Gender-Bending Shakespeare

by Kristin Entler, April 20, 2017

WELD, Birmingham's Newspaper

It’s difficult to make it out of any high school or college literature class without having to read at least one of Shakespeare’s plays, even if that means moans and complaints from the class. But one local Shakespeare group wants to change that negative mindset toward the Bard’s work.

The Bards of Birmingham is composed of mainly high-school students who are enthusiastic about Shakespeare’s work. Since they started in 2010, the group has put on 13 productions of Shakespeare’s works. Their most recent work in progress is an adaptation of the famous Romeo and Juliet.

However, their version has a bit of a twist to it. In this modern version of the tale of the original star-crossed lovers, Romeo and Juliet are both female. Keeping the same names and script of the original playwright, the group decided to gender-swap several characters, including at least one of the title roles.

“We decided to cast it gender-blind, which gave us the risk of having two girls or two guys playing Romeo and Juliet,” explained Laura Bernstein, executive director of Bards of Birmingham.  

For them, the importance of telling this story with an LGBTQ lens is particularly poignant.

“For me personally, it was really exciting because I’m an openly lesbian young woman, so it’s being able to have that representation that’s so important,” said Emma Camp, a sophomore at the Alabama School of Fine Arts, who will play Juliet.

“Especially growing up, it’s really hard to be something you don’t know exists,” Camp added. “Being able to be a part of a production that gave representation to LGBTQ relationships and also put them within the context of the fact that thousands of LGBT youth kill themselves every year — it’s giving light to that as well, especially in the current political climate that is increasingly homophobic and increasingly transphobic. So [the play] is something that tackles that issue with a story that everybody knows,” Camp said. 

Read more here. 

Bards of Birmingham's "The Merchant of Venice": Review

by Daniel Blokh, 4/28/2016


Terry Hermes and Abbe Coulter as Antonio and Shylock

Terry Hermes and Abbe Coulter as Antonio and Shylock

With Shakespeare’s plays remaining staples of classic literature for many centuries, it is hard to think of any original retellings of his works that haven’t been done yet. But Bards of Birmingham’s The Merchant of Venice does exactly this, reimagining the classic Shakespeare play as though it were set in fascist Italy. The characters fit right into this premise in a way that seems purposeful rather than gimmicky. In the hands of a different group, this performance would have been hard to pull off, but the dedicated talent of the actors and director is able to execute the play perfectly.

From its beginning, The Merchant of Venice pulls you in with enticing characters and vibrant humor. The sets and costumes easily draw the eye, and the skill of the actors catches you off guard. The play is tonal, and the cast has a lot of singing talent along with their acting skill, which surfaces during several songs performed throughout the play. The first half of the play tells two stories; the tale of a deal between two people, and the tale of a woman looking for a husband. This first act is enough to get you entangled in the story, but it is during the second act that the play hits hardest. With stunning performances from the cast (in particular, ASFA’s own Emma Camp, Abbe Coulter, and Dimari Jordan), this second half of the play will catch you off guard time and time again.

Both imaginative and riveting, the play is a comedy, but there are many dramatic moments throughout the performance that will shock you and pull you in. And, though there are many plays out there that are easily forgettable, Bards of Birmingham’s The Merchant of Venice manages to stay with you long after the play ends. 

Come see the performance this Friday, Saturday, or Sunday at the Unity Church of Birmingham. The schedule can be found here:



"The Tempest" in Over the Mountain Journal

How The Bards of Birmingham Give Shakespeare New Life

Published in "Weld: Birmingham's Newspaper", January 11, 2012

by Rebecca Dobrinski, photos by Lynsey Weatherspoon



Now is the winter of our discontent.

On the Tuesday before Thanksgiving, a small group of actors gathered in the basement of East Lake United Methodist Church. About a dozen young men and women surrounded a table of props, mostly jewelry — each actor sought a specific talisman that marked the identity of their character. From skulls to silver chains, there was a special trinket for every player.

Skulls and silver chains? Toy guns and leather jackets? What kind of Shakespeare is this?

This is the Bards of Birmingham, a new non-profit organization’s whose mission is to “inspire and empower young people through the vehicle of Shakespearian theatre.” Founded in 2008 as the Cahaba Valley Players, the recently renamed troupe specializes in productions that feature young actors. Schools throughout the area are represented, from Hoover and Hueytown to Homewood and Roebuck Springs. The casts often include young actors performing on stage for the first time. Parents and volunteers help make the costumes and sets.

This winter, discontent and idle pleasures will be displayed for everyone to see on that basement stage in East Lake. Friday, Jan. 13, is opening night for Richard III. Actually, Richard III with a twist.

The Bards have put their own stamp on one of William Shakespeare’s most famous tragedies. Instead of the traditional Elizabethan setting, this production brings Richard and crew into modern times. These young actors such heavy issues as gang violence, power and drug use. According to Bards’ director Laura Coulter, they are coping in a way “that even most adults couldn’t handle with maturity.”

The twists do not stop there. The role of Richard is played by an actress, 16-year-old Morgan Walston, and Queen Margaret, as played by Olivia Hayes, also 16, is a heroin junkie. Richard’s brother Clarence sports arms covered with tattoos. After intermission, a hip-hop dance routine brings the story back to life.

