ASHLAND, Ore. - Opening night of the Oregon Shakespeare Festival's (OSF) Allen Elizabethan Theater gave the audience exactly what they had come to see: great Shakespeare.

A stunningly simple set and superb acting left audiences at the end in a standing ovation, stomping their feet and shouting and whistling their pleasure with "Richard III." Northwest native, Spokane's Dan Donohue, led the cast with his commanding voice and canny body language to suggest the historic Richard III's twisted body. Like all actors at OSF, Donohue and his cast have mastered the diction and articulation of Shakespeare's language in the speaking manner taught at OSF. If you love the lyricism, the language and the drama of Shakespeare, "Richard III" is not to be missed.

For Steven Sondheim fans, seeing "Into the Woods" in the Elizabethan theater is a wonder. A full theater orchestra fit into the center structure of stage with Matt Goodrich commanding the grand piano. The action of the story utilizes traditional children's stories to teach the importance of trust and human relationships. "Little Red Riding Hood," "Jack and the Beanstalk," "Rapunzel," "Cinderella" and "The Baker and His Wife" all break down and combine their stories with clever staging and marvelous use of projections. This performance was the first time this reviewer had ever clearly heard all of the words of the songs, words of genius in rhyme and writing.

They are worth hearing:

"Into the woods - you have to grope,

But that's the way you learn to cope.

Into the woods to find there's hope

of getting through the journey."

The third opening in the Allen Elizabethan Theater is a reversal of the historic all-male performances of the Shakespeare plays. "Two Gentlemen of Verona" is one of his earliest plays. As the director, Sarah Rassussen states in her notes, "...[it] is about the adventure of finding yourself without losing your friends - a story true to the human experience, regardless of gender."

After the first few minutes, the audience forgot these were women actors portraying men. The voices, the gait, the costumes, all were about men. The actors gave strong and believable performances. Not Shakespeare's strongest work, it stands with OSF's best production values.

The Thomas Theater in Ashland is the smallest of the three OSF theaters. It was designed to change the audience seating based on the design of the play. It is sometimes in the round, set up like a basketball court or surrounding the thrust stage on three sides. It makes for a dynamic and intimate theater experience.

"Comedy of Errors" in the Thomas Theatre is set in Harlem of the late 1930s. Two sets of twins, lost family, rules of court all make for great comedy. The twist is the location. The payoff is in classic Shakespearian language delivered with a musical lilt of "Black patois" speech patterns. The strong cast uses the imaginative set and clever physical comedy to make the concept succeed.

Winner of the Pulitzer Prize for theater in 2012, "Water by the Spoonful" spares no emotions as it deals with contemporary issues of war, drugs and family struggles. A spare, yet utilitarian set is enhanced by multimedia projections and sound track. The second play of a trilogy by playwright Quiara Alegria Hudes, her play, "The Happiest Song Plays Last," completes the set in the OSF 2015 season.

Named after OSF's founder, the Angus Bowmer Theater is a perfect indoor setting. There is an immediacy between company and audience. There is no bad seat in the house.

"Cocoanuts" by George S. Kauffman, with music by Irving Berlin, has been adapted for OSF by Mark Bedard, who plays a wicked impression of Groucho Marx. The cast has mastered the Marx Brothers comic timing. You'd swear Brent Hinkley was the reincarnation of Harpo. This production is a clever, charming, funny 1920s fluff.

Madeline L'Engel's classic tale, "A Wrinkle in Time," satisfies those who grew up with her book as well as those new to the story of the nerdy Meg Murry and her family. Anchored in reality and flying with science fiction, this production will bring something to all ages. The lighting design by Rick Martin was stunning and wonderful. This play is lovely surprise, as in "How can they make a play out of that book?"

Ah, "The Tempest." This production is "...such stuff as dreams are made of." Often produced in a muddle of ideas, director Tony Toccone's vision has clarity, a narrative arc and visual brilliance. Kate Hurster as Ariel gives new nuance to the role. Wayne T. Carr's Caliban was real in his response to power and freedom. It was Denis Arndt's Prospero who was the problem. The realization of his character was on the spot. His transition from fury to forgiveness, believable. For the first time, an OSF actor did not project his voice. Much of his dialogue was lost in his soft projection. Even so "The Tempest" captured the audience.

On stage beginning July 23 is Robert Schenkan's sequel to last year's hit, "All the Way." Winner of the Tony Award for best drama and a Tony for Brian Cranston as best actor in a drama, "The Great Society" continues the saga of Lyndon Johnson's presidency into his second term. Many of the dates are already sold out based on the excitement of the Tony Award and of the excellence of the play.

Oregon Shakespeare Festival is unique in the world of theater: Fine theaters, talented producers and staging is just a part of the equation. The actors play in repertory. The actor in the lead at a matinee might play three or four ensemble rolls that night. The fabulous comedienne one night might be a roaring horror the next matinee. It is the depth of talent that is overwhelming.

This summer is a good time to experience OSF for yourself.

Info: www.osfashland.org or call the box office at (800) 219-8161