The play is a deeply moving and decidedly quirky look at two damaged people trying to come to terms with their mortality and failings across 30 years. The show is onstage at 35 below through Sunday, July 30.
In his director’s notes, Steve Lloyd acknowledges the 1990 production of Fiddler On The Roof that ushered in his role as executive director at Haywood Arts Regional Theatre. Now, 27 years later, Fiddler is back on HART’s stage. The show runs through Sunday, July 30.
Upon arriving, the audience is greeted by a clever stage design (by Samantha Yaeger) that makes you feel as if you are under the sea, gazing out from a deep abyss into a shimmering ocean.
The play examines a dizzying series of events in the lives of two young British strangers who meet at a barbecue. They chase each other through ups and downs, infidelities, crossroads, marriage proposals and encounters with mortality.
There have been great film adaptations that linger in the minds of viewers — Simon Levy’s script is cinematic itself, giving us rapid scene changes and sometimes shifting location for only a handful of lines of dialog.
The play tells the tale of a wealthy Athenian known for his excessive generosity. It runs through Saturday, May 27.
There’s some Bob Newhart-ensemble vibes mixed with a “Laverne and Shirley” sensibility, wedged into a late-in-its-run episode of “Mork And Mindy.” It’s odd, quirky and filled with manic flourishes.
Asheville Creative Arts bravely tackles a show for children that is also designed to appeal to adults. It runs through Sunday, April 9.
Directed by Chanda Calentine, the show is a wonder of motion and energy. The Belk space lends itself to clever staging. A cast of 13 actors play more than 100 roles, from members of the Royal British Navy, to pirates, islanders and orphans of an assortment of ages and genders.
Larry Shue’s play The Foreigner — onstage through Sunday, March 5 — has been a popular staple of community theaters for nearly 30 years. Good comedies are hard to come by, especially ones that stand the test of time.
When Riddle died in Asheville, in 1980, he had finally achieved some degree of recognition for his unlikely contributions to the origins of country music.
This is a show that is a dash of “Downton Abbey” with classic Noel Coward comedy mixed in, making for a heady evening at the theater.
The production, staged on the new Fangmeyer stage at Haywood Arts Regional Theatre, runs through Sunday, Jan. 22.
Those with a deeper-than-passing knowledge of musical theater over the past 60- plus years might better appreciate some of the comedy, but it is not required. The humor still works for even a Broadway neophyte.
Another year of great local theater has come to an end, and 2016 proved to be exceptional for audiences who love an evening’s entertainment at one of the many great playhouses and experimental spaces throughout Western North Carolina.
For Asheville audiences, A Christmas Carol has long been synonymous with the Montford Park Players. The theater group has found many clever ways to reimagine and reinterpret the Charles Dickens story throughout the years.
For anyone longing for the experiences of Christmas during simpler times, Asheville Community Theatre has just the show for you. Tom Godleski’s Snowbound is a sweetly nostalgic slice of Western North Carolina country life.
Nearly two dozen young actors are a part of this production, with a dozen more involved behind the scenes. Their ambitious production is remarkable in its execution, and holds its own as a serious piece of theater.
A local staging of Paula Vogel’s Pulitzer Prize winning play runs through Friday, Nov. 18 in Asheville Community Theatre’s 35 Below.
The latest effort — onstage through Sunday, Oct. 30, is the product of the well-known folks behind Asheville’s Improv Comedy troupe, Reasonably Priced Babies. Fully Committed, by Becky Mode, is a tour de force one-character play that takes us through a day in the life of a struggling New York actor, working in the call center of a trendy restaurant.
The audience is transported to a filthy, foggy London street circa the 1800s. The chilling musical runs through Sunday, Oct. 30.