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Stage Reviews
A Christmas Carol
Lane Davies is a regal Christmas Present, deftly modulation cheeriness with more ominous
undercurrents...Director Allan Hunt makes a superb Bob Cratchit, exerting skillfully understated
guidance in his scenes with the younger performers (including Nathan Davies (Lane's son) as Tiny
Tim)]. ~ Los Angeles Times ('Christmas Carol' Makes It Simple, December 8, 1999)
Lane Davies artistic director of Santa Susanna Repertory Company and known for his roles on TV
shows such as "Lois & Clark: The Adventures of Superman" pours the right mix of joy and wisdom into
the Spirit of Christmas Present. ~ Ventura County Star (Koenig beams in spirited 'Carol', December 10,
1999)
Lane Davies dominates the stage as the ghost of Christmas Present, bringing an energy and humor to
the role that is perfectly appropriate. Davies also sings one of the show's two original songs, and his
beautiful, rich voice carries the emotions of a Scrooge who is realizing that he's chosen the wrong path
for his life. ~ Los Angeles Daily News (It's Chekov, The Little Dickens, December 14, 2001)
As An Actor in General
Yet, working on shoestring, [R. Thad] Taylor has kept the Globe turning, sometimes making virtue of
necessity with lucky draws from Los Angeles’ vast pool of acting talent. Some of these have included
DeVeren Bookwalter, Lane Davies, Shannon Eubanks, William Frankfather, J.D. Hall, and Eugenia
Wright. ~ Los Angeles Times (May 13, 1979)
The better people are, of course, the better people. Outstanding in both shows is Lane Davies, a coldly
superior Tybalt and a shakily crafty Proteus, just beginning to discover how badly love can make a man
behave. ~ Los Angeles Times (June 22, 1980)
As A Director
Lane Davies, long associated with the Shakespeare Society of America as fight choreographer and
educational tour director, makes his directorial debut on the Globe Playhouse stage with a rowdy and
bucolic “A Midsummer Night’s Dream.” Freely admitting to the appropriation of fresher bits of business
and interpretation from recent repertory productions, Davies has achieved one of the better entries in
SSA’s assault on the entire Shakespeare canon. The emphasis is on earthy and romantic feuding and
fussing, enlivened by superior acrobatics and knockabout. ~ Los Angeles Times (April 13, 1979)
In April the Globe mounted a lively production of A Midsummer Night’s Dream directed by Lane Davies,
it proved to be one of the season’s most popular plays…
But the main innovation in this production of Dream was the unusual depiction of the fairies. Davies
and his choreographer Mary Michele chose to present them as scantily clad, continually chirping,
chipmunk-like forest creatures. Though this conception may seem contrived, it worked refreshingly to
sustain the fantasy. ~ Shakespeare Quarterly (Summer 1980)
You know you’re in the presence of a clever director when the things that should be working against
the show work in its favor…
Actually, the production had co-directors, Lane Davies and John Flynn. That could account for its
balance and its detailing, and the easy way it moves along, neither sluggishly nor hysterically. Often, in
“Dream,” that closing “Pyramus and Thisbe” sequence is extra helping of dessert that you really don’t
want. We’ve still got an appetite for it here. ~ Los Angeles Times (October 1, 1980)
The most promising new companies debuting this year were the Pacific Repertory Company in their
three-play summer season at LACC and Santa Monica’s 21st St. Playhouse. John Flynn and Lane
Davies brought a new vitality to the Globe Playhouse. ~ Los Angeles Times (December 28, 1980)
The “Taming of the Shrew” at the Shakespeare Society is highly entertaining….
Director [Lane] Davies’ interpretation is delightful…
Director Davies has taken good advantage of the play’s opportunities for a physical life—people often
seem to be ending up in somersaults—and touches like the piano music are charming. ~ Los Angeles
Times (February 19, 1981)
Lane Davies, the young director of The Taming of the Shrew, is a well known Southland (Southern
California) actor-director and a sometime fight choreographer, he also composed the music for this
production…
The ending was nicely managed…~ Shakespeare Quarterly (Summer 1982)
Consummately directed by Lane Davies, the production is the best of the company's wonderful season
so far. The play reminds the audience in a gentle, humorous way that we need to find ways to tolerate
and accept each other in our violent world. As this bittersweet, delightful play demonstrates, we have
far more in common than we are willing to admit. ~ Los Angeles Daily News (Stage Troupe Drives 'Miss
Daisy with Distinction in T.O., March 1, 1996)
Shakespeare's 'Midsummer Night's Dream,'' presented at Kingsmen Park by the Santa Susana
Repertory Company and California Lutheran University, is a riotous play" superbly directed by Lane H.
Davies.
In this first Kingsmen Shakespeare Festival, Davies brings out the wild and bawdy aspects of the
Bard's comedy. With a truly excellent cast, "A Midsummer Night's Dream'' keeps its audience
entertained throughout with its various love stories - from fairies to aristocrats - which, despite trials and
tribulations, eventually come to happy endings. ~ Los Angeles Daily News (Midsummer Night's Dream,
June 27, 1997)
"A Midsummer Night's Dream" is one of Shakespeare's most popular fantasies with a full contingent of
mixed-up lovers country bumpkins and forest phantasms. Under Lane Davies' direction the lovers in
this case are hilarious, particularly the distaff side, Alexandra Powers as the suddenly cast-off Hermia
and JJ Rodgers as the sought-after Helena...
The plays comic fodder of workmen attempting to prepare a play for a festive occasion succeeds
brilliantly. In some productions this can be a lumpy diversion. But these men, particularly Mark
Blankfield as Bottom, create one engagingly silly scene after another. Blankfield trots through his role
with the ease of a born comic. ~ Ventura County Star ("Dream" overcome cold start, June 27, 1997)
Critics consider Lane Davies' direction of the Kingsmen -- in everything from "The Two Gentlemen of
Verona" to "Macbeth" -- pure poetry. After three brief seasons, the company has already attracted
luminaries such as John Lithgow and Kelsey Grammar to its board of directors. ~ Ventura County Star
(Perchance to dream, High School thespians tackle Bard with a little help from the pros: A Midsummer
Night's Dream, February 11, 2000)
Kudos to dialect coach Lane Davies, as well as to director Allan Hunt and producer and music director
Rick Rhodes..."The accents were excellent. That's very hard to...the choreography also was
wonderful," said Agoura musician and teacher Rhonda Yancey, praising Davies and choreographer
Ruth Cordell. ~ The Acorn (Oak Park High School students perform top-notch "Oliver," bringing
Dickens' colorful characters to life, May 31, 2001)
The prospect of "A Midsummer Night's Dream" set on an abandoned plantation in the Deep South of
the 1930s might drive Shakespeare purists to down a mint julep or three. Ah do declah, this is certainly
not the Bahd ah was expectin'.
Yet it requires little time for the conceit to take an agreeable hold in director Lane Davies' lively and
very funny revival, which opens the Kingsmen Shakespeare Festival's 10th summer of family-friendly
outdoor stagings in Kingsmen Park at California Lutheran University.
Credit Davies for the courage of his convictions — he's taken the resetting beyond a stylistic theme for
costumes, scenery and bluegrass band accompaniment and infused even the dialogue with period
Southern accents.
The unlikely juxtaposition works surprisingly well, thanks to a cast so closely in tune with their
characters that they clearly convey the meaning of the lines through drawls that, within the bounds of
the original meter, take on a unique rhythmic lilt of their own.
Familiar figures from this perennial Shakespeare favorite gain fresh vigor here. With genteel elegance,
Davies and Ruth Cordell enhance their dual roles as the respective rulers of the human and fairy
domains. ~ The Los Angeles (This 'Midsummer' has a rich Southern accent, July 5, 2006)
Shakespeare's rustics take on a whole new air in The Kingsmen Shakespeare Company's "Midsummer
Night's Dream." Lane Davies, the troupe's artistic director as well as director of the fantasy, notes this is
the ninth time he's directed "Dream" and he thought it was about time for a different take.
