Part Broadway musical, part Dr. Seuss send up, Seussical is on stage at Parkway Playhouse Thursday, July 28-Saturday, Aug. 6.
You know how there are some days in Asheville where everything seems to happen at once, and even if you gave it your very best college try, you couldn’t possibly cram it all in to one 24-hour period of time? Well Saturday, July 16 is one of those days. Here, to make your time management next to impossible, are five events worth shoe-horning into your schedule (including The Black Rabbits, seen here, who’ll play Westville Pub).
The Xpress theater blog is currently being revamped, but never fear … we’ll be back.
This is dance as poetry and metaphor. Like poetry, it makes the familiar strange and the strange familiar.
While I applaud artistic directors Susan and Giles Collard for giving the dancers a crack at creating their own choreography, the results prove something we already knew: that a good dancer does not necessarily a choreographer make. Beautiful movement is not enough. What we hope for is movement that expresses something significant, something urgent — something, moreover, that cannot be expressed any other way.
This 2008 Outer Banks-set play by Asheville-based writing team Jessie Jones, Nicholas Hope and Jamie Wooten is a light and funny comedy with plenty of Southern-fried punch lines. It’s also (surprise!) a serious meditation on aging, friendships and what’s really important in life.
This month, Jason Williams directs a double-feature at Montford, and if anything at all unites the two plays, beyond the hardworking cast itself, it is that they are both done somewhat in the style of Bollywood.
I love the director and the entire cast and crew of The Witches’ Quorum — including all the designers and the handsome ticket-takers — because they stand on the winning side of what seemed an experiment in finding out how good a production you can get out of David Eshelman’s lousy script. For Quorum is, in fact, a decent evening of theater, built as if by magic on a play that seems to have nothing to recommend it but the effort that talented people expended upon it.
Otherwise, Hans Meyer’s direction reveals an admirable clarity and restraint that allow his actors to do the work the play requires. The staging is remarkably streamlined and well-integrated, with none of the directorial caprice one sees all too often scrambling a play’s signal.
At least for the 90 minutes of its life, this show owns the whole treasure of Broadway. The lyrics are smart and funny. One expects that. But they are also allusive, intelligent, challenging, and while one is laughing one’s head off, one is taking thought as well.
Twisted family dynamics grow tall in The Family Tree, written by Lucia Del Vecchio and directed by Steven Samuels.
The Family Tree continues at The Magnetic Field at 364 Depot St. Thursdays through Saturdays, May 19-21 and 26-28, with two shows per night, at 7:30 and 10:00. Tickets are $12-$14 with open seating.
If you have recurring nightmares involving venomous serpents, Rattlesnake is a show you would do well to avoid. Or perhaps a direct confrontation with your primal fears would be therapeutic?
The Montford Park Players will begin their summer season at the newly renovated Hazel Robinson Amphitheatre.
The characters are for the most part washed up, jealous, bitter, uncertain about careers, their own attractiveness, the fidelity of lovers, and in the case of the two who bring AIDS into the little loving company, their very lives.
You may not have heard of Diana Vreeland before you see Asheville Community Theatre’s current production of “Full Gallop,” but afterwards, you will never forget her.
A 14-member cast, a fantastic set and a 70-year-old play are just part of what make ACT’s production of Arsenic and Old Lace both delightful and (at times) chaotic.
It’s the 1660s and the silly Restoration has been interrupted by the Plague. A wealthy London family is sealed up in their house by the authorities because their servants have died laden with “tokens” of the scourge, and the nailing up of the windows and the guarding of the doors of afflicted households were all they knew to slow the mysterious progress of the disease.
Local playwright/poet/actor/musician John Crutchfield has performed his one-man show, The Songs of Robert, at the 2009 New York International Fringe Festival. He brings the delightful story (told through a series of wildly-entertaining character sketches) back to Asheville. The current run ends this week.
Dark Horse Theatre’s most recent show pulls from three of the more recognizable tales, setting the action in a decidedly more grown-up atmosphere of gossip, gambling and happily-ever-never.
The play sates demand for three classic forms of naughtiness: Girls in Miniskirts, Girls in Their Underwear and Girls Appearing at Exactly the Wrong Time in Either Their Underwear or a Miniskirt.
It’s easy for community theatre to play it safe, and though Rent is a 15-year-old play and its themes may not seem daring to some, it could be very risky for a community theatre whose audience is often assumed to be conservative.