Theater Info for the Washington DC region

Foundry Players Good Night, Desdemona (Good Morning, Juliet)

By • Feb 19th, 2008 • Category: Reviews

Listen to our review of the Foundry Players’ production of Good Night, Desdemona (Good Morning, Juliet) [MP3 4:43 2.2MB].

Good Night, Desdemona (Good Morning, Juliet)
Foundry Players
Foundry United Methodist Church; Washington DC
$15/$12 Seniors and Students
Through March 2nd

Laura: This is the ShowBizRadio review of Good Night, Desdemona (Good Morning, Juliet), performed by the Foundry Players, in Washington DC. Mike and I saw the performance on Sunday afternoon, February 17, 2008.

Mike: This was a funny show, combining some serious bits of Shakespeare, along with a little bit of farce to make for a funny show.

Laura: It was a funny show, I enjoyed it very much, the timing was good and the comedy aspect was really amusing.

Mike: Good Night, Desdemona (Good Morning, Juliet) is play by Ann-Marie McDonald. Constance Ledbelly, a young English assistant professor from Queens University goes on a subconscious journey of self discovery. She theorizes that Shakespeare’s tragedies Othello and Romeo and Juliet were originally comedies, and believes the ideas for the plays originate from the indecipherable Gustav manuscript. She believes this because if a wise fool were reinstated into the plays, they could not remain tragedies. Unfortunately she is timid, and can’t proof her theory. In a moment of despair, Constance is thrown into both her subconscious mind and the two Shakespearian tragedies, to discover the truth about herself and to find the lost fool, with the help of Desdemona and Juliet.

Laura: One of my favorite characters was Desdemona, played by Katie Gentic. I really liked her performance, she was so funny. In one soliloquy she was saying how wonderful her husband was, and loving, and how she’s stayed true to him. In the next soliloquy she was wanting to take up a sword and start lopping heads off. I liked her power and her presence on stage.

Mike: Constance Ledbelly, the assistant professor at Queens University, was played by Judy Blackburn. She was so cute, it wasn’t just…, she was frustrated with her job, her boss was taking advantage of her, and she couldn’t stand up to him. I just really wanted her to be proven right. The setup scene at the university went a little bit long I thought. But once we got into the “historical” period of Othello and Romeo and Juliet, the show moved along nicely.

I especially like the scenes with her interacting with Romeo and Juliet. Partially because that’s the play of the two I know better, so I could better appreciate it, and it was simply funny. I also liked the farce that they were getting into with Romeo and Juliet, and the cross dressing that occurred in those scenes.

Laura: The other central character of course was Juliet, played by Lori Libes. I liked her role. She was a little bit whiny, but she was quite devoted to Constance, and willing to stand up and pledge her undying devotion to her, even if her only reason was that she was bored.

Mike: This being Shakespeare, there were a lot of sword-fighting scenes, and other disagreements; and they were very nicely done. The Fight Choreography was done by the Noble Blades, the Reston Community Players stage combat troupe. I think they did a great job. For example, Iago, played by Alex Bastani, had a sword fight with Othello, played by Robert Bateman. You could actually hear the swords whistling through the air as they swung at each other.

Laura: I liked the costumes for the show, they were designed by Bob Benn and Madora Bianco.

Mike: The set was designed by the show’s director, Madora Bianco. I liked how they used a lot of space, they used the entire stage area, and then built out into the house area matching multi-level platforms. On the left and right there was a platform that had a large bed, and then in the center area was Constance’s office. That space was used in the second act by covering the furniture with sheets. And it looked like marble, and different materials for the scenes, and it worked very well. At first I was a little confused by it, but once I saw them in use I realized it worked really well. It was a very creative use of the space.

Mike: Also, during some of the scenes they would bring out set pieces up on the stage level, and that was also very nicely done. It wasn’t really complex, but it was enough to get the point across.

Laura: Good Night, Desdemona (Good Morning, Juliet) is playing through Sunday, March 2nd, Fridays and Saturdays at 8:00, and Sunday matinees at 2:30.

Mike: There is also a Tuesday performance on the 19th at 8:00, and on Thursday the 28th at 8:00, at the Foundry United Methodist Church in Washington DC. The show ran about two hours, fifteen minutes with one intermission.

Laura: And now, on with the show.


  • Desdemona: Katie Gentic
  • Othello: Robert Bateman
  • Juliet: Lori Libes
  • Romeo: Brett Steven Abelman
  • Constance Ledbelly: Judy Blackburn
  • Chorus: Brett Steven Abelman
  • Student: Lori Libes
  • Iago: Alex Bastani
  • Ramona: Katie Gentic
  • Tybalt: Robert Bateman
  • Mercutio: Katie Gentic
  • Professor Claude Knight: Robert Bateman
  • Soldier of Cyprus: Brett Steven Abelman
  • Juliet’s Nurse: Alex Bastani
  • Servant: Alex Bastani
  • Ghost: Brett Steven Abelman


  • Producer: Bob Benn
  • Director: Madora Bianco
  • Assistant Director: Lynette Yorgy Winslow
  • Production Stage Manager: Lynette Yorgy Winslow
  • Set Design: Madora Bianco
  • Lighting Design: Terry McKinstry
  • Sound Design: Lynette Yorgy Winslow
  • Costume Design: Bob Benn and Madora Bianco
  • Properties Design: Bob Benn and Madora Bianco
  • Master Carpenter: Steve Leshin
  • Light Board Operator: Wayne Henson
  • Lighting Crew: Rusti Hammyr, Bob Scott, Chris Tully
  • Sound Board Operator: Lynette Yorgy Winslow
  • Production Crew: Brett Ableman, Bianca Alonso, Matt Argersinger, Helen Bard Sobola, Jean Marie Barnwell, Alex Bastani, Bob Bateman, Kate Bateman, Judy Blackwell, Bill Guey-Lee, Wayne Henson, David Kenagy, Lori Libes, Bob Scott, Steve Winslow
  • Dance Choreographers: Jean Marie Barnwell, Judy Blackwell
  • Fight Choreographers: The Noble Blades
  • Fight Captains: Brett Ableman, Judy Blackwell
  • Choreographer: Phil Carney
  • Web Manager: Terri McKinstry
  • Web Design: Sandy Brown
  • WATCH Liaison: Christopher Tully
  • House Managers: Bob Scott and Wayne Henson
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