Texas Shakespeare Festival 2026
Reviewed by Natalie Shaw
I'm not exactly subtle about my excitement over TSF every year. In the four years that I've been attending their summer productions; each season has brought more anticipation for uniting with the new and old friends that I've had the privilege to meet. Some of the most in depth, down-to-earth conversations have taken place in the Anne Turk Building surrounding these productions, which seem to come together like magic and without flaw.
This year, as some of you may have already read in the Actor's Spotlight exclusive interview, I attended three of the productions with three female friends of mine from Dallas, two of whom had never attended in all their many years on Earth and was able to return a few weeks later to see the fourth production with my husband. It was every bit as fun as I'd knew it'd be! But bringing along extra friends and seeing all four productions for the season weren't the only accomplishments for me that happened in this year's trip. This was the first time I've ever been present for the opening nights and talkbacks following the performances. Not only did this prove valuable as an artist for notetaking and feedback, but it shed light on all the "magical" elements of each production and how they each come together, as a whole. Yes, we do this very thing in many of our Dallas/Ft. Worth productions, but I'm reminded that TSF does this with four major productions, one children's show and one staged reading that all take place in the same four-week time frame, on the same stage and with the same acting company members, crew, creatives and technicians; a genuine repertory theatre who continues to produce theatrical work like you've never seen before.
Scenic design by Meghan Potter throughout each production proves creative and innovative, as always. Emma makes incredible use of movable picture-framed flats on caster-wheels that reflect silhouettes of characters captured briefly in a pose when lights shine directly on them. The same picture frames act as decorated walls within the homes of certain characters, changing the setting fittingly. 1776's set is more reflective of a classroom setting where groups of up to four men sit together to debate politics, sometimes begrudgingly with their groupmates, while they order beer and demand the windows be opened and shut several times over. The set for Hamlet makes room for a trapdoor within the floor of the stage, hidden underneath an octagon shaped platform, while also displaying Medieval windows and walls in a present-day setting. Midsummer Night's Dream predominantly makes use of a picturesque set, reflective of "the woods," in what I can best describe as an onstage shadow box, with levels that are well-thought and well-constructed.
Lighting Design by Jonathan Leatherman, Sound Design by Lizi Shaul and Music Direction by Peter Cunningham add to the tone of each production, expanding upon those emotionally heightened moments of romance, magic, intensity and destruction.
Fight Choreography by Micah Gooding is exceptional with compelling sword fights and comedic slapstick. Costume Designers Ashley Rutkowski (Emma,) Val Winkleman (1776,) and Ryan Sozzi (Hamlet and Midsummer Night's Dream) work tirelessly around the clock, building and caring for their works of art, displaying period costumes influenced and inspired by the settings of their productions, each one showcasing unique style and detail, with supportive structure to last the duration of the season.
I'll do my best to captivate the brevity of these experiences, but nothing can replace seeing it for yourself! Make the time to go see these shows! You can effectively see two productions in one day and stay between shows for the stage turnover. You won't believe your eyes!
Happy Reading, Friends!
Natalie
1776
Book by Peter Stone
Music and Lyrics by Sherman Edwards
Directed by Sasha Hildebrand
Music Directed by Peter Cunningham
Choreographed by Audrey Lassanske
Audience Rating: PG
Running Time: 2 hours with a 15 minute intermission. The first half of the show is 1.5 hours, so visit the restroom accordingly!
Accessible Seating: Available
Hearing Devices: Available
Sensory Friendly Showing: Not Available
ASL Showing: Not Available
Sound Level: Mostly Comfortable Volume, may be loud for some patrons
Audio/Visual to Prepare For: None of note
"The King is a tyrant, whether we say so or no."-- Thomas Jefferson
Many of us celebrated the 250th birthday of our country this weekend. We sat with family, eating picnic snacks or dinner as we watched fireworks blaze in the sky and sparklers twirl in the hands of the littlest family members. We ate hamburgers, ice cream, popsicles, and sipped our sodas until well passed bedtime; building more memories to share in the weeks to come.
