Friday, April 24, 2009

Project #5 After SHSU

The Profession


We are currently seeking one female and one male actor to play supporting roles in two of our mainstage shows, and in our children's theatre production. We are also seeking one actor/actress to act in our children's theatre production and work in the mainstage box office for the whole season.

Pay for actors is $150 a week, plus shared housing and round trip travel to Manchester, VT. The time commitment is 8 weeks: June 16 through August 26.

Non-equity actors for Summer Season



Twin Towers Play (Damian Wampler, Writer/Producer and Angela Astle, Director) will be holding auditions for Twin Towers on Friday, May 1 at 132 W 21st street, between 6th and 7th. Young woman and mother, early 20s. Must be able to sing and dance Tango. Male Ensemble Actor: 20s-35, must know capoeira dance. Characters include a Thug, an Army Captain, a Blind Preacher, and Trevor’s Psyche.

Female Ensemble Actress: 20s-35, must be able to move well (specifically capoeira training is helpful).

Characters include Trevor's Psyche and the Devil.



New York Shakespeare Festival/The Public Theater LORT B Author: Euripides Translation: Nicholas Rudall Music: Philip Glass Director: JoAnne Akalaitis 1st rehearsal: July 7, 2009. Runs August 11 - 30 at the Delacorte Theatre in Central Park. Seeking:

The Chorus: CAST. Women, 20s – 50s. Disciples of Dionysus. Energetic. Powerful. Full of life and spirit.


The Repertory Theatre of St. Louis (The Rep) is casting its 2009-10 season. Steven Woolf, artistic dir. Season runs in St. Louis, MO.Seeking—Actors: male and female, 18+, all ethnicities. Pay:
Professional Pay
Male/female role:
Male, Female
Age Range:
Young Adult (ages 18-29), Thirties (ages 30-39), Forties (ages 40-49), Older (50-65), Senior (66+)


Graduate Schools

1) University of Texas at Austin

M.F.A in Acting

Program Overview
The University of Texas at Austin Department of Theatre and Dance is a department where we pride ourselves in producing the finest of artist/scholars. Our graduates are not only among the most talented actors in their cohort, but are also among the brightest. We accept only highly motivated, talented individuals wishing to pursue acting as a career, who are intellectually curious. Actors are trained for stage, film, television and voice-overs. We encourage all to apply regardless of "type."
The Winship Building, which houses the Department of Theatre and Dance, brings together all the disciplines that make for the practice of performance: actors, directors, dancers, writers, designers, dramaturgs, theatre historians/academicians, etc. It has been said that "all you need as a theatre practitioner is found here at UT, all under one roof." Courses are taught, and projects are mounted in the department that reflect close interdisciplinary collaborations between all aspects of the arts.
Austin, Texas is thriving theatrically. While there are three established theatres that hire Equity actors, Austin is also building a national reputation with independently produced works and fringe theatre, such as Rude Mechanicals, Salvage Vanguard Theatre, and The Vortex. We have formalized a professional internship association with the State Theatre, allowing M.F.A. Acting students to be cast in at least one State Theatre production during their six semesters, for which they qualify for Equity Membership Candidacy points. In each of these venues, our students have had the opportunity to work professionally. Every effort is made to assist M.F.A. actors in securing work in various summer stock companies, frequently through yearly auditions on campus. Austin is also home to a growing film community for independent and studio productions, including the Texas Film Institute/Burnt Orange Productions.

Apply through the admissions office and audition for the department.

Undergraduate degree required,

2) Northwestern University

M.F.A in Directing

The Master of Fine Arts in Directing program will train you for a professional career in the theatre at the highest level of artistry. Here you will have the ability to hone your craft and your unique vision while working side by side with gifted designers and our award-winning faculty. Our program gives you:
Foundational knowledge from which to build a solid career, including theatre’s texts, styles, history, and cultural functions as well as the ability to analyze scripts effectively
A developed and articulated point of view that sets your productions apart and which are informed by a text’s political, social, cultural, and historical implications

Constructive and practical leadership skills as you manage an artistic and collaborative team
The ability to communicate your vision—fluency in the language of acting, playwriting, and design, including the creation of a strong visual vocabulary that conveys meaning through powerful theatrical images
As you collaborate with actors and designers in classroom and production activities, you will also be learning advanced directing theory and practice from working directors at such prestigious theatres as Steppenwolf and Lookingglass. You will be exposed to an expansive range of artists, scholars, and critical perspectives, while being supported in close tutorial relationships with a core faculty.
Our facilities include two black-box theatres, two main stages, and a complete scene shop. We also provide you with a rich curriculum that includes varied production opportunities such as professional internships and exposure to the multifaceted theatre community in Chicago.

