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All the Devils are Here: How Shakespeare Invented the Villain - DC [42326]

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All the Devils are Here: How Shakespeare Invented the Villain

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Patrick Page is the creator and star of the solo show [*All the Devils Are Here*](https://www.newyorktheatreguide.com/show/34163-all-the-devils-are-here), playing at the [DR2 Theatre](https://www.newyorktheatreguide.com/theatres/daryl-roth-theatre) through March 31.

Page is best known for his career as "the villain of Broadway," having played bad guys in shows like [*The Lion King*](https://www.newyorktheatreguide.com/show/42-the-lion-king-tickets), *Spider-Man: Turn Off The Dark*, and *Saint Joan*. He also earned a Tony Award nomination for playing the title god of the underworld in *Hadestown*, starring in both the pre-Broadway and Broadway productions.

Page's other stage credits include *Beauty and the Beast*, *Spring Awakening*, *A Man for All Seasons*, and numerous other villains in Shakespeare productions around the country. On screen, Page is known for roles in *The Gilded Age*, *Madam Secretary*, *Elementary*, and *Schmigadoon!*

Patrick Page - NY

Ages 8+. Children under 4 are not permitted in the theater.

Hadestown on Broadway - NYC [14748]

Hadestown on Broadway

Hadestown on Broadway [14748] Product Media 

Going to hell has never been as much fun as seeing a performance of Anaïs Mitchell's musical <a href="/show/hadestown">Hadestown</a>, now playing at the <a href="/theatres/walter-kerr-theatre">Walter Kerr Theatre</a>.&nbsp;And don't let its origins in Greek mythology scare you off because there's a built-in narrator in the form of the god Hermes (André De Shields) whose job was to guide souls into the afterlife.&nbsp;In Hadestown, his first task is to introduce all the characters in a rollicking number "Road to Hell."Mitchell, the talented singer/songwriter who is responsible for the whole shebang, music, lyrics and book, has intertwined the myth of Orpheus (Reeve Carney), son of the God Apollo and muse Calliope and Eurydice (Eva Noblezada), wood nymph; with that of Hades (Patrick Page), god of the underworld and Persephone (Amber Gray), daughter of the god Zeus and goddess of the harvest Demeter.&nbsp;The story that unfolds in Hadestown is that Hades falls in lust with Persephone and abducts her to the underworld where they fall in love and marry.&nbsp;Demeter is so distraught she declares that there will be no more growth or harvest until Persephone returns.&nbsp;Zeus brokers a deal whereby Persephone spends 6 months out of the year above ground and 6 months out of the year below, thus creating the seasons. So, Persephone rides a train back and forth between the underworld known as Hadestown where she's the only living soul, and the world above.&nbsp;But Hades keeps shortening her time up above because he misses her.&nbsp;And the earth gets colder.Meanwhile, Orpheus is trying to write a song that will restore order to the seasons when he runs across Eurydice, with a little help from Hermes and The Fates (Jewelle Blackman, Yvette Gonzalez-Nacer, Kay Trinidad), who is wandering around cold and hungry.&nbsp;She's initially unimpressed until he starts singing.&nbsp;In the only off note in the production, they fall in love (unfortunately no chemistry between the two - Reeve Carney is a little too much of a hesitant milquetoast to be a believable love interest for the determined and charming Eva Noblezada) and marry.&nbsp;Whereupon Orpheus immediately goes back to songwriting and neglects Eurydice.So, what's a poor, once again cold and hungry girl to do?&nbsp;Where does she go to get warm?&nbsp;You guessed it, Hadestown.&nbsp;Where Eurydice becomes one of the poor lost souls in the underworld, trapped behind the wall Hades has erected. And explains in the Act One finale "Why We Build The Wall" that brings down the house.&nbsp;If I didn't know that Mitchell wrote the score in 2010, I'd swear she wrote it within the last two years.I won't spoil the second act except to say that it's about Orpheus' trip to Hadestown to find Eurydice to try to rescue her.&nbsp;And that Michael Krass' costumes for the Chorus in the underworld are outstanding, as is the visually stunning dance number choreographed by David Neumann done with headlamps and swinging lights.