Virginia's Tony Award-winning Signature Theatre closes out its 2013/2014 season with the world premiere musical Cloak and Dagger, directed by Signature Theatre's Artistic DirectorEric Schaeffer (Broadway's Follies, Million Dollar Quartet). From Helen Hayes Award Winner Ed Dixon (Signature's Sunset Boulevard) comes this screwball musical comedy send-up of the 1950s film noir.
Tom Waits tunes and Teller magic create a haunting and ethereal mood for THE TEMPEST at American Repertory Theater in Cambridge, Mass., but despite its brilliant execution, this inventive and entertaining adaptation doesn't quite deliver the perfect storm.
The American Repertory Theater (A.R.T.) at Harvard University, under the leadership of Diane Paulus, Artistic Director and William Russo, Managing Director; present the last production of its 2013/14 Season, THE TEMPEST, adapted and directed by Aaron Posner and Teller from the play by William Shakespeare, with magic by Teller, music by Tom Waits and Kathleen Brennan, and movement by Matt Kent of Pilobolus.
Virginia's Tony Award-winning Signature Theatre closes out its 2013/2014 season with the world premiere musical Cloak and Dagger, directed by Signature Theatre's Artistic Director Eric Schaeffer (Broadway's Follies, Million Dollar Quartet). From Helen Hayes Award Winner Ed Dixon (Signature's Sunset Boulevard) comes this screwball musical comedy send-up of the 1950s film noir.
The American Repertory Theater (A.R.T.) at Harvard University, under the leadership of Diane Paulus, Artistic Director and William Russo, Managing Director; presents the last production of its 2013/14 Season, THE TEMPEST, adapted and directed by Aaron Posner and Teller from the play by William Shakespeare, with magic by Teller, music by Tom Waits and Kathleen Brennan, and movement by Matt Kent of Pilobolus.
The American Repertory Theater (A.R.T.) at Harvard University, under the leadership of Diane Paulus, Artistic Director and William Russo, Managing Director; presents the last production of its 2013/14 Season, THE TEMPEST, adapted and directed by Aaron Posnerand Teller from the play by William Shakespeare, with magic by Teller, music byTom Waits and Kathleen Brennan, and movement by Matt Kent of Pilobolus. Scroll down for a first look at the production!
The American Repertory Theater (A.R.T.) at Harvard University, under the leadership of Diane Paulus, Artistic Director and William Russo, Managing Director, presents the last production of its 2013/14 Season, THE TEMPEST, adapted and directed by Aaron Posner and Teller from the play by William Shakespeare, with magic by Teller, music by Tom Waits and Kathleen Brennan, and movement by Matt Kent of Pilobolus.
The Smith Center for the Performing Arts has now added a third and final week of performances for the world premiere of THE TEMPEST, which will now play April 6-27, with special preview performances April 1-4. The opening night celebration will take place on Saturday, April 5. Produced in association with the American Reparatory Theater (A.R.T.), THE TEMPEST is adapted and directed by Aaron Posner and Teller from the play by William Shakespeare, with magic by Teller, music by Tom Waits and Kathleen Brennan and movement by Matt Kent of Pilobolus. THE TEMPEST will perform at The Smith Center's Donald W. Reynolds Symphony Park in a 500-seat climate-controlled tent. Tickets start at $35 for regular performances and $25 for preview performances. Tickets for the opening night celebration are $150 and include an exclusive post-show reception. All tickets are on sale now at The Smith Center box office, online at www.TheSmithCenter.com or by phone at (702) 749-2000.
The American Repertory Theater (A.R.T.) at Harvard University, under the leadership of Diane Paulus, Artistic Director and William Russo, Managing Director; announced today the company for the last production of its 2013/14 Season, THE TEMPEST, adapted and directed by Aaron Posner and Teller from the play by William Shakespeare, with magic by Teller, music by Tom Waits and Kathleen Brennan, and movement by Matt Kent of Pilobolus.
Arena Stage's world premiere production offers something a little bit different. Despite some fundamental challenges, the play shows considerable promise.