The actor/director hails from Georgia and chose to reset the play in the South of the 1930s. He
explains his motivation as the idea of just having fun...
...In a cast with nine Equity players, it says something about the Kingsmen's link to education that there
are a goodly number of young players among the fairies, and many young actors fresh out of serious
theatrical training at universities. Members of the audiences who come early in the evening get an
opportunity to see Shakespeare-related material written and presented by the company's high school
apprentices.
"Midsummer Night's Dream" reminds audiences "what fools these mortals be," but the cast can't hide
what fun they're having, with the good vibes resonating through the outdoor setting where most of the
time the laughs drown out the hearty sounds of nature. ~ Ventura County Star (Kingsmen's 'Dream' has
Southern savoir faire, July 6, 2006)
As You Like It
She [Shannon Eubanks] and Lane Davies bought charm and wit to their roles in an unusual setting. ~
Shakespeare Quarter (Spring 1978)
Crockett By Himself
Crockett--When Fess Parker was storming across the TV screen as Davy Crockett many years ago,
little did he know the effect it would have. It mightily impressed actor Lane Davies, right, and writer-
director John Slade, for one thing. Separately and together, they've been wanting to do a stage piece
about Crockett for a long time, the men said. Finally, using Crockett's autobiography, letters and
congressional speeches, Slade put together a one-man show about the frontiersman called "Crockett:
by himself" with Davies playing the hero. It will have a trial run at the Two Roads Theatre the next two
Saturdays. Davies, a Shakespearean actor and artistic director of the Santa Susana Repertory
Company, is probably best known as the psychopathic time-traveler Tempus on "Lois and Clark," and
as the original Mason Capwell on NBC's "Santa Barbara." As a matter of fact, the short "Crockett" run
at Two Roads is dictated by Davies' scheduled appearance in Russia, where "Santa Barbara" is still
playing, to meet the soap's many fans there.
"Crockett" will probably settle in for a longer stay when Davies returns. ~ Los Angeles Times, 1997
...this Davy Crockett wants to set the record straight--but the real pleasure is in the mythic, charismatic
presence created by solo actor Lane Davies. ~ Los Angeles Times
Davies delivers a compelling, well-paced performance of Crockett as a man of letters who put as much
store in his family life as in his battles with Creek warriors, angry bears, fickle voters, and unscrupulous
politicians. ~ Los Angeles Weekly
The irony of "Crockett, by Himself," a stage adaptation of Crockett's early 19th century writings at the
Two Roads Theatre, is that it seeks to sift the lies out of Crockett's life story. But solo actor Lane
Davies' winning, understated and even chummy portrayal of the woodsman-turned-politician-turned-
hero cranks up the legend all the more.
Adapter-director John Slade's choice of material lays out a clear chronology designed to set the record
straight. But Crockett's colorful prose and Davies' virile smoothness remind us why a straight record
isn't nearly as interesting as a good story. Davies' direct address is inviting, but his facial reactions and
timing of lines tend to draw us into the events he's describing. And if Crockett exaggerates a bit himself,
well, that's just fine. ~ Los Angeles Times (Man of Myth; Show tries to sift lies from truth about Davy
Crockett. May 29, 1997)
Cyrano De Bergerac
Part of the oft-condemned "wisdom of the west," as Bertrand Russell referred to it, is the freedom of the
individual to shoot him/herself in the foot and, paradoxically, be the stronger for it. Edmund Rostand's
"Cyrano de Bergerac" is the quintessential expression of this, where the Olympian man of mind and
body is undone yet exalted by his own ugliness....
Lane Davies understands this very well. His elegant Cyrano in Frederick Hoffman's production at the
Globe Playhouse shows that there is only one way to seize the character-with virile romanticism....his
smoldering sexuality embraces all of Cyrano's contradictions. ~ Los Angeles Times ('Cyrano de
Bergerac' Seizes Globe Playhouse,' November 12, 1988)
An assured, virile presence, Davies is every inch the swashbuckling warrior-poet Rostand intended.
There's no mistaking his Cyrano's lyrical sensitivity for weakness as he composes his verses between
thrusts of his sword. Yet in his understated drooped shoulders and wounded eyes at the news his
beloved Roxanne (spunky Therese Waldren) is infatuated with another, we feel the full measure of his
sorrow...
With the play as much a love affair with language as with romantic passion, a tighter focus on the
cadences of the verse rather than attempted nuances of performance might have drawn the rest of the
company closer into Davies' sphere of eloquence. ~ Los Angeles Times (Davies Shines in Stirring,
Uneven 'Cyrano,' April 25, 1996)
The proud but insecure Cyrano of the oversized, imperious nose "My nose marches on before me by a
quarter of an hour'' - is a flamboyant character, full of gesture and poetry backed by true courage and
modesty. Cyrano sees his distinctive protuberance as a flaw, one that only he can make fun of.
Another's jest is cause for battle. Lane Davies plays this larger-than-life role with verve and humor
balanced with eloquent nuance. ~ Los Angeles Daily News (Forum Stages Sparkling, Eloquent
'Cyrano,' April 29, 1996)
Driving Miss Daisy
There's a company playing "Driving Miss Daisy" at the former Simi Valley Courthouse.
Yes, the Santa Susana Repertory Company is aware of the irony of the situation. Director Lane Davies
addresses the subject in his program notes: "I had already been struck by the perverse coincidence of
rehearshing a play which deals so deftly and gently with racial issues...while the Rodney King trial was
in session in the new courthouse a few blocks away. I was caught totally off guard by the madness that
ensued."
The good news is that it's a fine production, with a uniformly excellent cast....All three players are
performers with impressive professional credits...
Davies, who played a Southern preacher in "The Foreigner," makes more than might be expected of
the relatively thinly written part of Daisy's son; carrying this off as well as directing with such sensitivity
and wit is quite an accomplishment. ~ Los Angeles Times ('Driving Miss Daisy' Awake at the Wheel the
Santa Susana Repertory Company offers a fine production in the former Simi Valley Courthouse, May
14, 1992)
I Hate Hamlet
Eric Pasto-Crosby plays Andrew, and in Act 2 he interacts engagingly with the dulcet-toned Barrymore
(played with royal zest and impish glee by Lane Davies). A veteran of soap operas and prime-time TV,
Davies is also the founder of Southern California’s Kingsmen Shakespeare Festival, so he’s no
stranger to the Bard’s greatest roles.
While it’s Andrew’s story, it’s the presence of Davies that keeps this lighthearted, tongue-in-cheek
exercise afloat. The scene where the actors exchange famous Hamlet speeches is nicely done,
ultimately serving as a reminder that Rudnick’s comedy aims to convey honest affection for theatrical
tradition...
Lastly, as Andrew’s New York agent, there’s Ruth Cordell, a fine actress who classes up the stage; her
brief scene with Davies—in which they flirt with the notion of rekindling the passions of the past—is
endearing. ~ Nashville Scene (May 10, 2007)
Apparently stuck in some sort of purgatory, Barrymore explains that he cannot leave until Andrew fulfills
the role. With a heavy sigh and a knowing look at the audience, he laments that he’s doomed to spend
all eternity “with (gasp) a television actor.”
Of course, the audience is in on the joke. Barrymore is played by none other than Lane Davies – best
known as Mason Capwell from NBC’s Santa Barbara. But Davies is also an accomplished
Shakespearean actor who injects a welcome sense of bravado and energy into this decidedly silly
play...
