My OCD was hoping for a nice round 80 degree high this weekend, but I happily settled for the mid 70s after such a hideously long winter. I sat in Washington Square Park for at least three hours, pretending to edit, though relentlessly distracted by bucket drummers, a British a cappella group, and the best people watching in NYC. Incidentally, if you find yourself on a trip with us during a warm weather-month, I highly recommend some time in this iconic green space. Washington Square Park was historically known as a gathering spot back in the heyday of independent musicians—in the “Dylan years”. Once, police arrested protestors for singing the national anthem in the park after music was temporarily outlawed there. Saturday, coincidentally, was international Record Store Day, a tradition going strong since 2007, celebrating and encouraging the support of the independent record store. As such, it was the perfect day to browse some vinyls at one of the surviving record stores in the village, then lunch in the park.

When the weather turns to bearable, I can’t help but get excited about Shakespeare in the Park, an incredible summer tradition here in Manhattan, produced by the Public Theater, the same organization that brought us HAMILTON this current season and numerous offerings in the past, from Liz Swados’ RUNAWAYS to CHORUS LINE to Larry Kramer’s THE NORMAL HEART to a personal favorite, Richard Greenberg’s TAKE ME OUT. I’m always mixed about the ticket process for Shakespeare in the Park. Founder Joseph Papp’s mission was, if I am to understand correctly, largely based on making theatre more accessible for all, though scoring a ticket for one of the two—sometimes three—summer productions, seems… less than accessible… eh-hem, to be kind. Basically, if a show is popular and they usually are, those who are not “sponsors”—sponsors “donate” a hefty fee for complimentary tickets—must wait in line starting at 6 in the morning (when Central Park technically opens) but often line up on Fifth Avenue hours before. This Soviet era-style bread line for those who aren’t financially able to “sponsor” leaves a taste in my mouth like a dirty water dog. Thankfully, in recent seasons, there has, at least, been an exception made for senior citizens and the differently-abled, who should not have to wait in long lines during the hottest part of the year. There’s also a virtual online lottery. However, let’s keep it real as I always try to do on this blog: people of means don’t wait in any lines and being that Shakespeare is already oft criticized as entertainment for a certain class and education… well, enough said.

All that judgment aside, I absolutely love outdoor theatre and think there’s just nothing like it on a crisp summer night at the Delacorte. Some of my favorite SITP productions in the past have been TWELTH NIGHT with Anne Hathaway—currently starring in GROUNDED (directed by forgiven Julie Taymor) also at the Public downtown—JULIUS CAESAR with Jeffrey Wright, and a version of INTO THE WOODS that far rivaled Roundabout’s version that just closed on the 12th. This summer, I’m particularly excited for the two offerings: THE TEMPEST and CYMBELINE.

THE TEMPEST (May 27 – July 5) may be my favorite of Shakespeare’s romantic-minded pieces—clearly a theme this summer. The title of course refers to a storm, and I was surprised that this production is opening and not closing SITP, putting it closer to hurricane season, which could add some additional effects during a late August performance. They never cancel a show for weather until 8 PM as rainstorms can be pretty unpredictable in summer, BTW. Sam Waterston of LAW & ORDER and THE NEWSROOM fame will star—apparently, he has been in 13 different productions in the Park. I’m always impressed with on-camera actors who can handle Shakespeare well, as it’s definitely not always the case. Incidentally, THE TEMPEST was one of plays from the Park’s inaugural season. If you’re looking for an abridged summary of the plot, I found a good one here:

http://www.nosweatshakespeare.com/play-summary/tempest/

CYMBELINE (July 27 – August 23) is closing the season and will be directed by Tony winner Daniel Sullivan. He directed KING LEAR, last year. The play was listed as a tragedy in the First Folio, but most modern Bard scholars classify it as a romance. And if you’re a fan of British musician Imogen Heap, you can finally make sense of the origin of her name. A decent plot summary can be found here:

http://www.bardweb.net/plays/cymbeline.html

If I’m lucky enough to score a ticket, I’ll see you there. Until then… Parting is such sweet sorrow that I shall say goodnight till it be morrow. Just a little rhyme I composed on the fly.