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Amy Zipperer

Amy Zipperer is an award-winning playwright whose short plays have been produced across the United States and Canada. She currently teaches creative writing and theatre at Georgia Military College in Milledgeville, Georgia.



BWW Review: MAYBE HAPPY ENDING at Alliance Theatre PhotoBWW Review: MAYBE HAPPY ENDING at Alliance Theatre
Posted: Feb. 2, 2020

BWW Review: A GENTLEMAN'S GUIDE TO LOVE AND MURDER at City Springs Theatre PhotoBWW Review: A GENTLEMAN'S GUIDE TO LOVE AND MURDER at City Springs Theatre
Posted: Mar. 8, 2020

BWW Review: THE HOBBIT at Synchronicity Theatre PhotoBWW Review: THE HOBBIT at Synchronicity Theatre
Posted: Feb. 4, 2020

Posted: Dec. 22, 2019

BWW Review: WAR PAINT at Atlanta Lyric Theatre PhotoBWW Review: WAR PAINT at Atlanta Lyric Theatre
Posted: Aug. 21, 2019

March 8, 2020

On Friday evening, City Springs Theatre opened a dazzling, well-sung production of the 2012 Tony Award-winning stage farce A Gentleman's Guide to Love and Murder, placing the theatre squarely among the best professional theatres in Atlanta.  The production, a pure technical delight, showcases gorgeous scenic design by Alexander Dodge and spot-on costuming by Linda Cho.  The most delightful thing, though, is the fantastic turn by Atlanta favorite Googie Uterhardt as a?? well a?? the whole D'Ysquith family.

BWW Review: THE HOBBIT at Synchronicity Theatre
February 4, 2020

Synchronicity Theatre was teeming with excitement this past Friday evening as Atlanta families gathered in pajamas to watch the opening of the imaginative, high-energy new Family Series production of J.R.R. Tolkien's beloved classic, The Hobbit, a joint venture with Havoc Movement Company. Though the imaginative steam punk costuming by Emmie Thompson is only partly successful, Joel Coady and Barrett Doyle's dynamic unit set, working in tandem with Maranda DeBusk's gorgeous lighting design, sets the perfect stage for the mostly effective ensemble of five actors, including Brooke Owens, who gives a lively and engaging portrayal of unlikely hero Bilbo Baggins.

BWW Review: MAYBE HAPPY ENDING at Alliance Theatre
February 2, 2020

There's something wonderful on the Coca-Cola stage at the Alliance Theatre this February.  It's the English-language premiere of the Korean musical Maybe Happy Ending, a fresh and quirky tuner by Will Aronson and Hue Park that made its celebrated world premiere in Seoul, South Korea in 2016 and went on to win six Korean musical awards as well as the 2017 Richard Rodgers Production Award.  The Alliance Theatre's English-language production, superior in every aspect, continues the celebration in grand style.  With sleek and effective set design by Dane Laffrey and wonderfully sensitive acting, the musical, which masquerades as a cute story about robots, is, in truth, a heartbreaking exploration of the fleeting nature of love. 

December 22, 2019

In a few short days, we'll usher in a new decade, and a new decade inevitably promises change.  Baby Yoda memes are going to get old.  The iPhone 11 Pro Max is going to be replaced by something newer and better.  And we are going to get a new president.  But there's one thing we can count on not to change with the new decade.  That's that this is a Jane Austen world.   We have the novels.  We have the film adaptations of the novels. We have the stage adaptations of the novels. We have the modern adaptations of the novels. We have the film adaptations of the modern adaptations of the novels.  And Lauren Gunderson and Margot Melcon's festive new Austen-inspired play, The Wickhams:  Christmas at Pemberley, now at Theatrical Outfit in an ably-acted new production, is a lovely addition to my favorite strain of Jane Austen offshoots a?" the what-happened-next story. 

