The phrase “tour de force” is overused, but it is an apt description of Jacob Ming-Trent’s performance in “How Shakespeare Saved My Life.” His autobiographical solo performance showcases his striking passion for acting, for comedy, for Shakespeare, and his marvelous talent for connecting with audiences.
In Berkeley Rep’s 95-minute world premiere, Ming-Trent reveals how he overcame his unloved childhood and wayward youth and, through strength of character, realized his dream of becoming a Shakespearean actor. We follow his unhappy young life as a young Black boy in Pittsburgh, with a drug-addicted but sometimes kind father and an unloving mother who kicked Jacob out of her house when he was in high school. But he found his way to New York City to become an actor. It wasn’t an easy road, and the twists and turns are alternatively heartbreaking and hilarious.
Interestingly, Ming-Trent reveals that, even as a homeless young man, he identified himself as a “Shakespearean actor.” When he was floundering, lacking a place to call home and loving parents, he still had Shakespeare. It was something about the language and poetry and the iambic rhythms that kept him centered when all else abandoned him. He likens Shakespeare’s rhythms and artistry to those of recent poets and artists, such as Biggie, Tupac, and Basquiat.
We meet, through Ming-Trent’s remarkable gift for mimicry, the people he met along the way: his parents, his football coach (who’s also his English teacher), rappers, drag queens, casting agents, a grandmother, and street gang homeys. Most underestimated and pre-judged him. “You should play Othello! You should play Othello!” becomes a funny call-and-response bit that the audience shouts at Ming-Trent’s cue.
Ming-Trent captures the audience by calling us his “Congregation” and using church-like call-and-response techniques that keep us continually engaged and on his side. It is only toward the end of the production that the fascinating story wanes and begins to drag a bit. It’s hard to create as exciting an ending when, despite his successes, Ming-Trent is still a wonderful work in progress.
Tony Taccone’s excellent direction (he’s Berkeley Rep’s former artistic director) keeps the right balance between humor and pathos. The outstanding sound, lighting, and set designs also greatly enhance the production’s professionalism.
A co-production with the Folger Theatre in Washington, D.C., and the Red Bull Theater in New York City, “How Shakespeare Saved My Life” is live theater at its best, nothing you can fully experience through streaming, film, or any other art form.
By Emily S. Mendel
© Emily S. Mendel 2026 All Rights Reserved