&nbsp;And if the love story between Orpheus and Eurydice didn't smolder, Patrick Page and Amber Gray set the house on fire as Orpheus and Persephone. Their song "How Long?" and the dance that went with it had me melting in my second row seat when I saw both of them crying.&nbsp;Be still my heart.(Photo by Matthew Murphy)<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WHAT THE OTHER CRITICS SAID</h2></div></div></div>"All your favorite Greeks are heading somewhere in&nbsp;Hadestown,&nbsp;the sumptuous, hypnotic and somewhat hyperactive musical that opened on Wednesday night after its own twisty 13-year road to Broadway." Jesse Green for <a href="https://www.nytimes.com/2019/04/17/theater/hadestown-review-broadway-anais-mitchell.html" target="_blank">New York Times</a>"It looks spectacular—thanks to Rachel Hauck's set, which features three turntables in concentric circles, and Bradley King's lighting—but it has a human scale; it feels less like a standard Broadway musical than a concert, a gathering, a happening. (The seven members of the excellent onstage band are called out by name for applause.) And, most important, it has Mitchell's score: a joyful combination of folk, pop, Dixieland and blues that will make you want to rehear it as soon as the lights come up. You'll be singing it again in your head for days." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/hadestown-review-broadway" target="_blank">Time Out New York</a>"Yes, composer Anaïs Mitchell's musical retelling of the Orpheus and Eurydice myth, which opened Wednesday on Broadway, sounds pleasant and looks more expensive than it did in 2016 at New York Theatre Workshop. But this classic tale of love — he looks back, she gets trapped in the underworld for all eternity — is still too slick and sterile for us to give a damn about her damnation." Johnny Oleksinski&nbsp;for&nbsp;<a href="https://nypost.com/2019/04/17/hadestown-review-broadway-douses-the-fires-of-hell-with-folk-music/" target="_blank">New York Post</a>"In "Road to Hell," the exhilarating opening number of the utterly fabulous&nbsp;Hadestown, Hermes, the conductor of souls into the afterlife, invites us to "Ride that train to the end of the line." He's played with seductive authority and knowing humor by the eternally elegant Andre De Shields, outfitted like a superfly pimp in a flashy silver suit, and it's hard to imagine anyone resisting his call. He sells a ticket to a bewitching journey that pays off at every turn." David Rooney for <a href="https://www.hollywoodreporter.com/review/hadestown-theater-review-1202512" target="_blank">Hollywood Reporter</a>"Hadestown&nbsp;triggered a lot of buzz&nbsp;when this wholly American show (which came to the stage by way of a concept album) premiered at Off-Broadway's New York Theatre Workshop in 2016. Arriving on Broadway&nbsp;with its earthly delights more or less intact, this perfectly heavenly musical — with book, music and lyrics by Anaïs Mitchell — should stick around for a while." Marilyn Stasio&nbsp;for <a href="https://variety.com/2019/legit/reviews/hadestown-review-musical-broadway-1203191646/" target="_blank">Variety</a>

Review of Hadestown on Broadway

The Walter Kerr Theatre is a Broadway theatre located in the heart of New York City. Originally named the Ritz Theatre, it was built in 1921 and renamed in 1990 to honour the Pulitzer Prize-winning American critic Walter Kerr. With a seating capacity of just 975 across Orchestra, Mezzanine and Balcony sections, it's one of the city's smaller and more intimate venues. Notorious for its world-renowned, critically acclaimed productions, the Walter Kerr Theatre has staged hits such as 'Angels in America', 'A Little Night Music', and 'Hadestown', making it a quintessential part of New York's theatre landscape. The theatre is famously known as the home of 'Springsteen on Broadway', Bruce Springsteen’s one-man show that ran for 14 months in 2017 and 2018. The show was an unequivocal success and re-affirmed Walter Kerr Theatre as a must-visit for any theatre aficionado.

**Getting to the Walter Kerr Theatre:** The theatre is conveniently located at 219 West 48th Street, easily accessible by public transportation. The closest subway stations are 50th Street, served by the C and E lines and 49th Street served by the N, R, and W lines. Buses that stop near the theatre include the M104, M10, M27/M50, and M6.