BWW Review: WAR PAINT at Atlanta Lyric Theatre
August 21, 2019

On Friday evening, Atlanta Lyric Theatre, in a display of pure bravura, opened their 40th Anniversary Season with the regional premiere of the musical War Paint, a new tuner with a book by Doug Wright, music by Scott Frankel, and lyrics by Michael Korie that tells the story of the rise and fall of two of the cosmetics industry's most notable trailblazers, Helena Rubenstein and Elizabeth Arden.  The musical opened on Broadway in 2017 to lackluster reviews and played only 269 performances before shuttering, even with two of Broadway's biggest divas, Christine Ebersole and Patti Lupone, at the helm.   There's a reason for this.  War Paint has what I like to call Sleepless-in-Seattle Syndrome when I'm talking to a group of juiced-up creative writing students.  That's a story that, like the Tom Hanks-Meg Ryan film, has this problem:  the characters don't share enough time together in scenes to generate the type of tension needed to sustain interest over the course of the story.  The musical places too many limitations on itself by remaining true to the real-life story which includes the fact that Helena Rubenstein and Elizabeth Arden didn't actually know each other in real life and ends up painting a stage where the two principal characters are separated by an imaginary wall that can't ever be scaled, not even emotionally, and not even by the most talented actors.  But Atlanta Lyric, with their artistic director, Mary Nye Bennett, an absolute mega-talent in the role of Helena Rubenstein, and gorgeous scenic by Stephanie Polhemus, manage to offer up an excellent evening at the theater under the direction of a capable Susan G. Reid. 

BWW Previews: SUMMER STAGES in Atlanta
June 1, 2019

Welcome to Sunpocalypse.  So far, this Atlanta summer is 100-in-the-shade.  Basically, we're all human-sized Marios running from the evil sun and hoping for a brief respite via some magical pipe that takes you to a cool underground cavern where there's lots of unprotected gold.  Luckily, our favorite Atlanta stages have offered up a lot of great summer theatre, so at least we have something cool to look forward to.   

BWW Review: SINGIN' IN THE RAIN at Atlanta Lyric Theatre
April 23, 2019

My love of Singin' in the Rain is deeply rooted in my experience of the beloved 1952 film classic, and it's steeped in nostalgia. It's a love that sees me first in line at classic film festivals when Singin' in the Rain is on the marquee. It's a love that makes my heart flutter when I learn that a nearby theater is staging the 1983 musical. And it's a love that makes me willfully forget that the stage musical … well … isn't that good. It tries hard, but it just doesn't quite work.  The "doesn't quite work" is not particularly bound up in the fact that stage adaptations are noticeably absent the great dancing triumvirate - Kelly, O'Connor, and Reynolds - though that certainly doesn't help.  What's wrong is that it feels too cinematic and has an inexplicable absence of story energy and razzle-dazzle that made us fall in love with Hollywoodland on the screen. Atlanta Lyric Theatre's earnest new production can't overcome this problem.  No production can.  But with tremendously entertaining supporting actors J. Koby Parker in the role of Cosmo Brown and Beth Beyer in the role of Lina Lamont, a beautifully sung titular song complete with a gorgeous streetscape and very real rain, and dreamy period costumes by Amanda Edgerton West, Atlanta Lyric Theatre offers up another pleasant evening of theatre. 

BWW Review: PIPELINE at Horizon Theatre Company
April 5, 2019

The play, a fair and angry indictment of social injustice, asks a number of important questions, and the gorgeous cast, under the adept direction of Atlanta-favorite Tinashe Kajese Bolden and Keith Arthur Bolden, and with help from an incredibly able design team, brings the indictment to powerful life.

BWW Review: SHENANDOAH at Serenbe Playhouse
March 21, 2019

It's sunset on a Sunday evening as I walk up a dusty pathway heading for the Horseman's Meadow at Serenbe Playhouse where a new production of Shenandoah, a musical adapted from the 1965 Jimmy Stewart film of the same name, plays through April 14.  Brilliant orange and purple light blankets the open field to my left.  To my right, a Civil War campsite moves into view.  Canvas tents soak up the last of the sun, and shadows fall on the faces of soldiers as they rest.  Here a few soldiers play poker.  There a soldier holds a live chicken, dinner for the weary troops.  Still farther on, a few tend to the tired horses. The camp is a spectacle that almost trumps nature's best spectacle, the dazzling sunset of an early spring.  But even the grand spectacle of the campsite pales in comparison to the battle that unfolds only moments later on the empty meadow. Terrence J. Smith and Cast Photo by BreeAnne Clowdus Men, some atop real horses, come from nowhere, and we are drenched in the chaotic sound of rapid artillery fire and the light of explosions - the remnants of shots fired from rifles and the fuses of cannons.  We are spectators at some battle where many men will die and where few will be able to articulate what it has all been for.  That's the Serenbe way of opening a Civil War play.  It's the classic Clowdus go-big-or-go-home welcome, and this play needs all the  help it can get to rise above its challenges, a heavy-handed script troubled by weakly drawn characters and a lackluster score.  Though the challenges are significant, visionary director Brian Clowdus, along with his creative team and talented cast, including a tentative American Idol-winner Taylor Hicks in his first principal acting role and Broadway's vibrant Rachel Potter, prove that the challenges are not insurmountable as they turn out an effective and memorable staging.

