To thine own self be true. Wrong Shakespeare; right concept. Baltimore Shakespeare Factory is being true to their MO and giving Charm City yet another Shakespearean production in Original Pronunciation, or “OP.” Othello is the latest in BSF’s OP series and handles just as well as those before it. For those vastly versed in Shakespeare think of OP as taking it to the next level or unlocking that bonus round of never-before heard jargon that truly acquaints you with the authenticity of The Bard.
It begins with a storm, a shipwreck, the rag tag crew find refuge on the shores of a strange island…sound familiar? Don’t be fooled, The Sea Voyage is far from an echo of Shakespeare’s Tempest. John Fletcher crafts a witty comedy that rivals the better remembered bards of his time. His female characters are strong willed, humorous and well, horny. The Baltimore Shakespeare Factory did an excellent job unearthing this comedic gem.
The Zero Hour by Madeleine George, presented by Iron Crow Theatre at the Baltimore Theatre Project will run for only for more shows, all this weekend. Go grab your tickets before you continue reading; you won’t want to miss it. The play is set in a contemporary New York, following an established lesbian relationship. The scenes feel more like vignettes in a way that feels jarring at first but quickly settle into a digestible pattern.
When you are told a thing, you must listen. Take a closer look with your exhibitionist eyes to the current co-production at the Fells Point Corner Theatre with The Collaborative Theatre; the current production of The Elephant Man by Bernard Pomerance, which launches the 2016-2017 season #RescueMe. Directed by Anthony Lane Hinkle, this strange venture into Victorian London exposes theatergoers to beauty that goes beyond the eye of the beholder.
Summer is sizzling up a creativity storm down in North Beach as the 11th Annual Kids’ Playwriting Festival gets underway at the Twin Beach Players. With two dozen scripts submitted from area youth playwrights, six winners were selected for performance in this year’s festival. Festival Director Sherry Lehnen brought six groups of young actors and directors— many of whom have participated in previous KPF events through the years, some of whom have even had their plays produced— together in addition to a series of volunteers of all ages to help run tech and crew for an amazing opportunity for these young and gifted writers.
Kicking off things with a bang after a season-long hiatus, Iron Crow Theatre is back with its most ambitious season ever. Under new management, establishing a new identity, and toting a whole bunch of new ideas, the company is rebooting their version of live theatre in Baltimore. Transitioning from the well-known moniker of “Baltimore’s Gay Theatre” into the broader umbrella of “Queer Theatre”, Artistic Director Sean Elias was heard making the statement that “…Queer…as defined to be renegade and unorthodox would be the mark and focus of rebranding the theatre…” at the season launch party held on Saturday February 6th earlier this year.
Ladies and gentlemen, with your kind attention and permission, I have the honor of presenting to you…well, I don’t suppose I have the honor so much as the Fells Point Corner Theatre and The Collaborative Theatre have the honor of presenting a lovely little farcical play on Alfred Hitchcock’s The 39 Steps. Adapted by Patrick Barlow to the stage in comedic fashion, and Directed by Anthony lane Hinkle, some two dozen characters grace the stage as four actors wittingly work their way through the dark and tangled plot of humorous proportions.
“Oh time, thou must untangle this, not I. It is too hard a knot for me t’ untie.” More appropriate Shakespearean words have never been found to suit the current situation of gender fluidity in the 21st century. As the knot of the rigid gender binary breaks apart into an open an accepting existence that genders— much like plays— come in a great many varieties, time proves to be the ultimate salve and knot-worker when it comes to undoing the limited thinking that has been applied to the notion since people began identifying their genders.
To have a dark task isn’t the worst fate, even death does not hold that honor. The gods will not be plagued if you do not call after them, but they may lay a pox upon you if you don’t call after Glass Mind Theatre and their current production of The Pretties. Inspired by The Oresteia and Adapted by Ann Turiano, The Pretties unfolds in a new performance space for GMT under the Direction of Lynn Morton.
If you enjoy intimate theatre, if you’re invested in supporting local and innovative performance companies, if you are as excited as I am to see the science-fiction genre further explored on-stage, stop reading this review and buy a ticket right now for Glass Mind Theatre‘s The Dum Dums. Once you’ve seen it, come back here and we can talk about some things.
The play is technically immersive and impressive,