UNCA students will stage a Black Mountain College-inspired theatrical production in April, then take it to the Edinburgh Fringe Festive in Scotland this summer.
What makes this production stand out among the offerings in Asheville is the choice to tackle the absurdists. These playwrights are disruptive, and their goal is to shake up expectations, especially about the meaning of existence.
Jeeves, the competent valet, and his blundering employer Bertie are back for more British farce among the bumbling aristocracy.
Every time she has a date, she turns it into humor. Her way of dealing with love’s disappointments makes hope and a happy ending possible.
For the Plantagenets family in 1183 England, led by Henry II (portrayed by actor and Xpress contributor Kai Elijah Hamilton), the political is personal.
Momentum is key to this play, and the ensemble works together well together, almost like a dance choreographed to represent the shifting points of view.
The minimalist set design, rendered in primary colors of black, white and red, gives ample room for hooded ghosts to dart in and out of a white forest of leafless trees.
The Groundling provides a modern, comedic take on Shakespeare. It’s so well-written that, when the truth comes out, it’s a profound shift in tone that the actors execute superbly.
Adults and children will find themselves reading the play on many levels. It reminds us that sometimes we need both escape and escapism.
Some folks might be reluctant to take in a “junior” performance of a Tony-award-winning musical that was bawdy and raucous in its original adult version. However, the chance to see young people tackle this show underscores the importance of bringing these essential messages and opportunities to young performers.
The series opens on Saturday, July 7, with Abby “The Spoon Lady” Roach, one of the best known buskers in town. She and her musician partner, Chris Rodrigues, will perform stories and songs.
Jerry, played by Corey Link, and his best friend Dave (Michael Crosa) must find new jobs in a rust-belt town with few options. Lurking beneath their tough exteriors, these unemployed steel mill workers fear being losers.
At its heart, Guys and Dolls is a story about the redemptive power of love. The clash of religious morality and the amoral streets of New York never overshadows the lightheartedness of the story.
HART’s production is a romantic comedy that celebrates love’s triumph. Deftly embedded in the play are the persistent sexist and ageist attitudes that Austen highlighted in her 1811 novel.