Written by orange• October 21, 2025• 5:39 am• Review, The Chance Theater, Theater, Uncategorized

AML Theatricals presents: The Complete Works of William Shakespeare (abridged) [revised] [again] @ Chance Theater – Review

Photo credit: Lily Hodges

Written by Patrick Chavis

The Complete Works of William Shakespeare (abridged) [revised] [again] playing now at Chance Theater in Anaheim Hills, October 10 — October 19, 2025.

This crowd-pleaser has evolved since 2001. It has a light, comedic approach to introducing people to the bard’s works in the most expedient and lackadaisical way possible. This show is from its most recent update.

The comedic timing, the authentic audience interaction, and the creative use of the space definitely elevated the experience and the comedy, thanks to the performers: Mallory Kerwin, Mario Houle, and Abel Miramontes.

Story:

Abel Miramontes, a Shakespearean scholar, runs through what you might call a fast-paced, SparkNotes version of all Shakespeare’s tragedies, comedies, and histories (that’s 37 plays) in 95 minutes. Can Miramontes do the deed, or is the weight of the bard’s text too much to handle? This and more in The Complete Works of William Shakespeare (abridged) [revised] [again].

Direction/Scenic Design/Other

Aaron Lipp, a recent graduate of Chapman University, directs. He is not afraid to use the stairwell, setting the actor in the audience, and even using the prop cabinets on stage. The inventiveness of these actors on stage cannot be understated. It’s a profoundly unserious show, and it’s supposed to be. If you’re a fan of Shakespeare or witty comedy, there’s something in this show for you.

Still, a piece like this can be pretty challenging, the pacing, the comedic timing, the charisma carpenter. Opps, I mean charisma. The jokes hit the majority of the time. With a show like this, you might want the actors to go a little wackier with the material, but it’s still quite fun.

There’s no scenic designer set for this production, but there was definitely thought put into it. The wall is covered in white projected stars. There are three music stands, wall-mounted headphones, and a cabinet filled with props.

I looked to my right, and Kaitlyn Fuller, the stage manager/board op with a thick mustache, was even playing into the hilarity. The lighting, while minimal at best, does the job, highlighting specific moments and scenes.

Acting:

Mario Houle impressively goes from goofball to full-on Shakespearean actor, really capturing the spirit of this piece, which is part appreciating the material and part not being afraid to have fun with it.

Mallory Kerwin has a talent for voices. Her quick changes and more subtle acting worked well with Houle’s more, let’s say, energetic delivery.

While this show is an ensemble piece, Abel Miramontes’s character definitely had the leading arc in the play. Full of unearned confidence, he leads us on a wild journey to calamity and awkwardness.

Overall:

The show doesn’t gloss over the fact that Shakespeare was a product of his time. In his time, the material was progressive. However, there are problematic aspects of Shakespeare, and the show mentions both the problematic aspects and the positive influences Shakespeare has had on storytelling and art for decades.