Word: woronicz
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...TAMING OF THE SHREW. The Oregon Shakespeare Festival at Ashland and its sister stage in Portland form the largest U.S. regional theater. New artistic director Henry Woronicz plays Petruchio in The Shrew through September; he * directs Jerry Sterner's Other People's Money, a satire of corporate raiders, through October; both at Ashland...
...gore in Japanese fashion, with streamers of red ribbon, but audiences still titter as bodies heap up on the stage. Titus, a great general defied by his children and betrayed by his country, is often regarded as a forerunner of King Lear, lacking only the self-realization. Actor Henry Woronicz finds in the role such majesty, pathos, rage and ruin that he seems ready to take on Lear himself...
...engaging, but its soppy lovesickness remains a bit earthbound, reaching real delirium only in Dan Kremer's laid- back version of melancholy Jaques. By contrast, James Edmondson's staging of Measure is an exquisite balance of tonally varied scenes in court, monastery, convent and red-light district. Woronicz makes psychological sense of the duke who retreats into disguise rather than crack down on his realm's licentiousness. John Castellanos shrewdly mutes the hypocrisy and heightens the righteousness of the sex-starved puritan who takes his place. Dante DiLoreto and Kamella Tate throb with youthful passions, profane and sacred...
...this farce that mocks the English aristocratic culture of the 1890's, the central character Algernon (James Finnegan) has invented a sick younger brother, Bunburry, as an alibi for his many trips to the country. His friend, John Worthing (Henry Woronicz) has a similar stratagem: he is Ernest in town and Jack in the country. The drama focuses on the confusion engendered by these men's double identities when they meet their lovers-to-be--who both insist that their husbands be named Ernest...
...real beneficiary of this direct approach, of course, is Henry Woronicz as Mark Antony, whose orations over the dead Caesar--not just the famous "Friends, Romans, Countrymen," but the Machiavellian masterpieces that follow--provide a classic example of words that don't need stagecraft to make them work. True, the otherwise subtle lighting design turns a bit blatant for the great funeral speech, dropping to a single spotlight as soon as Antony begins to speak, spectators' yells coming out of the near-pitch dark. Even that tactic, though, carries a certain ingenuous charm; why shouldn't Woronicz and director Cameron...