, a major Equity staging of the complete "Henry IV, Part One". This was Riverside's second First Folio Production, mounted on a replica of Shakespeare's Globe Theater, constructed on the courtyard roof Prentise Hall at West 125th and Broadway, and transported and erected on the main campus Quad of Columbia University.

The cast featured Dan Southern as Hotspur and Jason Moehring as Hal (left), with Eric Hoffmann as Falstaff (right) and William Hanauer as King Henry, and a cast of forty including Jim Brewster, Mary Skinner, Vit Horejs, David Murray Jaffe, Kathleen Monteleone, Jason Moehring, Julia Murray, Gay Reed, John Miller and Lois Tibbetts, with music by Deborah Awner played by a live orchestra.

outdoors, surrounded by trees on the southeast corner of the Columbia University Quad; the production was directed by W. Stuart McDowell and performed at night without microphones in this perfect acoustic environment, on a set designed and built by Dorian Vernacchio, costumes by Kenneth M. Yount, fight choreography for broadsword, halberd, dagger and mace, by Joel Leffert (see photo, left).

The reviewer of "Show Business," Ted Bank, noted that:

:Riverside Shakespeare Company has injected this chronicle history with all the pageantry and spectacle it calls for, and the result is exciting theatre...What makes "Henry IV, Part One" so delightful is that Riverside Shakespeare Company has taken pains to bring historical detail into the production. Going into its third season as New York's only year-round Shakespeare producer, Riverside has established a fine reputation for producing high-quality classic theatre." ["Show Business," August 30, 1979.]

The popularity of "Henry IV, Part IV" at Columbia University enabled the company to extend the run by remounting the entire production Off Broadway indoors at the American Theatre for Actors in midtown Manhattan in the fall of 1979.

Tom Hanks and Michael Wolff in Machiavelli's "The Mandrake"

In 1979 the Riverside Shakespeare Company mounted Niccolo Machiavelli's Renaissance farce, "The Mandrake", in the large second floor auditorium of the "Casa Italiana" of Columbia University located at West 117th and Amsterdam Avenue. The "Casa Italiana", which had recently been designated by the Landmarks Preservation Commission, proved an ideal setting for production: Riverside's Florentine set was surrounded by the Florentine architecture, wrought iron chandeliers, and Italian antiques, some donated by Premier Benito Mussolini when the building was erected in 1926. [The room where the theatre company erected its stage for "The Mandrake" has been described as "a long auditorium with rusticated plaster work in imitation of stone and a coffered ceiling" in the article "Streetscapes: Casa Italiana; Renovating a Campus Curio," by Christopher Gray, "The New York Times," April 12, 1992.]

Performing in the style of Commedia dell'arte, with masks and fanciful commedia costumes, the cast included Arland Russell, Mark Cavalieri, Jeff Cameron, Tom Hanks, Susan Kay Logan, Perla Armanasco and Michael Goldner, (photo, right). In this production Tom Hanks played the lead role of the scoundrel Callimaco - in his first and only stage production in New York City.

The production of "The Mandrake" was cast and rehearsed in the company's fourth floor facility of Columbia University's Prentise Hall in southern Harlem, and was directed by company member Dan Southern (then Daniel O. Smith), [Daniel O. Smith subsequently became known as Dan Southern when he became a member of the Actors Equity Association.] The production was played with authentic leather masks and fanciful costumes conceived and constructed by Broadway designer Jane Stein, period sets - including a raked checkerboard stage - designed and built by Gerard Bourcier, lighting (which incorporated the wrought iron chandeliers of the Casa Italiana) by John H. Forbes. In the "Heights/Inwood Press of North Manhattan" review of March 14, 1979, Jan Rucquoi noted that:

:A delightfully produced, fast-paced farce happened uptown on Columbia University's Campus, in the Casa Italiana...In "The Mandrake" the audience is often brought into the confidence of the actors who unmask themselves to do so. [Review by Jann Racquoi, "Heights/Inwood Press of North Manhattan", March 14, 1979.]

The leather masks designed by Stein were often used inventively to comic effect, with actors sometimes removing them for an inner monologue, as in Hanks' portrayal of Callimaco, in which he conversed to himself while holding his quarter mask to one side (see photo of Hanks as Calimacco, right.)

"The Mandrake" was accompanied by an original jazz score played by Steve Elson, Lincoln Goines, Mio Morales, and composed (and with a running improvised narration) by pianist-composer-orchestra leader Michael Wolff. According to the "Heights/Inwood Press of North Manhattan":

:The music composed for the play had a Brechtian feel to it, enriching the play and setting the mood of high jinks and fun. Also, the fanciful costumes, works of art in themselves, with their overblown appliqued ornamentation, were a delightful asset to the production. [Review by Jann Racquoi, "Heights/Inwood Press of North Manhattan", March 14, 1979.]

The production of "The Mandrake" opened on March 2, 1979 at the Casa Italiana, and was stage managed by Nancy Consentino Minckler and produced by W. Stuart McDowell and Gloria Skurski, in association with Columbia University.

