Director Marci Bernstein takes the audience on 11 unrelated journeys in monologues by a who’s who of local talent. Each scene is its own story, and each actress holds the stage alone for those scenes.
The play was written by Larry Larson and Levi Lee nearly 40 years ago. Of course, the Cold War era of the early 1980s informs the anxiety of the world being left a smoldering heap with few surviving. And it still works well today.
As the titular Oliver, Faith Creech is exuberance and charm wrapped in a skilled young actor. She shines the minute she takes the stage.
The play is told in confessional moments, directed at the audience. These give way to flashbacks that fill in gaps. The conclusion will leave the audience a little teary-eyed but also enriched
SART’s summer season is a full slate of diverse shows, kicking off with the raucous comedy ‘Don’t Dress For Dinner’ (May 31 – June 17).
Created by Asheville-based playwright Brenda Lunsford Lilly, the production is a sly 1960s homage to Henrik Ibsen’s notable play, A Doll’s House. The show remains onstage through Saturday, May 5.
The experience of Failure is one that transports the audience, and will cause more than a few lumps in the throat as viewers are show something akin to a Sam Shepard play adapted by Wes Anderson.
A meth-addicted couple have taken their sick baby to the hospital where Child Protective Services take custody of the endangered child. This sparks a spiral of conflicts that propels the play forward along an often harrowing path.
Families with kids should not wait to make reservations as these shows are playing to capacity crowds and tickets are pretty scarce at the door.
The story is simple, yet becomes complicated when the titular rumors begin to fly. Deputy Mayor Charlie and his wife Moira are celebrating their 10th anniversary. They’ve invited four couples to their house for the party, but something is amiss.
Is it possible that 9 to 5 is to the #MeToo movement what The Crucible was to ’50s-era McCarthy hearings? It comes close.
In this installment, Bertie has come to New York to dodge familial obligations back in England, but his desire to get away from it all comes crashing down when his friend Nigel Bingham-Binkersteth, aka Binky, arrives with a madcap plan to win the heart of the actress Ruby LeRoy.
Plays like this one are typically confined to academic settings these days, but for those who love this sort of thing, I can’t imagine it being done any better than it is here.
Shouting, fighting and a 7-year-old smoking cigars in the bathroom, which leads to a visit from the fire department, before the chaos resolves into a happy and poignant ending.
A powerhouse chorus of all ages elevate songs like “Oh Come All Ye Faithful” to a goose-bump-inducing crescendo in the first half of the show. They are aided by the nimble musical direction of Ethan Andersen, who plays at a grand piano at center stage.
At this phase in his career, Rothko believes that color is merely an instrument that informs emotion. As he ages, Rothko feels the same pressures that, a generation earlier, he proudly imposed upon the likes of Picasso.
Theater shines best when it reflects the true lives and struggles of the audience members in a way that moves them and makes them think. N.C. Stage delivers just such an experience in this play.
The vignettes are a tapestry of varied ideas that somehow mesh together to create a full show (it runs just under 70 minutes without intermission).
With decaying tongue placed firmly in rotting cheek, the play delights from first notes to final bows.
Amadeus is actually more about Salieri, the exalted musician who finds Mozart’s rapid rise to fame as a personal affront to his more measured success. Salieri is a skilled musician, but the revolutionary spirit of Mozart threatens to overshadow him.
This production is designed to make audiences howl with laughter, and it more than delivers, including a curtain call with all seven actors racing in and out of doors, chasing each other wildly until the all emerge for a well-earned bow.