The Public Theatre’s production of Dan Clancy’s MIDDLETOWN proves a clever way to maneuver the company back into production after the pandemic pause. The four-character comedy-drama, designed to be performed without scenery or costumes by actors who read from scripts at podiums, requires a minimalist production and asks the audience to concentrate only on the characters’ journey from kindergarten to old age. That story, as directed by Janet Mitchko, is sweetly funny and warmly heartfelt.
After being closed due to COVID-19 for over 18 months, The Public Theatre reopens its doors with the uplifting and heartfelt new play Middletown, playing Oct 15 - 24.
Racism and homophobia reign in 1950s Houston, the setting of Ricardo Pérez González's world premiere of On the Grounds of Belonging. The play begins as white drag queen Thomas Aston (Jeremiah Clapp) from whites only gay bar, The Red Room, hides from a raid at The Gold Room, a blacks only gay bar. Thomas falls head over his high heels for Russell Montgomery (Calvin Leon Smith), a quiet, erudite journalist who has a not too distant past with fellow patron Henry Stanfield (Blake Anthony Morris). But against the advice of bar manager Hugh Williams (Thomas Silcott), Thomas and Rusty begin a serious love affair. This is not a good time or place to be an interracial gay couple, but their biggest threat is Henry, who bashes Thomas in the head out of jealousy and hurt. Mooney Fitzpatrick (Craig Bockhorn), the gay and bigoted owner of the two gay bars, tells Russell that Thomas, whom he loved like a son, died of his wounds. He threatens to lynch the person who killed him. Sounds a bit like Romeo and Juliet, but neither character dies at the end. They are just separated seemingly forever. Rounding out this excellent ensemble is Tanya Starr (Tracey Conyer Lee), a torch singer at The Gold Room, who helps Henry escape. All the cast members are genuine in their roles, playing them without stereotypes. You can't help but feel their loneliness. Bockhorn is chilling as a man who, with his partner, took in a very young orphaned Thomas, yet is vindictive enough to lynch someone. Lee is a talented singer as well as actress.
Long Wharf Theatre presents the first production in the 19-20 Season, On the Grounds of Belonging, written by Ricardo Pérez González and directed by David Mendizábal.
Long Wharf Theatre announces dates, complete casting and the complete creative team for the first production in the 19-20 Season, On the Grounds of Belonging, written by Ricardo Pérez González and directed by David Mendizábal. Performances begin on Wednesday, October 9, 2019 for a limited run through November 3, 2019.
Florida Repertory Theatre's 2019 PlayLab Festival of New Plays and Emerging Voices kicks off May 9 with readings of five new plays and one musical, a command performance of the world-premiere play for young audiences, 'Refugee,' and a Keynote Address from literary agent, Susan Gurman.
Penobscot Theatre Company will warm hearts this winter with an uproariously tall tale by award-winning actor Jeff Daniels. Directed by the theatre's producing artistic director Bari Newport, the comedy Escanaba in da Moonlight will runFebruary 1-18, 2018, with 14 performances at the historic Bangor Opera House.
No matter if you saw the original Broadway production or the classic film version of Wait Until Dark, the fact of the matter is that Arizona Theatre Company, in co-production with Geva Theatre Center, has mounted a show that stands on its own two feet as riveting and suspenseful drama.
Wait Until Dark is a roller-coaster for the stage, a chilling edge-of-your-seat thriller pitting a deeply sinister con man against an unsuspecting but sharp-witted young blind woman. Written by Frederick Knott, newly adapted by Jeffrey Hatcher, and directed by Arizona Theatre Company (ATC) Artistic Director David Ira Goldstein, Wait Until Dark comes to the Herberger Theater Center, tonight, Nov. 13-30.
Continuing Arizona Theatre Company's 2014/2015 season is a 1966 Broadway hit thriller and a 1967 Oscar-nominated movie classic starring Audrey Hepburn and Alan Arkin: Wait Until Dark, by playwright Frederick Knott and adapted by Jeffrey Hatcher in 2013.
Wait Until Dark is a roller-coaster for the stage, a chilling edge-of-your-seat thriller pitting a deeply sinister con man against an unsuspecting but sharp-witted young blind woman. Written by Frederick Knott, newly adapted by Jeffrey Hatcher, and directed by Arizona Theatre Company (ATC) Artistic Director David Ira Goldstein, Wait Until Dark comes to the Herberger Theater Center, Nov. 13-30.
Wait Until Dark is a roller-coaster for the stage, a chilling edge-of-your-seat thriller pitting a deeply sinister con man against an unsuspecting but sharp-witted young blind woman. Written by Frederick Knott, newly adapted by Jeffrey Hatcher, and directed by Arizona Theatre Company (ATC) Artistic Director David Ira Goldstein, Wait Until Dark comes to the Temple of Music and Art, 330 S. Scott Ave., from today, Oct. 18-Nov. 8.
Wait Until Dark is a roller-coaster for the stage, a chilling edge-of-your-seat thriller pitting a deeply sinister con man against an unsuspecting but sharp-witted young blind woman. Written by Frederick Knott, newly adapted by Jeffrey Hatcher, and directed by Arizona Theatre Company (ATC) Artistic Director David Ira Goldstein, Wait Until Dark comes to the Temple of Music and Art, 330 S. Scott Ave., from Oct. 18-Nov. 8.
Audiences will be on the edge of their seats when Geva Theatre Center presents Wait Until Dark by Frederick Knott, adapted by Jeffrey Hatcher and directed by David Ira Goldstein. Wait Until Dark begins performances tonight, September 9 and runs in the Elaine P. Wilson Mainstage through October 5.
Audiences will be on the edge of their seats when Geva Theatre Center presents Wait Until Dark by Frederick Knott, adapted by Jeffrey Hatcher and directed by David Ira Goldstein. Wait Until Dark begins performances on September 9 and runs in the Elaine P. Wilson Mainstage through October 5.
Pioneer Theatre Company's DEATHTRAP is well crafted all around, with superior direction, design, and performances. Director May Adrales has triumphed in creating a tightly wound ticking clock of a production that engages and satisfies.
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