Director Sasha Hildebrand and Texas Shakespeare Festival opened what Artist Director, Meaghan Simpson called "the most requested musical by TSF Patrons," 1776 this season and strategically scheduled a performance on July 4th, giving us an even bigger way to celebrate the foundation of our nation and those who shaped it's beginning.
Prior to the show, Hildebrand met with me and my small sister squad to catch up over coffee and talk about her experience directing the production, upon which she informed us that a large percentage of the information in the show is historically accurate, including the slavery clause in the Declaration of Independence that officially made slavery illegal in all states. (Did you know about this?! How did I not know about this?!) Unfortunately, for the Declaration of Independence to be signed, this clause didn't make the cut. Rather than not move forward with the American Revolution, John Adams and many others opted to sign it, sans slavery clause. Heartbreaking (also immoral, unjust, unfair, unfathomable to elaborate further) as it is, they chose to move ahead and address this issue post-Revolution. Again, how did information like this escape my history books?
Ian Bingham plays a mentally strong and stubborn John Adams who is quickly reactive and full of relentless spirit, alongside (via letter correspondence) his wife, Abigail Adams, played by Danielle Kerr with a level-headed, plan-ahead and don't complain too much survivor's attitude. These two have a beautiful chemistry that is tender and passionate that also illustrates a partnership that has stood the test of time. TSF Veteran, Josh King is the picture-perfect Benjamin Franklin, who has learned to take life less seriously and follow his instincts, leaning closely to similar values as Adams, but with a little more life experience under his belt. Truly, "a loveable character who has a verve for human spirit," as King so rightfully states himself.
Noteworthy comedic moments come courtesy of Micah Gooding as drunkard Stephen Hopkins and Nicholas Di Puma as Thomas Jefferson, who just wants to get home to his new bride, Martha Jefferson, played by Gianna Porfano who makes little time for new acquaintances while she's in town visiting her violin-serenading husband. "It's been six months!" Special thanks and shout out to the women in this cast and in our nation's history, the Founding Mother's we'll call them, who kept their men on the right path toward Liberty and provided the necessary provisions to muscle through the war. Bingham shares in his researched discovery of John and Abigail Adams, "Their relationship is what kept him going and gave him the strength to keep moving forward."
The choices and sacrifices made by our Founding Fathers (and Mothers!) continue to stand as a testimony to who we are and who we aim to be; not perfect but still striving to be better every day, giving each other the strength to keep going in hard times and celebrate in the joyous times.
Photos by John Dodd
Emma
By Jane Austen
Adapted by Jon Jory
Directed by Yesenia Garcia Herrington
Assistant Directed by Audrey Lassanske
Audience Rating: PG
Running Time: 2 hours with a 15 minute intermission
Accessible Seating: Available
Hearing Devices: Available
Sensory Friendly Showing: Not Available
ASL Showing: Not Available
Sound Level: Mostly Comfortable Volume
Audio/Visual to Prepare For: None of note
Much of Jane Austen's works involve characters going from one house to another, socializing, drinking tea and spilling the tea, with protagonists who pretend not to be in love with their love interest until they finally confess, or make the discovery that "it was him all along!" Scandal and comedic misunderstandings ensue, giving us the romantic comedy so many of us crave, myself included! Going hand-in-hand with the above formula of mishaps and misunderstandings brooding, there's a tenderness and relatability that Austen flawlessly captures, elevating her storytelling and setting it over and above many of her competitors of all time, though they may try (sorry, not sorry, Julia Quinn.)
Amazingly versatile actress, Alice Wilkinson displays Emma, "tall, upright, elegant," just as she says, with a youthful, graceful spirit affixed, adopting a grand persona of the beloved character's physicality, wit and humor with expert comedic timing. As Mr. Knightly, Keenan Pasqua leans into the comradery shared between his character and Emma, which is genuinely charming and so, so sweet. Pasqua perfectly describes the relationship between their two characters poignantly when he says, "Change occurs as they both realize that the roles they had been playing for each other don't suit, or even mask truer, deeper feelings that they are forced to recon with." Prior to this realization, Emma does her best to manage the fate of those around her, playing matchmaker to her adorable socially awkward friend, Harriet Smith (Gianna Porfano) by arranging many opportunities for Mr. Elton, played with hilariously proud lordship as a "man-of-the-cloth" by Adam Koda, who is the excellent contrast to Porfano's Harriet in every way and a somewhat mirroring image of Emma, herself. More delicious discomfort takes place when Mr. Elton makes a proposal of marriage to Emma, instead! We have seen the signs all along, while the naïve Emma has, once again, misread the situation and ignored what was so obviously in front of her face! Naturally, Mr. Elton is refused and makes off in a huff with his injured pride, taking his ball and going home! I enjoyed so many moments in this play, but this was, by far, the most enjoyably amusing.