Two official transcripts (bearing registrar’s signature and/or the institution’s seal) from each post-secondary institution attended, documenting all courses taken (within or outside a degree program), grades received, and degrees earned.
Three letters of recommendation, sealed, from people who know your work as a student and/or theatre artist.
A one-page statement of purpose, explaining your current goals, career plans, and reasons for selecting theatre as a major field of graduate study.
Documentation of theatre work, i.e., reviews, portfolio designs, promotional materials, or production photos that do not need to be returned (no video tapes).
Official GRE scores. The Educational Testing Service will send official scores directly to Northwestern University's Graduate School. Use the institutional code 1565.
Official TOEFL scores for international applicants whose native language is not English. The Educational Testing Service will send official scores directly to Northwestern University's Graduate School. Use the institutional code 1565.
The faculty will review the preliminary packet and let you know if you will be invited to campus for a faculty interview. The faculty will recommend a formal application after a successful interview takes place. The formal application deadline is March 15.

Also two years outside of professional directing

3) Ohio State University

M.F.A. in Acting

The Master of Fine Arts in Acting with a focus on the creation of new works at The Ohio State University prepares actors in the fundamentals of acting, with experience in classical and contemporary styles within the context of developing methods for creating original contemporary work. The program emphasizes the development of actors who can work in a repertory company setting as well as function as an independent artist producing original work. The program prepares actors to work in creative ways with local communities in realizing original works.
The Master of Fine Arts in Acting is a terminal degree providing training in theatrical performance to students preparing for creative careers in theatre.

Audition and interview
A minimum of 108 graduate credit hours must be completed for the MFA in Acting. The area requires the completion of specific classes.
Students holding Graduate Fellowships are required by the Graduate School to register for a minimum of fifteen (15) graduate credit hours per quarter


Friday, March 20, 2009

Project #4 Unconventional Theatre

#1 Screaming Weenie

The Bacchae

created by Tracey Draper, Ilena Lee Cramer, Rachel Flood, Glenn Garinther, Troy Jackson, Shane L. Koyczan, Maggie Blue O'Hara, George Pan, Christine Stoddard and Samantha Tucker

directed by Ilena Lee Cramer

an electronic opera: The classic tale of the orgiastic and animal vs. the restraint and order of society

took place in a large room above a bakery

Screaming Weenie Theatre Company

"Take Euripides’ classic Greek tragedy about the conflict between reason and passion, repression and sex, restraint and wine-fuelled debauchery, and set it in a club to the pounding, hypnotic electronic beat of house music. Put the actors in among the audience and have them sing the story."

I think that this is a very unconventional form of theatre. While it still has many aspects of a normal show such as lights, sounds, music, and dancing it is used in such a way that you would not expect it to be seen in a normal setting. In fact it is not in a normal setting, it is in a club atmosphere. The text of the piece is also not the "normal" version of The Bacchea which also makes it very unconventional.

#2 ISH Theatre Company

show entitled 4-ISH

presented in the Chicago Children's Theatre

performance troupe for Amsterdam

January 19 –28, 2007

hip-hop and break dance

half-pipe skating

human beat-boxers

martial arts displays


I think what really makes this art unconventional is the fact that there is really no story to the show, it is just routines of dance and extreme sports. The fact that it is presented on stage to lights and sound for children is what makes it theatre. When first looking at it I wasn't really sure that it would be that unconventional but then I realized that to the normal theatre go-ers this is not normally what they would be expecting to see on stage. It is also geared more towards extreme sports which is a genre outside of theatre.

