Kate Hamill’s Top 7 ‘Musts’ for an Ideal Mr. Darcy

When considering Jane Austen’s aloof, hard-headed Mr. Fitzwilliam Darcy, which devilishly handsome leading man comes to mind? If you’re like anyone with access to BBC or A&E in the mid-’90s, Colin Firth may be your go-to embodiment of this unlikely romantic hero, having appeared in 1995’s made-for-television Pride & Prejudice directed by Simon Langton.

“Women being attracted to [Mr. Darcy] took me by surprise,” Firth recently told The Daily Mail. “When I took on the role it seemed to me that he was imperious and stiff and forbidding, and I didn’t know what there was to play apart from him scowling all the time. I thought it would be quite fun and liberating to play someone who was completely and utterly dislikeable, unsympathetic, judgmental and snobbish.”

Darcy may find a foe in Firth, but a friend in playwright Kate Hamill. Hamill’s playful adaptation of PRIDE AND PREJUDICE makes its debut under the HVSF Theater Tent this summer, and not without the weirdo women (and men) who’ve become signature players in a Hamill adaptation.

“I’m so disinterested in beautiful, perfect people,” beamed Hamill. “Lizzy Bennet’s a total weirdo and should be treated as such. She and Darcy are both odd ducks… odd ducks that swim together.”

So how will Hamill’s Odd Duck Darcy shape up this summer? Here are her top seven must-haves in an ideal leading man:

  1. Righteous: “He tries to do the right thing all the time”
  2. Smart: “He’s capable of being quite nerdy.”
  3. Stubborn: “That’s a big one!”
  4. Principled: “He has to be someone with a lot of integrity.”
  5. Funny: “Intentionally and unintentionally, for sure.”
  6. Magnetic: “Someone you feel a deep connection with.”
  7. But, above all: “HUMAN! There’s just no other way to put it.”

PRIDE AND PREJUDICE is in previews June 10 – June 23, 2017 and runs June 24 – September 4, 2017. Are you between the ages of 16 and 35? Consider joining our Revelers or Teen Revelers program for exclusive discounts, events, and more.

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Our American Identity: Director Penny Metropulos on THE GENERAL FROM AMERICA

“What’s going on outside is enormous,” offered Director Penny Metropulos, delving into the cultural context of this season’s THE GENERAL FROM AMERICA by Richard Nelson. “Protests, battles, meetings of congress, the war raging on – still, the interactions between characters are so personal, so intimate.”

THE GENERAL, first performed by the Royal Shakespeare Company in 1996, follows the treasonous plot of Benedict Arnold as he plans his defection and flight from a fledgling United States. Long reviled by most Americans and world historians as a traitor, Arnold’s 1779 struggle with our newborn nation is revisited in this powerful text, exposing “the puritanical hypocrisy and corruption that marched beside the heralded courage of our national beginnings.” (The Village Voice)

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Royal Shakespeare Company’s premiere production of THE GENERAL FROM AMERICA. Photo by Zuleika Henry.

“What I love about this play is its humanism,” Metropulos revealed. “Nelson gives us an intimate, crystalline, personal look at these characters who, for so long, have been larger than life in our minds.” Revolutionary War-era staples such as George Washington, Alexander Hamilton, and the malefactor himself, Benedict Arnold, move fluidly between scenes, currying favor of leadership, chiding one another, bemoaning personal circumstance, exposing their own fragility.

Unique to this summer’s production is something HVSF doesn’t usually get to explore with Shakespeare’s works: site specificity. Arnold’s own command at West Point, now known as the United States Military Academy, can be seen from the Theater Tent on the opposite bank of the Hudson. Many of Arnold’s key stops along his escape path lie on HVSF’s side of the river, with historical markers noticeable along local paths and roadways.


“This play is part and parcel of our identity as Americans.”

– Penny Metropulos


“I’m always interested in anything that makes me study harder and it seems like a good time to brush up on American history,” admitted Metropulos.

“This play is part and parcel of our identity as Americans and all the contradictions and complexities therein: our ideas about loyalty to country versus loyalty to our neighbors, feelings of personal dishonor, the fear that our stories and opinions may not be heard, the disillusionment we sometimes feel about our country, and our never ending search for the true meaning of freedom… it’s all here.”


“Good plays and good actors tell stories.”

– Penny Metropulos


Still, Metropulos is quick to assert that she’s not aiming to make a personal statement on stage, but to put on a great show: “I don’t think it’s my place to make assumptions for or about our audience or their politics. Good plays and good actors tell stories. Seeing historical figures in this new light, we very well may question our assumptions about our shared American history.

THE GENERAL FROM AMERICA is in previews August 4 – 7, 2017 and runs August 8 – September 3, 2017. Season tickets go on sale to the public March 15, but members of our Saints & Poets Society (March 8) and Festival Circles (March 1) have early access. Are you between the ages of 16 and 35? Consider joining our Revelers or Teen Revelers program for exclusive discounts, events, and more.

His Fantastical Allegory: Director Moritz von Stuelpnagel talks TWELFTH NIGHT

A young woman in disguise. A lost twin brother. A powerful nobleman. A beautiful, grief-stricken noble lady. An enlightened, musical fool. Beguiling letters, boisterous drunks, and reveling pranksters. TWELFTH NIGHT, often considered one of Shakespeare’s finest comedies, is – unsurprisingly – one of our resident playwright’s most profound.

“What I really love about this play,” noted TWELFTH NIGHT Director Moritz von Stuelpnagel, “is in a world where people find themselves upended by their own circumstance – shipwrecked, saddled with unrequited feelings or the death of a loved one – they’re still able to find the love and redemption they seek. These are real people finding language for human situations.”


“These are real people finding language for human situations.”

– Moritz von Stuelpnagel


Von Stuelpnagel, the Tony-nominated talent behind Broadway’s Hand to God and upcoming Present Laughter starring Kevin Kline, seeks a sort of redemption of his own from stage to stage: “We all curate a kind of facade, a public face,” he recently told Playbill, “but when the laughs and the parties end, I think we’re left with something darker and deeply human: ourselves, private, true.”

And what’s more deeply human than the figure of the clown (in TWELFTH NIGHT’s case, a fellow named Feste) embodying wisdom far beyond his peers? As clowning extraordinaire/SO PLEASE YOU Director Zachary Fine recently explained, the clown represents many human qualities – those we acknowledge, and those we often keep hidden: rambunctious hope, baffling chaos, ridiculousness, sublimity, brilliance, courage, curiosity, trepidation…


“Comedy gives us enough perspective to laugh at our own absurdity.”

– Moritz von Stuelpnagel


“My sense of humor comes from the need to laugh at suffering,” allowed Von Stuelpnagel. “Comedy gives us enough perspective to laugh at our own absurdity. I believe laughter is a healing force, allowing us to unite and reminding us how similar our experiences are.”

And unite we will this summer, as TWELFTH NIGHT’s vibrant musical universe expands along the Hudson, populated with a colorful slate of characters. But Von Stuelpnagel isn’t giving anything away. “I hope our production will exemplify a new kind of light, raucous spirit. Shakespeare, in my mind, reads like fantastical allegories… grotesque fairy tales. All I’ll say is that we’re telling a magical tale in a magical space. Expect a rollicking midsummer romp.”

We like the sound of that.

TWELFTH NIGHT is in previews June 8 – June 15, 2017 and runs June 16 – August 27, 2017. Are you between the ages of 16 and 35? Consider joining our Revelers or Teen Revelers program for exclusive discounts, events, and more.

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