"The Mandrake" at Stage 73, and On Tour through New York City

's Stage 73. With the departure of Hanks to the west coast at the end of the run at the Casa Italiana, Dan Southern took over the role of Callimaco for the late night cabaret-like performances. ["The Mandrake" and "Much Ado About Nothing"," by Ted Bank, "Show Business," June 10, 1979.]

Subsequent to its two indoor stagings, "The Mandrake" was revived for several outdoor engagements, performed on a two-wheel cart with simple cloth backdrop, beginning with the dedication of the "Shakespeare Garden" in the Brooklyn, hosted by Joseph Papp, Estelle Parsons and W. Stuart McDowell. The role of Callimaco was assumed by the play's director, Dan Southern, with Ronald Lew Harris and Joe Meek (below).

As in the Riverside tradition of The Greenshow, the production of "The Mandrake" - whether indoors or outside in a park - relied on broad physicalization, improvisation, and comic lazzi, as well as interacting with the audience in the manner of Commedia dell'Arte. "The Mandrake", under Southern's direction, proved one of Riverside's most successful "Commedia" productions to date, and helped the company to realize its goal of bringing the work of Shakespeare, his contemporaries and Commedia dell'Arte to as broad an audience as possible. It also helped to further the reputation of the company as a versatile classical theatre company in New York City.

The Shakespeare Center

"'.) The Shakespeare Center became the home for numerous Equity Riverside productions, beginning with "Romeo and Juliet" in 1980, directed by W. Stuart McDowell, assisted by Jay King, with Robert Walsh, Arleigh Richards, George House, Barbara Tirrell, Joe Meek, Gay Reed, Curtis Watkins, Dan Johnson, Obie Story, James McGuire, Jim Maxson, Christopher Cull, Timothy Oman, and, as the Nurse, Scottish folk singer and comedienne Fredi Dundee.

" with Freda Kavanagh, Deanna Deignan, Kay Colburn and Catherine Schmidt (above, left), and J. C. Hoyt, Timothy Doyle, Timothy Oman, Madeleine Potter, and Peter Siiteri, directed by Clingerman with music by Awner, which Mel Gussow of the "New York Times" called "a charming chamber piece." [Review by Mel Gussow, "The New York Times", May 10, 1981, and "Shakespeare in New York City," by Maurice Charney and Arthur Ganz, "The Shakespeare Quarterly", Vol. 33, No. 2 (Summer, 1982), pp. 218-222.]

This was followed by a Commedia dell'Arte production of "Two Gentlemen of Verona" directed by Dan Southern produced Off Broadway in the American Theatre for Actors, with music by Bob Rosen, with Ronald Lew Harris, Jim Maxson, Joe Meek, Amy Aquino, Allison Edwards, Dennis Pfister, and J. C. Hoit. ["The New York Times", August 3, 1981.]

While the company produced a subscription season in 1980-1981 at "The Shakespeare Center", it also mounted a series of free performances of Shakespeare plays and scenes across town at the Citicorp Center, entitled Riverside Shakespeare Salutes Shakespeare at Citicorp, which included "The Taming of the Shrew" directed by Jere O'Donnell, "Love's Labor's Lost" directed by Timothy Minor, "The Will to Power: Scenes of Ambition and Political Intrigue", directed by Ken Grantham, and a popular compilation of romantic scenes from the Bard, "This Bud of Love: Scenes of Awakening Love", directed by John Clingerman. These were also broadcast on New York's public radio station, WBAI.

Meanwhile at "The Shakespeare Center", the company opened its next season with "Henry V" directed by Timothy Oman, assisted by Linda Mason, Associate Director, and Maureen Clarke, Riverside's Resident Text Coach, with music by Sanchie Borrow, scenic and lighting design by Norbert U. Kolb, fight direction by Conal O'Brien, and costumes by David Pearson, featuring [http://www.frankmullerhome.com/photos.html Frank Muller] and Lee Croghan, (left), with Dene Nardi, Norma Fire, Ronald Lew Harris, Pat Kennerly, Gay Reed, and Gene Santarelli. ["The New York Times," May 6, 1984.]

NYC Premiere of "The Three Cuckolds"

In February 1981 the company mounted the New York Premiere of the Commedia dell'Arte farce "The Three Cuckolds" with Perla Armanasco, Jim Brewster, Ronald Lew Harris, David Murray Jaffe, Joe Meek, Jim Maxson, and Jane Badgers, Lloyd Davis, Jr. (as an "outstanding" Arlecchino), ["Delightful Cuckolds" by Marily Stasio, "The New York Post", February 11, 1981.] Oded Carmi and Marla Buck, directed by Dan Southern with an original score by Michael Canick, sepia drops depicting contemporary New York street scenes by Dorian Vernacchio costumes by Barbara Weiss and masks by Paul Mantell, about which Marilyn Stasio of the "New York Post" wrote:

:The resident company under Daniel O. Smith's stage direction, has enthusiastically caught the outrageous spirit of that venerable theater form...The stock characters of "commedia" - from the bulbous-nosed clowns, the "zanni", to that nimble trickster Arlecchino - are all authentically masked, padded and caricatured. And the cast's high level of comic energy makes them perfectly ridiculous...In keeping with the improvisational tradition of "commedia", the production injects a contemporary tone into the material...including a graffiti mural, which is wittier than the stuff you read on the IRT. And somebody tossed off a Nancy Reagan joke that tickled me. ["Delightful Cuckolds" by Marily Stasio, "The New York Post", February 11, 1981.]

beginning with "Edward II" (see below), and subsequent Riverside summer touring productions.