Davies is perfectly cast as Barrymore, working the crowd with his oh-so-grand gestures and pompous
wit. One particularly satisfying scene has Barrymore teaching his student the proper way to take a bow
– an absolutely shameless display that draws big laughs from the audience. ~ Nashville City Paper
(May 11, 2007)
Julius Caesar
...a finely measured performance Davies is startlingly realistic, making Anthony a diehard avenger; it's a
strong sound interpretation. ~ Variety
(From a bad review of the production) Lane Davies labors heroically as the loyal Mark Antony… ~ Los
Angeles Times (Dec 22, 1980)
Henry V
…Lane Davies’ fine-figured Henry Plantagent enriches the production… ~ Los Angeles Times (August
3, 1979)
Lane Davies as Henry was attractive both as soldier and lover. ~ Shakespeare Quarter (Summer 1980)
Macbeth
Lane Davies, a commanding presence, is entirely convincing in the title role of Shakespeare's
bloodstained usurper. Where many actors commit early to an interpretation of Macbeth as either a
thoroughly black heart or a valiant soldier undone by lust and ambition, Davies maintains a deep-
seated ambivalence. Although the witches' evil prophesies strike a resonant chord in him, this
Macbeth's lingering vacillation is born not of weakness but of loyalty divided between his own self-
interest and his King (stately Robert Nairn, who also strikes a comic note as a befuddled Doctor). The
choice adds intriguing complexity and, in combination with Davies' assured delivery, serves the text
well. ~ Los Angeles Times
...a strong performance in the leading role. Davies is an interior as Hamlet, at moments as disjointed a
Lear in his interpretation, without bluster, without a patina of theatricality with which some Macbeth's
hide a lack of depth. It is an honest portrayal modern in its delineation of character and totally
absorbing in its detail...Lane delivers stirring portrayal. ~ Drama Logue
Lane Davies has developed an expertly defined and fully sustained characterization, and displays a
well-trained vocal ability that reveals every subtlety of the marvelous dialogue. ~ The Hollywood
Reporter
...this 'Macbeth' seems to go out of its way to emphasize the human over the supernatural. Blood flows
profusely, warriors die in great pain and the broadswords clank with real fury (Joseph Della Sorte was
the fight director).
Lane Davies' Macbeth completes the strategy, revealing a man who knows he's going straight to hell
and having no clue what to do about it. ~ Los Angeles Times (''Macbeth at Globe,' October 30, 1987)
Tragedy, like comedy, can be a waterslide, as heroes and heroines climb into the chute that fate has
slicked for them and go spiraling down into the maelstrom of their own ambitions. This Stephen Hollis
staging provides that nightmare ride, with Lane Davies and Stephanie Kallos as Macbeth and Lady
Macbeth leading the cast with performances of crackling intelligence...
The leads have worked out full performance arcs. Mr. Davies has a chilling, reckless little laugh,
Hamletlike, mocking his dance on the string of the mocking gods. Ms. Kallos complements him with a
mounting pressure of desperation that - in her sleepwalking scene - finally shatters into shards of
madness. ~ The Atlanta Journal Constitution (Oglethorpe's `Macbeth' turns field tent into eery barrens
of medieval Scotland, July 4, 1990)
Heading the cast is Lane Davies local favorite and co-artistic director of the festival. Davies brings
obvious training and a natural gift to a demanding role. His is an attractive Macbeth dashing in a kilt
and threatening in armor lusty in love and arrogant in ambition.
Davies excels with most of the famous scenes and monologues but uncharacteristically rushes through
the famous dagger soliloquy. An over long intermission breaks the flow of the play and seems to sap
Davies energy. However he recovers in time to soar with the tomorrow and tomorrow and tomorrow
speech that follows the death of his co-conspirator and wife. ~ Ventura County Star (CLU becomes
'sticking-place' for Shakespeare, July 2, 1999)
Mack and Mabel
Kudos for Robert Machray's Fatty Arbuckle and Lane Davies as the oily Taylor. ~ Los Angeles Times
(Music of a Silent-Era Love Affair In reworked, more upbeat 'Mack & Mabel,' the score is still more
charming than the words, November 10, 2000)
Plotline of "Mack and Mabel" follows a tried and true pattern of musical biographies -- boy and girl fall in
love, break up and come together for an upbeat fadeout. Mark Sennett, famous for silent two-reelers
featuring the Keystone Kops, thought is an atypical hero; he's angry, impatient and egotistical, yet in
love with the star he created, Mabel Normand (Jane Krakowski), and he can't bring himself to say it.
Crushed by his emotional coldness and infidelity, Mabel takes up with director William Desmond Taylor
(Lane Davies), and becomes involved in drugs and scandal.
Performances by Lenny Wolpe as a bottom-line businessman, Robert Machray as Fatty Arbuckle,
Davies as William Desmond Taylor and Chad Borden as Frank Capra have authenticity and dimension.
~ Variety (November 10, 2000)
Man of La Mancha
Handsome Lane Davies, who plays Don Quixote, adds an impressive note to his recognition for
performances in "Music Man," (Harold Hill); Higgins in "My Fair Lady;" Starbuck in "The Rainmaker,
and a number of other productions in Georgia and Tennessee.
...Set and costuming show a great deal of imagination as the musical unfolds a double portrait of
Cervantes and his noble creation, Don Quixote. The youthful cast (ages range from 17 to 26) come
from all over the country. ~ Journal News, Hamilton, Ohio: August 15, 1973
Lane Davies plays Cervantes with courtly cool and Quixote with courtly passion, registering the
difference between the two characters with subtle gestures that can be appreciated from anywhere
inside the tent. His voice is everything it ought to be. ~ Los Angeles Times (`Man of La Mancha' in a
Tent Proves to Be a Possible Dream; Jun 22, 1989)
This revival brings back the three exceptional stars of the 1989 version in fine form. Lane Davies, also
the artistic director of the company, plays Cervantes with wry resignation and Quixote with winning
naivete. Eileen Barnett makes us see and hear both Aldonza the wench and Dulcinea the angel. Jerry
Winsett's a model Sancho.
Except for a few fuzzy lyrics, the supporting cast is also strong, under the direction of Bruce French.
The amplified volume of Carol Weiss' five-piece backstage orchestra isn't always well-balanced or
perfectly coordinated with the singers. But generally, this "La Mancha"-and this theater-are a welcome
addition to the theatrical landscape. ~ Los Angeles Times
Merry Wives of Windsor
I must admit that, when I see any play, I make a point of deciphering which actor or actress is the play's
weakest link. With Merry Wives, I couldn't find one. All of the performances, from the wives and their
husbands to the hilarious servants and the tiny fairies, were by strong, engaging players. ~ Ventura
County Star
Much Ado About Nothing
Lane Davies, the Georgia-born star of daytime TV's "Santa Barbara," is a handsome and assured
Benedick, who's more the urbane dry wit and less the clever clown that's usually portrayed. Davies has
a worthy foil in Stephanie Kallos as a sophisticated brunette with a self-satisfied demeanor that dares
anyone to attempt to get her goat. ~ The Atlanta Constitution ('Festival's version of `Much Ado' updates
the witty tale of love.' July 22, 1987)
Of Mice and Men
As Slim, the acknowledged leader of the ranch hands, professional actor Lane Davies has turned what
could have been a stock character into an interesting, dimensional person. Possessed of a
commanding voice, Davies is a virile, firm force on the stage. ~ Daily News of Los Angeles
(STEINBECK'S 'OF MICE AND MEN' A DRAMATIC ADDITION TO MOORPARK, February 20, 1989)
Richard III
The real-life British monarch's reputation may have been somewhat rehabilitated by scholars since
Shakespeare's time, but Lane Davies' interpretation is thankfully free of redeeming qualities that would
only diminish one of the most perfectly realized and forward-looking villains Shakespeare created.In
contrast with the most familiar film portrayals (Laurence Olivier's reptilian misanthrope or Ian McKellen's
power-hungry fascist), Davies presents the black sheep of the House of York as a creature who
delights in villainy for its own sake. Clad in his stovepipe hat and black Victorian garments, his
soliloquies garishly lighted from foot lamps below, Davies gives us Richard-as-Snidely Whiplash.
