Nathan Cooper, the artistic director and actor for Baltimore’s Single Carrot Theatre, recently returned from the Festival for Independent Performing Arts in Sofia, where he spent four days with Lola Pierson (playwright and founding member of Baltimore’s UnSaddest Factory Theatre Company) on a grant from the Trust for Mutual Understanding.
The Huffington Post announced Saturday that the Shakespeare Theatre has changed the names of Much Ado About Nothing’s Juan Huevos and Jose Frijoles, two of the buffoons featured in Dogberry’s rustic troupe of morons, back to their original names of Hugh Oatcake and George Seacoal in response to a letter-writing campaign launched by Tlaloc Rivas, […]
The touring production of Billy Elliot, the Musical, now ensconsed at the Kennedy Center Opera House, is a driving, energetic, and oddly appropriate holiday feast for thoughtful theatergoers. Spun off from the eponymous film version, the stage musical has a less oppressive feel than the original. But it still packs an emotional and political punch, particularly […]
Back in what now seems like the “not so good old days,” each Broadway season seemed to offer at least one fun filled show about athletes (all male then) and the ladies in their lives. The package included melodic scores, topical lyrics and ebullient dancing. The genre slipped away in the post-WWII evolution of musicals, […]
Paul Morella, backed by the Olney Theatre Center, has done something wonderful with Charles Dickens’ A Christmas Carol. He has taken it back to its roots by returning to the novella penned by Dickens in 1843 and brings it to life in the simplest possible terms. He tells the tale exactly as written, as Dickens himself […]
The intriguing retro-name of this relatively new company, Colored People’s Theatre, says loads about the group’s unflinchingly honest approach to telling a story. Their second rendition of Ntozake Shange’s epic choreopoem performed at this summer’s Fringe Festival, reflects the power of unbridled creativity.
Yasmina Reza’s God of Carnage takes to the screen There’s a scene late in “Carnage” in which Penelope – the type-A, upper-middle class mother played by Jodie Foster – asks “why is everything so exhausting?” This question applies just as much to “Carnage” itself. This tale of sound and fury, despite sharp direction and a […]