The Brick Theater, Inc. will present a Gemini CollisionWorks production of ObJects: a new play written, designed, and directed by Ian W. Hill, assisted by Berit Johnson, as part of THE COLLISIONWORKS: At The Ends (in repertory with Antrobus & Gone).
The Brick Theater, Inc. will present a Gemini CollisionWorks production of ObJects: a new play written, designed, and directed by Ian W. Hill, assisted by Berit Johnson, as part of THE COLLISIONWORKS: At The Ends (in repertory with Antrobus & Gone).
Museum of the Moving Image advances the public understanding and appreciation of the art, history, technique, and technology of film, television, and digital media.
Museum of the Moving Image advances the public understanding and appreciation of the art, history, technique, and technology of film, television, and digital media.
The premiere of a new Lady Gaga music video is always a cause celebre for entertainment lovers of any sort, but earlier today Gaga gave us a truly theatrical - and totally, wildly, adorably surreal - early Christmas treat of epic proportions in the form of the short film "Marry The Night". Part TOMMY, part David Lynch-ian fever dream, part throwback music video, with the rest unmistakably, unquestionably and undoubtedly all Gaga. Directed by Gaga herself, the "Marry The Night" music video puts into question the term itself - much like Kanye West's exquisite mini-movie musical treatment of eight of his songs from his Grammy-nominated opus MY BEATIFUL DARK TWISTED FANTASY in the form of the "Runaway" short film/music video from late last year - and, now, once again, Gaga has redefined not only the genre she is working in, but the entire music and theatre game itself. Daring, edgy, avant garde and more bizarre than anything you are likely to see at any multiplex this weekend - let alone on sweet, safe Broadway - the "Marry The Night" film is nothing short of Gaga firing on all axels - in this case, literally - and setting the stage afire with her fierce, determined conviction to following her own oh-so-idiosyncratic vision through to its ultimate - and oft-ugly; and, just as often, gorgeous - end. Actually, ends are what this video is about in many ways - from asses to hosannas. This isn't your mama's music video - or Madonna's, either (a trait which has been ascribed to Gaga videos past) - but what it is is the most over-the-top theatrical and unabashedly excessive - and best - music-related film of the year. Just don't call it a music video.
It was with great sadness that the Stratford Shakespeare Festival learned of the death of John Neville.
This year's collection of shows from Gemini CollisionWorks, The Collisionworks 2011: At The Ends (aka 3 Terminal Plays or 3 Ultimate Plays), focuses on finality, mortality, and the conclusion of all things, with the caveat that all endings bring the possibility of new beginnings.
Today we are continuing our series on theatrically-related 2012 Oscar hopefuls with a look at the just-released trailer for David Cronenberg's new film A DANGEROUS METHOD starring Keira Knightley, Michael Fassbender, Viggo Mortensen and Vincent Cassel. Based on a play about the friendship, lives and studies of scientists/philosophers/doctors Sigmund Freud and Carl Jung and how it pertains to a female patient, Sabina, penned by DANGEROUS LIASONS and ATONEMENT scribe Christopher Hampton, titled THE TALKING CURE, Hampton also penned the screenplay for this film adaptation, which also credits John Kerr's examination of Freud and Jung's studies and personal lives, A MOST DANGEROUS METHOD. Given the films R-rating, Cronenberg will evidently be given full reign to follow the story's explorations of the dark recesses of human psychology and how it manifests in our sexuality. While Cronenberg has repeatedly proven his prowess with intimate character studies in recent years with his superb string of dramas such as SPIDER starring Ralph Fiennes, A HISTORY OF VIOLENCE with Viggo Mortensen and Maria Bello and, most recently, the unforgettable EASTERN PROMISES with Mortensen and Naomi Watts, A DANGEROUS METHOD is his first bid for Oscar gold this decade and for the first time in his forty year career he may finally be awarded for his cinematic legacy given this perfect storm of his idiosyncratic cinematic sensibilities married to charismatic lead performances by four of the hottest names in drama telling a story that only Cronenberg could tell this well - with a screenplay by one of the great playwrights and screenwriters of our age, as well. If the early reviews from the Venice Film Festival, where the film premiered earlier this week, and spellbinding images and scenes on display in the new trailer for the film are any indication of what we can expect from A DANGEROUS METHOD onscreen, this could very well be the film to sweep all the statuettes at the Oscars.
The Brick Theater, Inc. presents a Gemini CollisionWorks production of ObJects: a new play written, designed, and directed by Ian W. Hill, assisted by Berit Johnson as part of THE COLLISIONWORKS 2011: At The Ends
The Brick announces the final weekend for THE COLLISIONWORKS 2011: At The Ends 3 Plays in Repertory
Gemini CollisionWorks presents THE COLLISIONWORKS 2011: At The Ends 3 Plays in Repertory from August 11 - 28, 2011
This year's collection of shows from Gemini CollisionWorks, The Collisionworks 2011: At The Ends (aka 3 Terminal Plays or 3 Ultimate Plays), focuses on finality, mortality, and the conclusion of all things, with the caveat that all endings bring the possibility of new beginnings.
At the end of a Nation. The United States, 50, maybe 70 years from now, tops. The country is ruled by geographic/corporate fiefdoms that can't hold the place together anymore (and a practically non-existent government), with a populace so overwhelmed by technological future shock and infotaining bread & circuses that it has lapsed into near-catatonia, and can no longer actually do anything anymore.
The Brick Theater, Inc. presents a Gemini CollisionWorks production of ObJects: a new play written, designed, and directed by Ian W. Hill, assisted by Berit Johnson as part of THE COLLISIONWORKS 2011: At The Ends
David Henry Hwang, one of America's most dynamic and versatile playwrights, is the Honoree of the 31st Annual William Inge Theatre Festival, in Independence, Kansas, on the campus of Independence Community College.
At the end of a Nation. The United States, 50, maybe 70 years from now, tops. The country is ruled by geographic/corporate fiefdoms that can't hold the place together anymore (and a practically non-existent government), with a populace so overwhelmed by technological future shock and infotaining bread & circuses that it has lapsed into near-catatonia, and can no longer actually do anything anymore.
The Brick Theater, Inc. presents a Gemini CollisionWorks production of ObJects: a new play written, designed, and directed by Ian W. Hill, assisted by Berit Johnson as part of THE COLLISIONWORKS 2011: At The Ends
The Midtown International Theatre Festival presents Dad Doesn't Dance, a new solo noir in one act written and performed by Nora Brown*.
The Guthrie Theater will kick off its 50th anniversary season with a three-play celebration of prolific British playwright and screenwriter Christopher Hampton, whose adaptation of Yasmina Reza's Tony Award-winning comedy God of Carnage is playing on the Theater's McGuire Proscenium Stage through August 7, 2011. A Guthrie commission of Appomattox, a new play based on his original 2007 opera collaboration with composer Philip Glass, will be presented in the fall of 2012 alongside two of Hampton's other works, the titles of which will be announced at a later date.
The Midtown International Theatre Festival presents Dad Doesn't Dance, a new solo noir in one act written and performed by Nora Brown*.
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