Showmag.com

  • Increase font size
  • Default font size
  • Decrease font size

A Christmas Carol

E-mail Print

The enduring story of A Christmas Carol began as a novella by Englishman Charles Dickens. When it was initially penned in 1843, it was titled A Christmas Carol in Prose, Being a Ghost Story of Christmas. Over the centuries the tale has been told through various media, starting with print and including cinema, television, and stage. In fact, Dickens himself, starting in 1857, began performing the story publicly, and continued doing solo performances of it through 1868, making adjustments to his performance as he traveled from place to place and audience to audience. The Manchester Examiner once noted in a review of Dickens’s efforts, “There is always a freshness about what Mr. Dickens does — one reading is never...a mechanical following of the previous reading.”

Read more...
 

Bus Stop

E-mail Print

The setting for William Inge’s 1955 play, Bus Stop, is a roadside diner 25 miles outside Kansas City, Kansas. A treacherous snowstorm has blanketed the thoroughfares, preventing all highway travel — halting the bus on which four passengers are being transported westward. They find shelter and warmth in the apparently benign coffee shop/bus stop, owned by the middle-aged divorcee, Grace Hoylard, who employees a bright but naive high school girl, Elma Duckworth. The county sheriff, Will Masters, is a regular presence at the diner, and the bus driver, Carl, takes occasional layovers at this stop.

Read more...
 

Vs. Theatre Aims for Steady as You Go

E-mail Print

Artistic Director, Johnny Clark wants Cal in Camo, the present production, to kick off a new beginning for Vs. Theatre in 2019. “We are very proud to close out the calendar year with this play,” he said. “I hope this is the last production that we say [to our audience], ‘We don’t know what comes next.’” After a string of successful World, West Coast, and LA premieres, Clark wants to be able to declare a season with at least two productions.

Read more...
 

One Performance, Three Stories at Independent Shakespeare Company

E-mail Print

Kalean Ung has unique stories to tell: three of them to be exact. Of Cambodian and Jewish extraction, Ung grew up immersed in one world, but curious about her father’s origins. The result is a compendium of story telling, music, and recitation.  With the help of Director Marina McClure, Ung has shaped her performance as a memoir in 13 chapters, interweaving the discovery of her Cambodian heritage, her father’s migration and ascent in the world of symphonic music, and the horrific effects of the Khmer Rouge on his extended family in Cambodia.

 

Read more...
 

Assassins

E-mail Print

The theatrical conceit is as morbid as it is comical and, ultimately, unnerving. The setting is a carnival shooting gallery (nicely evoked through David Scaglione’s scenic design and the lighting motif devised by Jesse Bosworth). With sixteen players on stage (many in multiple roles), we meet the assassin of Abraham Lincoln, John Wilkes Booth — exquisitely embodied by Derek Rubaino —  and come to an understanding of the rebellious intentions that facilitate the murder of Mr. Lincoln, through the odious ode, "The Ballad Of Booth."

Read more...
 

Cost of Living

E-mail Print

What is the cost of living? Perhaps it would be cheaper, less of a toll anyway, to choose other options instead of bearing the steep tax that life sometimes imposes, often unexpectedly. But what might seem the easier or more convenient way out is outweighed by life’s obligations and our own inner-collage of needs. This is theme of the intersecting storylines in Martyna Majok’s 2018 Pulitzer Prize-winning play Cost of Living — a wise, authentic and unique dramatization.

Read more...
 

If You Want to Know What's Wrong with Society, Go See Quack

E-mail Print

Anybody remember in the comic Pogo when he said, “We have identified the enemy and it is us”? Now playwright Eliza Elliott skewers our celebrity culture and its empty totums in Quack, where we come face-to-face with our own culpability in creating them. CTG Associate Artistic Director Neel Keeler helmed this fast-moving production, which boasts a top-notch cast beginning with Dan Bucatensky as Dr. Irving Baer, a “Dr. Phil” like TV celebrity.

Read more...
 

Thank Heavens for Western Playwrights

E-mail Print

Two plays are presently showing in tandem at the Los Angeles Theatre Center, and they are the sort of sit-up-and-take-notice plays we should be proud to have coming out of Southern California.  Members Only by Oliver Mayer offers us less a play than a world.  It continues the story of Pedro Quinn, who killed an opponent in the ring in Blade to the Heat, turning the entire boxing world against him.  Now a retired champion feeling the effects of all his fights, he has to confront his past in order to move forward.

Read more...
 

Rubicon Brings Broadway to the Beach for Return to the Forbidden Planet

E-mail Print

It’s back, and it’s better than ever!  The Rubicon Theatre Company reprises its 2016 hit, Return to The Forbidden Planet, to celebrate its 20th year, headed by the award-winning director, Kirby Ward.  The cast is stellar, including a digital guest appearance by Fred Willard; the set is appropriately configured to resemble the STAR TREK cockpit, with costumes reminiscent of the show.

Read more...
 

