Washington Post - Recommended
"... Yes, “Equivocation” goes on and on, in a wearying, gear-switching marathon. Via the actors in the company of Shakespeare and Richard Burbage (Richard Elmore), Cain cracks endless inside jibes, about the misogyny of “King Lear,” the comic usefulness of twins, the collective tally of the dead in the histories and tragedies. It’s all conjured by a mere six actors from the Oregon company, led by the estimable Broadway and film veteran Anthony Heald — his liver was destined to be served with fava beans in “The Silence of the Lambs” — as the embodiment of Shakespeare, here identified as Shag."
MetroWeekly - Highly Recommended
"...Those content to go with this completely unsubstantiated premise will likely find Equivocation a very entertaining, often witty, occasionally funny and, in one or two places, quite moving piece of contemporary theater. Dripping with Shakespearean reference even as it quite sincerely grapples with each character's personal choices regarding truth in "difficult times," it is as much a testament to Cain's study of the Bard's plays as it is his rumination on truth and bravery."
WeLoveDC - Highly Recommended
"... Words, words, words… a lesser company could drown under the weight of Cain’s words, referencing so many plays of the canon I lost track – not to mention all the political machinations, religious treatises, feuds between family and friends, chilling scenes of torture – yet somehow, it works. Somehow, impossibly, it makes for a fascinating evening as opposed to a boring snooze. Credit is not only due to the playwright, who makes debating Jesuit philosophy on equivocation interesting, but the company itself, whose sense of ensemble is the strongest I’ve seen on stage in some time. Tackling multiple roles with ease, their vocality both crisp and warm, the ensemble’s talent and commitment is evidence of the vitality of repertory theater."
Washington City Paper - Somewhat Recommended
"...Bill Rauch’s cast, drawn from regulars at his Oregon Shakespeare Festival, comes at the play with no little craft, and with substantial relish—sometimes too much of the latter, to the point that as the three-hour mark approaches, pleasures like Christine Albright’s wise, winsome Judith and Richard Elmore’s humanely intelligent priest get drowned in what feels like way too much sound and fury. Equivocation may be the question of the evening, but I’ve got to put it bluntly: I came away grumpy about a play I was predisposed to like."
Washingtonian - Highly Recommended
"...Director Bill Rauch’s casting is flawless. In particular, the face-offs between enemies Haugen and Heald are so charged, so exciting, that they have a tension that borders on sexual. Haugen’s portrayal of Cecil, the picture of self-possessed deviousness one minute and unhinged madness the next, is delightfully unbalanced and unpredictable. Rauch makes smart use of double casting, with the actors switching abruptly from their roles as Shakespearean performers into the characters said actors are embodying in Shagspeare’s play-within-a-play. It’s a cheeky trick that feels appropriate for this clever and contemplative work."
ShowBizRadio - Highly Recommended
"... The actors are, in a word, excellent. These are good actors with good material who know how to work it. The men in the cast transform near-effortlessly into each new character. Both Jonathan Haugen and John Tufts create particularly memorable characters in Robert Cecil and King James, respectfully. Anthony Heald does a fine job of fleshing out William Shakespeare (or Shag, short for “Shagspeare” in this play), a figure that is part myth. Heald brings out the humanity behind the literary genius."
MD Theatre Guide - Highly Recommended
"...This complicated and darkly comedic scenario is craftily directed by Bill Rauch. Elements such as a “play within a play,” using more modern and accessible language, and the actors playing multiple, albeit very different, roles are credible and captivating. There is a great deal to tackle in this production – alien and suspect history, familiar (and unfamiliar) references to Shakespeare’s life and works, and philosophical /ral predicaments. Additionally, scenes abruptly change between the troupe rehearsing their works and determining their plan to fulfill their commission. However, Rauch manages to flawlessly direct the work into a meaningful, clever, and exciting experience."
DCTheatreScene - Highly Recommended
Equivocation is a six-course meal of a play, not turkey and stuffing but some rarer and darker bird, with sides of squashed hopes, whipped religious feelings and humiliation pie – and yet, somehow, leavened with a yeasty and salty wit.