#3 Gorilla Theatre

The Gorilla Theatre

Jane Eyre adapted by Polly Teale

Director: Nancy Cole

October 25-November 11, 2007. Thursdays at 7, Fridays and Saturdays at 8, Sundays at 3

Jane: Katherine Tanner

Bertha: Shana Perkins

Rochester: Ned Averill-Snell


ALTER EGOS: Katherine M. Tanner
(left) as Jane Eyre and Shana Berkins
as Bertha.

This is definitly a form of unconventional theatre because of the altered text. This production of Jane Eyre includeds the character Bertha who Rochester marred in Jamaica who went mad. In this show Bertha plays the alter ego of Jane Eyre who is locked in the attic longing to get out. It involves tons of dance movement to portray the emotions of the alter ego. Anytime you alter the state of a script, I would consider it unconventional.


Director: Karen Kipphoff

Character Nr 1: Pedro Gomez-Egana, Agnes Nedregaard

Character Nr 2: Mikkel Rasmussen Hofplass, Karen Skog

Character Nr 3: Viktorija Rudytė, Marie Prinz

founder Viktorija Rudyte


to organize separate groups of talented artists for implementation of a concrete project and introduction of the audience to the original product of the “creative studio of the theatre”.

• to change the stereotypical attitude towards the puppet theatre, to have a new vision of the theatre.

• to operate the vision of the new postmodern puppet theatre in the world of the technological information.

• to achieve that puppet theatre becomes a synthesis of scenography, puppet design, directing of the plays and the multimedia.

• to enforce the changes in the theatre by the modern plays not only for children, but for adults as well. To make puppet theatre popular among the teenagers, they see it as a challenge.


Karen Kipphoff (a professor at the Fine Art Academy in Bergen) bases the performance on the Russian absurd play ‘A Certain Number of Conversations’ by Alexander Vvedensky . In the performance, we find three characters who speak different languages English, Norwegian and Russian, as well as puppets reminiscent of Japanese Bunraku Theatre, video, visual elements and voices.
I think this is a very unconventional form of theatre due to where it is from and also by the use of puppets and projections. While it is true that more and more productions have adapted the use of multimedia such as projections they are not always used in the way that this company chooses to use them. I think that the shows that the UPT Forma put on are truly unique. Because they are written and directed by company members there is not always a set story or dialouge but rather images and sound used to tell the story, along with puppets and humans.
#5 The Independent Eye
production entitled Dream House
a solo show featuring Elizabeth Fuller
Written by Conrad Bishop & Elizabeth Fuller
Directed by Conrad Bishop, music by Elizabeth Fuller
Performances at Phoenix Theatre (San Francisco, CA), premiering 11/4/06
video of the Dream House Trailer
While Dream House will definitely not be everyone’s cup of Red Rose, the decidedly nonmainstream show is bursting with more ideas, revelations and philosophical introspection than are usually found in 10 shows.
This is a truely unique and unconventional show. The simple fact that it is so unique is what makes it unconventional in my eyes. With the use of props and sound it is almost haunting but also uses humor. I think the set is also very unconventional with its use of christmas lights, sheets and that it is constantly changing.

Friday, February 20, 2009

Too Hot To Handle



Naked Boys Singing

New World Stages Stage 4

Opening October 14-Open Ended

Tim Burke

Eric Dean Davis

Tom Gaulitieri

Patrick Herwood

Bruce Linser

George M. Livengood

Robert McGown

Eric Potter

Steven Spraragen

Luis Villabon

"Naked Boys Singing is colorful, flamboyant, delightful and performed by a versatile and incredibly talented cast. You may not want to bring Grandma but you can certainly go with a bachelorette or group of friends (although I may not suggest the front row for the faint of heart)."



I don't think that this production is too hot to handle because if you look at it in retrospect it is basically just Chip n Dale's dancers to music on broadway. They probably assumed this was a way to sell tickets if they put it on broadway and had them singing. Now it is not something that I would go see, but if that is what the public wants then I guess just give it to them.