Walter Kerr Theatre - NY

Walter Kerr Theatre 

The Walter Kerr Theatre is an intimate, historic Broadway venue in New York, known for critically acclaimed productions and easy public transport access.

The Lion King on Broadway - NYC [42]

The Lion King on Broadway

Lion King NYC no people

The Lion King on Broadway [42]  Product Media 

A sunrise on a day.&nbsp;It could be a Saturday or a Wednesday, but regardless, 20 years later, <a href="/show/disneys-the-lion-king">The Lion King</a> is still a timeless piece of artistry and magical allure. The moment you hear Rafiki's clarion call across the pridelands welcoming the new prince to the kingdom, you are lost in the story, as the iconic procession of animals begins.&nbsp;It is no wonder that sold out audiences continue to flock to the <a href="/theatres/minskoff-theatre">Minskoff Theatre</a> 8 times a week, bringing their own legacy of family members that keep this fable alive. The score still maintains its variety of gifts, especially the songs rooted in the African tradition. Whether it be&nbsp;Grasslands, Rafiki Mourns&nbsp;or&nbsp;Shadowland,&nbsp;the ensemble sings in exceptional harmony with lush beautiful melodic tones that capture the essence of the evening.&nbsp;As for the 20th Anniversary cast, Tshidii Manye continues her extraordinary run as Rafiki; she's playful and illustrious and every time she hits the stage, the audience is in the palm of her hand. L. Steven Taylor captures all facets of the king, Mufasa. He is regal and full of gravitas, while also letting us glimpse behind the mask in the tender private moments he shares with his son, young Simba (played by an energetic Kenneth Aikens who displayed an awesome backhand spring). He is aptly assisted by Cameron Pow who is charming as Zazu, the trusty hornbill and confidant of the royal family.Stephen Carlile, a prominent actor from London's&nbsp;West End, is deliciously wicked as Scar, he seems to be having a ball plotting and scheming away for the coup of the century. He brings along three misfit hyenas for the ride; hilariously played by Bonita Hamilton, James Brown-Orleans, and Enrique Sequra. Jelani Remy brings a vulnerability and magnetism to the role of Simba.&nbsp;From the moment he swings out on that vine in the middle of the jungle, you are rooting for this lion to find his way back home and claim himself as the rightful king.&nbsp;Jelani's interpretation of the folk tune&nbsp;Endless Night&nbsp;was performed with an honest purity that truly was a highlight of the evening.Timon&nbsp;and Pumbaa keep the comic relief coming all evening. Ben Jeffery sets up the jokes nicely, and Fred Berman knocks the ball right out of the park, all the while keeping us full of chuckles.&nbsp;A special mention needs to go to the remarkable dancers of The Lion King ensemble&nbsp;who performed updated choreography throughout the evening.&nbsp;Their new movement during the&nbsp;She's Going to Eat Me&nbsp;portion of the performance gathered rapturous and sustained applause, so kudos to them for their remarkable artistry and sustained commitment to the storytelling.Overall, The Lion King continues to be a wonderful evening at the theatre.&nbsp;You will laugh, cry and marvel at all the beauty around.&nbsp;As Rafiki says during&nbsp;Circle of Life, "There is far too much to take in here, more to find than can ever be found."&nbsp; That declaration still rings true, 20 years later. Every time I see The Lion King, I notice something new, I consider the story through the eyes of another character's perspective. In such a time of turmoil and discourse, it is lovely to get lost in this iconic piece and be inspired by all the cultures and individuals who continue to come together to make the entrancing musical still shine so radiantly today.(Photo by Joan Marcus)<hr /><h2>What the popular press says...</h2>"Seen purely as a visual tapestry, there is simply nothing else like it. Suddenly, you're 4 years old again, and you've been taken to the circus for the first time. You can only marvel at the exotic procession of animals before you: the giraffes and the elephants and the hippopotamuses and all those birds in balletic flight. Such is the transporting magic wrought by the opening 10 minutes of The Lion King, [director Julie] Taymor has introduced a whole new vocabulary of images to the Broadway blockbuster." Ben Brantley for New York Times"Julie Taymor's staging of Disney's The Lion King is a marvel, a theatrical achievement unrivaled in its beauty, brains and ingenuity. Leaping far beyond its celluloid inspiration, the stage version improves upon nearly every aspect of the hit 1994 animated film, from visual artistry and storytelling to Lebo M's score and the newly African-ized pop songs of Elton John and Tim Rice." Greg Evans for Variety"A jaw-dropping magnificent spectacle. The show and the playhouse are enchanting. The unprecedented production is worth every penny. If this is Disney's idea of a theme park, we are delighted to report that the theme is quality." Linda Winer for Newsday"Awe-inspiring! Broadway theater is alive again. [Julie] Taymor's imaginative ideas seem limitless. it's a gorgeous, gasp-inducing spectacle. Most important - against all odds - it has innocence. The show appeals to our primal, childlike excitement in the power of theater to make us see things afresh." Richard Zoglin for Time Magazine"The breathtakingly staged Broadway adaptation of Disney's king of the cartoon jungle is an instant theater classic." Chris Willman for Entertainment WeeklyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/1997/11/14/movies/theater-review-cub-comes-of-age-a-twice-told-cosmic-tale.html" target="Top">New York Times</a> - <a href="http://variety.com/1997/legit/reviews/the-lion-king-new-amsterdam-theater-1117339958/" target="Top">Variety</a>