New York Premiere of Brecht's "The Life of Edward II of England"

["I wrote this play with Lion Feuchtwanger"; Dedication page from "Leben Eduards des Zweiten von England", 1924.] ).

The New York premiere of "Edward II" was grounded on interviews McDowell had made in Germany with cast members - Erwin Faber and Hans Schweikart - of the original Munich production of 1924, which had been Brecht's debut as stage director. In the original 1924 production, Brecht developed many of his "new staging and dramaturgical techniques" for what came to be known as Epic Theatre, and which eventually had a profound impact on 20th century theatre. Elements from Brecht's original production became a springboard for interpreting the script, seventy-eight years later. [See "Acting Brecht: The Munich Years," by W. Stuart McDowell, in "The Brecht Sourcebook", Carol Martin, Henry Bial, editors (Routledge, 2000).]

of the newly renovated theatre. The score made use of snare and kettledrums, of xylophones and castanets, as well as natural percussion sounds made by the cast, using rattles and hand-held pea-pods played during the transitions between scenes, all intended to give an environment of sound intended to augment and draw focus to various narrative lines throughout the production.

The Riverside production of "Edward II" featured Dan Southern and Timothy Oman in the roles of Gaveston and King Edward (right), with Andrew Achsen, Larry Attille, Christopher Cull, Michael Franks, Margo Gruber, Dan Johnson, Joe Meek, Jason Moehring, Gay Reed, Count Stovall, Patrick Sullivan and Jeffery V. Thompson, directed by McDowell, with assistant director Jeannie H. Woods, with sets and lights by Dorian Vernacchio, costumes by David Robinson, with hand-hewn wooden props designed and built by Valerie Kuehn.

According to singer/writer William Warfield:

:I've never seen a classical theatre production by this company before, and I thought it was truly exceptional. As unimpassioned as most so-called entertainment is, the only saving grace is that artists still band together on honest endeavors, such as this..."Edward II" was brilliant. "Edward II" was visually stunning, and imaginatively directed production of a play that has great relevance today. [William Warfield, February 6, 1982, New York City; quoted with permission from the author.]

Opening night, a special panel of scholars on German theatre and the drama of the Weimar Republic in particular was presented in the theatre before the play, including a display of photos from the original Munich production. In keeping with Brecht's original production, a "Weimar Cabaret" followed the production, with cast member Andrew Achsen serving as host.

(For further photos and other documentation about this production, see "The Life of Edward II of England".)

ubscription Season at The Shakespeare Center

"Richard III" with Brass and Chorus

The next season (1982-1983) in the newly renovated theatre on West 86th Street began with "Richard III", about which Marilyn Stasio of "The New York Post" wrote:

:The Riverside Shakespeare Company has opened its season with a "Richard III" that handsomely advances its suit for support as a year-round professional Shakespeare ensemble worth taking seriously. The production has been mounted in observance of the 500th anniversary of that infamous monarch's feverish rise to power. J. Kenneth Campbell makes his entrance hump-first, from an obviously symbolic hole in the ground, and grabs us from the moment he launches into his wintry discontents. Campbell not only loves his character, he loves his "words", articulating with the lusty relish of a voluptuary set loose in a seraglio. It's a joy to watch him." ["Campbell Conquers Richard III: Riverside's Richard III" by Marilyn Stasio, "The New York Post", November 16, 1982.]

"Richard III" was directed by John Clingerman, with an original musical score by Joe Church played by the "New York City Brass Quintet" and large chorus recorded especially for this production, about which "Backstage" wrote, "Particular mention should be made of the music, conducted by Joseph Church with the New York City Brass Quintet and a large chorus contributed to the fifteenth century ambience and aided in unifying the production." [Review by Murile Broadman in "Backstage", December 24, 1982.] .

The production featured stage and screen veteran J. Kenneth Campbell in the title role, Marya Lowery, Richard Hoyt-Miller, Scott Parson, Maggie Scott, Mary McTigue, and Ann Ducati, sets by Tom Newman, costumes by Randolf Pearson, lighting by Richard Lund, and extensive combat choreography by Joel Leffert,

The Complete "The Winter's Tale" in a Blizzard

In early 1983, Riverside Shakespeare Company mounted its third First Folio Production, an uncut staging of "The Winter's Tale", with Eric Hoffmann as Autolycus and Tony Award-winning actress Tonya Pinkins in her New York stage debut as "Mopsa - a shepherdess" (in photo, left, with Beatrix Porter, Eric Hoffmann and Scott Parson), with Marya Lowry and Timothy Oman as Hermione and Leontes, C. B. Anderson, Franklin Brown, Sally Kay Brown, Lee Croghan, Christopher Cull, Virginia Downing, Freda Kavanaugh, Beatrix Porter, and Richie Devaney. The production was directed by W. Stuart McDowell, with costumes by Randolph Pearson, original music by Joseph Church, choreography by Beatrix Porter, and stage managed by Mary Ellen Allison.

