HART’s production has all that musical theatre requires for a good time: sassy sexiness, big dance numbers and a plot that engages and remains relevant 35 years after its debut.
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HART’s production has all that musical theatre requires for a good time: sassy sexiness, big dance numbers and a plot that engages and remains relevant 35 years after its debut.
Mitch and Morrie are embodied by superlative actors unerringly committed to their roles, in this exceptional production at SART.
Flat Rock has assembled a cast of local luminaries who deliver performances worthy of their better-known predecessors, and the unique setting adds significant power and pleasure to the proceedings.
The action of the play takes place during what is to be Esther Greenwood’s final ten seconds of life, stretched out by magnificent hallucinations recapping her life and demise.
The play is smart, and this production is good fun. But you see the challenge: how does one play a character well who is himself playing a character but doing it badly? Or what’s the difference between terrible acting and acting terrible?
Death, loss, mother-in-laws and the Bible. All that, and RUTH manages to be a surprisingly light, beautiful and moving play.
Despite the fact that Little Orphan Annie’s comic strip ended earlier this month with our heroine kidnapped by a Balkan war criminal and held hostage indefinitely in Guatemala, Annie is alive and well in Burnsville at the Parkway Playhouse.
In typical Agatha Christie form, The Mousetrap, the most recent production at the Brevard Little Theatre, grabs the audience immediately and keeps them guessing until the final scene.
Asheville High grad Elisabeth Gray is a gifted writer and performer, and an ambitious producer.
The Redundant Theatre Company Theatre takes chances with the current show, based on the lives of Italian immigrant anarchists Sacco and Vanzetti. Do they succeed?
On opening night of King Lear at Montford Park, the foolish king cursed his daughter to the sputtering drone of bark being shredded, and later as he bewailed her death, fireworks boomed and crackled patriotically in the near distance. And it all made sense in a weird kind of way: for is Lear not shredding the branches of his own family tree? And is his repentance not cause for grim and sparkly celebration?
Onça O’Leary and her Future of Tradition Productions promised a lot from the fourth annual ABSFest this past weekend.
Sex, power, angst, marriage and yes, chess: All here in a combined performance from ACDT and the state contemporary dance company of Yucatan, Mexico.
SART takes on Stephen Sondheim’s hit, the theme of which is good-old-fashioned, down-home Lust.
With Montford Park Players’ Asheville Shakesperience, a cast of eight performs some of the Bard’s most famous scenes — with mixed results.
What to do when opening night for your world premiere play’s coming right up and your lead actress, distracted by your lead actor, steps off the stage and pops her knee? Promote your intern to understudy, and hope she doesn’t have to go up against the critics.
For the Glory is in every respect a spectacular piece of entertainment: The music and the singing are near flawless, the staging runs like a well-oiled machine, the set is stunning and the lights contribute beautifully to the whole effect.
If the recent news of ecological catastrophe in the Gulf, or (closer to home) vandalism and hate crimes in Our Fair City have got you feeling a little down, take my advice: Give N.C. Stage a buzz and reserve a ticket for What the Butler Saw, the near-perfect farce by British playwright Joe Orton currently running at the little theatre on Stage Lane.
Those going to see this show knowing what’s in store will not be disappointed. The set and costume design are thoroughly authentic, and the beauty-sink realism is in effect right down to the Aquanet hairstyles.
If you love musical theater and your companion most certainly does not, try dragging them to this production. It contains exactly what many who do not enjoy musical theater so often miss—darkly comedic plotlines, absurdity and an over-the-top campy aesthetic that is hard to resist.
It couldn’t be better had it been planned: an opportunity to see productions of two plays by that old Greek, Euripides, in one weekend — The Trojan Women at UNC-Asheville and The Bacchae at Warren Wilson College. Better still: both are presented outdoors, just as the Greeks would have had it.