'The Lion King' review

This review was written by&nbsp;The Lion King alum&nbsp;Kyle Wrentz in celebration of the show's 20th anniversary on Broadway.

Located in the heart of New York City's bustling Times Square, the Minskoff Theatre is a thriving beacon of Broadway culture and performance. With a seating capacity of 1,621, this impressive venue not only allows for a broad audience but also embodies an intimate atmosphere that truly connects the audience to the performance. Dedicated to bringing the very best of Broadway to life, the theater boasts a rich history of hosting critically acclaimed shows, making it a dynamic platform for world-class entertainment. One cannot miss its distinct architectural design, a creation of Arata Isozaki, a renowned Japanese architect, which further adds to the structural beauty of Manhattan. Inside, the theatre exhibits grandeur par excellence, decked with a sunburst-like contoured ceiling, plush seating, and exceptional acoustics that together create a truly immersive theatrical experience for every patron.

**Directions to the Venue**

The Minskoff Theatre is conveniently located at 200 W 45th St, New York, NY 10036, USA. The Theater District in Manhattan is well connected by public transportation. If using the subway, you can take the N, Q, or R trains to 42nd Street and Broadway. Another option is to take the A, C, and E trains to 42nd Street and 8th Avenue. It's just a short walk from those stations to the theater. Parking garages, although expensive, are also available nearby for those who prefer to drive.

Minskoff Theatre - NY

Minskoff Theatre

The Minskoff Theatre is a vibrant Broadway venue in New York City, known for esteemed performances and its prominent architect-designed structure. It's easily accessible by public transport or car.

All The Devils Are Here - NYC [34163]

All The Devils Are Here

All The Devils Are Here - NYC Product Media

If Patrick Page trod the boards during the Elizabethan era, Shakespeare would have written a villainous role to fit his deep, velvety voice. Page’s penchant for the wicked roars in [*All the Devils Are Here*](https://www.newyorktheatreguide.com/show/34163-all-the-devils-are-here), his 85-minute Off-Broadway play chronicling Shakespeare’s infamous villains, from Aaron the Moor in *Titus Andronicus* to Prospero in *The Tempest*.

*All the Devils Are Here*, directed by Simon Godwin, showcases chilling monologues from Shakespeare’s oeuvre. In between, Page also shares his own approach to playing villains and getting into the mindset of psychopaths. And he's portrayed his fair share of them. 

On Broadway, Page bellowed as Hades, the god of the underworld in [*Hadestown*](https://www.newyorktheatreguide.com/show/14748-hadestown-tickets), and as the supervillain Green Goblin in *Spider-Man: Turn Off the Dark*. He’s a preeminent Shakespearean actor, gaining accolades for his portrayals of Iago, Claudius, and King Lear at leading classical theatres across the country. 