The Full Monty

Opening:Oct 26, 2000

Closing:Sep 1, 2002

Eugene O'Neil Theatre

Patrick Wilson

Todd Weeks

Denis Jones

Jainie Jones

John Ellis Conlee

Emily Skinner


Jason Danieley, Patrick Wilson, Romain Fruge and Andre de Shields (Photo: Craig Schwartz )

I definitly do not think this production is too hot to handle. The nudity is done in such a way that it is not tasteless and there for no reason. Since that is what the play revolves around I have no problem with it. The way the lights are done hides most of it anyway unless you happen to be that lucky audience member on the far right who happens not to be affected by the bright lights.


La Cage Aux Folles
Palace Theatre
Opening:Aug 21, 1983
Closing:Nov 15, 1987
Gene Berry
George Hearn
Walter Charles
Jay Garner
Brian Kelly
Merle Louise
Elizabeth Parrish
Leslie Stevens

"La Cage aux Folles on Broadway in 1983 was the first mainstream gay musical, as well as a landmark fusion of love story, show tunes, drag queens and feather boas. Aids was getting a grip, so writers Jerry Herman (music and lyrics) and Harvey Fierstein (libretto) decided to sugar the bad news pill with a big blast of gay men having fun for all the family."

Once again another show that isn't too hot to handle. I have seen this show and it is just a gay musical that kind of makes fun of itself and is extremely entertaining. People who have a problem with this show just need to get a life.


Opening:Jan 18, 1998
Closing:Jan 16, 2000
Ford Center for the Performing Arts
Peter Friedman
Mark Jacoby
Marin Mazzie
Audra McDonald
Brian Stokes Mitchell
Coalhouse Walker Jr.
Jim Corti
Harry Houdini
Tommy Hollis
Booker T. Washington
Judy Kaye
Emma Goldman
Lynnette Perry
Evelyn Nesbit
Steven Sutcliffe
Mother's Younger Brother
The result is a work that, in spite of some losses, is an organic outgrowth of the book and faithful to its multiple themes. Chief of these to American society's coming to terms with the new century's beckoning potential for both good and bad and the spirit driving its citizens to explore their broadened physical and personal horizons. http://http//
I do not think that this production is too hot to handle. I have always thought that the way that racism is portrayed in this show is very tasteful and honest to the time period that the show took place. It also gives different types of examples of racism not only black and white, but white and irish lower class white.


(1)Pleasure Man
Biltmore Theatre
Writer Mae West
Oct 1, 1928
Oct 2, 1928
Only had two shows
was raided and closed due to explicit material
Harry Armand
Mother Goddam
William Augustin
Steve McAllister
James F. Ayers
Ripley Hetherington
Edgar Barrier
Ted Arnold
Augusta E. Boylston
Mrs. Hetherington

It qualifies as a “gay play” only because one of the supporting characters is the star of a female impersonation act…and because this drag queen is one of the few people capable of seeing through the charming façade of the Pleasure Man, and openly loathing him for what he is: “If you're a man,” the drag queen says, “thank God I'm something else.”

For the time that is play was produced I can see how this show would have been too hot to handle for the community. It was definitly a edgy piece dealing with homosexuality, sex, drag queens and much more. If I was around the same time period I honestly would have thought it would have been too hot to handle.




Alton Fitzgerald White

played Coalhouse

was arrested and had to miss 4 performances of his show

was a wrongful arrest and displayed racism by the cops who arrested him, mirrored the show ragtime that he was in at the time

July 19,1999


He said the ordeal, which left him in tears of anger and frustration, had shattered his faith in the police and justice system and that his reaction mirrored that of Coalhouse in Ragtime. "When I was sitting in that cell I realised that my perception about good and justice would never be the same, just like Coalhouse, not to the point of violence but the naivete."



I thought the police in this situation were too hot to handle. It was strange that this situation had so much comparison to the show that Mr. White was in. I think that it only strengthen the moral of Ragtime.

4. NEA 4


Holly Hughes

Tim Miller

John Fleck

Karen Finley

were vetoed by John Fronmayer in June 1990. Grants were overtly vetoed on the basis of subject matter after the artists had successfully passed through a peer review process. The artists won their case in court in 1993 and were awarded amounts equal to the grant money in question, though the case would make its way to the United States Supreme Court in National Endowment for the Arts vs. Finley. In response, the NEA, under pressure from Congress, stopped funding individual artists.