ANW Continues Exploration of the late 20th Century Classic

E-mail Print

A Noise Within’s co-Artistic Director, Geoff Elliott, brings life to the late 20th Century classic Rosencrantz and Guildenstern are Dead at a time when our social collective seems to reflect the anxiety of an unhinged ruler ricocheting the ship of state toward an uncertain future.  In 1967 when it was first produced, Tom Stoppard’s play reflected much the same discontent emerging from the existential disquiet of a new youthful movement.

 

Read more...
 
  • «
  •  Start 
  •  Prev 
  •  1 
  •  2 
  •  3 
  •  4 
  •  5 
  •  6 
  •  7 
  •  8 
  •  9 
  •  10 
  •  Next 
  •  End 
  • »


Page 1 of 28

Spotlight

Laguna Playhouse Announces Ellen Richard as its Interim Executive Director

May 3, 2016…Laguna Beach, Calif…Laguna Playhouse Board of Directors announced today that, later this month, Ellen Richard will be joining Laguna Playhouse as its Interim Executive Director. The Playhouse announced late last year that it was undertaking a national search guided by Arts Consulting Group (ACG) for an Executive Director to succeed Karen Wood who had held this position for the past eight years.

Commenting on the appointment Joe Hanauer and Paul Singarella, Co-Chairmens of the Board of Directors, said “In the midst of our search we encountered this wonderful opportunity to engage Ellen while we continue to seek appropriate long-term leadership. To have found someone with the extraordinary qualifications that Ellen has is thrilling. She is the recipient of six Tony Awards as producer at New York’s Roundabout Theatre Company where she was Managing Director. Ellen also has strong successes in supervising the construction of theatres in New York and also in San Francisco at the American Conservatory Theater, a rare and valuable skill set considering the contemplated major remodel and expansion of the Laguna Playhouse.” Laguna Playhouse Artistic Director Ann E. Wareham adds, “We are pleased and proud to have Ellen Richard, truly a rock-star in our field, join us as our interim Executive Director who will help guide the Playhouse during this transition.” Comments Ellen Richard, “I have quickly grown fond of Laguna Beach and the Playhouse. I embrace this extraordinary opportunity to join one of the country’s top regional theatres at this time in its remarkable 95-year history. I look forward to helping the Playhouse and working with their incredible Board of Trustees and Ann E. Wareham.”

ABOUT ELLEN RICHARD

Ellen Richard served as Executive Director of the American Conservatory Theater in San Francisco from 2010 through 2015.  During her tenure, Ms. Richard negotiated a deal to buy the Strand Theater in tech corridor of Mid-Market San Francisco, helped raise the $34,000 million to renovate and operate it and steered the design and construction for the project which opened in May of 2015. The complex featured two performance spaces and has won multiple awards.  She opened the 50 seat Costume Shop Theater, a 49-seat “black box” venue used for the company’s Master of Fine Arts students and for shows by other local companies.  Ms. Richard was also credited with expanding the company’s educational efforts, coming up with programs like the San Francisco Semester, which brings undergraduate acting students to ACT from around the world, and Stage Coach, a community theater mobile unit that reaches into diverse neighborhoods

She was also Executive Director of The Second Stage Theatre in New York City. During her tenure at Second Stage, which began in 2006 (through 2009), she was responsible for the purchase contract of the Helen Hayes Theatre, growth in subscription income of 48 percent, and growth in individual giving of 75 percent, as well as conceptualization of a highly successful gala format and “Second Generation,” a giving program through which donors enable deserving New York City youth to experience live theater. Under Ms. Richard’s leadership, Second Stage provided the initial home for the Broadway productions Everyday Rapture, Next to Normal, and The Little Dog Laughed.

From 1983 to 2005, Ms. Richard enjoyed a rich and varied career with Roundabout Theatre Company. The Roundabout that Ms. Richard joined was a small nonprofit theater company in bankruptcy. By the time she departed as Managing Director, Roundabout had become one of the country’s largest and most successful theater companies of its kind, with net assets in excess of $67 million dollars. Ms. Richard is the recipient of six Tony Awards as producer, for Roundabout productions of Cabaret (1998), A View from the Bridge (1998), Side Man (1999), Nine (2003), Assassins (2004), and Glengarry Glen Ross (2005). As producer of more than 125 shows at Roundabout, she had direct supervision of all management and marketing functions. She created Roundabout’s “Theatre-PLUS” programs, which include singles, teachers, family, gay and lesbian, wine tasting, and the 7 p.m. “Early Curtain” series, all of which grew to represent more than 10 percent of Roundabout’s 40,000 subscribers.

As director of design and construction at Roundabout, Ms. Richard was responsible for more than $50 million of theater construction for 11 projects. She conceptualized the three permanent Roundabout stages — The Broadway venues of Studio 54 and the American Airlines Theatre, and the Off-Broadway venue The Harold and Miriam Steinberg Center for Theatre She directed the location search for Cabaret and oversaw the creation of the production’s environmental Kit Kat Klub. Prior to her tenure at Roundabout, Ms. Richard served as business manager of Westport Country Playhouse, theater manager for Stamford Center for the Arts, and business manager for Atlas Scenic Studio. She began her career working as a stagehand, sound designer, and scenic artist assistant.