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In terms of storytelling, the uncredited adaptation works surprisingly well. The story of Prince Hal growing from a party boy to a mature ruler is effectively captured – thanks to a clear, focused portrayal of Hal by Woodrow Proctor.Indeed, his reconciliation with his father King Henry IV is one of the most effective moments in the presentation. The tender, yet dynamic, scene between young Proctor and the veteran Broadway performer Kevin McGuire is emotionally powerful and totally honest. McGuire brings a mature gravitas to the moment, while Proctor defines a son determined to win the respect of a parent.
“Among the superlative performers, Gwynedd Vetter-Drusch and Woodrow Proctor as the central couple, Rosalind and Orlando, are the best overall”
Woodrow Proctor excelled at playing these physical comedy situations where his facial and verbal expressions need to flow with expert choreography. […] Woodrow Proctor has a great mastery of the Shakespearean language, seamlessly able to bring to life an old phraseology, allowing even an inexperienced audience to follow the hilarity and emotion very clearly. His visual mannerisms are on the level with Steve Martin’s comedy in film, being over-the-top just enough to provide the comedic emphasis where you need it without feeling overdone.
Much Ado About Nothing [1598/99] is one of Shakespeare’s most popular comedies, in large part for two memorably witty characters, Benedick [Woodrow Proctor] and Beatrice [Katie Fanning], who spar in a “merry war” of wit throughout the play, each criticizing the other’s faults and denying a romantic attraction that everyone else sees plainly. Mr. Proctor and Ms. Fanning handle the repartee with articulate confidence, scoring points against one another much to the delight of other characters and the audience. By no means alone in their facility with language, crisp physical antics, adroit posturing and facial expressiveness, Mr. Proctor and Ms. Fanning set a high bar that their six acting companions reach with equal aplomb.
Proctor balances Jim’s genuine charm and social ease with his slow reversion to the cock-sure self-importance and sense of entitlement of his teenaged self.
The Gentleman Caller, Jim O’Connor (a persuasive and engaging Woodrow Proctor), turns out to have been a classmate of Laura in high school; a hugely popular boy upon whom Laura had a crush. But like everything else in Amanda’s life, this hope, too, turns out to be false.
While it is impossible for a stalwart gentleman caller, a Jim, an Irish-American lad, to resist her wiles, it is in his soft-spoken interactions with Laura that Woodrow Proctor has his richest moments. Even when reminiscing about their high school years, he shows a deeper affection for the girl who was his fan, shy even then, as he takes a hesitant forward step into a forbidden relationship with her. This is a strong performance of a character with character, with honesty and with ambitions that would never allow him to take advantage of someone as weak as Laura.
Iago (Woodrow Proctor), all-consumingly resentful at being passed over for a promotion, connives with the hapless Rodrigo, by playing upon the latter’s unrequited desire to possess Desdemona himself, to bring down his unwitting superior. Proctor makes Iago believably poisonous, squeezing every possible drop from his every line and word.
Woodrow Proctor as Christian and Wesley Broulik as Cyrano — find the right overlapping comedic rhythms as Cyrano feeds the younger man his lines, eventually taking over completely. Proctor makes Christian more than just a pretty fool; late in the play, when he realizes that Roxanne may adore his face but, unknowingly, loves Cyrano’s soul, he’s genuinely and movingly shattered.
Woodrow Proctor is charming as the dull-witted Christian, the man who Roxanne loves.
Replete with credible British accents, Leifer’s and Proctor’s performances are absorbing. Proctor, who is a senior at Skidmore, is new to Curtain Call—a fortunate find. In Act II Proctor savagely unleashes Tindle’s fury at being terrified and disrespected by Wyke; the venom comes pouring out, a startling contrast to the rather self-assured young man at the top of Act I and the bewildered pawn towards the act’s end. Proctor delivers a beautifully nuanced performance.
Director Steve Fletcher and his two leads, Steven Leifer (Andrew) and Woodrow Proctor (Milo) overcome this with immediate and engaging portrayals. They hook you and bring you into their world within minutes. [… ]Proctor is a chameleon changing personalities as the situation and mood demand. Together they are fantastic playing comic to the others straight man or victim to the other’s bullying. The two men are so good they make the supporting cast virtually invisible.
Woodrow Proctor ‘16 (Macbeth) delivers. […] Both were able to convince me of the their characters. They felt genuine and unrehearsed (in a convincing, not messy, way). Woodrow has been in a ton of productions at Skidmore, often as a lead. If you see Macbeth, you’ll understand why. Honestly, Harris and Proctor make Macbeth worth seeing
The talent runs deep in this “Macbeth”: the very strong Woody Proctor, a Skidmore College student, as Malcolm, son of the king whom Macbeth murders to gain the crown
Not all in the cast are professional actors but they are all good actors. Skidmore College student Woody Proctor shines as Duncan’s son Malcolm