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Teen Critic Reviews: Measure for Measure

About the Program

Designed for high school students interested in journalism and/or critical writing, the Teen Critic Program at Shakespeare Theatre Company teaches students how to view theatrical productions with a critical eye and how to write an informed comprehensive theatre review.

Teen Critics will be invited to the Press Night for each production (two complimentary tickets per production), receive a press packet, preferred press seating and will have the opportunity to meet with professional theatre critics from local newspapers and members of Shakespeare Theatre Company staff to learn about how to write an effective theatre review.

After seeing each show, Teen Critics will write a review and submit it to the Shakespeare Theatre Company Education Department (due one week after Press Night).  STC education staff will work with the Teen Critic to make revisions and then the review will be published in a school newspaper or online.

On the production

“Jonathan Munby’s production is unforgettable, as someone who is new to seeing professional theatre, I was in awe of every aspect of the show and Munby’s adaptation of the play.” (Amanda Gamage)

“All told, the show is a marvelous piece of work. It’s a complex, difficult work, and Munby’s direction highlights all the deep questions without attempting to answer too many of them—or indeed, many at all.” (Zoe Johnson)

On the design elements

“The concept of moral and legal decay is particularly evident in the magnificent sets (designed by Alexander Dodge): though the set pieces change, the background—gray, tarnished stone and grimy bricks, ripped walls and dungeon bars—emphasize the corrupt nature of both the government and the people.” (Zoe Johnson)

“Alexander Dodge (Set Designer), Walter Trarbach (Sound Designer) and Philip S. Rosenberg (Lighting Designer) deserve recognition for their technical contributions. Paired with the intimacy of the Lansburgh Theatre, the set and sound generated an aura that radiated throughout the entire theatre. Collectively, these aspects created an almost palpable feeling of sanctity during the monastery scene.” (Tara Holman)

On the cast

“Jonathan Munby’s casting produced a high caliber of acting, which was especially evident in Avery Clark’s convincing role as Claudio and Miriam Silverman’s portrayal of Isabella. Silverman not only embodied the meekness and purity of a nun, but also personified the present-day strength of a woman. An additional nod goes to Scott Parkinson as Angelo, whose rapid transformation from staunch ruler to carnal deviant was made evident through his tremendous performance.” (Tara Holman)

“Munby also cleverly introduces Mariana (Natascia Diaz) long before she’s brought into the complex plot: clad in black mourning lace, with the lights dimmed, she is a torch singer at the cabaret, and one admires Diaz’s ability to cry through just about the entire show just as much as her moving performance.” (Zoe Johnson)

“The audience finds talent throughout the whole cast but the chemistry Pompey (Chris Genebach) had with Mistress Overdone (Naomi Jacobson) and Elbow (Hugh Nees) was fantastic and flowed well, the way these actors played off of each other’s energy made me burst into a fit of giggles. Lucio (Cameron Folmar) did a great job keeping the mood light hearted, and his make-up was as boisterous as his character.” (Amanda Gamage)

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