In a year that frequently gave good Bard—Hamlet and Coriolanus from Nashville Shakespeare Featival, Naked Stages' The Merchant of Venice, Actors Bridge's Much Ado About Nothing—there was simply something singularly exciting about Barry Scott's modern reworking of the tragic love story. The setting was gritty urban Nashville, the cast mixed students with younger players and experienced vets, and the musical underscoring included locally produced hip-hop tracks. The dialogue wasn't always cleanly enunciated, but that was trumped by ensemble energy, creative movement and a community-sensitive approach that breathed new life into a fabled text. —MARTIN BRADY
Showing 1-1 of 1