conquering the canon
Written by Michael Hagins; Directed by Melissa Meli
UNDER St. Marks | 94 St Marks Pl, New York, NY 10009
November 13, 2025
It was a very quiet theatre tonight, and that felt fitting because Conquering the Canon is, at its heart, a piece about validation. I think that is why so many of us get involved in theatre in the first place. When you find a playwright who writes your thoughts, your feelings, your very being, it is pure magic. And I completely understand why someone would feel compelled to conquer the canon. Shakespeare writes for all of us, and over 400 years later his words still slip into our everyday speech. You do not need to be in a Shakespeare play to speak Shakespeare. The language is already woven into our vernacular. How lucky are we that we did not have to invent these words. They were gifted to us centuries ago.
But what Conquering the Canon is really about is Michael Hagins’ personal journey with Shakespeare, how Shakespeare shaped his life, helped him navigate difficult moments, and became a constant companion. As someone whose first college show was a non-speaking role in Twelfth Night, I understand that transformative moment when you fall in love with Shakespeare in a way that alters the course of your life. I have been fortunate to produce, direct, and act in many of his plays, and like any actor who gets to tackle their dream roles, I feel incredibly grateful. Getting to play Mariah was a dream for me, so I identify deeply with Hagins when he talks about the roles he landed, the roles he never expected, and the roles that surprised him.
When he reached the age of 39 years and four months, he realized he had performed, directed, and crafted the fight choreography for 32 of the 40 plays in the canon, leaving eight shows to produce within eight months. As theatre-makers, we think beyond the box. We know we do not need elaborate sets or perfect circumstances, especially as indie artists. Sometimes all you need is a corner, a parking lot, a friend’s living room, or a simple rehearsal room where you can do readings, try things out, and keep your muscles warm. You make your own opportunities because that is how dreams happen. Hagins made it happen by his 40th birthday.
One of the most touching sections of the show was when Hagins spoke about his mentor, Luther, and his dear friend, Tony White. Luther served as a theatrical father figure who validated him, guided him, and offered him opportunities he may not otherwise have had. Tony White was his ride or die collaborator as they worked through so many productions together. Both men have passed, and their absence leaves a real hole. I know what that feels like. I also lost my mentor, the woman who believed in me in ways I never imagined possible. So we continue this work in their honor. We do not give up. We invest our time in creating art, creating space, building community, and giving others room to shine so we can all learn how to live and navigate life’s turns.
Through the loss of his parents, through heartbreaks and new loves, and eventually finding the woman who became his true partner, Hagins carries Shakespeare with him. All of it — the comedies, the tragedies, the histories, the romances, and even the problem plays — has shaped the way he moves through the world. Tonight I left the theatre feeling proud. Proud of people who go after their dreams, and proud of this community. Those of us who have been around a while keep showing up for one another again and again.
I have known Michael Hagins through the indie theatre community, and watching him grow and seeing the culmination of 17 years of work come together was absolutely exciting. That is what we do. That is the work.
Throughout his storytelling, he shares the shows he has taken on in every genre and category. The slideshow blending comic strips, clear plot snapshots, charts, and photos keeps us anchored, and the simple trunk onstage holds the props and costume pieces he pulls from as touchstones. Michael is well known as a fight choreographer, so it was wonderful to hear the histories behind the many pieces he helped shape.
A trusting and honest relationship with a director is crucial to telling a story authentically, and Melissa Meli’s direction reflected exactly that. She shaped the piece with care, creating a space where Michael’s story could unfold truthfully. Her staging was intentional and precise, and Adam Sherron’s lighting and sound design highlighted key moments as the performance moved seamlessly from scene to monologue to conversation. The collaboration was evident and deeply effective.
What moved me most were the monologues threaded through the piece from so many plays. It did not matter whether he had acted in them or not. It did not matter how they have been reinterpreted or reimagined. These monologues became a kind of connective tissue within his narrative. It was thoughtful, honest, and beautifully done.
The whole show left me inspired, thinking about my own forgotten goals and the dreams I might want to return to.
A truly great show.
Reviewed by Malini Singh McDonald.
Published by Theatre Beyond Broadway on November 13, 2025 All rights reserved.