Would you choose to be you if you had to choose? What if at the end of the bright, white light there’s a form with boxes that you have to check? Sex: Male or Female? Orientation: Heterosexual or Homosexual? Would you choose to be the you that you had just been, the you that you know yourself to be? Playwright Maureen Chadwick examines exactly that with her edgy and riveting work The Speed Twins,
The natural orders are ours to make. Gender is a sphere. Women are women regardless of what kind of women they are. Does it make you a bad feminist or a bad woman if your version of feminism and supporting women is not the same as someone from a different generation, from a different race, from a different background, from a different socio-economic standpoint? The Trojan Women Project, devised by Rachel Hynes and the ensemble,
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?
Nothing is our own, not even knowledge and life is far too short to sit at home and fold fitted sheets. Toss down the washing, pick up a tot of gin on your way in, and hotfoot it on over to Single Carrot Theatre for their annual devised ensemble-based work. Written by Genevieve De Mahy, Conceived by Single Carrot Theatre, and Directed by Alix Fenhagen and Steven Krigel, this expressive and movement-based work explores lost stories of the 1920’s locale as filtered through the objects that captured their memories.
The end of war is uncertain; Cohesion Theatre Company making an impact in the Highlandtown Arts District with their inaugural production Shakespeare’s Coriolanus, is certain. Exploding onto the scene with one of the lesser performed tragedies in the Bard’s repertoire, the new Baltimore-based company settles in with an ambitious first show, delivering on their company’s namesake a hybrid of classic tragedy with modern minimalist influences. Directed by company Co-Founder Alicia Stanley,