‘House of Cards’ topples down: season three review

“You don’t add up and I’m intrigued,” novelist Thomas Yates (Paul Sparks) tells President Frank Underwood (Kevin Spacey).

We might have shared Yates’ sentiments when we were first introduced to one of Netflix’s top moneymakers, “House of Cards,” two seasons ago, but the narrative’s changed. We’ve grown out of the honeymoon phase and fallen out of love — realizing a man we were infatuated with is a cruel and violent monster ruling with a Machiavellian fist. Once upon a time, he charmed us with his witty Shakespearean asides. Now, he leaves a coldness in our hearts and an uneasiness in our bellies.

It’s not pleasant. Which is why the third season of “House of Cards” is difficult to swallow.

Before season three, “House of Cards” followed the first of two major story arches: the one where a man has nothing and remakes himself from rags to riches — the Horatio Alger myth that America’s so fond of. For two seasons (and 26 episodes), we watched “House of Cards'” Frank Underwood’s ascent — from majority whip to vice president and now POTUS.

Now, the narrative’s evolved. Frank may have initially sought respect and revenge. But now he has what he wants and he has everything to lose.

When “House of Card’s” third season begins, President Frank Underwood’s visiting his father’s grave.

“Oh, I wouldn’t be here if I had a choice,” Underwood tells us, “but I have to do these sort of things now. It makes me seem more human and you have to be a little human when you’re president.”

While we may have been charmed and intrigued with Underwood’s confidence in us (after all, every time Spacey breaks the forth wall, he’s confiding in us — even as he fooling others), President Underwood scares us. We’re not alone. No one likes President Underwood.

His polls are lower than former President Garrett Walker’s (Michael Gill). The Democratic Leadership don’t want him to run for re-election in 2016. His wife, Claire (Robin Wright), has her own political agenda and doesn’t think he’d win a re-election bid. In one scene, she even recoils from his touch.

Meanwhile, his Chief of Staff Remy Danton (Mahershala Ali) still has feelings for his former fling, the ambitious democratic whip Jackie Sharp (Molly Parker). And Underwood’s esteemed henchman, Doug Stamper (Michael Kelly), is out of his inner circle and consulting with troublesome opponents: hacker Gavin Orsay (Jimmi Simpson) and democratic presidential candidate Heather Dunbar (Elizabeth Marvel). There are a lot of Brutuses and Cassiuses in Frank Underwood’s court.

But friends, Americans, countrymen, lend me your ears. While President Frank Underwood is ambitious, he is an honorable man. He wants to revolutionize entitlements and create more jobs — implementing a new piece of legislation, America Works. Everyone one who wants a job will have one. You just won’t have social security, medicare, medicaid, universal health care or anything else.

Sure, that’s a frightening prospect, but President Frank Underwood promised you a job. And President Frank Underwood is a smart, calculated and honorable man. He doesn’t want to be a seat filler. He wants to revolutionize America — and he doesn’t care who or what is in his way (even if its his own wife or inner consciousness). He will leave a legacy, he says.

Underwood’s greatest accomplishment, though, is twisting words and re-packaging them. Like Julius Caesar and Mark Anthony, Underwood’s a skilled orator — who’s greatest gift might include fooling himself.

“Is this how you live with yourself?” Attorney General Dunbar questioned him. “By rationalizing the obscene into the palatable?”

Underwood’s pills are tough to swallow though — despite how much sugar he coats them with. Underwood’s a bully and a tyrant — who shields his not-so-hidden agendas under a thin veil of threats and pleasantries. Like the current slew of politicians, he’s fluent in double-speak and dancing around a presidential bid. 

Meanwhile, he makes satirical cracks at the other dysfunctional branches of government — especially this year’s Republican-controlled Congress. (“I’m not declaring war on Congress,” he says. “I’m declaring war on atrophy. But these days, who can tell the difference.”)

While “House of Cards” was a smart commentary on the rotten underbelly of Washington, this season doesn’t add up. The plot’s unbelievable far-fetched as if the show’s creator, Beau Willimon, is courting scandal — aiming for shock value rather than substance. While president, Underwood pees on graves of dead men and spits at the image of Jesus on the cross. We always knew that Underwood is ruthless, but this Frank Underwood seems more controversial, sacrilegious and taboo.

