A.E. Hotchner News

Theatre Seven of Chicago, recipient of the 2012 Emerging Theater Award, kicks off its 2012/13 Season with the professional world premiere of AMERICAN STORM, by Carter W. Lewis, directed by Artistic Director Brian Golden, playing tonight, November 16 - December 16, 2012 at the Greenhouse Theater Center Upstairs Studio, 2257 N. Lincoln Ave. in Chicago.

Theatre Seven of Chicago, recipient of the 2012 Emerging Theater Award, kicks off its 2012/13 Season with the professional world premiere of AMERICAN STORM, by Carter W. Lewis, directed by Artistic Director Brian Golden, playing November 16 - December 16, 2012 at the Greenhouse Theater Center Upstairs Studio, 2257 N. Lincoln Ave. in Chicago.

Theatre Seven of Chicago kicks off its 2012/13 Season with the professional world premiere of AMERICAN STORM, by Carter Lewis, directed by Artistic Director Brian Golden, playing November 16 - December 16, 2012 at the Greenhouse Theater Center Upstairs Studio, 2257 N. Lincoln Ave., Chicago.

Theatre Seven of Chicago, recipient of the 2012 Emerging Theater Award, is pleased to kick off its 2012/13 Season with the professional world premiere of AMERICAN STORM, by Carter Lewis, directed by Artistic Director Brian Golden, playing November 16 - December 16, 2012 at the Greenhouse Theater Center Upstairs Studio, 2257 N. Lincoln Ave. in Chicago.

Theatre Seven of Chicago, recipient of the 2012 Emerging Theater Award, has announced its full 2012/13 Season: AMERICAN STORM by Carter Lewis, directed by Artistic Director Brian Golden at the Greenhouse Theater Center; BLACKTOP SKY by Christina Anderson, directed by Cassy Sanders, presented as part of Steppenwolf Theatre Company's 4th annual Garage Rep in The Steppenwolf Garage; JOHNNY by Artistic Director Brian Golden at the Greenhouse Theater Center; and UNWILLING AND HOSTILE INSTRUMENTS: 100 Years of Extraordinary Chicago Women, a collection of seven new plays by some of the industry's most talented playwrights and directors.

This month, the university's Performing Arts Department (PAD) in Arts & Sciences will present the world premiere of Chris Kammerer's THE STROKE SCRIPTURES in the A.E. Hotchner Studio Theatre. Performances take place at 8 p.m. Thursday, Friday and Saturday, April 28, 29 and 30; and at 2 p.m. Saturday and Sunday, April 30 and May 1. Tickets are $15, or $10 for students, seniors and Washington University faculty and staff, and are available through the Edison Theatre Box Office and all MetroTix outlets.

This month, the university's Performing Arts Department (PAD) in Arts & Sciences will present the world premiere of Chris Kammerer's THE STROKE SCRIPTURES in the A.E. Hotchner Studio Theatre. Performances take place at 8 p.m. Thursday, Friday and Saturday, April 28, 29 and 30; and at 2 p.m. Saturday and Sunday, April 30 and May 1. Tickets are $15, or $10 for students, seniors and Washington University faculty and staff, and are available through the Edison Theatre Box Office and all MetroTix outlets.

This month, the university's Performing Arts Department (PAD) in Arts & Sciences will present the world premiere of Chris Kammerer's THE STROKE SCRIPTURES in the A.E. Hotchner Studio Theatre. Performances take place at 8 p.m. Thursday, Friday and Saturday, April 28, 29 and 30; and at 2 p.m. Saturday and Sunday, April 30 and May 1. Tickets are $15, or $10 for students, seniors and Washington University faculty and staff, and are available through the Edison Theatre Box Office and all MetroTix outlets.

Next month, Washington University's Performing Arts Department (PAD) in Arts & Sciences will present ECLIPSED for six performances in the A.E. Hotchner Studio Theatre. It is perhaps the unlikeliest community imaginable, and daunting territory for any dramatist. Yet ECLIPSED, a recent work by acclaimed actress and playwright Danai Gurira, is at once sharp-edged, humanizing and surprisingly funny - a portrait of resilience in even the most difficult of circumstances.