These were the N.E.A. 4 –– the four performance artists who, in that U.S. Supreme Court chamber, on June 15, 1998, heard Justice Sandra Day O’Connor declare, for the majority, that the National Endowment for the Arts had the right to “[take] into consideration general standards of decency and respect for the beliefs and values of the American public” in granting, or not granting, monetary support to individual artists.



I think this was very controversial. I don't think that it should have mattered what the subject matter was for the artists and I was glad to see that they did infact win. If the government is going to pay them it doesn't matter what they do or they should just not pay them at all.




Plantation's Mosaic Theatre

because of theatre subscribes and other individual protest the show was removed from the season.

the controversial play about a young American activist who died after she was run over by an Israeli-operated bulldozer in the Gaza Strip

Heather Raffo’s play 9 Parts of Desire


But Mosaic’s board of directors agreed to drop the play after phone calls, e-mails and comments on a special Rachel Corrie blog — which has now been removed from the company’s website — made it clear that an impassioned, vocal minority strongly objected to the play. There have been no such complaints about Raffo’s play, which actress Pilar Uribe will perform April 18 through May 13.



I think that the play was only taken off of the bill because it was not an appropriate show for the particualr audience members of the show. From what I have read about the show I don't see anything wrong with it and therefore do not think that it is too hot to handle.



University of Minnesota

Dario Fo

The Pope and the Witch

spring 2007

The play details the pope's nervous breakdown and the infiltration of the Vatican by unsavory women. Among other things, a Vatican security officer with mafia ties and several heroin addicts pepper the controversial show.


"The play is basically an insulting statement (to Catholics)," Donohue said. "A line has been crossed."



I think plays dealing with vuglar portrayal of religion are not suitable for universities. I would have to say that this production was probably right to be taken off of the season bill. I'm not even Catholic but I don't agree with criticizing religion in a learning enviroment.



Corona Del Mar High School


Rent: School Edition

Jonathan Larson

March 4, 2009

The play was proposed for the spring musical but was banned by the principal because of the prostitution and homosexuality. The theatre professor appealed to the principal and had her reconsider the show and it was put back on the bill. The show was proposed by the theatre teacher because of homophobic statements made by students in the community on facebook and thought this would be a good way to raise awareness.


In the end, Asrani green lighted the school's production of "Rent." In a statement to the media the principal said: "I never had a problem with the play selected by Mr. Martin. The selection of our drama productions is his call. I just requested the opportunity to review the script before it was final.



Since there are many school editions of shows I don't think there is a problem with letting them be done in high schools. Ragtime has a school edition just as well as Les Miserables. If it is edited for school then there should be no problem showing them there.

Friday, February 6, 2009

Angels in America Part 1: Millennium Approaches Option #2

1. The stage production before it moved to Broadway (pre-1993: Los Angeles, San Francisco, or London)

1) Nicholas De Jongh, Evening Standard (London), January 24, 1992, Friday


"Tony Kushner's Angels In America is like a roman candle hurled into a drawing room."

Mr. Nicholas De Jongh thinks very highly of the script "Angels in America" and especially of the playwright Tony Kushner. He goes so far as to say that Tony Kushner is the most important American playwright since David Mamet. He also gives detailed description of all of the principles roles and of the journeys that they take throughout the course of the play.

2. The original Broadway production (1993)

1) Vit Wagner, The Toronto Star, May 9, 1993, Sunday, SUNDAY SECOND EDITION

2) "Extraordinary, because Angels In America is not a glitzy, new musical or even the work of a bankable playwright, but an intelligent, 3 1/2-hour drama by a relatively unknown dramatist, Tony Kushner, making his Broadway debut."

3) The writer discuss the sucess that the London production of "Millenium Approaches" had and how the Broadway version was a complete success. He says that Part 1 has already one a pulitzer prize and that Part 2 will be debuting in Fall of the same year and that production is already underway.

3. A non-NYC-based professional production(since 1993)

1) The Thresher Online, Ryan Minor, April 7, 1995

2) "The title change occurred because despite our enlightened rhetoric and official aesthetic creed that being gay is cool, AIDS and three-dimensional gay men are still woefully taboo ( Philadelphia , anyone?). "

3) The author is reviewing the first part of "Angels in America" entitled "Millienum Approaches". He reveals that The second part will be opening in a few weeks. He describes the show as a whirlwind of AIDS, hot topics, archetypal people, historical figures and witty dialouge and that would give you "Angels in America".