Audiences at *All the Devils Are Here* experience Page’s highlight reel of these career-making roles. His portrayal of Shylock in *The Merchant of Venice* silenced my audience; a single tear slowly rolled down his cheek during the famous speech. In a hair-raising scene, he plays both Iago and Othello, moving his body and slightly pitching his voice to spar with himself. Armed with a knife, he plods around the stage in a harrowing portrayal of Macbeth. And as Malvolio in *Twelfth Night*, Page clicks his heels and brings humor to the malevolent character. 

But perhaps the best character on stage in *All the Devils Are Here* is Page himself. Page’s natural register is not a growl like his many characters would have you believe — and his temperament is far from evil. He’s absolutely delightful and interjects the play with jokes, Elizabethan gossip (like Shakespeare’s romantic entanglements and his rivalry with fellow writer Christopher Marlowe), and personal anecdotes.

On the evening I saw the show, Page had a cane featuring a lion head as he recovers from an onstage injury. Page blamed the incident on the [curse of the Scottish play](https://www.newyorktheatreguide.com/theatre-news/news/shakespeare-trivia-fun-facts-about-shakespeare-and-his-plays) and sweetly reminisced about his high school girlfriend who gifted him the cane, a replica of one on the gothic soap opera *Dark Shadows*.

In addition to the cane, Page brings the characters to life with costume pieces (Emily Rebholz) and props, like dog tags for war veteran Macbeth, a yarmulke for Shylock, and an ascot and wax-sealed letter for Malvolio. Lighting (Stacey Derosier) and sound (Darron L. West) further dramatize the scenes. When Page depicts Prospero, a tempest booms and crackles in the 99-seat theatre. 

You don’t have to be a Shakespeare scholar to appreciate Page’s crash course on the history of the villain. He sets the scenes up perfectly and even shares how contemporary TV shows, like *Succession* and *The Simpsons*, draw from Shakespeare’s body of work. 

After the show, I overheard a fellow audience member say she couldn’t wait to bring her class. It’s required watching for anyone interested in Shakespeare, psychology, worldbuilding, and performance. Shakespeare may have invented the villain, but Page sure has perfected it. 

[*All the Devils Are Here* is at the DR2 Theatre through January 7. Get *All the Devils Are Here* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/34163-all-the-devils-are-here)

*Photo credit: Patrick Page in All The Devils Are Here. (Photo by Julieta Cervantes)*

'All the Devils Are Here' review — Patrick Page perfected the villain

Read our four-star review of *All the Devils Are Here: How Shakespeare Invented the Villain* off Broadway, created by and starring Tony nominee Patrick Page.

The Daryl Roth Theatre is an exceptional Broadway theatre venue located at 20 Union Square East in the lively city of New York. Originally built as a bank in 1847, it was converted into a theatre and named after the esteemed producer Daryl Roth in 1998. The interior of Daryl Roth Theatre is as remarkable as its history. This 499-seat theatre boasts a beautiful, intimate setting. The space is flexible and can suit a variety of staging concepts, offering unique experiences to audiences every time. The theatre has hosted a variety of notable productions, most famously, *'De La Guarda'*, a long-running aerial show which ran for a stunning seven years. Today, the theatre continues to provide audiences with a wide range of compelling and diverse performances.

**How to get to the venue**

The Daryl Roth Theatre is located very centrally and is easily accessible by subway. One can take the L, N, Q, R, 4, 5, or 6 train to Union Square. If you prefer to take the bus, the M1, M2, M3, and M14 buses also have nearby stops. Moreover, for those in the mood for a walk, the location is a short stroll away from Washington Square Park in the vibrant Greenwich Village area.

Daryl Roth Theatre - NY

Daryl Roth Theatre

The Daryl Roth Theatre, a beautifully intimate venue in New York, offers unique theatrical experiences and is easily accessible by various means of transportation.

Day of week	Matinee	Evening
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Thursday	-	-
Friday	-	7:30 PM
Saturday	2:00 PM	7:30 PM
Sunday	2:00 PM	7:30 PM

All the Devils are Here: How Shakespeare Invented the Villain Tickets

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Klein Theatre - Shakespeare Theatre Company

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