The world premiere of LOVE IN AFGHANISTAN runs October 11-November 17 at Arena Stage. Check out a sneak peek below!
The world premiere of LOVE IN AFGHANISTAN runs October 11-November 17 at Arena Stage. BroadwayWorld has a first look at the production shots below!
Arena Stage at the Mead Center for American Theater announces the full company for Charles Randolph-Wright's world premiere drama Love in Afghanistan. Randolph-Wright, a Resident Playwright through Arena Stage's American Voices New Play Institute and director of Motown the Musical currently on Broadway, joins forces with director Lucie Tiberghien (MCC Theater's Don't Go Gentle) to bring to life the tale of two fantastically different people discovering love in the most unlikely of places: war-torn Afghanistan. One, an emerging hip-hop artist, the other, a high-level Afghan interpreter, both fight to navigate the pitfalls of romance, religious differences and political unrest. Love in Afghanistan runs tonight, October 11-November 17, 2013 in the Arlene and Robert Kogod Cradle.
The world premiere of LOVE IN AFGHANISTAN began rehearsals at Arena Stage on Tuesday, September 10. Get a sneak peek at the cast in action below, along with Resident Playwright Charles Randolph-Wright and director Lucie Tiberghien!
Arena Stage at the Mead Center for American Theater announces the full company for Charles Randolph-Wright's world premiere drama Love in Afghanistan. Randolph-Wright, a Resident Playwright through Arena Stage's American Voices New Play Institute and director of Motown the Musical currently on Broadway, joins forces with director Lucie Tiberghien (MCC Theater's Don't Go Gentle) to bring to life the tale of two fantastically different people discovering love in the most unlikely of places: war-torn Afghanistan. One, an emerging hip-hop artist, the other, a high-level Afghan interpreter, both fight to navigate the pitfalls of romance, religious differences and political unrest. Love in Afghanistan runs October 11-November 17, 2013 in the Arlene and Robert Kogod Cradle.
Arena Stage at the Mead Center for American Theater announces the full company for Charles Randolph-Wright's world premiere drama Love in Afghanistan. Randolph-Wright, a Resident Playwright through Arena Stage's American Voices New Play Institute and director of Motown the Musical currently on Broadway, joins forces with director Lucie Tiberghien (MCC Theater's Don't Go Gentle) to bring to life the tale of two fantastically different people discovering love in the most unlikely of places: war-torn Afghanistan. One, an emerging hip-hop artist, the other, a high-level Afghan interpreter, both fight to navigate the pitfalls of romance, religious differences and political unrest. Love in Afghanistan runs October 11-November 17, 2013 in the Arlene and Robert Kogod Cradle.
Phone rings. Door chimes. In comes Company, one of legendary composer Stephen Sondheim's most beloved musicals, produced at Signature Theatre for the first time in twenty years and directed by Artistic Director Eric Schaeffer. The cast of fourteen, led by Matthew Scott (First You Dream: The Music of Kander & Ebb; Side By Side By Sondheim) in the role of Bobby, features many of Signature's most well-known stars in an enchanting, deeply funny exploration of love and marriage. BroadwayWorld has a sneak peek at the show below!
Sondheim's masterpiece is given riveting production and should not be missed.
COMPANY at Signature Theatre is electrifying and brilliant. Director Eric Schaeffer's return to COMPANY - after 20 years - may well be considered among his finest directorial achievements. Sondheim is often called 'Signature's signature.' COMPANY, now playing through June 30, shows us why. If we gave out stars at Broadway World, I'd give them ten for COMPANY.
When newly-minted Round House Theatre Producing Artistic Director Ryan Rilette announced that Gina Gionoffrido's Becky Shaw would replace another show - selected by his predecessor - in the theatre company's current season, I was pretty interested to see how it would turn out. I had the chance to check out the 2009 New York premiere at Second Stage Theatre and was largely impressed with not only the cast, but the play itself. Not your run of the mill kind of schmaltzy and cutesy romantic comedy, this play veers toward the edgy and dark side while offering valuable insights on human relationships and related boundaries/rules of the road with the help of some richly drawn characters.
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