In 1919, Eugene O’Neill wrote a play called Exorcism. It is about shame. It is set in 1912, and in it the protagonist confesses to his boozy friend that he committed adultery with a prostitute because adultery was the only ground upon which he and his wife could get a divorce. It had one production […]
That a play set in an auto parts stamping factory is part of the Women’s Voices Theater Festival is reason enough to see Skeleton Crew, Dominique Morisseau’s fine, emotionally feral play that features two blue collar women who are not just good at their jobs, but so highly skilled they are the only ones who […]
The greatest sign of stability in a culture is, paradoxically, its ability to absorb change. There was a collective holding of breath when Joy Zinoman announced her retirement in 2009; could Studio stand the absence of its only Artistic Director? We needn’t have worried. Studio’s fine, and so are we.
Lewis Carroll’s famous tales of Alice in Wonderland/Through the Looking Glass wears a new look in Baltimore Center Stage’s Lookingglass Alice. As reimagined by David Caplin, Wonderland becomes urbanized, Carroll’s poetry becomes spoken word, and a petulant Alice becomes a young woman of color on a journey of self-confidence.
Before he was Shakespeare with a capital “S,” he was just plain Will (Nicholas Carriere), an ordinary guy—a fledgling playwright, somewhat disheveled, a bit of a skirt-chaser, and frantic for a play that will rival the mellifluous prose of his friend and rival Kit Marlowe (Avery Glymph).
What keeps our butts in the pews? Is it faith, fellowship, fear of hellfire, or infatuation with the charismatic preacher up at the pulpit?
The big question in Jazz is—where’s the music? This world premiere adaptation by Nambi E. Kelley of Toni Morrison’s 1992 book isn’t meant to be a song-and-dance show, but still it lacks the musicality and rhythm you associate with jazz and the musical structure used by Morrison when writing the book.
Having remodeled its physical plant, created a small black box playing space, and renamed itself, Baltimore Center Stage has picked a 2017-2018 season designed to shake up its audience’s mind, soul and heart.
No longer do we need to shudder to think what Blanche DuBois from A Streetcar Named Desire and Martha from Who’s Afraid of Virginia Woolf would be like as mothers.
The name Donny Hathaway probably doesn’t ring too many bells these days—certainly not as many as Stevie Wonder or Roberta Flack, his contemporaries—but you likely sing him every Christmas (“This Christmas”) and hear his influence in pop hits performed by Justin Timberlake and Amy Winehouse, who both cite him as an inspiration. Not only did Hathaway […]