You can’t control everything, Emma! But isn’t it fun to watch her try!? Yes! Yes it is! And far more than fun— it’s practically a divertissement of the most jubilant nature; it’s a rather uproarious, madcap enjoyment! Emma, the Jane Austen classic— as recently adapted by Kate Hamill for maximum rom-com tomfoolery— is situating itself onto the Everyman Theatre main stage as the final production of the 2025/2026 season. Directed by Laura Kepley,
You must always get your hopes up— it’s wise but scary— though not in this case! If you’re getting your hopes up for a fantastic evening of theatrical entertainment, then you’re winning at life and Everyman Theatre is the place to be! They will delight you, they will tickle your funny bone, they will enchant you with their penultimate production of the 25/26 season (celebrating 35 years in Baltimore), and they will remind you that life is beautiful,
“No one understands their mother!” That was the line that got the most relief-laden laugh during the 82-minute run time of Dawn, a new play by Tuyết Thị Phạm, currently making its world premiere at Everyman Theatre. And while the sentiment may indeed be very true, its placement and timing were the exact break of levity that was required in the heaviness of the work as a whole. Directed by Seonjae Jim,
Oh what tangled webs we weave when we practice to— get out from under the manipulative fist of the patriarchy who relies heavily on the normalization of harmful tactics like gaslighting. Not the single-word response you were expecting? Good. Because this isn’t your grandma’s Gaslight. Though it’s been adapted from that play (by Patrick Hamilton) by Johnna Wright and Patty Jamieson, this ‘gaslight of a thriller’— Deceived is not your classic case of a woman being manipulated into questioning her own sanity,
It’s often said that death brings out the worst in people; you see family’s tear one another apart over left-behind possessions in the wake of someone’s passing. But what happens when the death of a friendship is eminent? How do friends behave when the threads that bind them are no longer frayed but thinly grizzled and hardly friends at all? So much so that a singular choice— one might even say a matter of personal taste and opinion— or a disagreement over said choice,
Right is right and right don’t wrong nobody. A strong decry
of truth and justice in a time when its sorely needed; to think such words
originated from August Wilson just 14 years ago (taking place a mere decade
before that) in Radio Golf, the last in Wilson’s Century Cycle play
series. Now appearing on the main stage of Everyman Theatre as the second dramatic
offering in their 2019/2020 season, Radio Golf,
Whet your appetite a little further on this curious cuisine of surrealist normalcy in an absurdist reality. In Part 2 of #weirdfrance, TheatreBloom continues its quest to learn about all the crazy things happening in the Cohesion Theatre Company production of 13 Dead Husbands. This time we’ve gathered the three leading men, Thomas Sinn, Bobby Henneburg, and Matthew Payne, to hear their take on #weirdfrance.
If you fellas can give us a quick introduction,