Madeleine Lambert News

Geva Theatre Center's production of The Agitators: The Story of Susan B. Anthony and Frederick Douglass, written by Mat Smart and directed by Logan Vaughn, was the best-selling world premiere and one of the best-selling dramas overall in the theatre's 45-year history. Over 15,000 people attended the production, crafted in Rochester, for Rochester over a four-week period with 32 public performances.

Geva Theatre Center's 2017-2018 Season continues with the World Premiere of The Agitators by Mat Smart, directed by Logan Vaughn in the Elaine P. Wilson Stage, now through November 12. BroadwayWorld has a first look at the cast in action below!

Geva Theatre Center's 2017-2018 Season continues with the World Premiere of The Agitators, by Mat Smart and directed by Logan Vaughn in the Elaine P. Wilson Stage from October 17 through November 12.

Geva Theatre Center's 2017-2018 Season continues with the World Premiere of The Agitators, by Mat Smart and directed by Logan Vaughn in the Elaine P. Wilson Stage from October 17 through November 12.

Paula Vogel's Pulitzer Prize-winning drama of How I Learned to Drive is currently playing at Syracuse Stage in co-production with the Cleveland Play House. Astutely directed by Cleveland Play House Artistic Director Laura Kepley, this edgy, intermission-less 90-minute production is captivating, deeply thought-provoking, and controversial, and showcases the tremendous talents of the cast.

Come along for the ride as Syracuse Stage presents Paula Vogel's Pulitzer Prize-winning drama How I Learned to Drive.This deeply compassionate play looking into how one woman's courage to face a troubled time in her past leads her to take control of her own life opens April 7 in the Archbold Theatre at the Syracuse Stage/SU Drama Complex, 820 E. Genesee St. There will be two preview performances on Wednesday, April 5, and Thursday, April 6.

The mission of the Cleveland Play House is to produce plays that 'inspire stimulate and entertain.' It further intends to bring bold, necessary, personal stories told in imaginative ways to the public.

Cleveland Play House shifts gears from playful (Ken Ludwig's Baskerville: A Sherlock Holmes Mystery) to profound with the Pulitzer Prize-winning play How I Learned to Drive. Written by Paula Vogel - one of the preeminent figures in American theater today - How I Learned to Drive traverses taboo territory with humor, heart, and empathy.

Cleveland Play House shifts gears from playful (Ken Ludwig's Baskerville: A Sherlock Holmes Mystery) to profound with the Pulitzer Prize-winning play How I Learned to Drive. Written by Paula Vogel - one of the preeminent figures in American theater today - How I Learned to Drive traverses taboo territory with humor, heart, and empathy.

Lillian Hellman's THE CHILDREN'S HOUR is a classic play, which premiered in 1934 and is just as timely and relevant today.  The Gamm's production is a near-flawless retelling of this disturbing story about how much words matter and how the power of a lie can have repercussions far greater than expected.  The intricate and methodical script comes to life under the talents of Madeleine Lambert and Gamm resident actor Karen Carpenter and as two women who run an all-girls boarding school and find themselves with a pupil who seeks to destroy anything that gets in the way of her agenda.

The Children's Hour, Lillian Hellman's startingly relevant Depression-era play  opens at The Sandra Feinstein-Gamm Theatre (The Gamm) on January 12. Director Rachel Walshe (Grizzly Mama, Marie Antoinette) directs a cast of Gamm veteran actors and newcomers, including local high school students, in an emotional journey exploring the power of a lie and the nature of public shaming.

Written by British playwright Mike Bartlett and directed by Jeffry George, Cock comes to WHAT's stage and continues in the tradition of bringing very heartfelt, existentially direct productions to a Cape Cod audience. With such a blunt title as this play is given, the audience risks coming to an immediate conclusion as to what they are to expect in the coming hours; yet, WHAT's repertoire has thrown quite a few surprises everyone's way thus far by making the title's become primary themes of what is about to ensue - that which envelops the play/musical and its characters, whether or not it is tangibly on stage for the duration of the show. So saying, Cock is more about externalizing what is typically an internal battle: one with ourselves.

 Called a "pugilistic, punch-drunk comedy" (DC Theatre Scene) and "A terrific comedy with an unprintable name" (New York Times), Mike Bartlett's Cock opens at Wellfleet Harbor Actors Theater June 16. The cast of Cock is Nicholas Carter, Lee Seymour, Madeleine Lambert and Christopher Chisholm, directed by Jeffry George. 

At times, it can be hard to imagine that there was ever a period in history when society was as celebrity-obsessed as we are right now. With the internet, social media, Twitter, 24-hour cable news and everything else, information about the rich and famous is everywhere, all the time. It seems impossible to avoid and seems that the public's appetite for it is insatiable. On the other hand, David Adjmi's play Marie Antoinette, now playing at the Gamm Theatre, casts the famous French queen in much the same kind of world. And while the uneven play doesn't offer much that's new or original, it does provide another lens through which we can view and examine our own society and it's problems.

The Sandra Feinstein-Gamm Theatre (The Gamm) closes its 30th anniversary season with David Adjmi's MARIE ANTOINETTE. A tragicomedy rich in historical context and contemporary culture, MARIE ANTOINETTE profiles the famously iconic and controversial queen of France-from her growing celebrity to her ultimate demise at the hands of those who once exalted her...with dramatic parallels between the disenfranchised of 18th-century France and America today. Madeleine Lambert (Anne Boleyn in Anne Boleyn) will take on the role of Marie in a production directed by Rachel Walshe, who last directed Good People at The Gamm.

The Boston Center for American Performance and Boston Playwrights' Theatre co-production of Michael Hammond's comedy UNCLE JACK is a modern-day retelling of Chekhov's UNCLE VANYA relocated to a small summer theater in the Berkshire hills.

The Boston Center for American Performance (BCAP) and Boston Playwrights' Theatre (BPT) co-production of Michael Hammond's comedy Uncle Jack opens next week. Running from tonight, February 12 to March 1 at the Boston University Theatre's Lane-Comley Studio 210, the newest play from Boston University's New Play Initiative is directed by the playwright.

The Boston Center for American Performance (BCAP) and Boston Playwrights' Theatre (BPT) co-production of Michael Hammond's comedy Uncle Jack opens next week. Running from February 12 to March 1 at the Boston University Theatre's Lane-Comley Studio 210, the newest play from Boston University's New Play Initiative is directed by the playwright.

2014 was a powerhouse year for theater in the Ocean State. BroadwayWorld Rhode Island is pleased to feature some of the exceptional performers and artists who made this year a most memorable one on local stages.

Recently, Yankee Magazine, in their Editors' Choice Best of New England 2014 issue, awarded the title of "Best Intimate Theatre" to Rhode Island's own Sandra Feinstein-Gamm Theatre. The Gamm's home in Pawtucket is intimate, there's no argument about that, a perfectly sized and perfectly utilized theatrical space. Proximity with the audience can at times be a risky bet, a chance for a company to live or die by the sword of theater that is very up close and personal. In the case of the Gamm, it is a bet they always win. Just one example is this season's final play, Blackbird, which again showcases how the space's intimacy can and does make great theater even more powerful and impactful.