Protest Too Much

Stephanie Crugnola is the creator and host of Protest Too Much, a Shakespeare Showdown podcast that pits Stephanie against performers, educators, and scholars in a weekly battle of Shakespearean comparisons, challenges, and ‘best ofs’. Recently, Stephanie debated with Austin Tichenor the question of what is “Shakespeare’s Funniest Non-Comedy,” a conversation that lasted 45 minutes, and a 15-minute abridgment of which you can hear below. Featuring: Shakespearean pet peeves; the danger of sleeping on the Histories; how Shakespeare is all about contrasts; backup from Samuel Johnson in 1765; the comedy of ‘sad-off’s; comparisons to Monty Python and The Death of Stalin; and how Shakespeare is the king of tentpole media! (Length 20:38) 

Remembering Brian Dennehy

Actor Elizabeth Dennehy (left) remembers her father Brian Dennehy, “a tireless tragedian of the old school” (Chris Jones, Chicago Tribune), who passed away at the age of 81 on April 15, 2020 from cardiac arrest due to sepsis. Elizabeth shares what it was like to grow up as the great actor’s daughter and what lessons she learned about the business from him; how her father did it backwards (family first, carousing second); was inspired by Marlon Brando, Richard Burton, and Oliver Reed; grabbed both roles and audiences by the throat; grew into his looks; loved taking roles that scared him and surprising people at auditions; took command of his physicality; was powered by adrenaline; and was absolutely terrified (in a good way) by the challenge of A Touch of the Poet. (Length 23:44) (Photos courtesy of Elizabeth Dennehy.)

Romeo And Juliet

The current Chicago Shakespeare Theatre production of Romeo And Juliet completely reinvigorates Shakespeare’s most famous play, emphasizing frequently overlooked themes and giving events an intense urgency that accentuates both the comedy and the tragedy. Director Barbara Gaines (who’s also CST’s founding artistic director) talks about what finally drew her to the play and how she emphasized certain things while eschewing too much romanticization; how she underscores the dangers of cycles repeating endlessly; creates powerful final images: how every Shakespeare play can be improved by setting it in a high school; how she adds tension and comedy to the balcony scene; gives us a reduced history of Chicago Shakespeare Theatre; and the wonderful but maybe not too surprising relationship between Chicago Shakes and Second City. (Length 24:02) (Pictured: Brittany Bellizeare and Edgar Miguel Sanchez in Chicago Shakespeare Theater’s production of Shakespeare’s Romeo and Juliet, directed by Barbara Gaines. Photo by Liz Lauren.)