As Richard eliminates everyone who stands in his way to the throne, the more outrageous his behavior,
the greater his glee. Davies especially shines when wooing the widow (Jane Longenecker) of Richard's
slain rival beside her husband's corpse, pitting his brother King Edward (Richard Winterstein) against
his other brother (Allan Hunt), and enlisting a hapless assassin (Dale Adrion) to murder his princely
nephew (Joe Walker).
Richard's hump and withered arm do little to undercut Davies' tall, imperious bearing; despite his
deformity, this is still a man of royal birth. Even at his most nefarious, Davies' portrayal retains a sly,
mischievous edge that never fails to engage. ~ The Los Angeles Times
What the play needs is a convincing Richard, and Lane Davies presents him in all his diabolic
obsessions. Richard, always portrayed as somewhat deformed with a soul to match, is a villain who
constantly explains himself, from his first famous words, "Now is the winter of our discontent," to his
death. He can twist any circumstance to his cause and any person to his will through a combination of
devious reasoning and subtle but convincing threats.
Davies, a longtime Kingsmen Shakespeare Company stalwart, has played his share of villains in a
busy career on stage and TV, but Richard plumbs the depths of villainy. The actor meets the challenge
not only in exuding ill-will, but also in the glee he takes as his machinations topple each obstacle to the
throne.
The stage on California Lutheran University's grounds is set up with a front-and-center boxed light that
casts a ghastly glow from floor level at Richard for each of his intimate plot concoctions or
rationalizations. Director Combs and Davies have wisely chosen to minimize Richard's physical
distortion while maximizing his psychological ones. Some historians believe the former, at least, were
exaggerated in early chronicles by authors favoring the line of succession Richard disrupted. ~ Ventura
County Star
Romeo and Juliet
The support work is lustrous…Lane Davies makes Juliet’s cousin Tybalt the essence of the cold,
superb Renaissance blade, who dies by the blade. ~ Los Angeles Times (June 17, 1980)
Lane Davies was a handsome, unsmiling Tybalt who moved beautifully, deserving the title “king of
cats” that Mercutio sardonically gave him. ~ Shakespeare Quarterly (Summer 1980)
Escalus, the town authority, is commandingly portrayed by Lane Davies ~ The Ventura County Star (A
truly passionate 'Romeo,' July 7, 2000)
One of the most standout actors is Lane Davies. I noticed the musicality of his voice and his complete
devotion to his character before I was told that he is a famous, very accomplished actor. Davies has
starred in soap operas like "General Hospital" and "Santa Barbera," and has also appeared in
television shows such as "Scrubs" and "Seinfeld."
His role as Capulet is memorable, even though his character does not have as many lines as others.
The aforementioned potential of this play to be stale was shot down as soon as Davies opened his
mouth. ~ The Sidelines Online (A Rose By Any Other Name, November 5, 2007)
Rosencrantz and Guildenstern are Dead
As Rosencrantz (who has a hard time remembering he isn’t Guildenstern), Lane Davies has the sly
naiveté of the character under control, and with his youthful, sculptured face, he certainly could be this
slightly dim nobleperson with a university education. ~ Los Angeles times (December 7, 1978)
Taming of the Shrew
Essential to the success of this "Shrew" are the performances by former Georgian Lane Davies (of
NBC-TV's "Santa Barbara") as the bachelor Petruchio, and Atlanta actress Megan McFarland (of the
local "Della's Diner" comedies) in the role of "intolerable curst" Kate. The duo generates a chemistry
that promises to gain intensity as the run of the show continues.
In "taming" his reluctant bride by depriving her of food and sleep, Davies shows us that Petruchio isn't
really a sexist pig. He's not trying to break Kate's spirit. Instead, he wants to whittle away her resistance
to loving him, and make it easier for him to love her.
Davies' Petruchio is singleminded, unscrupulous and handsome - the opening-night audience "oohed"
and "ahhed" when he made his first entrance. His classically trained voice is riveting. He's also funny,
as seen in his acrobatic meeting with Kate - they galumph across the stage in a tangle. However, he
did rush a speech about how Petruchio plans to woo her. ~ The Atlanta Constitution ('Lane Davies
tames shrew and festival audience,' July 15, 1986)
In the acting department, the festival was fortunate enough to attract a number of Atlanta's best Equity
(union) and non-Equity actors, as well as Lane Davies, a former Georgia actor now working in Los
Angeles. Yet, all was not well with some performances.
"Shrew" rates a thumbs up. Davies, as the bachelor Petruchio, is a joy to watch. He's a highly
experienced Shakespearean actor. (In fact, he had just played the title role in a successful "Hamlet" in
Los Angeles before coming here. Other credits include "Twelfth Night" at Atlanta's Alliance Theatre.)
Davies' voice is riveting. Nor can the eye ignore him. As if in testament, the two women sitting behind
me delivered a play-by-play every bit as thorough as Skip Caray announcing a Braves game. She, like
Davies, handles physical comedy beautifully. Other cast members deliver good performances as well. ~
The Atlanta Constitution ('A Shakespeare festival worth keeping, nurturing,' August 3, 1986)
Director Allan Hunt has provided us with a mesmerizing Petruchio (Lane Davies) and an explosive
Katharina (Ruth Cordell). These two dominate so powerfully they take the production by storm. ...
Davies has natural warmth, and this quality keeps him sympathetic even when his actions seem harsh
and severe. In the hands of lesser actors, Petruchio can be tyrannical, boorish, even hateful. Davies
lets you know he truly cares about Kate as a person. You never doubt he'll become a considerate and
loving husband if Kate can overcome her antagonism and terror of being possessed...
The powerful performances of Lane Davies and Ruth Cordell dominate Kingsmen Shakespeare
Company's production of "Taming of the Shrew." ~ The Ventura County Star (A 'Shrew' you'll never
forget, July 21, 2000)
Bringing "The Taming of the Shrew" into the Old West while retaining Shakespeare's language is
pointless except as a diversion- -and maybe to illustrate how much "Annie Get Your Gun" owes to the
play.
