Right is right and right don’t wrong nobody. A strong decry
of truth and justice in a time when its sorely needed; to think such words
originated from August Wilson just 14 years ago (taking place a mere decade
before that) in Radio Golf, the last in Wilson’s Century Cycle play
series. Now appearing on the main stage of Everyman Theatre as the second dramatic
offering in their 2019/2020 season,
Right is right and right don’t wrong nobody. A strong decry
A taste for the mystery of numbers is excessively rare,
especially among those more theatrically inclined. Creatives and cultivators of
art tend to shy away from “the numbers” but don’t let that scare you away from
seeing Everyman Theatre’s 2019/2020 season opener— Proof, by David
Auburn. Directed by Paige Hernandez, there is an evocative warmth that
dominates this play filled with bughouse logic.
DJ Corey Photg (L to R) Bruce Randolph Nelson as Robert,
When one is in town, one amuses oneself. And if one is in Baltimore, one can amuse oneself by getting tickets to see an uproarious and smart production of Oscar Wilde’s The Importance of Being Earnest now appearing at Everyman Theatre for the holidays. Directed by Joseph W. Ritsch, this high-brow, tongue-in-cheek, comedy chestnut is a delightful romp through town, country, and all sorts of shenanigans. A pleasingly pleasant alternative to all of the elves,
A couple of minutes is all it takes; your life can change just like that. In these unsettling and disturbing times of political unrest and social unease with humanity caught dangling in the balance between civility and annihilation, it is no surprise that Everyman Theatre is once more producing two time Pulitzer Prize-winning dramatist Lynn Nottage. This time it’s her core-shaking production of Sweat, Directed by the company’s Artistic Director,
Memory is a funny thing; how we remember and what we remember, though oft going hand in hand, are truly two separate details, neither of which can ever accurately portray the past. But is it the event that needs remembering or the way you felt as it was happening? Is it the people who need remembering or the way they smiled through the moment that you remember? Everyman Theatre takes a comfortable stroll down memory lane to open their 2018/2019 season with the Irish classic Dancing at Lughnasa by Brian Friel.
Boop-boop-be-BLAM! Woolly Mammoth Theatre Company is opening their 2016/2017 season with an honest-to-God firecracker of a play. Delivering the world premiere of Jen Silverman’s Collective Rage: A Play in Five Boops, Woolly sets the bar high for the rest of the conversationally loaded season with this thunderclap of a theatrical experience. In a TheatreBloom exclusive interview we sit down with Beth Hylton, playing Betty Boop 1, and pick her brain on the whole “Boop Experience.”
Illusions may shatter but memories stay. And a small man can be just as exhausted as a great one. America’s original play in memory, Arthur Miller’s Death of a Salesman comes to Everyman Theatre to close out their 25th Anniversary season as a part of The Great American Rep cycle, also featuring Tennessee Williams’ A Streetcar Named Desire. The iconic American drama gets the cycle underway and Directed by Vincent M.
Blood is thicker than water, but it isn’t bondage— an unyielding tie to our relations— it’s more like a bond— a tie that connects us to one another in an unbreakable and inexplicable manner. Under the skin, we’re all family, tracing our roots back to the most basic of human origins, and playwright Michael Hollinger articulates that in his touching familial drama Under the Skin. Directed by Vincent M. Lancisi, this poignant and evocative drama performs explorative theatrical surgery on the construct of human relationships when it comes to the boundaries of the body and the limits of love.
You can’t live against life and avoid harm by avoiding good. And nothing will remind you of that profound philosophy while simultaneously tickling your funny bone as well as Everyman Theatre’s current production of John Patrick Shanley’s Outside Mullingar. Directed by Donald Hicken, this shadowy Irish comedy is the epitome of balance when it comes to hilariously heartwarming and deeply moving. A touching and tender tale of dying folks living, dying,
You got to take the crooked with the straights, roll with the punches, and prepare to tackle death when it comes. The August Wilson classic Fences slides into the second show slot of the 25th Anniversary season at Everyman Theatre. Directed by Clinton Turner Davis, the play articulates the age-long struggle of man versus death and throws in the American classic kitchen sink drama of love, loss, and family in the process.
We don’t live alone. Our lives intricately touch so many others. Strangers on the street, shop girls assisting us with things, women of the town, factory girls hard at work, they are all living breathing human beings. And what gives us the right to decide that a simple action on our end does not impact their lives irrevocably? The fact that our station may be above theirs? The fact that we are of importance and they are of little consequence?
The door never closes at Mama’s Place. Everyman Theatre is holding that door wide open as the 2015 New Year starts. Entering the back end of their 2014/2015 with Lynn Nottage’s Ruined, Everyman brings to the stage the harrowing and haunting tale of life in a small town in the Democratic Republic of the Congo where civil war is eminent, every man is danger, and the palm wine and the dancing are the only things that chase away the horrors of reality.
There’s no place like home for the holidays. Everyman Theatre is bringing home five of their company members for a holiday performance like no other this December as they mount Ira Levin’s classic thriller Deathtrap on their stage for Christmas. Directed by founding Artistic Director Vincent M. Lancisi, a little suspense makes the perfect stocking stuffer this season. Equal parts comedy and suspense; the precarious balance between darkly humorous and spine-tingling is delivered exceptionally in this devilishly thrilling performance.
Christmas time is a bright and wondrous holiday season. Often described as the summer of the soul in December, a great deal of classic shows mount the stage during the holiday season but perhaps none so frequent as Charles Dickens’ A Christmas Carol. At this festive time of year in a TheatreBloom exclusive interview, area actor Paul Morella took a moment to sit down with me to discuss his one-man version of the iconic Christmas classic.
A pilot is the blue. A fighter pilot becomes the blue through sweat, brains, and guts. Grounded, an evocative one-woman show written by George Brant, has landed at Everyman Theatre this fall. An award-winning sold out sensation in London, this co-production with Olney Theatre Center takes flight for the Baltimore-Washington area premier and soars with flying colors as an exceptionally well-penned and phenomenally well-performed dramatic production.
What a story. What a scandal. What does he cry? Amadeus! But it is Salieri’s tale to tell. And what better a way to hear it than in an exclusive interview with Baltimore area actor Bruce Randolph Nelson, playing the lead role of Salieri in Centerstage’s production of Amadeus. The first production of their 2014/2015 season is underway and in a sit down interview Bruce gives us the real deal on what it’s like to play the lesser genius to Wolfgang Amadeus Mozart.
Silence is not beautiful. Understudies are not bitter. Silence is a failure of words; silence is defeat. And understudies are real actors that are failed to be recognized in light of a big name draw to a Broadway show. This riveting and uproarious concept, albeit completely true, is wrapped up in Everyman Theatre’s production of Theresa Rebeck’s The Understudy. Directed by Joseph W. Ritsch, this exciting dramadey is more than just a metaplay about real life actors and Kafka.