I took note, specifically of Director Garcia-Herrington's use of stage business throughout the production. Passersby occasionally make their way across the stage or stop to gaze and chat with a friend behind their parasols and top hats, making it clear that, in Regency England society, there are always listening ears and wagging tongues; nothing you say is safe and whatever you say can and will be held against you in the court. Close friends, who may wish to be viewed as mere acquaintances, and not potential lovers best keep their distance and speak in code with underlying subtext. This thoughtful use of stage business keeps us interested and on our toes, adding that extra bit of juiciness to the scandal that could reveal itself! Tickety-Boo! Tickety-Boo!
Photos by John Dodd
Hamlet
By William Shakespeare
Directed by Matthew Simpson
Audience Rating: PG-13
Running Time: 2 hours with a 15 minute intermission
Accessible Seating: Available
Hearing Devices: Available
Sensory Friendly Showing: Not Available
ASL Showing: Not Available
Sound Level: Mostly Comfortable Volume
Audio/Visual to Prepare For: Use of fog, sword fighting, depictions of ghost, death, murder, suicide
"I'm not in madness, but mad in craft."--Hamlet
Those of us who know Hamlet wouldn't necessarily think of it as a story of redemption. Most of us check the body count lying on the stage floor at the end of the play, taking note about how the consequences of our actions can lead to the demise of ourselves and others. Nicholas Di Puma, who plays Hamlet describes it as "a play full of subterfuge and secrets;" secrets that only we, as the audience are privy to. None of us, though, expect forgiveness to exist on the other side of this story, but that's exactly the direction that Director Matthew Simpson chose for his ending, saying "This production lives in [the] thresholds. Between past and future. Between the living and the dead. Between what is seen and what is hidden." The research of the language and discovery of this on his part, for me, feels like newly unlocked treasures found in Shakespeare's play and dissection of his language.
Matthew Simpson makes exceptionally powerful use of movement and montage throughout the course of the play. Using "the players," as we might call them as more than just the reenactors of King Hamlet's (Micah Gooding) murder, but as instruments of storytelling through movement--sometimes masked and clothed in white, sometimes in black-- this group plays a vital role as the depicters of dreams, fears, emotions, at times warnings for the characters on stage; behaving as spiritual beings who live on the other side of Earthly thresholds. By use of montage, our Director highlights key moments that are mentioned within the play, but are deserving of a scene all their own: King Hamlet's funeral/Gertrude's (Sasha Hildebrand) quick marriage to Claudius (Josh King,) Ophelia's (Ayda Ozdoganlar) descent into madness and suicidal drowning, as well as the final montage that made me audibly gasp, which you'll have to see for yourself-- it's simply too good to reveal!
Leaning into movement, yet again, we the audience have a front row seat to the ghost of King Hamlet, watching Gooding wander the audience (as if between realms) like a zombie, emitting fog from his costume, bathed in bright green light, and a grunting/echoing reverbing voice-- a true fright, especially for young children, so please be advised--we are left with mouths agape and eyes wide open in amazement as we listen and watch. Often visible only to Di Puma's younger Hamlet, this initial greeting between dead-father and living-son is what sets Hamlet on his course for vengeance, unaware of who to trust and where his loyalties lie.
The story, the language and the speech is never more unmistakable than in the capabilities of these exceptional artists, all of whom deserve the highest praise! I have yet to witness a TSF production of a Shakespearean play and wonder at its meaning or walk away feeling like the play was misinterpreted or misunderstood. The text is always held to the highest regard, in which the artist is merely a vessel for the playwright's words, and this is, yet another reason why I continue to make the trip to Kilgore, TX and look forward to every season!