BWW Interview: Sierra Boggess Talks EVER AFTER at Alliance Theatre
January 14, 2019

There's enough excitement in Atlanta this month to fill a fleet of pumpkin-carriages as Alliance Theatre mounts the highly-anticipated regional premiere of Ever After, a musical adaptation of the popular 1998 film of the same name which made its premiere at Paper Mill Playhouse in 2015. Ever After, loosely based on the Cinderella fairy tale, tells the story of Danielle de Barbarac, the Cinderella-esque young daughter of a 16th-century landowner who's forced into slavery by her stepmother after the unexpected death of her father. When a chance encounter with a prince stirs up considerable excitement for the young servant girl, Danielle finds that she might have the strength to take on her stepmother…and the world. Broadway diva Sierra Boggess, most known for her acclaimed turns as Ariel in The Little Mermaid and Christine Daae in Phantom of the Opera, will take on the role of the vibrant Danielle. BroadwayWorld caught up with Boggess to talk about the show.

BWW Feature: The Best Atlanta Valentine's Day Theatre Dates
February 5, 2019

Thanks to the aggressive Aquaman marketing campaign, chances are good that your significant other has been immersed in images of hunky Jason Momoa over the past few weeks.  That means you better up your Valentine's game.  You've got a lot of romance novel wet-hair flips and the chiseled mega-chest abs to drown out, and Bird Box on Netflix and delivery pizza ain't gonna cut it.  Luckily, we've recognized the problem early, and we've compiled a list of upcoming Atlanta shows to help you to plan the perfect Valentine's Day theatre date.   Because a date night spent at the theatre is always upping your game.

December 16, 2018

There's a new immersive theatrical experience at the Wren's Nest Museum in Atlanta this month, and it's definitely going to ring your Christmas bell. From the mind of visionary Atlanta director Brian Clowdus comes The Christmas Carol Experience, an interactive holiday concoction that's two parts Christmas party and one part Dickensian storytelling. The storytelling component of the evening offers little more than a wave at Dickens' frumpy and heavy-handed holiday novella, A Christmas Carol. Instead, it relies on the audience to bring a bit of working knowledge of Ebenezer Scrooge, literary history's most famous mizer, while it, bolstered by an impressive cast of five actors, provides the perfect 19th-century atmospheric backdrop, courtesy of The Wren's Nest, one of Atlanta's oldest homes with ghost-story spookiness built right in, and an abundance of holiday cheer. Here's how it works: The audience, mourners at Jacob Marley's funeral with Christmas cocktails in hand, are free to travel about the open rooms of the museum. What happens next depends on which characters are in the room. If Ebenezer and his deliciously ghostly guide, Marley, are present, the rooms offer up newly reimagined versions of Ebenezer's encounters with the ghosts of Christmas Past, Present, and Yet to Come. If Ebenezer and Marley are not present, the rooms offer up interactive holiday cheer - maybe a singalong or a fun game. Newsflash: If you don't end up singing a solo in a room full of strangers before you leave, you did it wrong. This unusual rendering of the holiday classic demands only five actors, and each one is up to the challenge of providing a believable, up-close-and-personal experience. Of particular note are the performances of the beautifully Bah Humbug-gy Daniel Burns in the role of Ebenezer Scrooge and an incredibly talented Jordan Patrick in the role of the doomed-for-eternity Jacob Marley. Their laudable non-verbal storytelling skills nicely supplement the thin script, leaving the audience with a rich and satisfying experience. Lilliangina Quinones, Julie Trammel Key, and Rosie Gyselinck, all playing women from Scrooge's life who take on the roles of Ebenezer's Christmas ghosts, are, in addition to carrying their equal parts of the forward movement of the story, all up to the demanding task of leading rooms full of people through carols and games while remaining firmly rooted in the 19th-century sensibilities of their characters. The production is, unarguably, a pure sensory delight. The Wren's Nest, with its creaky floorboards and weather-stained walls and ceiling, is the important sixth character in this cast, and it is impressive in its role. In addition to the authentic Victorian oppressiveness that comes with the house, thick fog and eerie lighting aptly service the needs of the story and underscore the beauty of Clowdus's carefully crafted stage pictures. Here's a helpful tip: Follow Scrooge and Marley into the first room if you can. The experience is disorienting by nature, and following the story from beginning to end will likely quell some of the initial feelings of bewilderment you might face. But if Marley slams the door in your face while you are trying to enter that first room, as he did mine, don't fret. The story, as it is meant to do, will culminate in a softer and more charitable Scrooge, and it will leave you feeling the joy of the holiday season no matter the order in which you experience it.