After another 13-episode season, Underwood’s exhausted our sympathy and curiosity. And while Spacey’s deep voice still carries gravitas, his words hold no meaning; his likability suffers; and we’re no longer intrigued by his story.

Instead, we long for the good old days — when American TV presidents were idealistic and inspirational as “The West Wing’s” Jed Bartlett (Martin Sheen). At least back then, America seemed to work.

Season 3 of “House of Cards” is now streaming on Netflix. “House of Cards” was written by Beau Willimon, Andrew Davies and others, based on the 1990 BBC mini-series and the novels by Michael Dobbs. 


The fault in Season 2 of ‘Orange Is the New Black’

“The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings,” Cassius tells Brutus in William Shakespeare’s play, “Julius Ceasar.” That, too, seems to be a recurring theme in Season 2 of writer Jenji Kohan’s “Orange Is the New Black.”

The 13-episode second season of the highly anticipated prison drama — based on Piper Kerman’s memoir, “Orange is the New Black: My Year in a Women’s Prison” — was released for streaming on Netflix last Friday.

After serving months in the Litchfield Correctional Facility for her association with her former drug-dealing girlfriend, Alex Vause (Laura Prepon), Piper Chapman (Taylor Schilling) is transferred to a Chicago prison, where she awaits trial.

Her new bunkmate’s (Rebecca Drysdale) an astrology nut who believes destiny’s in the stars. “Typically, people in prison are led astray by a powerful outside force,” she tells Piper.

But these women dug their own graves.

Kohan’s episodes feature flashbacks into the lives of the Litchfield inmates. There’s Miss. Rosa (Barbara Rosenblat) — a terminally ill cancer patient who used to rob banks; Sister Ingalls (Beth Fowler) — an ex-communicated Catholic nun known for her activism; and Tasha “Taystee” Jefferson (Danielle Brooks) — an orphan whose closest person to a mother is Vee (Lorraine Toussaint), a conniving criminal who’s back in jail.

But even if these woman are underlings, their faces and voices aren’t forgotten. We fall in love with Kohan’s characters — played by a wonderfully diverse and talented ensemble cast. It’s a smart, calculated formula. Kohan can seamlessly introduce and kill off new characters like George R.R. Martin’s “Game of Thones.” And while we curse the injustice, we’ll still be binge-watching.

So it’s no coincidence, of course, that Season 2 of “Orange Is New Black” was released the same day as the film adaptation of John Green’s teen cancer novel, “The Fault in Our Stars.” Kohan (who also created Showtime’s “Weeds”) fills her script with pop culture references — from World of Warcraft to Mr. Miyagi from “The Karate Kid.”  One of the inmates is even reading “The Fault In Our Stars.”

Like Green’s story, Kohan’s is hauntingly beautiful — filled with hope and heartbreak. Because no matter where the fault lies, prison’s supposed to be unjust.

“Orange Is the New Black” was written and created by Jenji Kohan.

‘Omar’: Caught in the middle of the Israeli-Palestinian conflict

No one likes a snitch, but that’s what the Israelis want from him.

Chalk it up to bad luck, or being a kid from the wrong side of the fence. Omar’s (Adam Bakri) another casualty in the Israeli-Palestinian conflict.

Written by Israeli-born Palestinian director Hany Abu-Assad, “Omar” tells the story of a young Palestinian freedom fighter and his best friends, Tarek (Iyad Hoorani) and Amjad (Samer Bisharat). As they plan rebellions together, Omar spends his days baking bread, avoiding the Israeli police, climbing fences and slipping love letters to Tarek’s sister, Nadia (Leem Lubany).

This changes when an Israeli soldier gets shot. The Israelis arrest Omar, entrapping his confession. But Israeli agent Rami (Waleed Zuaiter) lets him go, hoping Omar will lead him to the rebellion’s mastermind, Tarek.

Like Abu-Assad’s “Paradise Now” (2005), “Omar” embeds itself with the Palestinian side of the story — which means, Israel is the big, bad bully and Palestine is the boy next door, trying to exit the lunch line without losing his money. Only, Palestine’s tired of getting beat up.

“We have no other way to fight,” says a Palestinian pledging to be a martyr in “Paradise Now.” “Israel views partnership with and equality for the Palestinians under the same democratic system as suicide for the Jewish state. Nor will they accept a two-state compromise even though it’s not fair to the Palestinians. We either accept the occupation forever or disappear.”

