NOBODY NEEDS ANOTHER HAMLET but Every Hamlet Needs a Director

by Ernest Kearney — The main problem with creator Eric Billitzer’s Nobody Needs Another Hamlet, (playing The Hollywood Fringe at the Broadwater) is that just about every actor does need a director.

Performer, Eric Billitzer

Billitzer‘s show is a rambling, somewhat disjointed hodge-podge of his life in the theatre, personal tales, facts about Shakespeare and his recital of snippets and monologues from the works of the “Swan of Stafford.”

William Shakespeare (1564-1616) wrote 39 plays, and wisely Billitzer refrains from doing readings from all of them. The trouble with the ones he does is they’re all pretty much indistinguishable. The exception is when he discusses the pitfall of believing that doing Shakespeare requires the utilization of British English. He shows his point very well, performing a passage of Lord Capulet’s, patriarch of the Capulet Family and father of Juliet; one which is generally cut from productions. Billitizer does it by employing a thick southern twang. It is his best acting moment.

The piece is peppered with information and fun facts concerning Shakespeare. Billitizer doesn’t show any immense knowledge or startling insights, but his facts are solid and could prove of interest to those who have only a passing familiarization with the Bard.

bronze ribbon - Fringe Festival

His promise of “a ghost story to rival Hamlet’s” isn’t much of a rival. But it too is one of the more interesting aspects of his show.

A BRONZE MEDAL in respect for a fellow bardolater…

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Nobody Needs Another Hamlet

On stage at

The Broadwater

1078 Lillian Way

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For Dates, Tickets and Extension Information Go To:

Written by

An award-winning L.A. playwright and rabble-rouser of note who has hoisted glasses with Orson Welles, been arrested on three continents and once beat up Charlie Manson. His first play, "Among the Vipers" was a semi-finalist in the Julie Harris Playwriting Competition and was featured in the Carnegie-Mellon Showcase of New Plays. It was produced at the NPT Theater in Ashland, Oregon and Los Angeles’ celebrated Odyssey Ensemble Theatre. His following play, “The Little Boy Who Loved Monsters” was produced at The Hollywood Actors Theater, where he earned praise from the Los Angeles Times for his “…inordinately creative writing.” The play went on to numerous other productions including Berlin’s The Black Theatre under the direction of Rainer Fassbinder who wrote in his program notes of Kearney, “He is a skilled playwright, but more importantly he is a dangerous one.” Ernest Kearney has worked as literary manager or as dramaturge for among others The Hudson Theater Guild, Nova Diem and the Odyssey Ensemble Theatre, where he still serves on the play selection committee. He has been the recipient of two Dramalogue Awards and a finalist or semi-finalist, three times, in the Julie Harris Playwriting Competition. His work has been performed by Michael Dunn, Sandra Tsing Loh, Jack Colvin and Billy Bob Thornton, and to date, either as playwright or director, he has upwards of a hundred and thirty productions under his belt, including a few at the Bob Baker Marionette Theater as puppeteer. Kearney remains focused on his writing, as well as living happily ever after with his lovely wife Marlene. His stage reviews and social essays can be found at and Follow him on Facebook.

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