"There are no stage directions and no clear guidelines about how characters are supposed to react or emote," says Shakespeare specialist Annalisa Castaldo, an associate professor at Widener University and the textual consultant to the Philadelphia Shakespeare Theatre. " 'They fight. He dies. Exit.' And that's about it."
One thing's for sure: Announce you're doing Shakespeare, and theater artists will start lining up.
"The depth in his writing and the many layers he provides" attract actors, says Ken Jordan, assistant production manager at the Philadelphia Shakespeare Theatre.
Says Evan Jonigkeit, the Arden's recent Romeo, calling in from Hartford, Conn., on tour with Kathleen Turner in the new play High: "It's the highest form of drama, some of the most craftful and intelligent writing you can come across."
And "it's a gigantic challenge and a terrific opportunity to test yourself and try to embrace those big ideas and make the language come alive," says Peter Pryor, Falstaff in Lantern's show this season - on his way to Wisconsin on a Shakespeare workshop fellowship. He is representing Philadelphia's Wilma Theater, which in September will open the season with its first-ever Shakespeare, Macbeth.
Most theaters add performances when Shakespeare's playing because he's an obvious draw for schools. But that doesn't mean added income; actors must be paid for extra work, and huge group-sale student audiences may average $15 a ticket, not the usual $30 or more. At People's Light, many schools go for free, thanks to contributions the company seeks.
"You don't do Shakespeare because you make a lot of money," says Amy L. Murphy, managing director of the Arden, where Romeo and Juliet drew more than 16,000 people in 54 performances and, with all that, grossed less than the recently ended Stephen Sondheim musical, Sunday in the Park With George.
"I can't really say Shakespeare is a cash driver," Murphy says. "It's a people driver" - a means of filling seats and lifting spirits.
"What revels are in hand?" Shakespeare asks in A Midsummer Night's Dream. "Is there no play to ease the anguish of a torturing hour?"
He should know.
Contact staff writer Howard Shapiro at 215-854-5727 or hshapiro@phillynews.com.
