REVIEWS
Meadowlark Shakspeare Players’
The Witch
by Thomas Middleton
“Scarborough’s Hecate was literally and narratively central to these scenes as she sung and smiled and moved among her gaggle of followers. Her spirited rendition of Taylor Swift’s “I Did Something Bad” was taken up by a noisy Playhouse audience to close the intermission, and her joy in the attention she received from her spirits supported the stated primary motive of this enigmatic character – she delighted in mischief. As Hecate moved above and around her witches, she also emerged as a mother figure, including in her soft approach to Smyl’s Malkin (with pointed ears and tail) and to Devlin Ford’s Firestone.”
as Reviewed by Dr. Peter Kirwan on “The Bardathon”
Meadowlark Shakspeare Players’
The knight of the Burning Pestle
by Francis Beaumont
Directed by Constance Swain
“Sarah Scarborough played a costume attendant who was pulled out and dressed in a makeshift princess gown in real-time as the Grocers called for the scene; transforming from backstage blacks into a full dress, Scarborough’s character relished the chance to suddenly be the centre of attention, even squeezing Rafe’s arse cheekily as she finished her scene.”
as Reviewed by Dr. Peter Kirwan on “The Bardathon”
Meadowlark Shakspeare Players’
A Midsummer Night’s Dream
by William Shakespeare
Directed by Alaina Shefelton (nee Smith) & Johnny Williams III
“Hermia, for her part, was purer than pure, Scarborough’s open expressions shifting with the prevailing mood as others gave her fear or hope. With the world upside down, though, her Hermia suddenly took on a force of her own, finally squaring up to Helena and Lysandra and requiring all three of the others to keep her at bay (she also, Boromir-style, needed at least three sleep darts to finally get her to succumb to the fairies’ whims).”
as Reviewed by Dr. Peter Kirwan on “The Bardathon”
Meadowlark Shakspeare Players’
Hero DogBerry
by Monica Cross
Directed by Alaina Shefelton (nee Smith)
“Scarborough’s version of Margaret still had some of the wit of Shakespeare’s, but here was allowed to be a romantic heroine of her own […] Scarborough’s skill here was in grounding Margaret in a firm sense of personal stability. She loved Borachio dearly; she also spoke up for herself when she realized how she had been used; and she chose to forgive.”
as Reviewed by Dr. Peter Kirwan on “The Bardathon”