Opened three plays in as many days for the Utah Shakespeare Festival’s 2017 season.
News about Geoffrey’s acting.
As Oliver, Geoffrey Kent’s repentance seems so genuine that we never question it.
As the peacekeeper, Kent is especially strong in the effortless way of men who have taken beatings in the past, won more fights than lost, and now have nothing to prove. If a body needs a nudge to get back on the straight and narrow or just grow up, he’s the man to step up and do what needs doing.
Twenty years after his arrival at the Denver Center, Geoff Kent is as busy as any kid ever was trying to break into the business. In short, he continues to practice pretty much every theatre discipline he ever learned – at the same time.
As the villainous Iachimo, Kent could have easily gone the Iago route, playing the character as a straightforward baddie. Instead, Kent infuses Iachimo with comedy and no small amount of heart, a touch that brings the heart of the show to the fore.
Geoffrey Kent, who also choreographed the fights, embodies interesting contradictions in this role: You sense the powerful fighter beneath the louche, sloppy appearance that Achilles first presents; later, you sympathize with his genuine agony at the death of Patroclus — it feels deeper than anything you’ve seen from Troilus or Cressida — and then within minutes you’re despising him for his sleazy tactics.
Kent has great fun with Achilles… His charm and confidence warm the audience immediately, setting them up for chills later when less heroic and more vicious choices begin to be made.
Collins already has committed to three longtime Denver Center favorites: Geoffrey Kent, Sam Gregory and Josh Robinson, as well as Creede Repertory Theatre’s Emily Van Fleet.
Geoffrey Kent’s Iago was hands down the best reason to see the Colorado Shakespeare Festival’s Othello last summer.
It’s a rare thing to be watching any live performance and just know that you are witnessing a moment of culmination and ascendancy. Last summer in Boulder, it happened twice.