The production combined modern (Grace Kelly's Monaco) and historial (pastoral 18th century England) periods in a concept centered around a magical transformation that takes place when Mamillius begins to recount "the winter's tale" to his mother, Hermione. The concept arose from the moment in the First Folio text when Mamillius is asked to "tell's a Tale," to which the boy responds with "There was a man...dwelt by a Church-yard..."

According to the Riverside program, McDowell's interpretation posited that these eight words - the entirety of "the winter's tale" - are nothing less than a prophesy concerning Leontes, Mamillius' father, who would some day virtually dwell by a graveyard, mourning the passing of Hermione and Mamillius (Act III, Sc. ii. Leontes: "Once a day I'll visit/The chapel where they lie, and tears shed there/Shall be my recreation...") - whose deaths he causes in the subsequent parable told by Mamillius. Both Hermione and story-teller Mamillius (who also played the role of Time in the Riverside production) are resurrected magically at the play's end, as his "sad tale...best for Winter" draws to a conclusion, and the purpose of the lad's tale has been fulfilled. [The director noted in the program that "In searching for the meaning of the story that Mamillius starts to tell, but is interrupted by his half-crazed father, I could find none: no historical or dramaturgical resource revealed what exactly "The Winter's Tale" was, or who the man in the story was who 'dwelt by a Church-yard.' At the same time, I found it fascinating - although undoubtedly a curious accident - that Mamillius's 'Tale for Winter' begins at the top of a new page turn in the "First Folio", as if the playwright - several years after his death - is somehow telling us of a transformative moment in this, one of the Bard's most fantastical tales. That's when it occurred to me that the man who dwelt by a churchyard was none other than the father, Leontes, grieving the prophesized loss of his wife and son. The rest of the play, from that moment on, is Mamillius' prophesy, a 'sad tale' that's 'best for Winter'." Program for the Riverside Shakespeare Company production of "The Winter's Tale", February 25, 1983.]

During rehearsals for "The Winter's Tale" the company was virtually stranded in the theatre during the blizzard that hit New York City in mid-February 1983. The technical crew building the set had to spend the night in The Shakespeare Center, marooned there while they finished the elaborate, magical stage for production. Fortunately, the deli just outside the theatre - Barney Greengrass: "the Sturgeon King" - was open the next day, providing the crew with bagels and coffee in the morning. Shakespeare's tale of Winter proved a fitting production for New York's year-round Shakespeare company to be socked in while the city nearly ground to a halt.

, before which it was described as, "An exceptional production of one of the Bard's seldom-produced scripts...brilliant." ["WBAI" broadcast, February 23, 1982.] In the "New York Shakespeare Bulletin" it was observed that "Riverside's responsible rendering of the text should win them a "Julio Romano" statue that will never walk away." ["Sunny Winter," in "The New York Shakespeare Society Bulletin", March 1983.]

"The Taming of the Shrew"

Later that year the company mounted "Taming of the Shrew" in 1983 directed by Robert Mooney with music by Joseph Church and set designs by Kevin Lee Allen, with Diane Ciesla and Dan Southern (with Robert Mooney, right), and Ronald Lew Harris, Eric Hoffmann, Joe Meek, and Robert Mooney. About this production, Sy Isenberg of "Bulletin of the New York Shakespeare Society" wrote:

:This production of "The Taming of the Shrew" really cares...I cannot think of a piece in recent memory that has been so deliciously cast. The whole cast is swimmingly on their toes. As the primary lovers not meant for each other Diane Ciesla and Daniel Southern are dazzling...The couple's subsequent extravagances are part of a complicated mating dance at once witty, slapstick and tender, balanced at the end between ritual and reality. In its warmth, elegance and festivity, this "Kate" kisses us all. ["The Taming of the Shrew": A Review", by Sy Isenberg, "Bulletin of the New York Shakespeare Society", May, 1983, Vol. 1, No. 11.]

