Strindberg's 'Kristina' (1903) is the unacknowledged basis for the Garbo film 'Queen Christina.' In this skillful study of a neurotic and complex woman, Strindberg reveals the power of his dramatic conceptions and the mastery he had acquired of his craft. The play was the last of a series of Strindberg's later historical dramas that are among the most powerful plays of the kind produced in modern times. August Strindberg Repertory Theatre will present the masterpiece at the Gene Frankel Theatre March 13 to 29 translated from the Swedish by Wendy Weckwerth, directed by Whitney Aronson.
New York's home for the Classics announces its inaugural exploration of what modern language brings to timeless stories. With 12 days of readings and discussions, The Pearl's Resident Acting Company and three contemporary playwrights will investigate the power of language, the fortitude of classic stories, and the tricky role of the adapter in tackling these often-told tales.
Sartre's No Exit is exactly about that: people who were once masters of their own universe now being forced to see the lives they once lived through the eyes of other people - strangers to boot - and discover that those same lives they led while alive have accompanied them into the depth of Hell. It really isn't so bad in this place that, as Cradeau Garcin makes clear towards the play's start, is meant to have devices of torture around every turn and the torturer ready and relentless in his quest to make the dead suffer. What is so ironic here, though, is that the ability to see themselves for what they really are - essentially now being on the outside looking in - makes each character less human than how he or she was when first walking through the doors of the room eternity will be spent in. Introducing humanity into the lives of people who were without it for their entire existence actually makes Cradeau, Inez and Estelle worse because of the chunk of confidence reflecting on their own lives that disappears as they do so. In a way, having eternity to ponder why each will forever be in Hell is absolutely great as juxtaposed to a lifetime of fire, torture and pain. Why is it, then, that having nothing but their own lives to think about their lives that have ended in one sense and were never really disrupted in another makes for such an exciting and thought provoking play? Honestly, people are forced to face their own humanity, and it applies to every person who goes to see this production of No Exit by the Pearl Theatre Company.
After critically acclaimed productions of A Midsummer Night's Dream and Macbeth, the Queens Players return to the Secret Theatre with a hardcore, punk rock, in-your-face version of William Shakespeare's Richard III.
After critically acclaimed productions of A Midsummer Night's Dream and Macbeth, the Queens Players return to the Secret Theatre with a hardcore, punk rock, in-your-face version of William Shakespeare's Richard III.
On Monday, January 13th, 2014 producers Kimberly Loren Eaton and Alan Swanke presented a reading of Wild and Willful Women to a full house at Baruch Performing Arts Center's Engelman Recital Hall, as the kickoff event the 13th Annual TRU Voices New Musicals Reading Series. This new musical is a tale of love, lust and witchcraft with book and lyrics by Bill Rogers and music by Daniel Doss. It was directed by Kimberly Loren Eaton, and music directed by Daniel Doss (national tours, The Addams Family and The Color Purple). Scroll down for photos!
Do Not Go Gentle Productions, in collaboration with New York City College of Technology (City Tech) Theatreworks, presents a revival of Dylan, Sidney Michaels' 1964 play focusing on the final years of Welsh poet Dylan Thomas' life. Directed by newly appointed Naked Angels Artistic Director Liz Carlson, Dylan performances are tonight, April 29 through May 11 at 7:30pm, in a limited engagement at the New York City College of Technology's Voorhees Theatre, located at 186 Jay Street in Downtown Brooklyn. The Press Opening is Tuesday, April 30 at 7:30pm. BroadwayWorld has a first look at the production below!
Breaking the Proscenium, committed to creating entertaining events that inspire the artists and audience to produce real world change, and Standard Bear Productions, dedicated to quality storytelling that makes audiences think while they laugh, have teamed up to present Salvatore Brienik's newest play ZOMBIES at the Secret Theatre.
Breaking the Proscenium, committed to creating entertaining events that inspire the artists and audience to produce real world change, and Standard Bear Productions, dedicated to quality storytelling that makes audiences think while they laugh, have teamed up to present Salvatore Brienik's newest play ZOMBIES at the Secret Theatre.
Breaking the Proscenium, committed to creating entertaining events that inspire the artists and audience to produce real world change, and Standard Bear Productions, dedicated to quality storytelling that makes audiences think while they laugh, have teamed up to present Salvatore Brienik's newest play ZOMBIES at the Secret Theater.
Wide Eyed Productions in association with Columbia University School of the Arts Theatre Arts Program Presents William Shakespeare's Henry VI part III. The show is directed by Adam Marple
Columbia Stages presents Bertolt Brecht's BAAL, translated by Peter Tegel and directed by James Dacre, running October 22nd - 25th, 2008, at The Riverside Theatre, located in the historic Riverside Church at 91 Claremont Avenue between 120th and 122nd Streets.
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