Like the martyr, Omar and his friends choose to fight Israeli occupation. But it also comes at a high price. Abu-Assad spins a beautiful and heartbreaking political tale about love, loyalty and the cost of freedom.

At its center is romance: the star-crossed lovers caught between an endless feud. But not even death can end bloodshed when there’s this much on the line.

There was never a tale of more woe than this of Palestine and her Israel.

“Omar” was written and directed by Hany Abu-Assad and nominated for Best Foreign Film in the 2014 Academy Awards. Abu-Assad also directed “Paradise Now.”

The modern Shakespearean tragedy: ‘Coriolanus’ vs. ‘House of Cards’

No one has to tell us that there’s something rotten in the state of Washington. Congressional disapproval’s at 80 percent.

But “Hamlet,” “Richard III” and “Macbeth” aren’t the only Shakespeare plays the popular Nexflix drama, “House of Cards,” can be compared to.

There are many similarities between Shakespeare’s “Coriolanus” and Beau Willimon’s “House of Cards.”

  • Both leads — Caius Martius Coriolanus and Frank Underwood (Kevin Spacey) — have served their time. Caius Martius was the Roman soldier who led his troops to victory in the battle of Corioles. Underwood was the United States Democratic majority whip for the past 22 years.
  • Both Coriolanus and Underwood were expecting big promotions. Crowned “Coriolanus” after his victory, he was going to be a Roman consul. Underwood was going to be nominated Secretary of State under the reign of the 45th President of the United States, Garrett Walker (Michael Gill).
  • After not getting what they wanted, both exacted revenge, but the how is how these two men differ. Whereas Coriolanus is a soldier and general, Underwood is a politician. Coriolanus fled Rome and its fickle Roman people, organizing an attack against his former home. Underwood manipulates a more devious plot: to take control of the White House from within, by destroying the political careers of former acquaintances including those of his own party.

Those familiar with the Shakespeare play know Coriolanus’s fate. Meanwhile, Willimon builds a precarious “House of Cards” for his “Breaking Bad”-esqe anti-hero, Frank Underwood — hanging the sword of Damocles above his head as he sits closer and closer to the throne.

The sword’s going to fall eventually. But who will be sitting in the chair?

Season 1 and 2 of “House of Cards” is now streaming on Netflix. “House of Cards” was written by Beau Willimon, Andrew Davies and others, based on the 1990 BBC mini-series and the novels by Michael Dobbs. 

Fractured fairy tales ‘Frozen’ in time

In case you’ve lived under a rock (or were locked in tower like “Tangled’s” frying pan-wielding, Tarzan-swinging Rapunzel) for the past three years, you might have noticed Disney’s re-branding — touting virtuous and brave princesses. Nowadays, their animated damsel in distresses resemble the three-dimensional, bow-and-arrow-wielding Meridas from Pixar’s “Brave.”

“Frozen” tries to be the franchise’s latest progressive, self-aware princess movie, featuring 3D technology and challenging its own tropes.

“Hang on, you mean to tell me you got engaged to someone you just met that day?” says Kristoff (Jonathan Groff) — the huntsman to Princess Anna’s Snow White — dismissing the Snow White, Cinderella and Sleeping Beauty stories of another era.

“Foot size doesn’t matter,” responds Princess Anna (a zinger perhaps directed at Disney’s “Cinderella” and her man, Prince Charming).

But as much as Disney’s evolved over the years, the same fairy tale tropes are central to the formulaic “happily ever after” storyline — written by Chris Buck, Shane Morris and “Wreck It Ralph’s” Jennifer Lee.

Princess Anna (Kristen Bell) of Arendelle is another sheltered princess with big blue eyes and red hair, eager to be part of another world and dreaming of a love’s true kiss. “What if I meet the one?” she sings in “The First Time in Forever.”

Bubbling with optimism at the prospect of love, Anna resembles Amy Adams’ Giselle from “Enchanted,” Fiona from “Shrek,” and Ariel from “The Little Mermaid” (and like Ariel in the iconic “Kiss the Girl” scene, Anna also falls into a boat with a handsome prince).

Her counterpoint lies in her older sister, Elsa, a poised blond-haired, blue-eyed witch concealing volatile powers like Jack Frost’s. Voiced by Idina Menzel, known for her role as another misunderstood witch (Elphaba in the musical “Wicked”), Elsa’s like Jo Rowling, entertaining her younger sister with magic. In Rowling’s case, she created stories; Elsa animated goofy snowmen like Olaf (Josh Gad).

