Madness, thy name is Brewster! Me thinks the aunties doth protest too much! Oh— wait a minute— the season of Shakespeare and all’s well that goes with that has concluded. Let’s try this again. Madness runs in the Brewster family; it practically gallops, though it isn’t quite the truth either. Madness doesn’t run through the Brewster family, it meanders slowly taking its time to get intimately acquainted with each and every member! And you’ll find out just how intimately insane the Brewster clan is but only if you venture out to Cockpit In Court for the first mainstage show of their 2017 season!
Story of my life! Another Shrekin’ show! Seen ‘em all before— but this one you should know— they’re brought the makin’ the story of their life, oh yeah! You should go out and see Shrek, yes sir! That’s— the story— of this— taaaaale. Shrek! If you’ve seen one then you’ve seen them all, you may have even seen this exact Shrek & Donkey combo before, but Dundalk Community Theatre already knew that and really stepped up their game to reimagine,
The line forms, on the right, babe— now that Macheath is back in town! The Audrey Herman Spotlighters Theatre is sending scarlet billowing all over the stage, kicking off 2017 with a flash of those pearly white sharks teeth as they bring the iconic Bertolt Brecht adaptation, The Three Penny Opera to the stage. Directed (with new editing, adapting, and translating) by Michael Blum with Musical Direction by Erica Rome,
Tale as old as time. Executing a Disney stage musical is always a tricky endeavor because one is competing with decades of iconic memories perfected and preserved in flawless animation. Even the best of the Disney stage shows suffer from the same stock problems: primarily easy to animate but difficult to stage scenes, added music significantly less stellar than the original scores, and inflated books from stretching the perfectly tailored 97-minute movie to two and a half hours of stage time.
I hate parading my serenading as I’ll probably miss a bar, but if this ditty is not so pretty at least it’ll tell you how great they are— they being the Phoenix Festival Theater and their current production of Anything Goes! One of Cole Porter’s finest musicals— baby it’s the tops— is now setting sail under the Direction of James Hunnicutt and the Musical Direction of Julie Parrish. With Conductor Will Poxon leading the live on-stage orchestra,
A year lasts forever and a day when you’re on top of the world. The Audrey Herman Spotlighters Theatre production of Evita will only last five weekends but will strike a chord in the hearts of theatergoers across Charm City that will easily resonate for a year. The music of Andrew Lloyd Webber and lyrics of Tim Rice come together under the Direction of Fuzz Roark and Musical Direction of Michael Tan in a pure and sublime performance of one of the most dizzying historical tales ever told in musical theatre.
Oh what a circus! Oh what a show! It’s quite a sunset, but don’t cry for the Argentinians just yet, Charm City! Not until you’ve read this riveting TheatreBloom exclusive interview with the actors in the lead roles at the upcoming production of Evita The Audrey Herman Spotlighters Theatre. With a wealth of knowledge on their characters, and great opinions on how this “old school” musical is surging with relevance today’s audiences,
Does one play the villain when one simply exposes the truth for what it is? The pungent aroma of hy-pocrisy wafting down from the north as John Adams campaigns for Independence in Philadelphia exposed by the surly tongue of Edward Rutledge in what is marked as one of the darkest musical numbers in 1776. Continuing on as the fourth installment of Vote Yes: Inside Independence Hall, TheatreBloom sits down with Dan Felton to discuss his antagonistic role inside the second continental congress.
Vote yes! Vote yes! Vote for independency! For God’s sake, theatergoers, sit down! And make sure you do it over at Toby’s Dinner Theatre where history comes to life in one of her most striking productions to date. 1776, a revolutionary tale of how the great nation of America got its start is well underway as spring gets started close to the nation’s capitol. Directed by Jeremy Scott Blaustein and Shawn Kettering,
During this festive season the overwhelming urge to invite friends and family around to the house for dinner creeps up out of nowhere, much like the sharp biting winter chill of the season. The Audrey Herman Spotlighters Theatre reminds people everywhere why dinner guests are an atrocious idea, especially at this time of year with their zany and highly amusing production of George S. Kaufman and Moss Hart’s The Man Who Came to Dinner.