“The history of the world, my love, is those below serving those up above.” The daunting lyrics of Stephen Sondheim seem to echo through our world at present, where at the top are seated those privileged few making mock of the vermin in the lower zoo, and what better way to exemplify this than to take one of Sondheim’s darker musical classics and spin it on its head in a modern vent? Rep Stage is giving you Sweeney Todd: The Demon Barber of Fleet Street with this concept firmly in mind.
We are all waiting for the rebirth of wonder. We’re waiting for it in our relationships, in our lives, in our work, in our art, in the theatre. But perhaps instead of waiting we should be doing. Instead of waiting to witness the miracle we should be the miracle. And Rep Stage kicks off the opening of their 25th season by doing just that. Presenting the story of wonder: the woman who can have it all,
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.