Elsa accidentally harms her sister during a bit of roughhousing; her parents order her to hide her powers from everyone, especially her sister. Her parents die (like all fairy tale parents do). But as much as Elsa’s a good girl, she can’t contain her magic forever. During her highly attended coronation years later, Elsa accidentally unleashes her magic, freezing Arendelle and becoming both the evil queen and the persecuted beast.

While “Frozen” bills itself as the “best film since ‘The Lion King,'” the movie’s appeal lies in the retelling of universal stories — a formula Disney has mastered. The beloved “Lion King” is, after all, an animated (pun intended) retelling of Shakespeare’s “Hamlet.” “Frozen’s” inspired from Hans Christian Andersen’s “The Snow Queen.”

Buck, Morris and Lee drew from the Disney canon, amalgamating half a dozen fairy tale classics; composer Christophe Beck re-writes the musical medleys of yesteryear into ‘wicked’ soundtracks. (Menzel’s voice is chilling, isn’t it?)

The result is as expected: another satisfying crowd-pleaser guaranteed to melt any frozen heart.

“Frozen” was directed by Jennifer Lee and Chris Buck, and written by Lee, Buck and Shane Morris. It’s based on Hans Christian Andersen’s “The Snow Queen.”

Once upon a time on ‘Thor: The Dark World’…

According to Celtic myths, Samhain, the first of November, marks the end of summer — when ghosts, spirits and fairies can haunt our world. People honored the dead by dressing up in costume, going door-to-door for food — a tradition memorialized in the modern Halloween festivities.

So perhaps it’s fitting that “Thor: The Dark World” was released in Samhain (the Irish word for November) — days after U.S. daylights savings time. The dead return to our world as the day grows shorter and darker.

The second of Marvel’s post-Avenger’s films (the first was this summer’s “Iron Man 3”), “Thor: The Dark World” chronicles the Convergence — a once in a blue moon phenomenon when nine planets overlap and objects can be seamlessly transported from one place to another.

Normally, that would be a magical wonder — one that astrophysicist Jane Foster (Natalie Portman) explains with science. But the legend of Thor’s made out of the stuff from myths and fairy tales.

No, not Disney’s “Tarzan” (although Jane and Thor did have a few Tarzan moments when he fell out of the sky in the first Thor movie).

This fairy tale is made of grimmer stuff — the kind where fairies stole you away like the Pied Piper.

The dark fairies in this story are from the Unseelie Court, led by dark elf Malekith (Christopher Eccleston). Malekith created a liquid weapon called Aether, which is supposed to bring darkness to the world.

While Asgardians stopped Malekith’s evil plot years ago, the Convergence would be the perfect opportunity for the dark elves to try again: unleashing darkness on all nine worlds, including Earth.

That’s the backdrop to this movie, and Christopher Yost, Christopher Markus and Stephen McFeely’s screenplay’s layered like Shakespeare’s “A Midsummer Night’s Dream.”

On one level, they’re dealing with the aftermath of “The Avenger’s” and the alien invasion of New York City; prisoner-of-war Loki (Tom Hiddleston) is brought back to his home planet in chains. His hammer-wielding older brother, Thor (Chris Hemsworth), fights to fix Loki’s mess.

On another level, the writers are threading the plot of the mediocre 2011 “Thor” film — which plays out like a typical Shakespearean rom-com. Jane, her snarky sidekick Darcy (Kat Dennings) and their mentor Erik Selvig (Stellan Skarsgard) return, studying anomalies in Earth’s gravity. Jane feels slighted by her crush Thor, who never contacted her after he abruptly left.

Luckily, the dark elves play matchmaker, and their nefarious plot reunite Jane and Thor.

“Thor: The Dark World” offers a much more dynamic plot-line than its predecessor. Unlike the first Thor movie, which divided its time evenly between the wild magical woods of Asgard and the rigid mundane cities of Earth, time spent in Earth’s brief.

But that doesn’t mean this fairy tale’s “once upon a time” gets a “happily ever after.” After all, the Marvel sagas continue with “Captain America: The Winter Soldier” in spring 2014 and “The Avengers: Age of Ultron” in the summer of 2015.

