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![]() ![]() ![]() And composer Greg Mackender contributed evocative music which, in terms of mood, becomes connective tissue holding the production together. The other design elements are visually impressive. The costumes, credited to designer Mary Traylor, are spectacular. Stoker, indeed, scores with particularly vivid performances as Wabash, the tongue-tied would-be actor, and a boatman with literary aspirations of his own. Wilhoit, Keenan Manuel Ramos, Martin Buchanan, Petey McGee, Justin Barron, Collin Vorbeck and Kristopher Stoker. Playing multiple roles in the ensemble are a gallery of good actors, including Ellen Kirk, R.H. Young Paolo Laskero makes an impression as the comically sadistic aspiring playwright John Webster. So does Cinnamon Schultz as Viola’s nurse. Jan Rogge pops up memorably as Queen Elizabeth. Proctor’s performance as Marlowe is letter-perfect. Matt Williamson is impressive as the actor/director Ned Alleyn Williamson is the kind of actor who commands our attention simply by walking onstage. Rensenhouse, Rapport and Roach turn in detailed comic performances. It’s a big cast with nice moments scored by longtime festival veterans as well as relative newcomers. As the story unfolds, we witness what begins as a ridiculous comedy about a pirate’s daughter slowly metamorphose into the timeless tragedy, “Romeo and Juliet.” The point is clear: Artists and writers rarely know where they’re going. One aspect of the play lingers beyond the comedy and romance, and that has to do with the creative process. Shakespeare is married, although he hasn’t seen his wife back in Stratford for years, and Viola has been promised to the foppish Lord Wessex (Todd Lanker, in an over-the-top comic performance). The romance between Will and Viola is, of course, destined to be bittersweet. Henslowe, for his part, is facing intense pressure from his financial backer Fennyman (Bruch Roach), who isn’t above ordering his goons to rough up someone to make a point. ![]() Will has also promised the play to rival producer Richard Burbage (Matt Rapport) and struggles to keep each of them at arm’s length as he hopes for a burst of inspiration. We get snippets of speeches Shakespeare wrote and Hall, like the screenwriters, litters the story with amusing lines from the Bard’s work that are voiced utterly out of context.Īs the play opens young Will Shakespeare is struggling to make headway on a new comedy tentatively titled “Romeo and Ethel, the Pirate’s Daughter.” He gets a little help from fellow playwright Christopher Marlowe (Cody Proctor) as he faces a looming deadline to deliver a finished script to producer Phillip Henslowe (John Rensenhouse). Lee Hall’s adaptation follows the film’s busy plot closely and reiterates its wit and jokey backstage humor. Schwader and Clemens are real-life spouses who perform together with ease and effortless charm. Theatergoers will encounter a comedy/romance that balances farce with romantic longing, captured vividly by Matt Schwader as Shakespeare and Hillary Clemens as the fictional Viola DeLesseps, a noblewoman driven to be an actor - so much so that she conceals her gender. It marks the first time the venerable organization has staged a play written by someone other than William Shakespeare. The production also showcases a great cast made up of festival veterans.Īt any rate, this is a historic moment for the annual festival. It’s funny, charming, romantic and, if you look closely, meaningful in its reflections on the creative process and the agony involved in artistic creation. The festival production is everything it needs to be. The answer may be pretty simple: Because American regional theaters - including Shakespeare festivals - can always use another crowd-pleaser to boost attendance.ĭon’t get me wrong. As I drove home from the lively opening-night performance of “Shakespeare in Love” at the Heart of America Shakespeare Festival, I found myself contemplating a basic question: Why, exactly, did there need to be a stage version of the 1998 Oscar-winning movie co-written by Marc Norman and playwright Tom Stoppard? ![]() ![]() ![]()
![]() In gas heating systems flame rectification is used to detect presence of a flame.ĭepending on the type of alternating current supply and the arrangement of the rectifier circuit, the output voltage may require additional smoothing to produce a uniform steady voltage. As noted, detectors of radio signals serve as rectifiers. Rectification may serve in roles other than to generate direct current for use as a source of power. Rectifiers have many uses, but are often found serving as components of DC power supplies and high-voltage direct current power transmission systems. Early radio receivers, called crystal radios, used a " cat's whisker" of fine wire pressing on a crystal of galena (lead sulfide) to serve as a point-contact rectifier or "crystal detector". Historically, even synchronous electromechanical switches and motor-generator sets have been used. Physically, rectifiers take a number of forms, including vacuum tube diodes, wet chemical cells, mercury-arc valves, stacks of copper and selenium oxide plates, semiconductor diodes, silicon-controlled rectifiers and other silicon-based semiconductor switches. The process is known as rectification, since it "straightens" the direction of current. The reverse operation is performed by the inverter. ![]() The heavy threaded stud attaches the device to a heatsink to dissipate heat.Ī rectifier is an electrical device that converts alternating current (AC), which periodically reverses direction, to direct current (DC), which flows in only one direction. ![]() A rectifier diode ( silicon controlled rectifier) and associated mounting hardware. ![]() ![]()
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