"The Tempest" with Bertram Ross

The next season opened with a full stage production of "The Tempest" with Bertram Ross - longtime leading dance partner with Martha Graham and co-director of the Graham dance company [Bertram Ross's background as Martha Graham's partner and co-director of her company for nearly 25 years earned him a position of enviable stature in the world of dance. He created over 35 leading roles in the Graham repertory and is indelibly associated with the roles of Saint Michael in "Seraphic Dialogue," Agamemnon and Orestes in "Clytemnestra," Adam in "Embattled Garden," Oedipus in "Night Journey" and, perhaps most of all, the Preacher in "Appalachian Spring." Mr. Ross' accomplishments in dance have been acknowledged by critics and audiences around the globe. See "SAD NEWS - Bertram Ross Passes After Long Illness", on "Stu Hamstra's Hotline", April 20, 2003.] - as Prospero, and featuring Eric Hoffmann, Ronald Lew Harris, Joe Meek, Kathleen Bishop, Ellen Cleghorne, Alexander Cook, Herman Petras, John Reese, and Laurine Towler as Ariel, directed by Robert Mooney, with dance choreography by Shela Xoregos set to music by Joe Church, and sets by Kevin Lee Allen. Bertram Ross, who has been called the "dance legend and archetype male Graham dancer", used his considerable dance experience and technique and deep voice to create a memorable Prospero, using movement choreographed by Xoregos, who molded Prospero and Ariel into a "moving duo of poetic form." ["When a 'Saint' Emanated Threads of Light", Peter Sparling, "The Dance Insider", April 22, 2003.]

Modern Dress "CAESAR!" and Historic "The History of King Lear."

, set designer for Welles' famous "Fascist" production of 1937.] , with set by Kevin Lee Allen, with Assistant Director Maureen Clarke and Jane Badgers, Director of Marketing & P.R, and featuring music by Michael Canick.

.] and Marya Lowry (below, left), with Michael Cook (with Scott, right), Andy Achsen, Ronald Lew Harris, Paul Hebron, Sonja Lanzener, Jim Maxson, Joe Meek, Robert Walsh and Herman Petras as Caesar (left).

The production proved immensely popular with audiences, setting, as it did, Shakespeare's play in contemporary Washington D.C. in a country on the verge of making its popular leader president for life. The production of "CAESAR", revised, was subsequently optioned by Samuel H. Scripps for a Broadway production at the Virginia Theatre, scheduled to premiere on the 50th anniversary of the Mercury Theatre production, on November 11th, 1987. [See Harry Haun, "The New York Daily News", June 24, 1987: "Something else to look forward to in '88 is an election year reading of Shakespeare's "Julius Caesar." Just as Orson Welles played it contemporary (Mussolini's Italy) in his historic Mercury production of '38, director Stuart McDowell will move the play forward another 50 years, setting against a backdrop of the '88 campaigns. It's for Broadway, and there've been ongoing discussions with Ellen Burstyn, Philip Bosco, Treat Williams, Ossie Davis, et al to participate in this all-star edition. Rehearsals start Sept. 22..." See also "Season Preview: Theatre, Epic Legends, American Accents," by Mel Gussow, "The New York Times", August 30, 1987. The Broadway remounting of this production, sponsored and designed by Samuel H. Scripps, under the General Management of Kevin Dowling, with verse and text work by Cicely Berry and directed by W. Stuart McDowell, did not take place. Instead, in the same season, the New York Shakespeare Festival inaugurated its Shakespeare Marathon Off Broadway, with an historical toga-clad production of "Julius Caesar" with Martin Sheen as Brutus, and Al Pacino as Marc Antony.]

The slogan for the production was reflected on its poster:

:"It's America." :"It's 1984.":"It's the political horror show for our times." [From the Riverside Shakespeare Company poster, (above) 1984.]

Responding to the production, Sy Syna of "The New York Tribune" wrote: "Riverside's "CAESAR!" is not only a rock solid production, it is surprisingly a good one." [Sy Syna, "The New York Tribune", March 14, 1984.] Reviewing the Riverside production, Herbert Mitgang of the "New York Times" wrote:

:The famous Mercury Theater production of "Julius Caesar" in modern dress staged by Orson Welles in 1937 was designed to make audiences think of Mussolini's Blackshirts - and it did. The Riverside Shakespeare Company's lively production makes you think of timeless ambition and anti-libertarians anywhere. [Herbert Mitgang, "Stage: Modern Caesar," "The New York Times", March 14, 1984.]

"The History of King Lear"

In 1985 the Riverside Shakespeare Company presented the New York Premiere of "The History of King Lear", adapted with a happy ending by 18th century English Poet Laureate, Nahum Tate, directed by McDowell, produced by Andrew B. Harris, who had joined Riverside as its Executive Director at the beginning of the season.

The production featured a complete, original score for harpsichord and orchestra by John Aschenbrenner, fights choreographed by Richard Raether, lighting by Sam Scripps, and a period wind machine in the wings. The Riverside production displayed a harpsichord to one side, as if in the wings, and a wind machine to the other - both visible to the audience.

Tate's adaptation of "The History of King Lear", which restored the authentic legend of the ancient king, was written without a Fool, added a confident and a romance for Cordelia and Edgar, and culminated with the triumph of good over evil with the restoration of Lear to the throne with Kent and Gloucester at his side, and the marriage of Cordelia to Edgar. ") Tate's equally popular adaptation of Shakespeare's "King Lear" was the only performed version of "King Lear" for over 150 years, beginning in the late 17th century when Tate wrote his adaptation, through the early 19th century.

