#theater

#theater

CoHo hasn't just survived, it has thrived and is ascending, and that is largely thanks to the foundation that Cuomo... laid with the young artists who have come up after him.

The title was spontaneous, impulsive. It was inspired by Kenneth Anger. He has two films with 'Rising' in the title - 'Lucifer Rising' and 'Scorpio Rising' - and I wanted to make something in this supernatural, surreal, occultist, exaggerated, fantasy world, like his films.

A big issue with how we understand Shakespeare and how we're introduced to it is we sit down and read it. But Shakespeare's plays, like any play, are meant to be heard, to be experienced.

"We find beauty out of struggle and out of something broken," says the artist, emphasizing the importance of representing life in Brooklyn through the exhibit.

The tragicomic look at two lives on hold struck a chord; its depiction of a family bickering and bantering, and of the risks of intimacy, felt specific and true.

"Rather than a traditional theatre, we are creating a garden of earthly delights. Empyrean is a place of ecstasy, artistry and real interpersonal connection. When the curtain falls, the night has just begun."

The production that just opened at OSF, directed by Marcela Lorca, is the best I have seen. Working with a strong cast and a spectacular movement and design team, this production crackles with vitality and originality.

His writing is incredible. The characters are real. There's so much for actors to dig into. To be able to write that way and to connect with people, you're operating on a higher plane.

Rebecca Lucy Taylor, known as Self Esteem, channels a lot of personal stuff into the role of Maggie Frisby, a minor rock singer, angry, amused and very drunk as her band disintegrates at a 1969 Oxford student ball.

The 2019 production of Beetlejuice garnered eight Tony nominations and follows the familiar story of a deceased couple whose ghosts haunt the Deetz family.

Magoo ain't your grandpappy's bluegrass. The progressive quartet out of Denver honors the timeless roots of the tradition while adventuring into new territory.

This spectacular stage adaptation of the hugely successful 'cool magicians fight crime' series of films hones in on the thing the people clearly want: illusions. Big ones. And lots of them.

Giant's narrative unfolds during a fraught lunch in 1983, where Roald Dahl faces his Jewish publisher and others regarding his controversial remarks about Israel, leading to a battle over apology versus defiance.

The sisters gather to remember their late father, but the jesa is intended to honor both parents, creating a complex emotional landscape. Grace's home is immaculate, yet the sisters' grief disrupts the intended smoothness of the ritual.

From Hitchcockian stylish suspense and audacious comedy to deeply personal storytelling, infused with magic, and a big-hearted laugh-out-loud world premiere musical this season invites audiences into conversations that are urgent, hilarious, and profoundly human.

Playwright Mikki Gillette—described once as 'the Joan of Arc of the trans community in Portland theatre' by actor and critic Bobby Burmea—sets the work in the lead-up to and immediate aftermath of the 1966 Compton's Cafeteria Riot. We're dropped into the lives of four trans people practically begging the world to care about their pain, but with very different ways of approaching a brighter future.

You will be guided by seasoned paranormal investigators to participate in this evidence-based investigation. Whether you're a skeptic or a believer, give this a go and experience the otherworldly realm.

BUSD's Fix-it Fest returns on Saturday, Feb. 28, where you can bring in broken items and get them fixed with the help of BUSD students and repair coaches.

Clocks, like live animals, are dangerous things to put onstage, because they so easily draw your eye away from the performers. In Jacob Perkins's The Dinosaurs, for instance, I caught myself glancing up at the circular plastic one at the left of the stage, frozen at about 15 minutes past the hour. The immobile hands are surely a design choice, one that layers a sense of unreality over the otherwise hyperreal rec room (designed by the nearly ubiquitous firm dots) where The Dinosaurs's characters gather.

There's a refrain that follows Sean Hayes around in The Unknown, and it doesn't take much to hear echoes of The Phantom of the Opera in the way the playwright David Cale has arranged its scansion and melody. "I wish you'd wanted me," Hayes's character, Elliott, a playwright who's on a digital-detox retreat upstate, hears a mysterious voice singing somewhere outside his window.