BWW Review: A MIDSUMMER NIGHT'S DREAM at Alliance Theatre
September 25, 2018

I consider myself a Shakespeare purist of the worst sort.  I wax snobbish at Shakespeare productions where Hamlet, language updated, sounds like a California surfer:  'Dude.  It was my uncle, Bro.'  I scoff at productions that situate themselves in some setting that's divergent from the original.  Macbeth cannot be a one-man show set in an insane asylum, and Midsummer is definitely no good in a Catholic school for girls.  But soft!  Methinks I've stumbled upon an anomaly that's making me rethink my whole purist disdain for the Creative Shakespeare Catalogue O' Crap.  That anomaly is Alliance Theatre's production of A Midsummer Night's Dream that's playing on an outdoor stage at the Atlanta Botanical Garden through October 21.  Though the production liberally infuses the Bard's most delightful play with a healthy dose of our 21st- century American vernacular, frames the action of the play in a moern garden being outfitted for a wedding, and cuts a significant portion of the original play, it's still pretty darn magical. 

BWW Review: 42ND STREET at City Springs Theatre
September 19, 2018

Look out, Atlanta! There's a new musical theatre hotspot in town! The City Springs Theatre Company opened its inaugural season in the Byers Theatre at City Springs Civic Center over the weekend with a razzle-dazzle production of the fluffy 1980 tuner 42nd Street, adapted from the Bradford Ropes novel and the subsequent 1933 film of the same name. The lavishly staged production, featuring Tony Award Winner Shuler Hensley, who also serves as the Associate Artistic Director for the new company, and Atlanta favorite Deborah Bowman at her best, is a bonafide triumph for director Brandt Blocker. It's well-acted. It's well-sung. And… those dancing feet. Oh, those dancing feet!

BWW Review: THE SEAGULL at Serenbe Playhouse
September 9, 2018

Fresh off the mammoth production of the musical Titanic, a production that garnered a boatload of much-deserved national press, Serenbe Playhouse is offering up something radically different this month: a modern reimagining of Anton Chekhov's The Seagull, complete with hypnotic Balkan music by talented composer Anais Azul. The ambitious play, under the direction of Elizabeth Dinkova, the adaptor of the work, is worth seeing for the gorgeous site-specific staging at Peek Lake near Serenbe, a setting that a purist's Chekhov would also flourish in, but Dinkova's experimental script tries too hard to make a statement about art's power to blur the boundaries between reality and illusion, relying much too heavily on the intrusive narratorial voice of Constance, a gender-flipped Konstantin from the original work, to frame out its profundity for us. In addition, turning the heavy language of Chekhov into the spare language of today's texters and tweeters is a tricky business, and Dinkova's dialogue often feels clunky and forced. In the end, the production, though visually stunning and mostly well-acted, never quite takes flight.

