Don’t believe all that can be accomplished by one actor, some able directing and a sensational set? Then what you must do is come see this R. Buckminster Fuller, early, so there is time to come back and see it again.
Asheville Sister Cities presents three opportunities to learn about the Mesoamerican civilization, including a lecture and dinner catered by Mamacita’s Baja Kitchen on Aug. 23, and the U.S. premiere of “Palenque Rojo,” a dramatic production of dance, ritual and costume, on Sept. 8 and 9. Advance tickets are available.
It’s a one-hour, one-man show that pays tribute to the great folk singer Woody Guthrie, at the same time as endearing his story, music and motivation to a contemporary audience.
The week-long fundraiser begins this Saturday with the 2:30 p.m. staged reading of a play by Patsy Clarke and Ellen Landau. Clarke has a long local history, including performing in Asheville Community Theatre’s first play in 1946. This is not only a world premiere for “Last Stop, Old,” but a homecoming for Clarke. Photo by Rob Storrs.
It’s all a frothy dessert for a summer evening, with more substance than you thought when you were spooning it in.
Forty Fingers & A Missing Tooth stages its first full-length production at The Magnetic Field starting this Thursday, June 14.
Onstage now at UNCA’s Carol Belk Theater, the all-student production of Tartuffe, or The Imposter, packs in everything a good play must: sex, betrayal, religion, humility, delusion, and demise.
Plays about life in the theater can feel a little cliché — the easy image of the play-within-the-play dating back to Shakespeare, and beyond. For an audience of non-actors, such storylines can be a little too self-absorbed to be relatable. Fortunately that’s not the case with Love Child, now at N.C. Stage.
The Feral Chihuahuas fortel the end of the world in “The Chihuacolypse,” running two weekend at BeBe Theatre.
The fast-paced if somewhat chaotic action features bizarre aliens, cool ray guns, girls in tight outfits, a loquacious robot, spaceships and fire-fights, a Chinese dragon ride across a desert planet, an intergalactic zookeeper, copious pseudo kung-fu and/or quasi ninja shenanigans, puppetry so bad it’s good, and an implement of “enhanced interrogation” I’ll call a tickle drill.
Solstice is funny. It is tragic without somberness, moving without sentimentality. It’s squalid, but without a trace of self-pity. … It allows its characters to be fatally screwed up and sublime at once, and the list of playwrights who can do that is short indeed.
The Asheville Playback Theatre held a couple performances at N.C. Stage over the weekend. On Saturday, Jan. 7, the crew of six helped to showcase personal stories presented by volunteers from the audience with the overall theme “The First Time I Ever.” Using improvisation and comedy, the troupe reenacted comical and heartfelt first times.
“Get Some Fairie Tale” plays one night only at NC Stage on Dec. 30.
Charles Dickens was never one to shy away from good old-fashioned sentimentality, but his A Christmas Carol is downright shellacked with it. Stage versions of the story typically either give it one more half-hearted buff, or try somewhat desperately to scrape away the goo with a little irony. Now, however, we may rightfully speak of a third option: Cram the whole damn thing into The Cabinet of Dr. Caligari and populate it with Children of the Corn. Oh, and throw in a little cross-dressing for good measure.
We live in a world of two Christmases. One is a jingly, happy, merry, glass-clinking, snow-cavorting good time. The other is marred by a harsher reality.
Heavy hitting. Timely. Controversial. Necessary. Real life. But certainly not depressing. That’s the attitude of Different Strokes! Performing Arts Collective managing artistic director Stephanie Hickling Beckman and the actors involved, who are committed to staging plays with a message. “Our mission is to present theatre that confronts issues of social diversity as reflected in the […]
This year’s holiday offering (by playwright trio Jones Hope Wooten) opens on the lobby of the Snowflake Inn in Tinsel, Texas where it’s Christmas 365 days a year. (The premise is that year-round Christmas is a good thing, FYI.) The show runs at ACT through Sunday, Dec. 4.
Brief Encounters was a bit like riding shotgun with a friend who has just learned to drive a manual transmission — jerky, slightly uncomfortable, but very fun.
Angels in America Part II: Perestroika is crazy in the head. If you happen upon it without having experienced Part I: Millennium Approaches, you might wonder if you’ve just lost your mind, or if the world is going mad. Then again, that seems to also be the position of many of the show’s characters. At least you won’t be alone.
The play won writer Tony Kushner a well-deserved Pulitzer, so it goes almost without saying that the script could be poorly acted or just straight-up read, and still come off as an arresting, emotional quest for truth. But, it’s a treat to see it so well-acted and well-produced as it is here at N.C. Stage.
Michael Sheldon’s presence in character alternates between a stumble and a swagger — some kickass combination of Cher and Johnny Rotten. Despite his years performing in drag, his Hedwig doesn’t come off like a drag queen so much as … well, a bitter old German lady whose sex-change operation went awry.