Review: Silliness in the CSF’s Much Ado
Geoffrey Kent is a terrific Benedick, a complete goof but capable of a genuinely moving dignity when required.
Review: Much Ado About Nothing
Truth be told, though, this is Kent’s show. He’s dashing, but approachably so, sturdy and worldly, yet boyish. Mostly, it’s Kent’s ability to reveal Benedick’s need for Beatrice that turns this from an evening of fun wordplay into a real romantic comedy.
Review: The Miracle Worker
The table scene, where the two face off in a test of wills, is a feat of physical theater. Though, no doubt, it was tightly staged by fight directory Geoffrey Kent, it doesn’t appear so as food, spoons, plates and bodies tumble and fly. It’s funny and terrifying at the same time.
Review: The Miracle Worker
Hurster and LeGrand are a revelation; their bruising ballet induced deserved opening-night gasps. It hurts to watch, and yet you can’t look away.
Review: The Three Musketeers
That’s because it is, intermittently, tons of fun. Geoffrey Kent, who doubles as fight director and plays romantic musketeer Aramis, has choreographed many huge fights that are precise, aerodynamic and, best of all, believable.
Review: The Three Musketeers
Fight director Geoffrey Kent directs as much roughhousing as a Democratic National Convention protest. These aren’t simply one-on-one duels. These are full-on battle scenes that often turn clever and comedic. It’s a very impressive display, and one that drew deserved applause from the audience on several occasions on opening night.