But Friday night, the diversion worked very well, with Kingsmen co-artistic director Lane Davies a
dashing Petruchio, and the sight of Ruth Cordell's spunky Kate, swaggering onstage armed with a
bullwhip (and not afraid to use it), almost justifying the concept in its own right. ~ Los Angeles Times
(New versions of productions based on Shakespearean tales work well and are entertaining, July 20,
2000)
The Merchant of Venice
The cast members—a rare mix of younger apprentices and longtime pros comfortable with the Bard’s
marvelous language—are a joy to watch. Chief among them is Lane Davies as a cigar-smoking,
yarmulke-topped Shylock, sharply fitted in a pinstriped business suit. His characterization is coolly
assured, intent on avoiding the stereotypical pitfalls of the famous “Hath not a Jew eyes” speech. His
performance is strong and consistent, and by the time Shylock’s machinations have turned sour at play’
s end, we are equally struck by his questionable honor and the bigotry he’s had to endure. ~ Nashville
Scene (All the Stage’s a World: New performance space enhances Mark Cabus’ fine take on the Bard
New versions of productions based on Shakespearean tales work well and are entertaining, October
18, 2007)
The Tempest
Davies' Prospero effectively projects virtue, intelligence and shrewdness, providing a strong center. ~
The Ventura County Star (Kingsmen delivers riveting 'Tempest,' July 4, 2002
Two Gentlemen of Verona
…but you’ll love Feldshuh as a cynical Romanian Gypsy named Luzetta and Kim Bennett as the
drollest Cowardly Lion since Bert Lahr. (The two gents are fine, too—[Lane] Davies and Tom
Stechschulte.) ~ Los Angeles Times (June 17, 1980)
By the play’s end, Proteus [Lane Davies] had given indications that he had made his last change. At
this line, “O heaven were man / But constant, he were perfect,” the audience dissolved in laughter. ~
Shakespeare Quarterly (Summer 1980)
A Christmas Carol
Lane Davies is a regal Christmas Present, deftly modulation cheeriness with more ominous
undercurrents...Director Allan Hunt makes a superb Bob Cratchit, exerting skillfully understated
guidance in his scenes with the younger performers (including Nathan Davies (Lane's son) as Tiny
Tim)]. ~ Los Angeles Times ('Christmas Carol' Makes It Simple, December 8, 1999)
Lane Davies artistic director of Santa Susanna Repertory Company and known for his roles on TV
shows such as "Lois & Clark: The Adventures of Superman" pours the right mix of joy and wisdom into
the Spirit of Christmas Present. ~ Ventura County Star (Koenig beams in spirited 'Carol', December 10,
1999)
Lane Davies dominates the stage as the ghost of Christmas Present, bringing an energy and humor to
the role that is perfectly appropriate. Davies also sings one of the show's two original songs, and his
beautiful, rich voice carries the emotions of a Scrooge who is realizing that he's chosen the wrong path
for his life. ~ Los Angeles Daily News (It's Chekov, The Little Dickens, December 14, 2001)
As An Actor in General
Yet, working on shoestring, [R. Thad] Taylor has kept the Globe turning, sometimes making virtue of
necessity with lucky draws from Los Angeles’ vast pool of acting talent. Some of these have included
DeVeren Bookwalter, Lane Davies, Shannon Eubanks, William Frankfather, J.D. Hall, and Eugenia
Wright. ~ Los Angeles Times (May 13, 1979)
The better people are, of course, the better people. Outstanding in both shows is Lane Davies, a coldly
superior Tybalt and a shakily crafty Proteus, just beginning to discover how badly love can make a man
behave. ~ Los Angeles Times (June 22, 1980)
As A Director
Lane Davies, long associated with the Shakespeare Society of America as fight choreographer and
educational tour director, makes his directorial debut on the Globe Playhouse stage with a rowdy and
bucolic “A Midsummer Night’s Dream.” Freely admitting to the appropriation of fresher bits of business
and interpretation from recent repertory productions, Davies has achieved one of the better entries in
SSA’s assault on the entire Shakespeare canon. The emphasis is on earthy and romantic feuding and
fussing, enlivened by superior acrobatics and knockabout. ~ Los Angeles Times (April 13, 1979)
In April the Globe mounted a lively production of A Midsummer Night’s Dream directed by Lane Davies,
it proved to be one of the season’s most popular plays…
But the main innovation in this production of Dream was the unusual depiction of the fairies. Davies
and his choreographer Mary Michele chose to present them as scantily clad, continually chirping,
chipmunk-like forest creatures. Though this conception may seem contrived, it worked refreshingly to
sustain the fantasy. ~ Shakespeare Quarterly (Summer 1980)
You know you’re in the presence of a clever director when the things that should be working against
the show work in its favor…
Actually, the production had co-directors, Lane Davies and John Flynn. That could account for its
balance and its detailing, and the easy way it moves along, neither sluggishly nor hysterically. Often, in
“Dream,” that closing “Pyramus and Thisbe” sequence is extra helping of dessert that you really don’t
want. We’ve still got an appetite for it here. ~ Los Angeles Times (October 1, 1980)
The most promising new companies debuting this year were the Pacific Repertory Company in their
three-play summer season at LACC and Santa Monica’s 21st St. Playhouse. John Flynn and Lane
Davies brought a new vitality to the Globe Playhouse. ~ Los Angeles Times (December 28, 1980)
The “Taming of the Shrew” at the Shakespeare Society is highly entertaining….
Director [Lane] Davies’ interpretation is delightful…
Director Davies has taken good advantage of the play’s opportunities for a physical life—people often
seem to be ending up in somersaults—and touches like the piano music are charming. ~ Los Angeles
Times (February 19, 1981)
Lane Davies, the young director of The Taming of the Shrew, is a well known Southland (Southern
California) actor-director and a sometime fight choreographer, he also composed the music for this
production…
The ending was nicely managed…~ Shakespeare Quarterly (Summer 1982)
Consummately directed by Lane Davies, the production is the best of the company's wonderful season
so far. The play reminds the audience in a gentle, humorous way that we need to find ways to tolerate
and accept each other in our violent world. As this bittersweet, delightful play demonstrates, we have
far more in common than we are willing to admit. ~ Los Angeles Daily News (Stage Troupe Drives 'Miss
Daisy with Distinction in T.O., March 1, 1996)
Shakespeare's 'Midsummer Night's Dream,'' presented at Kingsmen Park by the Santa Susana
Repertory Company and California Lutheran University, is a riotous play" superbly directed by Lane H.
Davies.
In this first Kingsmen Shakespeare Festival, Davies brings out the wild and bawdy aspects of the
Bard's comedy. With a truly excellent cast, "A Midsummer Night's Dream'' keeps its audience
entertained throughout with its various love stories - from fairies to aristocrats - which, despite trials and
tribulations, eventually come to happy endings. ~ Los Angeles Daily News (Midsummer Night's Dream,
June 27, 1997)
"A Midsummer Night's Dream" is one of Shakespeare's most popular fantasies with a full contingent of
mixed-up lovers country bumpkins and forest phantasms. Under Lane Davies' direction the lovers in
this case are hilarious, particularly the distaff side, Alexandra Powers as the suddenly cast-off Hermia
and JJ Rodgers as the sought-after Helena...
The plays comic fodder of workmen attempting to prepare a play for a festive occasion succeeds
brilliantly. In some productions this can be a lumpy diversion. But these men, particularly Mark
Blankfield as Bottom, create one engagingly silly scene after another. Blankfield trots through his role
with the ease of a born comic. ~ Ventura County Star ("Dream" overcome cold start, June 27, 1997)
Critics consider Lane Davies' direction of the Kingsmen -- in everything from "The Two Gentlemen of
Verona" to "Macbeth" -- pure poetry. After three brief seasons, the company has already attracted
luminaries such as John Lithgow and Kelsey Grammar to its board of directors. ~ Ventura County Star
(Perchance to dream, High School thespians tackle Bard with a little help from the pros: A Midsummer
Night's Dream, February 11, 2000)
Kudos to dialect coach Lane Davies, as well as to director Allan Hunt and producer and music director
Rick Rhodes..."The accents were excellent. That's very hard to...the choreography also was
wonderful," said Agoura musician and teacher Rhonda Yancey, praising Davies and choreographer
Ruth Cordell. ~ The Acorn (Oak Park High School students perform top-notch "Oliver," bringing
Dickens' colorful characters to life, May 31, 2001)
The prospect of "A Midsummer Night's Dream" set on an abandoned plantation in the Deep South of
the 1930s might drive Shakespeare purists to down a mint julep or three. Ah do declah, this is certainly
not the Bahd ah was expectin'.
Yet it requires little time for the conceit to take an agreeable hold in director Lane Davies' lively and
very funny revival, which opens the Kingsmen Shakespeare Festival's 10th summer of family-friendly
outdoor stagings in Kingsmen Park at California Lutheran University.
Credit Davies for the courage of his convictions — he's taken the resetting beyond a stylistic theme for
costumes, scenery and bluegrass band accompaniment and infused even the dialogue with period
Southern accents.
The unlikely juxtaposition works surprisingly well, thanks to a cast so closely in tune with their
characters that they clearly convey the meaning of the lines through drawls that, within the bounds of
the original meter, take on a unique rhythmic lilt of their own.
Familiar figures from this perennial Shakespeare favorite gain fresh vigor here. With genteel elegance,
Davies and Ruth Cordell enhance their dual roles as the respective rulers of the human and fairy
domains. ~ The Los Angeles (This 'Midsummer' has a rich Southern accent, July 5, 2006)
Shakespeare's rustics take on a whole new air in The Kingsmen Shakespeare Company's "Midsummer
Night's Dream." Lane Davies, the troupe's artistic director as well as director of the fantasy, notes this is
the ninth time he's directed "Dream" and he thought it was about time for a different take.