Riverside mounted this historical piece in an 18th century setting, with authentic period costumes by Ellen Seeling on a set designed by Norbert Kolb. The production featured Barbara Tirrell, [http://www.frankmullerhome.com/photos.html Frank Muller] and Margo Gruber as Goneril, Edmund and Regan (in photo, above left), with Eric Hoffmann as Lear, Dan Daily as Kent, Freda Kavanagh as Cordelia, Don Fischer as Edgard, and Saunder Finard, Sandra Protor Gray, Buck Hobbs, E. F. Morrill, Gene Santarelli, and Richard Willis. ["Tate's "Lear" at Riverside," by Mel Gussow, "The New York Times", April 5, 1985, and "King Lear" for Optimists," by Howard Kissel, "Women's Wear Daily", March 22, 1985.]

The reviewer for "The New York City Tribune" wrote:

:The Riverside Shakespeare production of "The History of King Lear" includes a raked stage designed by Norbert Kolb, gorgeous costumes by Ellen Seeling, a visible stage hand operating the wind machine and handing on props, a maestro conducting John Aschenbrenner's lively score composed mostly for harpsichord with several interpolated songs including one by Garrick, and a whole panoply of 18th century theater devices, including a hysterical use of tableaux to open and close scenes, and hilarious asides including one when Edmund (deliciously played by Frank Muller) is hard at it with one of the rival sisters...Shakespearean adaptations occur in any era. This one, besides putting a leer in "Lear" was a helluva lot of fun! ["Tate gives happy ending to bard's tragic saga" by Sy Syna, "The New York City Tribune", Wednesday, March 20, 1985.]

Riverside Shakespeare Tours produced by Joseph Papp

, and, with broadened marketing, proved exceedingly popular with audiences at these extended venues.

"The Comedy of Errors"

The first of these was a tour - to twelve different parks in four boroughs - of Shakespeare's raucous "A Comedy of Errors" directed by Gloria Skurski, with costumes by Barbara Weiss, on a touring set designed by Dorian Vernacchio. The cast featured Connor Smith and Andrew Achsen (left, in poster), and Ronald Lew Harris, Karen Jackson, Dan Johnson, Erin Lanagan, Trip Plymale, Mel Winkler and Dan Woods. The production featured a magician, a belly dancer accompanied by a lively percussion score composed and played by Michael Canick, and a very broad comedic performance style that proved extremely popular with its audiences. Opening night Joseph Papp arrived with an enormous basket of fruit for the cast to thank them for their performance in 90 degree heat. [See "Welcome to the Public Theatre, [http://www.publictheater.org/view.php?mode=eventdisplay&eventid=525&past=1&returnURL=%2Fcelebrating%2Fpast_view.php%3Fdecade%3D1980 Comedie of Errors, The (1982)] .]

"The Basin Street Bard"

in her New York stage debut playing Mistress Quickly as a "Cajun voodoo woman" ["Wives of Windsor" [sic] make merry in city parks," by Patricia O'Haire, "The New York Daily News", July 26, 1983.] and Joseph Reed as Falstaff (photo, right), with Douglas Broyles, Dan Daily, Norma Fire, Paul Hebron, Sonja Lanzener, Warren Sweeney, Shelly Desai, and stage managed by Mary Ellen Allison. [See "Welcome to the Public Theatre". [http://www.publictheater.org/view.php?mode=eventdisplay&eventid=552&past=1&returnURL=%2Fcelebrating%2Fpast_view.php%3Fdecade%3D1980 Merry Wives of Windsor, The (1983)] .]

In the hands of composer and keyboard player Deena Kaye, the Riverside production of "The Merry Wives of Windsor" verged on becoming a full-fledged musical, with numerous tunes played by the ragtime band. According to Nan Robertson in "The New York Times":

:An eight piece ragtime band and Mardi Gras high jinks underscored the slapstick performance, which sometimes evoked the spastic look and ricky-tick musical accompaniment of a very early silent flicker movie. The cast is costumed as 19th-century Southern belles, beaux and bums, the last group being the disreputable lecherous but appealing Falstaff. During the intermission, a barroom quartet singing "A Woman is only a Woman, but a Good Cigar is a Smoke" brought down the house...This is the second season under the aegis of Joseph Papp...The company is now calling its production of "The Merry Wives of Windsor" an "evening with the Basin Street Bard." ["'The Merry Wahvs of Windzuh' [sic] Tours City," by Nan Robertson, "The New York Times", July 15, 1983.]

Clive Barnes, in his first review of a Riverside Shakespeare production, wrote in the "New York Post":

:The Riverside Shakespeare owes its name to the fact that it started operations in Riverside Park, so it was a sort of homecoming for them when I caught the company in a glade in that park just by 82nd Street...The production is modern and carefree - the kind of innovative Shakespeare that [Joseph] Papp himself favors, and appropriate for a bright summer evening, with people squatting on the grass, many of them enjoying an alfresco picnic. Director Timothy Oman has placed the play in New Orleans soon after the Civil War. The idea works quite well. The play is preceded by a sort of Mardi Gras revel, and in the intermission we are regaled with a few vaudeville songs of the period, including a somewhat odd barbershop quartet...This is one of the most purely farcical of Shakespeare's plays, and it stands up well to the present knockabout, roustabout treatment it receives from these Riverside players. ["Merry wives cavort in Riverside Park" by Clive Barnes, "New York Post", July 26, 1983.]

