Kurt Kwan

Watch as Scene Shop Supervisor Jesse Delaney as he breaks down the complex build process happening in the scene shop for the History Plays: RICHARD II, HENRY IV and HENRY V at the Guthrie Theatre. 

Enjoy a first look into Shakespeare's History Plays and hear from Artistic Director Joseph Haj on the significance of this epic production and the chance to revisit rotating repertory. RICHARD II, HENRY IV and HENRY V make their historic return to the Guthrie stage for the first time in over 30 years beginning March 23.

Guthrie Theater will present a rotating repertory of Shakespeare's History Plays. Dive into the rich tapestry of historical dramas on stage.

Step into the A CHRISTMAS CAROL rehearsal room with choreographer Regina Peluso and hear how movement is used to infuse this timeless holiday tradition with joy and light. Watch the video here!

Rehearsals for the 49th production of Charles Dickens' A CHRISTMAS CAROL have officially begun. Watch video footage here!

The Guthrie Theater has revealed the cast and creative team for its 49th production of Charles Dickens’ A Christmas Carol, adapted by Lavina Jadhwani and directed by Addie Gorlin-Han, based on the original direction by Joseph Haj. Learn how to purchase tickets!

The Guthrie Theater has announced the casting for its 48th production of Charles Dickens’ A Christmas Carol, adapted by Lavina Jadhwani and directed by Joseph Haj. Matthew Saldivar (Guthrie: A Christmas Carol, The Royal Family, The Canterbury Tales) stars as Ebenezer Scrooge.

This week, A Christmas Carol dazzles its way back to the Guthrie. After co-directing Dickens' Holiday Classic, a film adaptation of A Christmas Carol during the 2020 holiday season, artistic director Joseph Haj is directing the 47th production of this classic at the Guthrie Theater.

The Guthrie Theater today announced casting for its 47th production of Charles Dickens’ A Christmas Carol, featuring a world-premiere adaptation by Chicago-based theatermaker Lavina Jadhwani, directed by Joseph Haj.

Theater M­u presents the TwentyPho Hour PlayFest, its first ever play festival featuring thirty theater artists creating brand new plays in under 24 hours.

AUBERGINE is, like its title, a quirky cross-cultural offering; like eggplant, it won't be to everyone's taste. It's a meditation circling around the ways food, family, memory, and mortality intertwine. Personally, I found it engaging though longer than it needs to be, at 2 hours and 10 minutes, including intermission.

Park Square Theatre opens its 2019-2020 Theatre Season on the Andy Boss Trust Stage with the area premiere of Aubergine (SEPT 20 a?" OCT 20, 2019) by Julia Cho, author of The Language Archive. Aubergine will be directed by Park Square's Artistic Director Flordelino Lagundino a?" his Park Square directing debut.

Tiger Style! by Mike Lew, an outrageous and cutting satire of Asian-American identity, completes Olney Theatre Center's 81st season in the Mulitz-Gudelsky Theatre Lab (July 17 - August 18, 2019). The production is directed by the boundary-pushing director Natsu Onoda Power, who recently pulled off the rare feat of winning two Helen Hayes Awards (one for direction, one for design) in a single evening. Invited press night is Saturday, July 20 at 7:45pm.

The Guthrie''s Proscenium Stage recently opened a production of The Great Leap, where playwright Lauren Yee envisions two basketball games between the United States and China through two university teams: San Francisco University (SFU) and Beijing University. One of the play's premises asserts that the SFU coach, Saul, claimed to the Beijing coach Wen Chang at the first 1971 game: "No Chinese team will ever beat a US. basketball team." 

Lauren Yee is a talented playwright, with an ear for fast dialogue and a knack for creating pithy lines that work on several levels. This skill is clear in the title of her cross-cultural play now on the big proscenium stage at the Guthrie, and also pops up periodically through the two-act show. While the piece traverses some promising thematic terrain, it is too choppy and a little too predictable to work fully.

Documentary-style theater is not a genre I am well-versed in. It very well may be that I have missed out on a preponderance of strong examples, but the only play that springs to mind readily is Moises Kaufman's The Laramie Project. Like that play, Stanton's we, the invisibles employs personal anecdote, newspaper articles, interviews and creative nonfiction devices to educate on and proliferate the significance of important social issues. In the case of invisibles, the anchor is the real-life alleged rape of a maid named Nafissatou Diallo by infamous former International Monetary Fund Leader Dominique Strauss-Kahn.

The Playwrights' Center's 45th anniversary season kicks off October 17 with PlayLabs, a week-long new play festival featuring Core Writers Christina Ham ('West of Central'), Susan Soon He Stanton ('we, the invisibles') and Ken Urban ('The Remains'). Tickets are free and can be reserved at pwcenter.org/playlabs.

Medea. Even if, like me, you've never seen or read the play, we all know the story of the mother who kills her children. Worst mother ever, right? But maybe, as they say on CRAZY EX-GIRLFRIEND, the situation is a bit more nuanced than that. Maybe there's more to the story, maybe other people in the story see it differently. Playwright Michael Elyanow (see also the beautiful play with music LULLABY) wanted to explore the story from the children's viewpoint. He writes in the playbill, 'I started writing THE CHILDREN as a response play where somebody does take action to defend those kids. In the writing, the piece revealed itself to be a fever dream, a time-traveling mystery, a fish-out-of-water comedy, a theatrical event with a perception shift in every scene until we get at what the play is ultimately, singularly about: trauma survival.' That's about as good of a description as I could imagine. THE CHILDREN is not an easy play to categorize, but it is a wonderful one to experience for 80 minutes. It'll challenge your perception of Medea, as well as your perception of time and space.

Since its founding in 1971, the Playwrights' Center has been imagining theater forward. For decades it has been one of the nation's most important organizations for developing new plays and launching the careers of playwrights.