The actor/director hails from Georgia and chose to reset the play in the South of the 1930s. He
explains his motivation as the idea of just having fun...
...In a cast with nine Equity players, it says something about the Kingsmen's link to education that there
are a goodly number of young players among the fairies, and many young actors fresh out of serious
theatrical training at universities. Members of the audiences who come early in the evening get an
opportunity to see Shakespeare-related material written and presented by the company's high school
apprentices.
"Midsummer Night's Dream" reminds audiences "what fools these mortals be," but the cast can't hide
what fun they're having, with the good vibes resonating through the outdoor setting where most of the
time the laughs drown out the hearty sounds of nature. ~ Ventura County Star (Kingsmen's 'Dream' has
Southern savoir faire, July 6, 2006)
As You Like It
She [Shannon Eubanks] and Lane Davies bought charm and wit to their roles in an unusual setting. ~
Shakespeare Quarter (Spring 1978)
Crockett By Himself
Crockett--When Fess Parker was storming across the TV screen as Davy Crockett many years ago,
little did he know the effect it would have. It mightily impressed actor Lane Davies, right, and writer-
director John Slade, for one thing. Separately and together, they've been wanting to do a stage piece
about Crockett for a long time, the men said. Finally, using Crockett's autobiography, letters and
congressional speeches, Slade put together a one-man show about the frontiersman called "Crockett:
by himself" with Davies playing the hero. It will have a trial run at the Two Roads Theatre the next two
Saturdays. Davies, a Shakespearean actor and artistic director of the Santa Susana Repertory
Company, is probably best known as the psychopathic time-traveler Tempus on "Lois and Clark," and
as the original Mason Capwell on NBC's "Santa Barbara." As a matter of fact, the short "Crockett" run
at Two Roads is dictated by Davies' scheduled appearance in Russia, where "Santa Barbara" is still
playing, to meet the soap's many fans there.
"Crockett" will probably settle in for a longer stay when Davies returns. ~ Los Angeles Times, 1997
...this Davy Crockett wants to set the record straight--but the real pleasure is in the mythic, charismatic
presence created by solo actor Lane Davies. ~ Los Angeles Times
Davies delivers a compelling, well-paced performance of Crockett as a man of letters who put as much
store in his family life as in his battles with Creek warriors, angry bears, fickle voters, and unscrupulous
politicians. ~ Los Angeles Weekly
The irony of "Crockett, by Himself," a stage adaptation of Crockett's early 19th century writings at the
Two Roads Theatre, is that it seeks to sift the lies out of Crockett's life story. But solo actor Lane
Davies' winning, understated and even chummy portrayal of the woodsman-turned-politician-turned-
hero cranks up the legend all the more.
Adapter-director John Slade's choice of material lays out a clear chronology designed to set the record
straight. But Crockett's colorful prose and Davies' virile smoothness remind us why a straight record
isn't nearly as interesting as a good story. Davies' direct address is inviting, but his facial reactions and
timing of lines tend to draw us into the events he's describing. And if Crockett exaggerates a bit himself,
well, that's just fine. ~ Los Angeles Times (Man of Myth; Show tries to sift lies from truth about Davy
Crockett. May 29, 1997)
Cyrano De Bergerac
Part of the oft-condemned "wisdom of the west," as Bertrand Russell referred to it, is the freedom of the
individual to shoot him/herself in the foot and, paradoxically, be the stronger for it. Edmund Rostand's
"Cyrano de Bergerac" is the quintessential expression of this, where the Olympian man of mind and
body is undone yet exalted by his own ugliness....
Lane Davies understands this very well. His elegant Cyrano in Frederick Hoffman's production at the
Globe Playhouse shows that there is only one way to seize the character-with virile romanticism....his
smoldering sexuality embraces all of Cyrano's contradictions. ~ Los Angeles Times ('Cyrano de
Bergerac' Seizes Globe Playhouse,' November 12, 1988)
An assured, virile presence, Davies is every inch the swashbuckling warrior-poet Rostand intended.
There's no mistaking his Cyrano's lyrical sensitivity for weakness as he composes his verses between
thrusts of his sword. Yet in his understated drooped shoulders and wounded eyes at the news his
beloved Roxanne (spunky Therese Waldren) is infatuated with another, we feel the full measure of his
sorrow...
With the play as much a love affair with language as with romantic passion, a tighter focus on the
cadences of the verse rather than attempted nuances of performance might have drawn the rest of the
company closer into Davies' sphere of eloquence. ~ Los Angeles Times (Davies Shines in Stirring,
Uneven 'Cyrano,' April 25, 1996)
The proud but insecure Cyrano of the oversized, imperious nose "My nose marches on before me by a
quarter of an hour'' - is a flamboyant character, full of gesture and poetry backed by true courage and
modesty. Cyrano sees his distinctive protuberance as a flaw, one that only he can make fun of.
Another's jest is cause for battle. Lane Davies plays this larger-than-life role with verve and humor
balanced with eloquent nuance. ~ Los Angeles Daily News (Forum Stages Sparkling, Eloquent
'Cyrano,' April 29, 1996)
Driving Miss Daisy
There's a company playing "Driving Miss Daisy" at the former Simi Valley Courthouse.
Yes, the Santa Susana Repertory Company is aware of the irony of the situation. Director Lane Davies
addresses the subject in his program notes: "I had already been struck by the perverse coincidence of
rehearshing a play which deals so deftly and gently with racial issues...while the Rodney King trial was
in session in the new courthouse a few blocks away. I was caught totally off guard by the madness that
ensued."
The good news is that it's a fine production, with a uniformly excellent cast....All three players are
performers with impressive professional credits...
Davies, who played a Southern preacher in "The Foreigner," makes more than might be expected of
the relatively thinly written part of Daisy's son; carrying this off as well as directing with such sensitivity
and wit is quite an accomplishment. ~ Los Angeles Times ('Driving Miss Daisy' Awake at the Wheel the
Santa Susana Repertory Company offers a fine production in the former Simi Valley Courthouse, May
14, 1992)
I Hate Hamlet
Eric Pasto-Crosby plays Andrew, and in Act 2 he interacts engagingly with the dulcet-toned Barrymore
(played with royal zest and impish glee by Lane Davies). A veteran of soap operas and prime-time TV,
Davies is also the founder of Southern California’s Kingsmen Shakespeare Festival, so he’s no
stranger to the Bard’s greatest roles.
While it’s Andrew’s story, it’s the presence of Davies that keeps this lighthearted, tongue-in-cheek
exercise afloat. The scene where the actors exchange famous Hamlet speeches is nicely done,
ultimately serving as a reminder that Rudnick’s comedy aims to convey honest affection for theatrical
tradition...
Lastly, as Andrew’s New York agent, there’s Ruth Cordell, a fine actress who classes up the stage; her
brief scene with Davies—in which they flirt with the notion of rekindling the passions of the past—is
endearing. ~ Nashville Scene (May 10, 2007)
Apparently stuck in some sort of purgatory, Barrymore explains that he cannot leave until Andrew fulfills
the role. With a heavy sigh and a knowing look at the audience, he laments that he’s doomed to spend
all eternity “with (gasp) a television actor.”
Of course, the audience is in on the joke. Barrymore is played by none other than Lane Davies – best
known as Mason Capwell from NBC’s Santa Barbara. But Davies is also an accomplished
Shakespearean actor who injects a welcome sense of bravado and energy into this decidedly silly
play...