Unfortunately for us, movie-goers, suffering through each superhero blockbuster until the release of Joss Whedon’s next highly anticipated (and highly lucrative) Avengers movie, most of the characters in this film, including our titular hammer-wielding muscleman, are as flat as the comic book paper they came from.

“If we shadows have offended/ Think but this, and all is mended.” — Puck from William Shakespeare’s “A Midsummer Night’s Dream.”

The only exception is Loki (and Tom Hiddleston — who won best male newcomer and best villain for his reprising role). The honest trickster god captured our hearts in “Thor” and “The Avengers” and promises to be as mischievous as the prankster Puck.

Just remember (because Shakespeare taught us well): it’s all fun and games until somebody dies.

“Thor: The Dark World” is directed by Alan Taylor of “Game of Thrones” fame; the screenplay was written by Christopher Markus, Christopher Yost and Stephen McFeely, based on Don Payne and Robert Rodat’s story and Stan Lee, Jack Kirby and Larry Lieber’s Marvel comic books.

‘Pacific Rim’ contains faint pulse

What’s it like to watch when you know a man’s gonna die? What about to share his brain and the feelings inside?

Raleigh Becket (Charlie Hunnam) and his brother, Yancy (Diego Klattenhoff), were once as close as could be. Before Yancy was killed and swept away in the sea. You see, the brothers were a drifter pair, the modern rock stars in a not-so-future society: one where gigantic alien beasts called Kaiju can take down entire cities.

The first attack occurred in San Fran. And six days, 35 miles later, there was not one man — alive or standing in six nearby cities. But don’t you civvies worry: Jaegars got your back. That’s what they call Guillermo del Toro’s ginormous robotic hacks.

These soldiers are slick, modeled like transformers, but powered by men like double-A batteries. Which is why you need drifter pairs: two people working completely in sync, sharing a brain, to power even one of these enormous tin cans. There are several problems with this, but one of them is that humans have a pretty short shelf life — and the humans in “Pacific Rim” have less personality than… say, shape-shifting cars.

After Hunnam’s lulling voice narrates del Toro’s apocalyptic future and his brother’s grisly death (don’t worry, he doesn’t do it in either rhyme or iambic meter, although it doesn’t make it any less cheesy), he disappears for five years, becoming this world’s version of George R. R. Martin’s Night Watch — assigned to build an endless wall in the far north of Alaska that’s supposed to keep the aliens out. But it doesn’t. And as humanity sits on the losing side of the Kaiju War, his old boss, General Stacker Pentecost (Idris Elba), reenlists him into the fight.

Becket’s pretty useless without his brother, so they pair him up with new girl Mako Mori (Rinko Kikuchi) to man his old Jaeger, Gipsy. And you might be able to guess what happens next. After all, drifter pairs share a brain and all.

While (the plot of) “Pacific Rim” may sound like another mindless summer blockbuster billed for its action and formulaic structure (remember “Battleship”?), composer Ramin Djawadi (you may know him as the orchestral composer to TV series like “Game of Thrones” and “Prison Break”) gives the movie a pulse. His music mirrors the loud thumping noises of a heartbeat in Edgar Allan Poe’s short story, “A Tell-Tale Heart,” containing the steady, rhythmic beats of Shakespearean poetic meter. Or the thump-thump-thumps of a Kaiju’s or Jaeger’s footsteps; neither alien nor robot can move without creating earthquakes.

At times it’s like electronic dance music, keeping the party going. At other times, it’s much softer — weak, but kicking. But not even Djawadi’s music can keep the movie from submerging.

The screenplay, written by del Toro and Travis Beacham based on Beacham’s story, is so predictable that you can guess who’s going to die minutes before they do so. Del Toro and Beacham throw you plenty of clues, of course.

“The water’s getting higher,” says one drifter pair.

But this futuristic apocalypse doesn’t hold as much depth as del Toro’s WWII-era films. For one, despite their sheer size, aliens and robots are disappointing compared to the personalities of the freaks in “Hellboy” and the faun and Pale Male in “Pan’s Labyrinth.” At least those monsters could be scary. In contrast, the Kaiju/aliens in “Pacific Rim” look like watered-down Spielberg monsters; no, not E.T., but rather the shark in “Jaws” and the dinosaurs in “Jurassic Park.” There’s nothing wrong with that, per say, but we can’t help thinking we’ve seen this before.

