Ford's Theatre Society announced that it set revenue and attendance records with its 2016-2017 theatrical season, which included the musicals Come From Away and Ragtime, productions of A Christmas Carol and Edward Albee's Who's Afraid of Virginia Woolf? and the one-act play One Destiny. More than 153,000 patrons attended performances, and ticket sales brought in more than $6 million, making 2016-2017 the highest attended and highest grossing theatrical season in Ford's Theatre history.
Everyman Theatre pays exquisite attention to detail and creates an astounding feat of comedy in its production of NOISES OFF. The cast demonstrates comedic chops and executes pratfalls and buffoonery with commitment and perfect timing. Do yourself, your lungs and your liver a favor and laugh at the raucous riot. Don't be surprised if you find yourself craving sardines afterwards.
Everyman Theatre's Resident Company of actors transforms into a British company of actors during the 1970s in this hotly anticipated revival of Tony Award-Winner Michael Frayn's side-splitting farce to end all farces, Noises Off, directed by Founding Artistic Director Vincent M. Lancisi and running from May 17 through June 18, 2017.
The nominations for the 8th Annual Indie Series Awards were revealed on Wednesday, February 1. The ISAs celebrate the best in independently produced scripted entertainment created for the Web. Nominations were announced in 29 categories.
Albee's characters are shockingly volatile. They curse, they drink and they revel in inflecting pain. It's funny, heartbreaking and yes, slightly familiar. Who's Afraid of Virginia Woolf? may have debuted in 1962 but the truth it provokes still feels relevant.
We in the audience are continually torn between cheering the gumption and the desire behind Blanche's lies and being appalled at the human cost the lies inflict, not least on the teller of them.
The unresolvedness of social themes is a feature, not a bug, as far as Miller is concerned. Miller has willed the ambiguities and the gaps in information, and tightly controlled the opportunities for interpretation that might resolve or suggest resolutions to the ambiguities. There is a path to execute, and the Everyman crew execute marvelously, but this is not the same thing as the artistry that directors and actors can ordinarily exert. Most plays give their performers more room to interpret, to breathe.
The culmination of Everyman Theatre's 25th Anniversary begins this spring with the highly anticipated 'Great American Rep.' The Rep unites two iconic masterpieces and marks the first time Arthur Miller's Death of a Salesman and Tennessee Williams' A Streetcar Named Desire have ever been produced as a rotating rep, where one virtuosic cast featuring 8 resident company members performs multiple roles and transform night after night.
Everyman Theatre has announced its 25th anniversary season. For the first time ever, the company will present a rotating repertory of two masterpieces of American theatre: Death of a Salesman by Arthur Miller and A Streetcar Named Desire by Tennessee Williams. Both productions will feature the same cast and performances will rotate from day to day. Known as The Great American Rep, this event will take place from April 5 through June 12, 2016.
Everyman Theatre began rehearsals today for the 2014/15 season opener, The Understudy. Theresa Rebeck's comedic look into the backstage world of show biz runs through September 28th. The three-person cast features Everyman Resident Company Members Clinton Brandhagen,Danny Gavigan and Beth Hylton. Joseph W. Ritsch makes his Everyman directorial debut with the production. Check out a first look at the production below!
We come into life with a desire to do meaningful things, just as an understudy comes into the theater motivated to produce great thespian art. Yet if the understudy is our avatar, how discouraging is his example! For, as in Rebeck's play, the understudy's task is condemned to nearly certain futility. Particularly so on today's Broadway, where plays are too often packaged as vehicles for screen stars whom the audience pays a large premium to see, in productions with limited runs. The setup is almost guaranteed to incentivize producers to demand that the big screen stars appear at every performance, and to incentivize the stars to do so, affording no opportunity to the understudies.
Everyman Theatre began rehearsals today for the 2014/15 season opener, The Understudy. Theresa Rebeck's comedic look into the backstage world of show biz runs from August 27th through September 28th. The three-person cast features Everyman Resident Company Members Clinton Brandhagen, Danny Gavigan and Beth Hylton. Joseph W. Ritsch makes his Everyman directorial debut with the production.