The Riverside Greenshow

For each of these summer tours sponsored by Joseph Papp and the New York Shakespeare Festival, the traditional Greenshow (see photo, left) performed before each outdoor touring production - which involved live musicians and the entire cast often performing Commedia-like spoofs of the performance to follow - became the festive call of the audience to the stage, and an important part of Riverside's performance tradition.

"Romeo and Juliet" on the Mobile Stage

The next summer, in 1984, the Riverside Shakespeare Company mounted a summer parks tour of its third production of "Romeo and Juliet" directed by John Clingerman with music by Michael Roth played by percussionist David Nicholson, fight choreography by Robert Walsh, on a set designed by Kevin Lee Allen and costumes by Cecilia A. Frederichs, with Michael Golding, Constance Boardman, Saul Stein, Todd Jamieson and Jeff Shoemaker.

for parks tours before the NYSF stopped touring four years before. [See "Welcome to the Public Theatre". [http://www.publictheater.org/view.php?mode=eventdisplay&eventid=564&past=1&returnURL=%2Fcelebrating%2Fpast_view.php%3Fdecade%3D1980 Romeo and Juliet (1984)] ] According to "Newsday":

:The convert|35|ft|m|sing=on long unit resembles a commercial vehicle that might transport a large household across the country. It takes six stagehands using hydraulic lift and plenty of muscle, several hours to rig the contents into the Verona of Shakespeare's love-stricken youth..."It's sunset Shakespeare," said W. Stuart McDowell, the Riverside's artistic director, "designed to be performed in natural light the way it was in Shakespeare's time." ["On the Road again, with free Shakespeare," Paul D. Colford, "Newsday", June 11, 1984.]

The production opened at the Bandshell in New York's Central Park to an audience estimated at over a thousand (according to "Newsday"). [Above article in "Newsday", June 11, 1984.] This was the first time Riverside Shakespeare Company had ventured into New York's Central Park - the traditional territory of the New York Shakespeare Festival. Opening on June 6, 1984 saw a "Gala Benefit" hosted by Lucille Lortel, Richard Horner and Lynne Stuart. Opening night, Joseph Papp joined W. Stuart McDowell on the touring stage, and inaugurated the five borough tour in a special ceremony in which Mr. Papp compared Riverside's tour with the former tours of the NYSF:

:They're a marvelous bunch of actors. And they have what it takes for this sort of thing---They carry things on their backs...We used to make deals with local gangs. One time I remember well. I told this kid that he had to move because he was backstage. He said to me, "This ain't backstage; it's first base!" [Quoted in the above "Newsday" article, June 11, 1984.]

The old mobile unit could not withstand the rigors of a month-long, outdoor tour of transporting "fair Verona" to the five boroughs of New York City. The second weekend, the convert|35|ft|m|sing=on long mobile unit dropped its rear axle at the intersection of 42nd and 9th while the truck was crossing mid-town Manhattan. The mobile unit had to be permanently retired, but the tour continued with select pieces of scenery, such as Juliet's balcony, and the production continued to play to exceptionally large audiences across the five boroughs.

"The Taming of the Shrew"

In 1985, the company mounted a very Italian version of "The Taming of the Shrew" with music by Frank Lindquist, and a set design by Kevin Lee Allen and costumes by Howard Behar, with Norma Fire, Paul Hebron, Sonja Lanzener, David Adamson, Paul Hebron, Vincent Niemann, Gene Santarelli, Laurine Towler, and Joseph Reed, directed by Maureen Clarke, who during these years had been serving as Resident Text Coach for the company. Opening night was rained-out - a condition surprisingly encountered by Riverside tours only infrequently; the opening night performance was played in the main sanctuary of West Park Presbyterian Church. "Shrew" then went on to tour all five boroughs in blazing heat, attracting large audiences for this lively show. [See "Welcome to the Public Theatre". [http://www.publictheater.org/view.php?mode=eventdisplay&eventid=582&past=1&returnURL=%2Fcelebrating%2Fpast_view.php%3Fdecade%3D1980 Taming of The Shrew, The (1985)] ]

The Riverside School for Shakespeare and the First Folio

, headed by John Clingerman.

Actor training classes were offered by company members with professional performance experience and training in the classics: in verse, stage combat, movement and Commedia dell'Arte. Among the teaching staff were Marya Lowery, Robert Walsh, Maureen Clarke, Joel Leffert, John Carroll, Robert Mooney, Peter Siiteri, Dan Southern and Timothy Oman. Numerous special guests offered workshops, such as Raul Julia (left), Barnard Hughes, Roger Rees, and Paul Rogers.

The Riverside Shakespeare Company also began to host residencies for actor training with verse by noted Shakespeare teachers Cicely Berry (in her first such workshops in New York City), and Patrick Tucker from the Royal Shakespeare Company for training American actors in use of Shakespeare's First Folio as a cornerstone of professional stage performance. [Patrick Tucker, the author of "Secrets of Acting Shakespeare: The Original Approach" (Routledge Press, November, 2001), brought his first "Acting Shakespeare" workshop to New York City in the early 1980's, hosted by the Riverside Shakespeare Company.]

