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.
Brevard Little Theatre is still something of a well-kept secret within the Western North Carolina theater scene, though its been around since the 1930s. Perhaps quality shows like this one will change all that.
Under the stars feels right for such a show, making Montford Park Players’ open air summer location a well-suited venue.
All of the parts come together in a magical, mystical feat of precision that, while expected from Flat Rock, still amazes.
SART alum, musician, actor and playwright Randy Noojin is bringing his one-man, multimedia musical, Hard Travelin’ with Woody, to the SART stage from Thursday, July 27 to Sunday, July 30, at Owen Theatre.
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.