'I am in blood stepped in so far that should I wade no more, / Returning were as tedious as go o'er,' says Macbeth in William Shakespeare's tragedy of the same name. I have always felt that these lines could have described President Lyndon Johnson as he doggedly followed his disastrous course in Vietnam. Now, certainly, Johnson was no villain as such; however, to countless Americans, his term in office will be forever marred by his hubristic determination to succeed. For some families touched by tragedy, his very name will be forever reviled. However, in recent years, many historians (such as Doris Kearns Goodwin) have tried to see 'the forest' beyond 'the trees' and have lauded Johnson for effecting legislation that culminated in the Civil Rights Act of 1964 and in voting rights for Blacks. Playhouse on the Square's current production of Robert Schenkkan's ALL THE WAY (recalling LBJ's campaign slogan 'All the way with LBJ') focuses on Johnson's political maneuvers in that arena -- especially as they factor in his desire to be elected as something more than an 'accidental President.'
Playhouse on the Square presents the regional premiere of Robert Schenkkan's political drama All The Way. The winner of the 2014 Tony Award for Best Play, All The Way takes us to November 1963. An assassin's bullet has just catapulted Lyndon Baines Johnson into the presidency. A man with a towering ambition and appetite, LBJ finds himself embroiled in passing the Civil Rights Act as he campaigns for re-election, and searches for the recognition he so desperately wants.
While watching THE GOSPEL AT COLONUS, the African-American version of Sophocles' OEDIPUS AT COLONUS as created by Lee Breuer (with music by Bob Telson), I was reminded of the reimagining of the Old Testament by Marc Connelly in the 1930 Pulitzer Prize-winning THE GREEN PASTURES. Like GOSPEL, THE GREEN PASTURES serves up time-honored material by transposing it to a religious setting;. PASTURES relates the Old Testament as envisioned by a young Afro-American boy; thus, Heaven is one big fish fry. When I first saw the 1936 film version (which Connelly, a white man, scripted for Warners' director William Keighley), I found it a special experience -- a wonderful all-black cast was an anomaly for a young viewer in the late 1950's and early i60's; now, with the passage of time (and legislation), I can understand why modern audiences would find it politically incorrect (though that cast is still peopled with some amazing talent). Interestingly, Mr. Breuer eschews following Connelly's suit, and though he utilizes a Black minister and church service to tell his tale, he focuses instead on an ancient Greek tragedy rather than the Old -- or New -- Testament.
Based on Sophocles' Greek myth Oedipus and set in a contemporary African-American gospel church service, this production will move and thrill you with electrifying vocals. Scorned and aged, Oedipus arrives at Colonus where he will die as fate foretold. But before his demise, he must tell his side of events. His journey toward truth, self-understanding, and forgiveness comes with soaring songs and an ending to lift the soul.
Based on Sophocles' Greek myth Oedipus and set in a contemporary African-American gospel church service, this production will move and thrill you with electrifying vocals. Scorned and aged, Oedipus arrives at Colonus where he will die as fate foretold. But before his demise, he must tell his side of events. His journey toward truth, self-understanding, and forgiveness comes with soaring songs and an ending to lift the soul.
For its spring musical, Playhouse on the Square has reached several decades back and produced -- not an 'old warhorse of a musical' (sorry, Rodgers and Hammerstein) -- but a true thoroughbred, Cole Porter's sparkling, innovative (at the time) KISS ME, KATE. Just as Shakespeare himself created enduring plays by utilizing the best plots and characters of other works, so did Porter and his collaborators, Bella and Samuel Spewack -- they went right to the Bard himself, and in building their own superb entertainment around the rollicking THE TAMING OF THE SHREW, they created such a witty, enjoyable romp that would cause even the immortal Shakespeare to set aside his pen, smile, and snap his garters.
I wasn't quite sure what to expect from Circuit Playhouse's production of Mark St. Germain's BEST OF ENEMIES - a civics lesson or an evening at the theatre. As I settled into my seat and gazed at the essentially bare set (a few platforms and chairs), I listened to bits and snatches of speeches and recollections by the likes of Barry Goldwater, Lyndon Johnson, Martin Luther King, and 'ordinary' people affected by the changes wrought by Civil Rights legislation and, in particular, the desegregation of schools. While waiting for the play to begin, I recalled just having seen MARY POPPINS last weekend at Playhouse on the Square; I thought of 'Just a Spoonful of Sugar' making the medicine go down - and considered Playhouse's crowd-pleasing musical version of John Waters' HAIRSPRAY, which drew theatre-hungry crowds just a few weeks ago. Waters, I thought, had the right idea: The seriousness of racial injustice was made delightfully palatable by the sweetness and humor of the songs in that show. I dreaded what was to follow. However, like the main characters of the play I was about to see, I had my own misconceptions, for BEST OF ENEMIES held many surprises for me - and all of them good.
It's 1962, the '50s are out, and change is in the air. Baltimore's Tracy Turnblad, a big girl with big hair and an even bigger heart, has only one passion - to dance. She wins a spot on the local TV dance program, 'The Corny Collins Show' and, overnight, is transformed from outsider to irrepressible teen celebrity. But can a trendsetter in dance and fashion vanquish the program's reigning princess, win the heart of heartthrob Link Larkin, and integrate a television show without denting her 'do? Only in Hairspray!
It's 1962, the '50s are out, and change is in the air. Baltimore's Tracy Turnblad, a big girl with big hair and an even bigger heart, has only one passion - to dance. She wins a spot on the local TV dance program, 'The Corny Collins Show' and, overnight, is transformed from outsider to irrepressible teen celebrity. But can a trendsetter in dance and fashion vanquish the program's reigning princess, win the heart of heartthrob Link Larkin, and integrate a television show without denting her 'do? Only in Hairspray!
Peter Pan with Lyrics by Carolyn Leigh, Betty Comden and Adolph Green and Music by Mark Charlap and Jule Styne -- a musical based on the play by James M. Barrie -- will run tongiht, November 22, 2013 - January 5, 2014 at Playhouse on the Square. Special holiday schedule applies. Evening performances begin at 7:00 PM. Matinees begin at 2:00 PM.
Peter Pan with Lyrics by Carolyn Leigh, Betty Comden and Adolph Green and Music by Mark Charlap and Jule Styne -- a musical based on the play by James M. Barrie -- will run November 22, 2013 - January 5, 2014 at Playhouse on the Square. Special holiday schedule applies. Evening performances begin at 7:00 PM. Matinees begin at 2:00 PM.
This musical adaptation of Alice Walker's Pulitzer Prize-winning novel is the story of Celie, a downtrodden young woman who, through love, finds strength and her own unique voice despite a lifetime of abuse and adversity. With a score filled with jazz, ragtime, blues and gospel, The Color Purple is a celebration of the healing power of love and the human will to persevere. Nominated for 11 Tony Awards in 2006 including Best Musical and Best Original Score.
This musical adaptation of Alice Walker's Pulitzer Prize-winning novel is the story of Celie, a downtrodden young woman who, through love, finds strength and her own unique voice despite a lifetime of abuse and adversity. With a score filled with jazz, ragtime, blues and gospel, The Color Purple is a celebration of the healing power of love and the human will to persevere. Nominated for 11 Tony Awards in 2006 including Best Musical and Best Original Score.
Mrs. Bob Crathit's Wild Christmas Binge is directed by Copeland Woodruff and features Company Member Claire D. Kolheim (Ragtime, Avenue Q) as 'The Ghost of Christmas Past, Present, and Future', Alice Berry as 'Mrs. Cratchit' and Jim Palmer (August: Osage County) as 'Scrooge.'