According to "Backstage":

:Initiated in the fall of 1980, The Riverside School for Shakespeare has been expanded to train actors in areas of Renaissance language, thought, movement as well as stage combat and other Renaissance performance styles, focusing on the preparation of the serious professional actor for the performance of Shakespearean and other Renaissance dramas. The RSC actor training program has been set up by RSC's Artistic Director, W. Stuart McDowell, and by the program's director, John Clingerman. The courses will cover the breadth of Renaissance stage acting, offered by a staff of instructors with professional experience gained through work with the only Shakespeare company performing year-round in N.Y.C. ["Backstage", March 13, 1981.]

The First Folio

.]

"The Shakespeare Project"

's "The Tarnished Phoenix", with a host committee of Henry Guettel, Leonard Bernstein, Jose Ferrer, Helen Hayes, Bernard Hughes, Bernard Jacobs, John V. Lindsay, Joshua Logan, and George Plimpton.

As Christopher Ravenscroft said on opening night of The Shakespeare Project, "I would really like to tell the Americans that they already have the talent and the technique. All they need is the practice to take the horror out of Shakespeare." ["Riverside Opens Its Shakespeare Center," by Marily Stasio, "The New York Post," October 22, 1983.]

") in his one-person show, "Acting Natural" (right). In the early 1980s, Riverside's Board of Directors was headed by Judith Radasch, followed by Donna Lindsay-Goodwin. Riverside's Advisory Board during this period included Shakespeare scholars Dr. Marvin Rosenberg and Dr. Bernard Beckerman, as well as noted stage directors and actors Zoe Caldwell, Jose Ferrer, Ruth Gordon, Helen Hayes, John Hirsch, Barnard Hughes, Mary Beth Hurt, Raul Julia, Garson Kannin, Stacey Keach, Joshua Logan, Mildred Natwick, Trevor Nunn, Roger Rees, Milo O'Shea, Sam Waterston and Joanne Woodward.

Riverside presents "A Christmas Carol" with Helen Hayes

In 1985, Helen Hayes appeared in an all-star benefit performance for the Riverside Shakespeare Company of Charles Dickens' "A Christmas Carol", with Miss Hayes in her return to the New York stage as Narrator (left), featuring Len Cariou as Scrooge, Bille Brown of the Royal Shakespeare Company, MacIntyre Dixon, Celeste Holm, Raul Julia, Mary Elizabeth Mastrantonio, Harold Scott, Carole Shelley, and Fritz Weaver, staged with an original score for the Brass Quintet by W. Stuart McDowell, sung by the Children's Choir from the Anglo-American School of Manhattan, and an original script by Bille Brown, at the Symphony Space on the Upper Westside of Manhattan.

In 1986 the popular benefit presentation of "A Christmas Carol" was remounted, again with Helen Hayes, at the Marquis Theatre on Broadway, featuring F. Murray Abraham as Scrooge, with Ossie Davis, June Havoc, Rex Smith, Jean Marsh, MacIntyre Dixon, Alec Baldwin, Lucie Arnaz, and the choir of the Anglo-American School, produced by McDowell and directed by Robert Small.

And Beyond

as Associate Producer in 1984, and is now Director of Educational & Broadcast Services for PBS ThinkTV of Dayton Ohio.

Beginning in 1986, the Riverside Shakespeare Company was led by Robert Small, followed by Timothy W. Oman, who moved the company to permanent Off Broadway status at Playhouse 91, located on East 91st Street on the upper Eastside of Manhattan, where it was subsequently led by Gus Kaikkonen. In its second decade, until it disbanded in 1997, the Riverside Shakespeare Company produced a number of shows with distinguished actors and directors such as Laurie Kennedy, Charles Keating, Stephen McHattie, Robert Sean Leonard, Stuart Vaughn and Austin Pendleton.

In its twenty years of work as a theatre and educational training center, the Riverside Shakespeare Company presented over one hundred Equity productions, benefits and radio broadcasts of works by Shakespeare, Marlowe, Brecht, Machiavelli, and Shaw, as well as premieres of plays and Commedia dell'arte scripts. Its educational programs provided training for hundreds of actors, directors and teachers and students. Over its two decades Riverside productions were seen and heard by over one hundred thousand people throughout the five boroughs of New York City.

Riverside Shakespeare reunion, 2008

On March 24, 2008, the first annual reunion of former Riverside Shakespeare Company actors, directors, composers, and designers was held at the Marriott Marquis, in New York City. Present at the reunion were company members (left to right) Kevin Lee Allen, Kieron Murphy, Scott Parson, Jim Maxson, Gloria Skurski, Margo Gruber, W. Stuart McDowell, Michael Canick, Andrew Achsen, Herman Petras, Robert Mooney, Eric Hoffmann, and Dan Southern (aka Dan Smith); (also included were Lisa Graham Parson, Pedro Ruiz, Cindy Ratzlaff, and Charles Borkas).

References