Nancy Meckler News

The world premiere of a brand-new, one-man musical will be the first musical to be performed in Southwark Playhouse's Little space.

Michael Rouse stars in the world premiere of the one-man musical, SUPERHERO, which is the first musical to play in Southwark Playhouse's Little space. Below, watch Rouse sing 'You Got Me' from the show!

Michael Rouse stars in the world premiere of the one-man musical, SUPERHERO, which is the first musical to play in Southwark Playhouse's Little space. Below, watch Rouse sing 'You Got Me' from the show!

It is unusual for a director to become a performer. Patrick Sandford does so at the age of 65 to perform his solo show GROOMED, a play that was 50 years in the writing.

Artistic Director Conrad Lynch today announces the ensemble for the Theatre by the Lake's Summer Season - the first time the theatre has featured two-companies. They will perform over 5 productions in rep - After the Dance, As You Like It, Miss Julie, Handbagged and Remarkable Invisible - in both the theatre's spaces.

Dance reveals its powerful theatricality as The Music Center, L.A.'s performing arts destination, welcomes Scottish Ballet on May 19 - 21, 2017 as part of the Glorya Kaufman Presents Dance at The Music Center 2016-2017 season.

Mile Square Theatre, Hudson County's leading professional theatre, presents Harold Pinter's Betrayal.

The world premiere of a brand-new, one-man musical will be the first musical to be performed in Southwark Playhouse's Little space.

???????Darkly humorous and charged with emotion, Betrayal explores marriage and infidelity among the entangled trio of Robert, Emma, and Jerry. Robert and Jerry are best friends and partners in a publishing firm.

Print Room at the Coronet has today announced further details for Out of Blixen and Babette's Feast, two productions that will run consecutively, putting a spotlight on the fascinating life and writing of Karen Blixen.

Shakespeare's Globe is delighted to announce Emma Rice's 2017 summer season, the Summer of Love, marking the 50th anniversary of the summer of 1967.

The Globe has announced that Emma Rice will be stepping down as Artistic Director in April 2018, two years after her tenure began. In a statement, CEO Neil Constable said: 'Emma's mould-breaking work has brought our theatre new and diverse audiences, won huge creative and critical acclaim, and achieved exceptionally strong box office returns. In breaking the mould, this latest season has generated productive debate concerning the purpose and theatrical practice of the Globe, in relation to the use of sound and lighting technology within our theatre spaces. Following much deliberation and discussion, the Globe Board has concluded that from April 2018, the theatre programming should be structured around 'shared light' productions without designed sound and light rigging, which characterised a large body of The Globe's work prior to Emma's appointment. 

The UK premiere of punkplay by Gregory S. Moss at Southwark Playhouse is a riot of a play told at breakneck pace with a killer soundtrack, a coming-of-age story about subcultures, friendship and not-fitting-in - all on rollerskates!

Full casting and the creative team are announced today for the UK premiere of punkplay at Southwark Playhouse.

Gregory S. Moss's PUNKPLAY is a riot of a play told at breakneck pace with a killer soundtrack. It's a coming-of-age story about subcultures, friendship and not fitting in – all on roller skates. The play receives its UK premiere at Southwark Playhouse this autumn (September 7 to October 1), directed by Tom Hughes.

Reinforcing the role of The Music Center as a major hub for dance in Los Angeles, The Music Center's powerful new dance season will engage both dance lovers and those new to the art form by challenging preconceived notions of classical ballet and exploring the realm of contemporary expression. The 2016-2017 season of Glorya Kaufman Presents Dance at The Music Center (Dance at The Music Center) will provide the platform for some of the finest U.S. dance companies and artists along with internationally renowned companies who are among the most requested by Music Center audiences. This coming season opens with Celebrate Forsythe (October 21-23, 2016) as three American ballet companies - San Francisco Ballet, Pacific Northwest Ballet and Houston Ballet - perform in one program in a never-before-seen approach to salute one of America's top choreographers, William Forsythe. The season continues with the distinctive contemporary work of Jessica Lang Dance (February 17-19, 2017); the return of the much-in-demand Alvin Ailey American Dance Theater (March 8-12, 2017); the west coast premiere of Scottish Ballet's A Streetcar Named Desire (May 19-21, 2017); Eifman Ballet of St. Petersburg's exploration of the passions of Tchaikovsky (June 23-25, 2017); and an original program curated by New York City principal ballerina Tiler Peck with the return of The Music Center's BalletNow (July 28-30, 2017). A number of the engagements will be integrated with arts education programs including high school performances and teacher workshops. Center Dance Arts is the founding supporter of Glorya Kaufman Presents Dance at The Music Center.

This Is Not A Drill takes us on a darkly funny and highly theatrical journey across Outer and Inner Space, cyber landscapes and the kitchen floor.

The Ustinov Studio, Bath is delighted to announce the UK premiere of Georges Feydeau's THE ONE THAT GOT AWAY as part of its autumn 2015 season, translated by Kenneth McLeish and directed by the Ustinov Studio's Artistic Director, Laurence Boswell.

In a production commissioned by the Finborough Theatre, a unique opportunity to see a classic of Yiddish theatre for the first time in the UK - Treasure by David Pinski opens at the Finborough Theatre for a four week limited season on Tuesday, 20 October 2015 (Press Nights: Thursday, 22 October and Friday, 23 October 2015 at 7.30pm).

The Scottish Ballet performed A Streetcar Named Desire as a ballet at the Kennedy Center on Thursday, May 29th.  On its face, this is a ridiculous statement.  How could a foreign company perform the iconic American story by Tennessee Williams, much less translate it into pure movement?  However, the production was extremely well conceived and magnificently executed in libretto, design, and dance.