It’s been such an unabashed pleasure to return to the stage post covid. Two years away only reaffirmed my love and commitment to the theater, so it’s been particularly delicious to have been cast as a leading lady not once but twice this season!
I started the year in a smart, timely and irreverent new play by Talene Monahan called Jane Anger. I had the pleasure of playing Jane Anger opposite Michael Urie’s William Shakespeare. The show was featured in American Theatre Magazine and made NY Magazine’s Approval Matrix. If you missed it the first time around, it’s available to stream at JaneAngerPlay.com until June 26th!
I’m currently at Summerscape at Bard University starring in a brand new translation of Dom Juan by Sylvaine Guyot and Gideon Lester. Our director Ashley Tata has assembled an incredibly talented and kind group of people on and off stage to bring her bold vision to life. I’m humbled to be working with such an incredible company and so excited to have such a rich and juicy part to sink my teeth into. Vulture says they can’t wait to see me play the “titular cad.” Performances run until July 17th. Information and tickets here!
Hamish Allan Headley is ROBERT
Last night @ Tribeca Film Festival
The off-Broadway production of Jane Anger or The Lamentable Comedie of JANE ANGER, that Cunning Woman, and also of Willy Shakefpeare and his Peasant Companion, Francis, Yes and Also of Anne Hathaway (also a Woman) Who Tried Very Hard, will stream for two weeks this month.
The play will stream from June 14-26, and tickets are on sale now.
Inspired by the little-known author of “Her Protection for Women” first published in 1589, this bold new anachronistic Jacobean feminist revenge comedy is directed by 2017 Lucille Lortel Award winner Jess Chayes (HOME/SICK, The Antelope Party), with a cast including playwright Monahon (How to Load a Musket, The Government Inspector), Michael Urie (Grand Horizons, Chicken & Biscuits, Torch Song, Buyer and Cellar), Ryan Spahn (Daniels Husband), and Amelia Workman (Fefu and her Friends).
It’s 1606 and William Shakespeare is stuck in quarantine with his unpaid apprentice, Francis. It would be a GREAT time to write King Lear… if he weren’t plagued with writer’s block. In through the window climbs JANE ANGER, the Cunning Woman, with a large sack and a mind to change history forever.
“Ireland is no longer a country for young women,” declares one of the five passengers crowded into a small cabin on the Inchinnan, a steamer about to disembark on a three-month voyage from Belfast to Sydney. It’s 1850, and these desperate travellers are part of the Earl Grey orphan scheme, designed both to relieve Ireland’s overcrowded workhouses and to provide wives and laborers to England’s colony of Australia. Jaki McCarrick’s play, directed by Nicola Murphy, unfolds at the height of the Great Hunger, and death and devastation are rampant. These women are pawns of a cruel, paternalistic system, but they are also scrappy, independent agents of their own liberation. In a series of skillfully structured scenes, relationships are formed—through jokes, songs, intimidation, compassion, even love and violence. One by one, the women reveal the circumstances that brought them to this point, each story more harrowing than the last. Five wonderful actors—Caroline Strange, Sarah Street, Labhaoise Magee, Mary Mallen, and Aida Leventaki—create moving depths of characterization and communication.— Ken Marks
Francis J. Greenburger Mainstage at the Irish Rep
Now through June 26, 2022
1850, onboard a ship bound from Belfast to Sydney. Five young women seek to become “mistresses of their own destiny.” But some find they cannot escape the nightmare of the lives they are leaving behind. As they draw nearer to the promised land, their connection to the past grows ever more powerful, eliciting rage, love, despair, and above all, hope.