Next month, Washington University's Performing Arts Department (PAD) in Arts & Sciences will present ECLIPSED for six performances in the A.E. Hotchner Studio Theatre. It is perhaps the unlikeliest community imaginable, and daunting territory for any dramatist. Yet ECLIPSED, a recent work by acclaimed actress and playwright Danai Gurira, is at once sharp-edged, humanizing and surprisingly funny - a portrait of resilience in even the most difficult of circumstances.

Next month, Washington University's Performing Arts Department (PAD) in Arts & Sciences will present ECLIPSED for six performances in the A.E. Hotchner Studio Theatre. It is perhaps the unlikeliest community imaginable, and daunting territory for any dramatist. Yet ECLIPSED, a recent work by acclaimed actress and playwright Danai Gurira, is at once sharp-edged, humanizing and surprisingly funny - a portrait of resilience in even the most difficult of circumstances.

The American dream is a fragile thing. Just ask the Tate family, a bickering, dysfunctional clan struggling to retain its dilapidated farmhouse on the edge of an unforgiving Western desert. Welcome to CURSE OF THE STARVING CLASS, Sam Shepard's bitterly funny - and disturbingly prescient - family drama. This month, Washington University's Performing Arts Department (PAD) in Arts & Sciences will present the play for five performances in the A.E. Hotchner Studio Theatre.

The American dream is a fragile thing. Just ask the Tate family, a bickering, dysfunctional clan struggling to retain its dilapidated farmhouse on the edge of an unforgiving Western desert. Welcome to CURSE OF THE STARVING CLASS, Sam Shepard's bitterly funny - and disturbingly prescient - family drama. This month, Washington University's Performing Arts Department (PAD) in Arts & Sciences will present the play for five performances in the A.E. Hotchner Studio Theatre.

The American dream is a fragile thing. Just ask the Tate family, a bickering, dysfunctional clan struggling to retain its dilapidated farmhouse on the edge of an unforgiving Western desert. Welcome to CURSE OF THE STARVING CLASS, Sam Shepard's bitterly funny - and disturbingly prescient - family drama. This month, Washington University's Performing Arts Department (PAD) in Arts & Sciences will present the play for five performances in the A.E. Hotchner Studio Theatre.

Subtitled The Re-Education of Undine, FABULATION centers on a self-made public relations diva who organizes celebrity parties and otherwise caters 'to the vanity and confusion of the African-American nouveau riche elite.' Yet Undine's world comes crashing down when Herve, her handsome Argentine husband, absconds with her savings, leaving her pregnant and penniless. With nowhere else to go, Undine returns to her childhood home, the Walt Whitman housing project in Brooklyn, and rejoins the working-class family she abandoned 14 years before.

ON THE VERGE opens in 1888, as the three adventurers - Fanny along with Mary and Alexandra - make landfall 'somewhere east of Australia and west of Peru.' Refusing Sherpas, bearers or other native guides, they brave the hills and jungles of 'Terra Incognita' with only the most essential items, including machetes, rope, umbrellas, butterfly nets, watercolors, peacock feathers, lemon drops and a rhinestone tiara for official meetings with local poobahs.

Set amidst a Kafkaesque police state, THE PILLOWMAN opens in a stark interrogation room, where the adult Katurian - a slaughterhouse worker beginning to find recognition as a writer of gruesome fairy tales - sits blindfolded, his brother Michal in the adjoining room. Their interrogators, the outrageously profane good-cop-bad-cop duo of Tupolski and Ariel, suspect that Katurian's stories may not be entirely fiction. And in fact, they do bear remarkable resemblance to a series of grisly child murders that the detectives are currently investigating.

Set amidst a Kafkaesque police state, THE PILLOWMAN opens in a stark interrogation room, where the adult Katurian - a slaughterhouse worker beginning to find recognition as a writer of gruesome fairy tales - sits blindfolded, his brother Michal in the adjoining room. Their interrogators, the outrageously profane good-cop-bad-cop duo of Tupolski and Ariel, suspect that Katurian's stories may not be entirely fiction. And in fact, they do bear remarkable resemblance to a series of grisly child murders that the detectives are currently investigating.