If there isn’t a right way to do things then you have to invent one. Iron Crow Theatre is doing exactly that with their current production of Caryl Churchill’s Cloud 9. Directed by Dr. Natka Bianchini, this work of Churchill’s examines a lot of things but askes a great deal from the audience in order to exist as anything other than a preachy drama with a lot of confusion.
It takes a lot of Joes to make a sound you can hear. Iron Crow Theatre and it’s almost 20 Joes are making sounds, but the question is— do you hear the people sing? Is it the song of angry men? We’re not marching through France, and this ain’t Russia. It’s Steeltown, USA (temporarily residing in Baltimore, of course) and it’s time to speak up and make your voices heard. The Cradle Will Rock kicks of the 2017/2018 “Season of Identity” for Iron Crow Theatre,
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.
Are you ready to shiver with antici—
Stamping their hallmark all over The Rocky Horror Show, as Baltimore’s queer theatre, Iron Crow Theatre is starting their very own annual tradition in this historic season of new discoveries. Taking Richard O’Brien’s cult-classic musical to the stage is the Christmas Carol of Halloween this time of year, but what’s making ITC’s production stand-out from others popping up in the area or even in your living room view the television screen?
Iron Crow Theatre is kicking off their historic 2016/2017 season, entitled “Dark Play”, with a raucous bang, setting the bar high with expectations. Andrew Lippa’s The Wild Party, directed by Sean Elias with Musical Direction by Ben Shaver, lives up to those standards and is a scandalously swinging evening of titillating entertainment which plunges the depths of the seasonal through-line of dark play right from the word go.
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.
Like Shakespeare, interview series can too come with surprises! In an unpredicted fourth installment of the three-part series “No Darkness But Ignorance: Shedding Light on Trans* Twelfth Night” the show’s two remaining actors (who had not yet previously been featured) sit down to discuss the opportunity to work on the project with TheatreBloom. Alice Stanley, the Co-Founder and Co-Producing Artistic Director of Cohesion Theatre Company, sits with actor Melanie Glickman to discuss working inside of Twelfth Night in the Trans* Voices Workshop Series production co-produced by Cohesion Theatre Company and Iron Crow Theatre.
In the third installment of a series of interviews with the cast and directors of Twelfth Night, a co-production between Cohesion Theatre Company and Iron Crow Theatre appearing in the Trans* Voices Workshop Series, TheatreBloom sits down with actors Logan Davidson, Jane Jongeward, Danielle Vitullo, and Dana Woodson to hear about their experience with the production.
If you could give us an introduction of who you are and who you’re playing in the show as well as a little bit of your performance background from the area that would be a great start.
Following up the successful interview with Director Phil Vannoorbeeck and Assistant Director Sarah Maher, TheatreBloom sits down with four of the ten actors involved with the Trans* Voices Workshop Series production of Twelfth Night to have them shed further light on the experience.
If you could give us a brief introduction to who you are, who you are in the show, and what work you’ve done in the area, we’ll get started.
“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.
An inconvenient truth always beats a pretty lie in the long run. The central conceit— and cleverly coined phrase— of Baltimore playwright Rich Espey’s new work The Revelation of Bobby Pritchard. Making its world premier at Iron Crow Theatre, this engaging and compelling drama reveals a great many truths which are in need of being told. In a TheatreBloom exclusive, we sit down with the playwright to talk about the inspiration behind the story and just how it all came to fruition.
There are some things that have to be said. Baltimore playwright Rich Espey is saying them loudly and clearly with his striking new drama The Revelation of Bobby Pritchard. Receiving its world premier at Iron Crow Theatre, this poignant life-altering play is a reckoning of the times; a true engagement of lifestyles juxtaposed against religious beliefs. Espey’s work will not be done justice in print and must be seen to be fully appreciated,
What do you do to make your friends so supportive? Chaos. Agony. Emotions. Destruction. A disconnected final note from a disturbed playwright at the end of her wits? Or a wildly animated look inside the notion of psychosis in its final stages of enlightened madness. Be the judge yourself as Iron Crow Theatre kicks off its 2014/2015 season with Sarah Kane’s last work 4.48 Psychosis. Often interpreted as the playwright’s suicide note,