‘Elf: The Musical’ returns to the Asheville Community Theatre for a second consecutive year. Also returning is actor Carson Fox in the lead role of Buddy.
Robert Dale Walker (of Rough Play theater company) has done an extremely sound job of directing such a bleak play. He has the show stripped to the bare essentials, allowing it to challenge ideology and faith.
In spite of the northern setting, the themes of family tradition, hunting and the fragile yet dominating sense of manly pride all ring familiar to anyone who lived in WNC in the 1970s and ’80s.
Just in time for Thanksgiving, Different Strokes! Performing Arts Collective serves up Mixed Fandango, a new romantic comedy by Asheville playwright Travis Lowe about three Baltimore couples navigating a turkey day fraught with mishaps.
This family’s disintegration looks disturbingly contemporary. Gender wars that date back more than a century continue.
Jaylan Brinson, as Alice Beineke, brings down the house with a magic potion-induced number that ends with her atop the dinner table.
While it’s near impossible to see all the productions our wonderfully artistic town has to offer, this one is essential.
Actor and playwright Mike Wiley, as Galloway, delivers a rousing one-man show on the life of the slave, spy, and N.C. senator. The production runs through through Sunday, Oct. 6.
Murphy Funkhouser Capps takes us along for the ride from her childhood through motherhood, and beyond. She provides laughter and pathos amid the literal stacks of world-worn suitcases that adorn the stage around her.
As in ‘Alice in Wonderland,’ things aren’t always what they seem.
There’s a universal truth or two that confronts us through the clever dialogue and well-placed gallows humor.
A pop icon upends small-town sensibilities and stirs up some latent sexual tension in 1958.
The importance of the deaf and blind culture is kept in the limelight with The Miracle Worker, and this moving and unexpectedly funny production deserves to be a hit for SART.
Outdoor theater remains the best way to experience the Robin Hood stories, and the amphitheater’s setting, full of the sounds of nature, adds to the overall enjoyment of the play.
The show was probably played as contemporary from its 1965 Broadway premiere through at least the early 1990s, but it’s become a bit of a relic of its era, with its casual approach to what can be considered somewhat toxic masculinity today.
All things are possible when a public figure can articulate the dissatisfaction of a group and rally them to a cause.
The show slyly has a lot to say, but keeps it cleverly buried under the circus-like central concept.
The terrific live band is reason enough to see Bright Star, written by Steve Martin and Edie Brickell.
From the moment the lights come up we feel like we’re in Neil Simon’s version of ‘On Golden Pond.’ The woodsy scenic design by Sandra Lopez is absolutely beautiful. It is one of the production’s greatest assets.
Remember those “Keep Asheville Weird” bumper stickers? Local playwright Peter Lundblad reminds us of them fondly, if ruefully, in his brainy new satire Buncombe Tower onstage through Sunday, June 2, at The Magnetic Theatre. His clever conceit is to gather a small tribe of Asheville types in an alternate universe called Wolfe City. It’s the near […]
David Mamet wrote this play in 1992, and the topics appear even more vivid and relevant now.