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Soho Rep. to Close Walkerspace After 25 Years

The Board of Directors and leadership staff have decided that it is no longer in the best interest of the company's artists and audiences to renew their lease, which was set to expire in March 2017, and to close the theater at 46 Walker Street immediately.

Lyric Hammersmith Announces Casting for SHOPPING AND F***ING

The Lyric Hammersmith today announces full casting for Shopping and f**king. Alex Arnold will be playing Robbie, Ashley McGuire will be playing Brian, David Moorst will be playing Gary, Sam Spruell will be playing Mark, Sophie Wu will be playing Lulu.

Isabelle Huppert Returns to BAM in PHAEDRA(S) Tonight

Isabelle Huppert stars as the mythic queen in Phaedra(s), a postmodern reimagining of the Greek legend, featuring text from Sarah Kane, Wajdi Mouawad, and J.M. Coetzee, Sep 13-18 at BAM.

Edgar Oliver's ATTORNEY STREET to Make World Premiere This Fall

Edgar Oliver, the singular storyteller and beloved downtown NYC theater artist, returns to Axis Theatre to perform the world premiere of Attorney Street, the final installment in a trilogy of solo shows, directed by Randy Sharp, charting Oliver's life in New York City.

BWW Review: BLASTED Searches for the Fuse

Director Lindsey Higgins has audio recordings of British and American politicians play before the action begins in the 60 Grit Theatre Company's production of Sarah Kane's 'Blasted.' Their stuffy proclamations set the stage for the 1995 play's exploration of some horrific clashes along the frontlines of the battle between the personal and the impersonal.

Montague Basement Runs Ambitious Season at the Sydney Fringe

?Montague Basement runs ambitious season at the Sydney Fringe  Independent theatre collective Montague Basement has announced a three-show season at the Sydney Fringe, creating a dynamic residency at the Erskineville Town Hall.

The Catastrophic Theatre Presents BURIED CHILD by Sam Shepard

Corn has begun to grow again at a remote farmhouse where the Fields have been fallow for decades. A young man returns to his family home only to discover that no one recognizes him. The time has come for a twisted secret to come to light. Equal parts dark comedy, family drama, and mysterious ceremony of renewal, Buried Child is the play that vaulted Sam Shepard into the First rank of American playwrights and won him the 1979 Pulitzer Prize for Drama.

The Ophelia Project at Franklin Stage Company

The Franklin Stage Company (FSC) is thrilled to announce the next weekend of performances in its 20th season: THE OPHELIA PROJECT playing August 5th, 6th and 7th, Friday and Saturday at 8pm and Sunday at 5pm.  Created by rapidly rising soprano Cree Carrico (San Francisco Opera, Fort Worth Opera, Chatutaqua Opera, etc.) and director Christopher Mirto, and performed at FSC by Ms. Carrico with pianist Jody Schum, this piece began its life as a recital at the Manhattan School of Music and was later chosen to inaugurate Opera America's Emerging Artist Recital Series at the National Opera Center in October, 2013. However, from its inception this piece stretched the boundaries of recital. Through arias from different operas of Shakespeare's Hamlet and monologues from writers spanning Shakespeare to Sarah Kane, Carrico creates a compelling, unexpected portrait of Hamlet's doomed heroine who battles for sanity as she is driven to madness by broken heart and crushed dreams. These three performances at FSC mark the first time this piece will break free of the confines of a recital format to live and breathe in a more theatrical and narrative space.  

Soho Rep. Presents Jomama Jones in World Premiere of DUAT

At the Connelly Theater (220 E. 4th St.), Soho Rep. welcomes the return of legendary entertainer Jomama Jones in the world premiere of Duat by Daniel Alexander Jones, running October 11-November 6. Five years ago, New York audiences and critics alike swooned over the Soho Rep. production of Jones's Radiate. David Rooney in his New York Times Critics' Pick review declared, 'Radiate glows, making it hard not to surrender to this sequin-encrusted earth mother's soulful embrace.' Hilton Als in The New Yorker said, 'What we learn from Jomama's very particular radiance is this: you don't have to reduce the musical form to a musical just to make it more digestible. If you make a good, less reductive, and more grownup show, the people will come.'

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