Photos by John Dodd
A Midsummer Night's Dream
By William Shakespeare
Directed by Jesse Jou
Audience Rating: PG
Running Time: 1.5 hours with a 15 minute intermission
Accessible Seating: Available
Hearing Devices: Available
Sensory Friendly Showing: Not Available
ASL Showing: Not Available
Sound Level: Mostly Comfortable Volume
Audio/Visual to Prepare For: None of note
What are stories, if not dreams? Whether we're asleep or lost in a daydream, it is fiction; a myth. These visions can, however, helps us unpack a lot about ourselves; our fears, our vulnerabilities, our hopes, and our deepest desires, giving us cause to stop and reflect; evaluate ourselves on a personal and broader scale and guide us in the right direction.
From my first reading of A Midsummer Night's Dream (way back in High School,) I've been smitten with "the lovers." This includes the four familiar ones (Helena, Demetrius, Hermia and Lysander,) but it also includes Thesus and Hippolyta. The four young lovers, like any teenager with a crush on a classmate, fall hard; head over heels, tumbling over their own intense passion, making claims and promises they know they can't live up to. Helena (Danielle Kerr) is hopelessly in-love with Demetrius (Adam Koda,) who has previously made promises to her that have yet to be met. Kerr tells us, "[Helena] learns how this validation can be a double-edged sword and how attraction and attention without true emotional attachment isn't actually what she desires." Koda's Demetrius is brash and unforgiving when Helena's views do not line up with his own. Yet, Kerr pursues him with strong, romantic spirit, which will not be detoured, no matter how much he chastises her! Koda explains that "he takes a few harsh-painful jabs at her...His harsher words are the only weapon he has to fend off her power over him," believing that a real man should never be that weak in the knees.
However, Lysander (Keenan Pasqua) is ready to walk through fire for his beautiful lover, Hermia (Ayda Ozdoganlar) and protect her and their love at all costs. Hermia would follow Lysander to the end of the Earth and makes plans to run away with him when their lives are threatened by her dear old dad, Egeus (Josh King) if she doesn't marry his favorite suitor, Demetrius.
The test of true love is withstanding the trials and hardships it endures. Theseus (Ian Bingham) tells Hippolyta (Akur Oryem) the Amazon Queen, "I woo'd thee with my sword...But I will wed thee in another key. With pomp, with triumph and with revelling." Already a few steps in front of the younger lovers, Thesus and Hippolyta have endured war, injuries and pains together and are metaphorically more prepared for marriage.
In the spirit world, seasoned couple and fairy king and queen, Titania (Meaghan Simpson) and Oberon (Maurice-Aime Green) are in dispute over a "changeling boy." As both are powerful beings, they are able to manipulate, coerce and conspire without ever touching one another. It is this ghostly world who has magnificent influence over the physical world. Simpson's fairy queen is fierce as fire, firmly holding her ground against Green's regal Oberon, his bewitching charm and his irresistible capabilities. While Titania takes a rest upon a perched stone, Oberon puts the mischievous Puck (Alice Wilkinson) to work finding a flower to cast a spell on his beloved queen, which is the only sure way he'll get what he wants. Discourse in the divine world means repercussions for the mortal world, who are innocently caught unaware and made into asses, everyone.
Shakespeare brings this comedy home with a crowd favorite, which is played to the utmost hilarity by "the players" in this play within the play. Directed by Peter Quince (Jason Richards) and performed by Francis Flute (Sam Perry,) Snug (Prentis Patrick-Carter,) Robin Starveling (Nathan Bachtell,) Tom Snout (Oliver Lubin,) and Nick Bottom (Ptah Garvin,) in which we learn of the great tragedy of "Pyramus and Thisbe," two lovers who must speak only through a sliver in the wall. "The players" tell their melodramatic tale over soap-opera inspired music, while the Lion roars his terrible roar, Pyramus dies the most excentric death, and Thisbe makes friends with other newly engaged lovers in her audience. Full of support, though their audience may be, there is no need for an epilogue. You may however wish for one of your own from any of TSF's amazing productions, including this one!
Make your plans and reserve your seats at
texasshakespeare.com before this summer has come and gone!
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