The best friends show up unannounced, terrified for no reason whatsoever to continuing living in their own home, so they’re moving into yours. The alcoholic live-in sister is at the brandy again and has learned how to yodel and play the accordion. The only child is returning home after her fourth failed marriage. And the wife is bent on going mad, intentionally or otherwise. It must be an episode of The Twilight Zone,
In a time before Facebook, Worlds of Warcraft, and Massive Multiplayer Online RPG, there once existed a simple game. And in a time of theatrical chaos, political uproar, and global warming, there currently exists an environmentally sound theatre company. Green Globe Theatre is currently producing Qui Nguyen’s She Kills Monsters. Forged by the hands of theatre nerds, crafted in the minds of Director Jess Marciniak, and so advanced in its advanciness that it would take two whole weekends of production to fully express all of its mighty geekery,
Everybody has to be someplace. How about Silver Spring Stage? Sure thing! It’ll be more than just words, words, words with The Stage’s production of David Ives’ All in the Timing as they prove that it is absolutely…well that. All in the timing. Six hilarious one-acts that are too hot-too-trot…sky, all rolling out one after the other over the course of the evening, what’s not to love? Directed by Rob Gorman,
The Tempest should always open with a bang. It often brings out the high tech and the special effects. Baltimore Shakespeare Factory brings The Tempest back to its roots. Their space, inspired by Elizabethan theaters, holds what it needs to bring a storm inside: the imagination of the actors and the audience. It’s a high-energy opening to a high-energy show. It’s a great workout for the cast… and a bit for the audience.
It’s a beautiful day for an anti-polio picnic! It’s a beautiful day to get a polio shot! And if you’re in for all that plus an insanely good production, well then at Silhouette Stage, you’ve come to the right spot! Watch your a$$ and do take care because there’s talent lurking everywhere all throughout Silhouette Stage’s production of Cry Baby: The Musical. Directed and Choreographed by Tommy Malek with Musical Direction by John Keister and Nathan Scavilla,
Now, thou art what thou art, a production of Romeo and Juliet. Though this production, at The Green Globe Theatre (Baltimore’s only producing eco-friendly theatre) is beyond the simple notion of star-crossed lovers meeting in fair Verona. Of course, one must be full well in all five wits to endure the length of this production, but tis worth the patience and endurance for the cinematic elements and uniquely conceived approach to placing the star-crossed lover’s tragedy in WWII Nazi occupied France circa 1944.
If music be the food of love, then play on! And play on the Baltimore Shakespeare Factory indeed does with their annual summer offering of Shakespeare in the Meadow! Starting the two-show summer repertory with The Bard’s Twelfth Night, BSF gets well underway with festive merrymaking and their signature use of natural light, basic period costumes, and timely music to suit the show. Directed by Thomas Delise, with Musical Direction by Jim Stimson,
Set in Atlanta in 1913, a Brooklyn-raised Jewish man by the name of Leo Frank is put on trial for the murder of 13-year-old Mary Phagan. Already guilty in the eyes of everyone around him, a sensationalist publisher and a janitor’s false testimony seal Leo’s fate. His only defenders are a governor with a conscience, and, eventually, his assimilated Southern wife who finds the strength and love to become his greatest champion. Based on true historical events and adapted for the stage by an acclaimed playwright (Alfred Uhry – Driving Miss Daisy) and composer/lyricist (Jason Robert Brown – Songs For A New World,
The mayhem never stops over at Cohesion Theatre Company and their latest mount to the stage is truly wondrous strange. Taking William Shakespeare’s Hamlet to task, Director Alice Stanely refocuses the driving forces of the plot’s actions and tunes them into the highly potent pathos of grief. Coping with loss is never easy, and the ways in which human beings express these feelings are nothing short of evocative, stirring, and daringly dramatic as witnessed in this production.