Mendacity is all around us. Just listen to the news. The fictitious fabrications of Tennessee Williams’ world know only two ways out from underneath it. Liquor is one. Death is the other. Known for works played in memory, Cat on a Hot Tin Roof makes a strike against the memory play in Tennessee Williams’ book and is debuting now at Baltimore Center Stage as the harbinger of the 2018/2019 season. Directed by Judith Ivey this aching classic harkens back to a moment that somehow outsteps time,
All theatre companies have tricks in their pockets and things up their sleeves. But Annapolis Shakespeare Company is the opposite of a stage magician. A stage magician gives you the illusion that has the appearance of truth and ASC’s latest production of The Glass Menagerie as directed by Donald Hicken gives you truth in the pleasant disguise of illusion. There is a hard truth to Hicken’s approach to this play in memory,
Boop-boop-be-BLAM! Woolly Mammoth Theatre Company is opening their 2016/2017 season with an honest-to-God firecracker of a play. Delivering the world premiere of Jen Silverman’s Collective Rage: A Play in Five Boops, Woolly sets the bar high for the rest of the conversationally loaded season with this thunderclap of a theatrical experience. In a TheatreBloom exclusive interview we sit down with Beth Hylton, playing Betty Boop 1, and pick her brain on the whole “Boop Experience.”
Luck is believing that you are lucky, and it is high time for Baltimore to have a healthy dose of luck. Rolling through on the rattling rails of a passing street car, the alternating half of The Great American Rep, Tennessee Williams’ A Streetcar Named Desire, has settled into Everyman Theatre and is bringing all the luck Charm City needs to feel good about its theatrical experiences as of late.
Everyone dies; it is a fact of life. Fortune’s Child, a new work by Baltimore area playwright Mark Scharf has made its debut at the Baltimore Theatre Project this winter season of 2015. In a TheatreBloom exclusive interview, I’ve sat down with the playwright to discuss the work and what it is meant to tell the audiences who see it about living life.
Thank you for taking the time to sit down with the readers of TheatreBloom for this interview,
“But whate’er I be, nor I, nor any man that but man is, with nothing shall be pleased till he be eased with being nothing.” A profoundly Zen quote to come from the tongue of Shakespeare. Uttered by the title character of Richard II, which is now playing at Chesapeake Shakespeare Company under the direction of Kevin J. Costa, the quote brings to mind a different way of viewing life and of viewing Shakespeare’s tragic histories.