Mark Cartier

Theater at Monmouth's Brave New Worlds Season continues with An Iliad adapted by Lisa Peterson and Denis O'Hare, based on Homer's The Iliad translated by Robert Fagles.

Theater at Monmouth's 2018 Summer Repertory Season continues with William Shakespeare's Twelfth Night.  In this irresistible romantic comedy of mistaken identity, concealed truth, and comic revelation, the party rages, the laughter flows, and the festive music plays on. The revelry begins Thursday, July 5th at 7:30 p.m. and continues throughout the season including matinee and evening performances on both weekdays and weekends.

Ocean State Theatre Company Artistic Director Amiee Turner introduced Friday night's production of INHERIT THE WIND by saying that she was somewhat surprised and saddened that a play about what's appropriate to teach in public schools, written in 1955 but based on events of the 1920's, is still so timely today.  Indeed, this script may be a Baby Boomer, but this production isn't showing its age at all, and is scarily relevant.  One of the biggest tells of an older play is often the length, and this script may have been edited down a bit, but the pacing is absolutely perfect.  Director Fred Sullivan Jr. fills the moments of brief set changes with appropriate moments of song, which may seem like an odd choice for a play of this nature, but it works perfectly.  Some of the songs are in the original script, but a few seem to have been added for this show. The songs also give the actors a chance to trot out their vocal chops including men singing in four part harmony, and violin and ukulele performances.

Ocean State Theatre Company (OSTC), currently celebrating its fifth season in its comfortable stadium-style theatre in Warwick, presents Jerome Lawrence and Robert Edwin Lee's Tony Award-winning play, Inherit the Wind, which will run at Ocean State Theatre from March 29 - April 16.

The Theater at Monmouth's new production of Pierre de Beaumarchais' delightful, provocative 18th century comedy, The Barber of Seville, (in translation by Elizabeth Griffith) sparkles not only with saucy wit, but also with a striking modernity. The first play from the French master's Figaro trilogy is a comedy of manners about marriage with the underlying theme - embodied in the wily Figaro - of class conflict. And though the historical context is Enlightenment France, Rosine's quest for self-determination and love and Figaro's cheerfully impudent challenging of a hierarchical society ring with relevance.

One of Shakespeare's best-loved history plays, Henry V, opened Friday July 23 at Maine's Theater at Monmouth in a stylish and stirring performance directed by Mark Mineart. Trimmed to a little over two hours, the production, nonetheless, keeps the architecture of the masterpiece and all the most famous speeches, and performed as it is by a strong ensemble, it achieves an immediacy and truthfulness.

William Shakespeare's HENRY V opens at the Theater at Monmouth Today, July 22nd at 7:30 p.m.

Tony Kushner's most joyfully theatrical play, The Illusion, freely adapted from Pierre Corneille's original opens Friday, July 29th at 7:30 p.m. at the Theater at Monmouth. An anxious father seeks to reunite with his estranged son and enlists the services of a powerful sorcerer. Visions reveal the romantic, adventurous, and perilous life the son has been leading-but may not be as they seem. This wildly entertaining tale of passion and regret, of love, disillusionment and magic runs through August 19th.

William Shakespeare's HENRY V opens at the Theater at Monmouth Friday, July 22nd at 7:30 p.m.

Shakespeare's Battle of the Sexes comedy, LOVE'S LABOUR'S LOST, opens at Theater at Monmouth tonight, July 8th at 7:30 p.m.

Shakespeare's Battle of the Sexes comedy, LOVE'S LABOUR'S LOST, opens at Theater at Monmouth Friday, July 8th at 7:30 p.m.

The San Diego Film Festival, produced by the San Diego Film Foundation, announced today that submissions are now being accepted for the Qualcomm Ultra HD 4K Mobile Challenge, a digital film competition to showcase the capabilities of the technology.

There is guilt and sin aplenty, but little redeeming about 'The Scarlet Letter'