Tell us your story. Let us talk with each other. But we will soon forget; that is the way of all things. Or is it? Will you forget their story? Partnered in repertory with La Llorona, in Cohesion Theatre Company’s first ever attempt at rotating repertory shows, The Orphan Sea by Caridad Svich boggles the mind over storytelling at its most primitive. Originally commissioned by The University of Missouri-Columbia Department of Theatre,
What’s the weirdest thing you ever believed in? A ghost? A spiritual practice? A religion? What about an urban legend? We’ve all heard them. We all have them. Some of us have even experienced them. What happens when one story crosses through multiple cultures, where everyone knows a different version of the story? Cohesion Theatre Company, in their first attempt at running shows in rep, presents La Llorona, written by Cecelia Raker,
People always find terrible ways to justify doing horrible things. But we enjoy watching horrible things; it gives us a feeling of immortality. We, however, are not immortal. Life is short. And the time that we spend with our loved ones is mostly behind us. Single Carrot Theatre opens their 11th season here in Baltimore with Young Jean Lee’s Lear, a peculiar exploration of familial dysfunction threaded loosely within the confines of Shakespeare’s King Lear.
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. Fully articulating one of the core concepts of theatrical endeavors— suspension of disbelief— the production in its essence is a remarkable parade of aesthetically pleasing features.