The Bards of Birmingham is the brainchild of Coulter, who brought her lifelong love for the works of Shakespeare with her when she moved to Birmingham from California. Between the original English Bard and Rafe Esquith, a teacher from South Central Los Angeles, Coulter was inspired to use the experiences of both men to empower young people through Shakespeare. Each year Esquith’s fifth graders perform one of Shakespeare’s plays – which floored Coulter.

“It seemed like such a tremendous antidote to our young peoples’ slipping awareness of the English language, a way to teach self-confidence in front of others, familiarity with difficult concepts and a comfort with complex language that’s impossible to learn any other way,” she says.

People are often amazed by the work Coulter does with her young casts. Many adult actors are intimidated by Shakespeare’s work, but Coulter explains that despite the challenges posed merely by the language, children have not yet learned that they “can’t do it.” Young actors are not burdened by the fear, apprehension and preconceptions that plague even some of the most serious adult actors.

Last year, the Bards had two productions: A Midsummer Night’s Dream and As You Like It. Once they start with the Bards, Coulter’s young cast and crew are likely to stick around for more. Walston had roles in both, as assistant director for Midsummer and the lead Rosalind in As You Like It. There is a wide enough variety in ages that the Bards have a “junior” and a “senior” division. Midsummer was considered a junior performance, with a cast between the ages of 5 and 14, with the youngest turning 6 during rehearsals. The next junior division play will be The Tempest, with auditions in Februaryand performances in May.

In addition to learning about Shakespeare, actors participating with the Bards take away much more. There is the obvious confidence to perform and speak in public, but there is also the opportunity to learn a better command of the English language. They learn how to trust in their fellow actors and work together towards a larger goal. Ultimately, there is a tremendous work ethic and sense of responsibility shown by these young actors.

In their own words…

At that November rehearsal, the actors were randomly given a question to answer about their experiences with the Bards and Richard III. Here’s what they had to say.


Molly Michaels, age 13 (Young Prince Edward/Citizen #3/Messenger #2): Being part of the Bards has become a large part of my daily life. I’m very lucky to have the privilege of working with them and have become a much better actress with the help of everyone involved.

Dorian Davis, age 9 (Young York): It means that I have a chance to be acquainted with not only Shakespeare but also very cool people. It also means that I feel there’s nothing I can’t do.

Danielle Bishop, age 16 (Surrey/Catesby): Bards to me means that I get to do things I never would do. The wording is absolutely incredible with Shakespeare. Working with the Bards is channeling this side of myself that I love. Bards is just believing in yourself. It’s like my second home.


Donald Martin, age 23 (James Tyrrel/Cardinal): My character is James Tyrrel. He is a sociopath who helps Richard ascend the throne by assassinating her enemies. He also murders her two nephews, who are children, so she can be the rightful king.

Olivia Hayes, age 16 (Queen Margaret/Lord Mayor/Citizen #2): Queen Margaret is who I play in this production. What my character contributes to the play is the foreshadowing of the tragedies of all the characters who end up suffering. She does this by predicting each character’s devastating future in the format of curses that come out of her hate, and the basis of this hate is the tragedy in her own life that was caused by the people whom she curses. In a way, she lives for revenge and to see her enemies fall as hard as she did.

Sidney Buckingham, age 11 (Clarence’s Daughter #2): My character is Clarence’s second daughter. We have given her the name Daphne. She goes through hard times being little and young with family members dying. Daphne gives a small sad detail to the play. She is very close to her sister.


Elizabeth Piatt, age 13 (Clarence’s Daughter #1/ Page/ Messenger #3): Our production of Richard III shows that Shakespeare is timeless. It shows that revenge will always come back to haunt you.

Tyler Owens, age 18 (Lord Rivers): Because I love this. I love acting. I put everything I have into it. I want to work hard to give the audience a good show and do my very best to do my part to make this show worth coming to see.

Morgan Walston, age 16 (Richard): This show deserves an audience because it focuses on a world that most people refuse to look at. This world is dirty and dangerous and our younger generations are being forced to survive in it. This production explains the inner turmoil and struggle of someone who is a murderer. If we can pull just one single person out of this world and show them that art can be an alternative to violence, we will have accomplished our goal.


Jessica Walston Alldredge, age 23 (Lady Grey/ Lady Stanley/ Duchess of York): I hope that the audience will recognize the timeless themes of Shakespeare, particularly the idea of a cycle of violence that fits so perfectly in this modern context. I also hope that people will not only appreciate how young the cast is, but also think on what using these youth within the story says about youth violence in our world and the passion that younger generations have to see a change.

Blake Tanner, age 18 (Clarence/Neville/ Richmond): I hope they make connections. A show as old as this with such a contemporary and controversial setting helps to show there are similarities — the world is still a violent place just as in Shakespeare’s time. I feel the more we educate the world on violence such as this, the more people will understand that it needs to be stopped.

Katherine Coulter, age 12 (Queen Elizabeth): I think they should take away that violence is a huge problem. That shooting people isn’t fun, like it is on Call of Duty, it’s horrific. I think that this production should give the audience a reason to go out and make a change. I want them to take a sense of dissatisfaction with the world as it is right now.

Link to the original story:

"Richard III" on ABC 33/40