To me, this iteration of THE DA VINCI CODE feels like it leans more towards the book in pure content, but at the same time, you can look at the film and our stage adaptation as sort of accomplishing similar tasks.
PURLIE VICTORIOUS: A NON-CONFEDERATE ROMP THROUGH THE COTTON PATCH is certainly a curiosity, a satire of Jim Crow life written during the throes of the equal rights movement of the early sixties.
Michelle Britton seems to be an actor’s director, and DANCING LESSONS allows her artists to be showcased for what they do best.
It's about a man with Asperger's and his, what I like to say, his dogged determination to learn to dance, because he has a very public, potentially horrifying public event coming up, an awards dinner.
It is about a family living through a dystopian future that's only a few years into our future, the year 2029.
Arthur built such a great crescendo that there's no stepping off the train, as, if you will, anywhere where you lose momentum by taking a break.
Broadway, film, and television star Robert Lenzi (THE HAPPENING and THE TINA TURNER MUSICAL) is Patrick Bateman for this Houston run.
Playing this character has been so, so fun, mainly because we're sort of reinventing him, me and Joe Calarco, who's our incredible director.
The level of professionalism and the sheen on The Chosen Ones is gobsmacking.
CIRCLE MIRROR TRANSFORMATION will probably hit hardest with those of us who took drama classes at some point, and were subjected to this uniquely silly torture that acting teachers come up with just to knock us all down a few pegs.
It probably helps that Domenico Leona is a poet, and that Ashley Galan just knows theater so dang well.
The Sankofa Collective has always done ambitious projects, including THE BODYGUARD, THE THREE MUSKETEERS, and a collaboration with the Garden Theatre, resulting in an amazing production of THE COLOR PURPLE.
And I realized that this is a subject that I feel like we've stopped talking about, even though it's still a really big deal.
What starts off as this well-intentioned self-help seminar becomes this brutal disintegration of all of their egos and the way they live their own lives.
Strip away the horror and the Patrick Bateman of it all, and it's ultimately a story about identity.
Joel Sandel has been referred to as the “Energizer Bunny” of Houston's acting scene, and this captures him perfectly.
So I started as a dancer.
So what’s the deal with all of these CRABS running around Midtown and terrorizing folks in the area? It is all part of one of the MOST talked about pieces in Houston right now.
.jpg?format=auto&width=300)
.jpg?format=auto&width=365)
