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,
Hey, ho! Baltimore— take heed! Take all in good worth what is intended, which is nothing but mirth, of course! How could it be anything but merriment and entertainment at this time of year? Baltimore Shakespeare Factory is embarking upon a bold new endeavor— producing for the very first time— a non-Shakespearean production! Debuting a non-Bard classic, though penned most excellently by a contemporary of Shakespeare’s— one Thomas Dekker— BSF brings The Shoemaker’s Holiday to the stage under the hearty Direction of one Tom Delise.
An audience knows what to expect and that is all they are prepared to believe in. Such a premise as this is where the initial notion of “suspending one’s disbelief” came from, and thus theatrical extemporanea, et. al and so forth. When playwright Tom Stoppard dared the audience to believe in his tertiary character-exploration of Hamlet, he had no idea that Stillpointe Theatre would be putting their hands all over Rosencrantz and Guildenstern Are Dead in only a way that this innovative,
Something sensational is cooking up over at The Audrey Herman Spotlighters Theatre. Gilbert before Sullivan! Unheard of, right? This fascinating work marks the American premier of A Sensation Novel: A Musical Play in Three Acts, that was previously lost to time. In Volume III of the TheatreBloom exclusive interview series, we sit down with Director Michael Blum and Musical Director Erica Rome, conceptual artists who have worked to reconstruct the missing pieces of Gilbert’s work and get it up on its feet as the opening show of the Spotlighters 2015/2016 season.
To be a sensation novel author is a most fascinating thing indeed. To play a wicked baronet who isn’t all that wicked is also a curious subject. To play both in one show— and not just any show but the American premier of a Gilbert before Sullivan play is a great honor and sensational experience. In an exclusive TheatreBloom Interview series, we’ve sat down with Baltimore area performer Jim Knost to find out just what it’s like to play in and write the sensation novel in the musical performance of A Sensation Novel: A Musical Play in Three Acts,
Piece together, for a moment if you can imagine, all of the fancy finery that floats to mind when you utter the words Victorian London. Let those images of haughty parlors, high cinched collars, and stodgy outfits with miles of lace drift dreamily through your mind along the delectable operetta-style story telling of W. S. Gilbert. Add the accompaniment of Music by Michael Nash, T. German Reed, and a little hint of Arthur Sullivan.
A marvelous illusion. A terrible surprise! Who knew that The Salem Players were passing themselves off as a little community theatre when in actuality they were harboring operatic talent in their repitoire? Presenting a rarely seen Gilbert and Sullivan, The Sorcerer takes to the stage at TSP and is really quite the accomplishment. The talent and voices alone that waft off that stage surpass any expectations that come to mind when one thinks of little community theatres,
Tis indeed summer and that to the world of the Bard means Much Ado About Nothing. And the Baltimore Shakespeare Factory is no exception to that rule as they mount their first in-the-round production this summer. Taking the well recognized comic back to its simplistic basics, the BSF strips away the scenery and all the other convolutions that can often clog-up Shakespeare’s wittiest comedy and present it in its original essence.