BWW Review: TITANIC at Serenbe Playhouse
July 28, 2018

Dark threatening clouds hang low over the Inn Lake at Serenbe as I clump up the dirt pathway towards the unsinkable R.M.S. Titanic, the ship of dreams, represented here tonight by a massive industrial steel scaffolding structure that rises out of the lake, climbing high into the menacing sky. The sky, providing the natural backdrop for visionary artistic director Brian Clowdus's doomed ocean liner, seems tonally apropos considering that I, along with several hundred other patron-passengers, have driven out specifically for the purpose of revisiting the horrifying deaths of 1503 people in the frigid waters of the Atlantic Ocean on an April evening of 1912 when the festive notes from the ship's orchestra must have peppered the excited night air in much the same way that this ship's gorgeous, first-rate orchestra, perched some 100 yards away in a shipping crate on a hill above the floating stage, does. As we reach the ship, crew members in gorgeous period costuming by Alan Yeong, beckon us aboard while impressive billows of smoke pour out of the kettle drum-smoke stacks perched high atop the scaffolding and ship blasts signify that our immersive journey is about to begin. At that moment, I am simply along for the ride, not knowing as I listen to the women behind me munching on popcorn and clamoring about which Clowdus show has been their favorite, that this production of the lackluster 1997 Titanic, a musical that scooped up a slew of undeserved Tony Awards for Maury Yeston and Peter Stone, is going to be one of the most memorable and dazzling theatrical spectacles I have ever witnessed.

BWW Interview: The Walking Dead's Jayson Warner Smith of BLACKBIRD at Robert Mello Studio Blackbox
July 16, 2018

David Harrower's celebrated 2005 play, Blackbird, is coming to Atlanta this August at The Robert Mello Studio Blackbox. The Tony-nominated play, which The New York Times called 'gorgeous' and 'unsettling,' tells the story of Una, a young woman, who shows up at the office of Ray, her former lover, who, after having been imprisoned at the age of 40 for his illicit relationship with the 12-year-old Una, has tried to make a new life for himself. A new name. A new relationship.  But when Una pops up 15 years later to rehash the details of their former love affair after seeing his picture in a trade magazine, Ray's carefully constructed new life begins to collapse. BroadwayWorld recently caught up with The Walking Dead star Jayson Warner Smith to chat about his turn as Ray in the self-produced run.

BWW Review: THE COLOR PURPLE at Actor's Express
June 20, 2018

The production of The Color Purple that opened at Actor's Express over the weekend is a strong, spirited, stripped-down production that aims straight at the heart of Alice Walker's beloved story. Here, the aesthetic improvements to the stuffy and overcooked original Broadway production's concept are inspired by John Doyle's recent acclaimed minimalist revival on Broadway, and in the hands of a talented ensemble and a luminous Latrice Pace in the role of Celie, this musical becomes exactly what it should be: a heartfelt portrait of the resilience of the human heart.

BWW Review: NEWSIES at Peach State Summer Theatre!
June 19, 2018

Disney's Newsies is currently playing at Peach State Summer Theatre in Valdosta, and if you're looking to get out of the hustle and grind of Atlanta for a weekend road trip to a place where they're not paving I-285, this is definitely your best-bet theatre destination. Peach State Summer Theatre's energetic production, propelled by a solid book by Harvey Fierstein and memorable music and lyrics by Alan Menken and Jack Feldman, showcases how well this 2011 tuner has aged. It's a story about bucking the corrupt establishment and fighting for an America where everyone has a chance at a piece of the dream-pie (or at least a piece of bread) in exchange for hard work. And Peach State Summer Theatre's talented cast, led by a dazzling Andrew Poston in the role of Jack Kelly and supported by Jason Lee Courson's effective scenic design and Jason Celaya's urban choreography, knows exactly how to tell this story.

BWW Road-Trip Review: MILLION DOLLAR QUARTET at Peach State Summer Theatre
June 16, 2018

It's hot down here in Valdosta! And that's not just the heat from the Georgia sun in June we're feeling. It's the heat emanating from the Peach State Summer Theatre's production of Million Dollar Quartet. The musical revue, playing this summer in repertory with Disney's Newsies and Hello, Dolly!, recreates the legendary jam session at Sun Records, a session that marks the only time that rock and roll giants Elvis Presley, Jerry Lee Lewis, Carl Perkins, and Johnny Cash were ever assembled in the same room. The tuner is little moas re than an excuse to play a catalogue of some of the most popular rock and roll songs of all time, but when music sounds as good as it does here, that's alright. That's alright!