Davies is perfectly cast as Barrymore, working the crowd with his oh-so-grand gestures and pompous
wit. One particularly satisfying scene has Barrymore teaching his student the proper way to take a bow
– an absolutely shameless display that draws big laughs from the audience. ~ Nashville City Paper
(May 11, 2007)
Julius Caesar
...a finely measured performance Davies is startlingly realistic, making Anthony a diehard avenger; it's a
strong sound interpretation. ~ Variety
(From a bad review of the production) Lane Davies labors heroically as the loyal Mark Antony… ~ Los
Angeles Times (Dec 22, 1980)
Henry V
…Lane Davies’ fine-figured Henry Plantagent enriches the production… ~ Los Angeles Times (August
3, 1979)
Lane Davies as Henry was attractive both as soldier and lover. ~ Shakespeare Quarter (Summer 1980)
Macbeth
Lane Davies, a commanding presence, is entirely convincing in the title role of Shakespeare's
bloodstained usurper. Where many actors commit early to an interpretation of Macbeth as either a
thoroughly black heart or a valiant soldier undone by lust and ambition, Davies maintains a deep-
seated ambivalence. Although the witches' evil prophesies strike a resonant chord in him, this
Macbeth's lingering vacillation is born not of weakness but of loyalty divided between his own self-
interest and his King (stately Robert Nairn, who also strikes a comic note as a befuddled Doctor). The
choice adds intriguing complexity and, in combination with Davies' assured delivery, serves the text
well. ~ Los Angeles Times
...a strong performance in the leading role. Davies is an interior as Hamlet, at moments as disjointed a
Lear in his interpretation, without bluster, without a patina of theatricality with which some Macbeth's
hide a lack of depth. It is an honest portrayal modern in its delineation of character and totally
absorbing in its detail...Lane delivers stirring portrayal. ~ Drama Logue
Lane Davies has developed an expertly defined and fully sustained characterization, and displays a
well-trained vocal ability that reveals every subtlety of the marvelous dialogue. ~ The Hollywood
Reporter
...this 'Macbeth' seems to go out of its way to emphasize the human over the supernatural. Blood flows
profusely, warriors die in great pain and the broadswords clank with real fury (Joseph Della Sorte was
the fight director).
Lane Davies' Macbeth completes the strategy, revealing a man who knows he's going straight to hell
and having no clue what to do about it. ~ Los Angeles Times (''Macbeth at Globe,' October 30, 1987)
Tragedy, like comedy, can be a waterslide, as heroes and heroines climb into the chute that fate has
slicked for them and go spiraling down into the maelstrom of their own ambitions. This Stephen Hollis
staging provides that nightmare ride, with Lane Davies and Stephanie Kallos as Macbeth and Lady
Macbeth leading the cast with performances of crackling intelligence...
The leads have worked out full performance arcs. Mr. Davies has a chilling, reckless little laugh,
Hamletlike, mocking his dance on the string of the mocking gods. Ms. Kallos complements him with a
mounting pressure of desperation that - in her sleepwalking scene - finally shatters into shards of
madness. ~ The Atlanta Journal Constitution (Oglethorpe's `Macbeth' turns field tent into eery barrens
of medieval Scotland, July 4, 1990)
Heading the cast is Lane Davies local favorite and co-artistic director of the festival. Davies brings
obvious training and a natural gift to a demanding role. His is an attractive Macbeth dashing in a kilt
and threatening in armor lusty in love and arrogant in ambition.
Davies excels with most of the famous scenes and monologues but uncharacteristically rushes through
the famous dagger soliloquy. An over long intermission breaks the flow of the play and seems to sap
Davies energy. However he recovers in time to soar with the tomorrow and tomorrow and tomorrow
speech that follows the death of his co-conspirator and wife. ~ Ventura County Star (CLU becomes
'sticking-place' for Shakespeare, July 2, 1999)
Mack and Mabel
Kudos for Robert Machray's Fatty Arbuckle and Lane Davies as the oily Taylor. ~ Los Angeles Times
(Music of a Silent-Era Love Affair In reworked, more upbeat 'Mack & Mabel,' the score is still more
charming than the words, November 10, 2000)
Plotline of "Mack and Mabel" follows a tried and true pattern of musical biographies -- boy and girl fall in
love, break up and come together for an upbeat fadeout. Mark Sennett, famous for silent two-reelers
featuring the Keystone Kops, thought is an atypical hero; he's angry, impatient and egotistical, yet in
love with the star he created, Mabel Normand (Jane Krakowski), and he can't bring himself to say it.
Crushed by his emotional coldness and infidelity, Mabel takes up with director William Desmond Taylor
(Lane Davies), and becomes involved in drugs and scandal.
Performances by Lenny Wolpe as a bottom-line businessman, Robert Machray as Fatty Arbuckle,
Davies as William Desmond Taylor and Chad Borden as Frank Capra have authenticity and dimension.
~ Variety (November 10, 2000)
Man of La Mancha
Handsome Lane Davies, who plays Don Quixote, adds an impressive note to his recognition for
performances in "Music Man," (Harold Hill); Higgins in "My Fair Lady;" Starbuck in "The Rainmaker,
and a number of other productions in Georgia and Tennessee.
...Set and costuming show a great deal of imagination as the musical unfolds a double portrait of
Cervantes and his noble creation, Don Quixote. The youthful cast (ages range from 17 to 26) come
from all over the country. ~ Journal News, Hamilton, Ohio: August 15, 1973
Lane Davies plays Cervantes with courtly cool and Quixote with courtly passion, registering the
difference between the two characters with subtle gestures that can be appreciated from anywhere
inside the tent. His voice is everything it ought to be. ~ Los Angeles Times (`Man of La Mancha' in a
Tent Proves to Be a Possible Dream; Jun 22, 1989)
This revival brings back the three exceptional stars of the 1989 version in fine form. Lane Davies, also
the artistic director of the company, plays Cervantes with wry resignation and Quixote with winning
naivete. Eileen Barnett makes us see and hear both Aldonza the wench and Dulcinea the angel. Jerry
Winsett's a model Sancho.
Except for a few fuzzy lyrics, the supporting cast is also strong, under the direction of Bruce French.
The amplified volume of Carol Weiss' five-piece backstage orchestra isn't always well-balanced or
perfectly coordinated with the singers. But generally, this "La Mancha"-and this theater-are a welcome
addition to the theatrical landscape. ~ Los Angeles Times
Merry Wives of Windsor
I must admit that, when I see any play, I make a point of deciphering which actor or actress is the play's
weakest link. With Merry Wives, I couldn't find one. All of the performances, from the wives and their
husbands to the hilarious servants and the tiny fairies, were by strong, engaging players. ~ Ventura
County Star
Much Ado About Nothing
Lane Davies, the Georgia-born star of daytime TV's "Santa Barbara," is a handsome and assured
Benedick, who's more the urbane dry wit and less the clever clown that's usually portrayed. Davies has
a worthy foil in Stephanie Kallos as a sophisticated brunette with a self-satisfied demeanor that dares
anyone to attempt to get her goat. ~ The Atlanta Constitution ('Festival's version of `Much Ado' updates
the witty tale of love.' July 22, 1987)
Of Mice and Men
As Slim, the acknowledged leader of the ranch hands, professional actor Lane Davies has turned what
could have been a stock character into an interesting, dimensional person. Possessed of a
commanding voice, Davies is a virile, firm force on the stage. ~ Daily News of Los Angeles
(STEINBECK'S 'OF MICE AND MEN' A DRAMATIC ADDITION TO MOORPARK, February 20, 1989)
Richard III
The real-life British monarch's reputation may have been somewhat rehabilitated by scholars since
Shakespeare's time, but Lane Davies' interpretation is thankfully free of redeeming qualities that would
only diminish one of the most perfectly realized and forward-looking villains Shakespeare created.In
contrast with the most familiar film portrayals (Laurence Olivier's reptilian misanthrope or Ian McKellen's
power-hungry fascist), Davies presents the black sheep of the House of York as a creature who
delights in villainy for its own sake. Clad in his stovepipe hat and black Victorian garments, his
soliloquies garishly lighted from foot lamps below, Davies gives us Richard-as-Snidely Whiplash.