And for the most part, we have. Like “Pan’s Labyrinth,” del Toro shows another little girl lost in a maze — only this maze is in her head: her traumatic memories.

But at least “Pacific Rim’s” entertaining if you don’t take it seriously. One of the film’s gags involves black marketer Hannibal Chau (Ron Perlman, known for his stint as “Hellboy”) and his gold-tipped shoes. And other humorous fun involves “It’s Always Sunny in Philadelphia’s” Charlie Day as the overly enthusiastic Kaiju scientist, Dr. Newton Geiszler.

“Pacific Rim” may be another mindless summer blockbuster, but at least this one’s got a pulse, however faint it may be.

“Pacific Rim” was directed by Guillermo del Toro and written by del Toro and Travis Beacham.

The Reduced Works of William Shakespeare

“Beware the ides of March” because a month later on the 15th of April at 8 p.m. at The State Theatre, the Reduced Shakespeare Company “prevented” “The Complete Works of Shakespeare Abridged.”

The comedic trio, made up of narrator and host Mick Orfe, resident Shakespearean scholar and secret twi-hard Michael Faulkner and the young Google-and-Wikipedia-educated Matt Rippy, promised to present the complete works of William Shakespeare, all 37 Shakespearean plays in 97 minutes. Pointing to all the exits in event of an emergency, Orfe pulled a gas mask out of his pocket, thus preparing the audience for a fun, laugh-filled flight into the life of Shakespeare’s plays.

To thread together the Shakespearean experience, the trio gave a haphazard performance as three stooges who barely knew what they were doing. Starting this endeavor to conquer the Bard’s plays, Matt Rippy gave an informative index-card presentation on Shakespeare’s history; however, when Shakespeare begins to invaded Poland in 1939 and ends up committing suicide, hilarity ensues.

In a true commedia de arte style, the three stooges used a variety of props as well as slapstick humor. In their version of Romeo and Juliet, while Faulkner, Rippy and Orfe shared the roles of Benvolio, Romeo, Juliet, Tybalt, Prince Escalus, the nurse and the apothecary, wigs, skirts, swords, crowns and other quick costume changes were used to illustrate the different characters. While male actors frequently played multiple characters as well as all the female leads in the Elizabethan era, the fact that Rippy as Juliet and Orfe as Romeo refuse to share a kiss becomes a great source of humor. Furthermore, as Rippy and Orfe illustrate the famous “balcony scene” where Romeo visits Juliet at night, Faulkner finds himself as the surrogate balcony as Rippy places his skirt over Faulkner’s hunched figure.

Yet Romeo and Juliet is not the only disastrously hilarious performance of Shakespeare. When Rippy mistakes the word “moor” to mean the dock where one ties ships, the three person RSC cast transition to a rap about Othello.

In an attempt to abridge much of Shakespeare’s material, the trio reduces Shakespeare’s 16 comedies from A Midsummer’s Night’s Dream to The Tempest to one giant blurry mess, a segment that the RSC calls “Four Weddings and a Transvestite.” Meanwhile, the RSC combines the Bard’s historical plays from Henry IV to King Lear in a football game representing the passing of the crown.

Covering 36 plays in Act One, a brief intermission followed; by then, Rippy didn’t want to finish the last play Hamlet, fleeing from the stage as Faulkner chases him. “I will not bring vomitless Shakespeare to people of Ithaca,” Rippy tells The State Theatre audience as people laugh. A running gag for Rippy’s female cross-dressing characters is that they continue to barf on the audience.

The three-man crew then becomes a one-man entertainment while Orfe does standup. Singing Dylan’s piece “Blowing in the Wind” on the guitar while attempting to cover the Bard’s 157 sonnets, Orfe passes a sheet throughout the audience hoping for Faulkner and Rippy to return.

Luckily, Faulkner drags Rippy back onstage, convincing the other that they will visit Ithaca’s Buttermilk Falls; however, Faulkner also confides to the audience that Rippy is unaware of the fact that there is no buttermilk in Buttermilk Falls.

The RSC also found other ways to personalize their performance in Ithaca, even making a Bombers reference, the school mascot of Ithaca College. While the RSC’s presentation was scripted, the trio continued to find ways to make “The Complete Works of Shakespeare Abridged” an interactive experience.

To view the complete tour dates of the Reduced Shakespeare Company, click here.