As Richard eliminates everyone who stands in his way to the throne, the more outrageous his behavior,
the greater his glee. Davies especially shines when wooing the widow (Jane Longenecker) of Richard's
slain rival beside her husband's corpse, pitting his brother King Edward (Richard Winterstein) against
his other brother (Allan Hunt), and enlisting a hapless assassin (Dale Adrion) to murder his princely
nephew (Joe Walker).
Richard's hump and withered arm do little to undercut Davies' tall, imperious bearing; despite his
deformity, this is still a man of royal birth. Even at his most nefarious, Davies' portrayal retains a sly,
mischievous edge that never fails to engage. ~ The Los Angeles Times
What the play needs is a convincing Richard, and Lane Davies presents him in all his diabolic
obsessions. Richard, always portrayed as somewhat deformed with a soul to match, is a villain who
constantly explains himself, from his first famous words, "Now is the winter of our discontent," to his
death. He can twist any circumstance to his cause and any person to his will through a combination of
devious reasoning and subtle but convincing threats.
Davies, a longtime Kingsmen Shakespeare Company stalwart, has played his share of villains in a
busy career on stage and TV, but Richard plumbs the depths of villainy. The actor meets the challenge
not only in exuding ill-will, but also in the glee he takes as his machinations topple each obstacle to the
throne.
The stage on California Lutheran University's grounds is set up with a front-and-center boxed light that
casts a ghastly glow from floor level at Richard for each of his intimate plot concoctions or
rationalizations. Director Combs and Davies have wisely chosen to minimize Richard's physical
distortion while maximizing his psychological ones. Some historians believe the former, at least, were
exaggerated in early chronicles by authors favoring the line of succession Richard disrupted. ~ Ventura
County Star
Romeo and Juliet
The support work is lustrous…Lane Davies makes Juliet’s cousin Tybalt the essence of the cold,
superb Renaissance blade, who dies by the blade. ~ Los Angeles Times (June 17, 1980)
Lane Davies was a handsome, unsmiling Tybalt who moved beautifully, deserving the title “king of
cats” that Mercutio sardonically gave him. ~ Shakespeare Quarterly (Summer 1980)
Escalus, the town authority, is commandingly portrayed by Lane Davies ~ The Ventura County Star (A
truly passionate 'Romeo,' July 7, 2000)
One of the most standout actors is Lane Davies. I noticed the musicality of his voice and his complete
devotion to his character before I was told that he is a famous, very accomplished actor. Davies has
starred in soap operas like "General Hospital" and "Santa Barbera," and has also appeared in
television shows such as "Scrubs" and "Seinfeld."
His role as Capulet is memorable, even though his character does not have as many lines as others.
The aforementioned potential of this play to be stale was shot down as soon as Davies opened his
mouth. ~ The Sidelines Online (A Rose By Any Other Name, November 5, 2007)
Rosencrantz and Guildenstern are Dead
As Rosencrantz (who has a hard time remembering he isn’t Guildenstern), Lane Davies has the sly
naiveté of the character under control, and with his youthful, sculptured face, he certainly could be this
slightly dim nobleperson with a university education. ~ Los Angeles times (December 7, 1978)
Taming of the Shrew
Essential to the success of this "Shrew" are the performances by former Georgian Lane Davies (of
NBC-TV's "Santa Barbara") as the bachelor Petruchio, and Atlanta actress Megan McFarland (of the
local "Della's Diner" comedies) in the role of "intolerable curst" Kate. The duo generates a chemistry
that promises to gain intensity as the run of the show continues.
In "taming" his reluctant bride by depriving her of food and sleep, Davies shows us that Petruchio isn't
really a sexist pig. He's not trying to break Kate's spirit. Instead, he wants to whittle away her resistance
to loving him, and make it easier for him to love her.
Davies' Petruchio is singleminded, unscrupulous and handsome - the opening-night audience "oohed"
and "ahhed" when he made his first entrance. His classically trained voice is riveting. He's also funny,
as seen in his acrobatic meeting with Kate - they galumph across the stage in a tangle. However, he
did rush a speech about how Petruchio plans to woo her. ~ The Atlanta Constitution ('Lane Davies
tames shrew and festival audience,' July 15, 1986)
In the acting department, the festival was fortunate enough to attract a number of Atlanta's best Equity
(union) and non-Equity actors, as well as Lane Davies, a former Georgia actor now working in Los
Angeles. Yet, all was not well with some performances.
"Shrew" rates a thumbs up. Davies, as the bachelor Petruchio, is a joy to watch. He's a highly
experienced Shakespearean actor. (In fact, he had just played the title role in a successful "Hamlet" in
Los Angeles before coming here. Other credits include "Twelfth Night" at Atlanta's Alliance Theatre.)
Davies' voice is riveting. Nor can the eye ignore him. As if in testament, the two women sitting behind
me delivered a play-by-play every bit as thorough as Skip Caray announcing a Braves game. She, like
Davies, handles physical comedy beautifully. Other cast members deliver good performances as well. ~
The Atlanta Constitution ('A Shakespeare festival worth keeping, nurturing,' August 3, 1986)
Director Allan Hunt has provided us with a mesmerizing Petruchio (Lane Davies) and an explosive
Katharina (Ruth Cordell). These two dominate so powerfully they take the production by storm. ...
Davies has natural warmth, and this quality keeps him sympathetic even when his actions seem harsh
and severe. In the hands of lesser actors, Petruchio can be tyrannical, boorish, even hateful. Davies
lets you know he truly cares about Kate as a person. You never doubt he'll become a considerate and
loving husband if Kate can overcome her antagonism and terror of being possessed...
The powerful performances of Lane Davies and Ruth Cordell dominate Kingsmen Shakespeare
Company's production of "Taming of the Shrew." ~ The Ventura County Star (A 'Shrew' you'll never
forget, July 21, 2000)
Bringing "The Taming of the Shrew" into the Old West while retaining Shakespeare's language is
pointless except as a diversion- -and maybe to illustrate how much "Annie Get Your Gun" owes to the
play.
But Friday night, the diversion worked very well, with Kingsmen co-artistic director Lane Davies a
dashing Petruchio, and the sight of Ruth Cordell's spunky Kate, swaggering onstage armed with a
bullwhip (and not afraid to use it), almost justifying the concept in its own right. ~ Los Angeles Times
(New versions of productions based on Shakespearean tales work well and are entertaining, July 20,
2000)
The Merchant of Venice
The cast members—a rare mix of younger apprentices and longtime pros comfortable with the Bard’s
marvelous language—are a joy to watch. Chief among them is Lane Davies as a cigar-smoking,
yarmulke-topped Shylock, sharply fitted in a pinstriped business suit. His characterization is coolly
assured, intent on avoiding the stereotypical pitfalls of the famous “Hath not a Jew eyes” speech. His
performance is strong and consistent, and by the time Shylock’s machinations have turned sour at play’
s end, we are equally struck by his questionable honor and the bigotry he’s had to endure. ~ Nashville
Scene (All the Stage’s a World: New performance space enhances Mark Cabus’ fine take on the Bard
New versions of productions based on Shakespearean tales work well and are entertaining, October
18, 2007)
The Tempest
Davies' Prospero effectively projects virtue, intelligence and shrewdness, providing a strong center. ~
The Ventura County Star (Kingsmen delivers riveting 'Tempest,' July 4, 2002
Two Gentlemen of Verona
…but you’ll love Feldshuh as a cynical Romanian Gypsy named Luzetta and Kim Bennett as the
drollest Cowardly Lion since Bert Lahr. (The two gents are fine, too—[Lane] Davies and Tom
Stechschulte.) ~ Los Angeles Times (June 17, 1980)
By the play’s end, Proteus [Lane Davies] had given indications that he had made his last change. At
this line, “O heaven were man / But constant, he were perfect,” the audience dissolved in laughter. ~
Shakespeare Quarterly (Summer 1980)