4. A College production (anytime)

1) Talkin' Broadway, John Laviviere, February 26, 2007

2) "They deal with issues of AIDS, Jewish and Mormon identity, homosexuality, Liberalism versus Conservatism, civil freedom and political corruption, power and greed, faith and compassion, and ultimate enlightenment."

3) The author gives a brief description of the outline of the play from beginning to end. He also explains how he believed he actor portrayed their charcater and agrees with most of them. He mentions the scenic and acting transistions as well as lights and sound, and gives the cast and crew list at the bottom of the article.

4. The HBO mini-series (2003 film version)


Sunday, February 1, 2009

Goodman Theatre

Desire Under The Elms
By: Eugene O'Neil

"While O'Neill's tragedies require that we muster all of our strength just to watch them, they address questions that have lost none of their resonance."

"Reevaluation and reinterpretion seem to be the fate of some O'Neill works, with play after play labeled as ephemeral, enduring or experimental in their time but now considered to be archaic or quaint. But, oddly, some still await their place in a classic line, not far behind ''Long Day's Journey Into Night'' and ''The Iceman Cometh.''

Beyond Glory
Adapted by: Stephen Lang

"In “Beyond Glory,” a solo show about war veterans that opened last night at the Laura Pels Theater,"

“Beyond Glory” allows the voices of servicemen to be heard without the filter of the conventions of drama or the prerogatives of deadline-driven journalism. "
"Shawn Hamilton(above) holds the narrative together as Gower, the storytelling poet who sings beautifully and fills in the blanks as the years hurry by over the course of the play’s nearly three hours."
The Clean House
By: Sarah Ruhl
"These would not seem promising building blocks for a contemporary American stage comedy."
"An elaborate joke told in Portuguese, without translation."
King Lear
By: William Shakespeare
"King Lear is a tragedy"
"Falls' thoroughly contemporary take on Shakespeare's great tragedy uses costumes"
By: Noah Haidle
"Playwright Noah Haidle ("Mr. Marmalade") continues his string of imaginative parables with "Vigils," a simple, sweet exploration of human memory and grief."
"This play has a definte balance of drama and comedy."
Radio Golf
By: August Wilson
"The production that opened last night at the Cort Theater, directed by Kenny Leon, has the crackle of a bustling comedy crossed with an old-fashioned melodrama,"
"the African-American neighborhood where most of Mr. Wilson’s work is set, can be heard only faintly now. Pittsburgh, it would seem, has been stripped of its poetry."
Rabbit Hole
By: David Lindsay Abaire
"That's what "Rabbit Hole," the 2007 Pulitzer Prize-winning drama by David Lindsay-Abaire, currently staged by Curious Theatre, points out."
"Each character wrestles with the tragedy in a different way,"
Shining City
By: Conor McPherson
"Like much of Mr. McPherson's work, "Shining City" is a ghost story"
"It takes a village to make an Irish play–or it used to."
By: Lynn Nottage
"the dramatization of distant, gruesome political realities -- in her elegant and eloquent new work, "Ruined"
"But as Lynne Nottage’s new drama makes absolutely unforgettable, “ruined” is also something that happens with horrifying frequency to women in Africa."

Friday, January 30, 2009

Project #1 Northwestern University

Sweeney Todd
Music and Lyrics by: Stephen Sondheim
Book by: Hugh Wheeler

"An exhilarating ride of music, song and spectacle, this Tony Award-winning musical by Hugh Wheeler and Stephen Sondheim is based on a 19th-century legend."

"John Doyle's production of the Stephen Sondheim-Hugh Wheeler masterwork is the baldest example yet of a musical revival that doesn't give a damn about its audience."

By: Arthur Kopit

"Camouflaged by ritualistic techniques once considered risk taking, "Indians" comes off as more diatribe than drama."

"Indians is an experimental, absurdist piece that eschews conventional plotting and characterization. "

The Illusion
By: Tony Kushner

"The comedy is elegant, full of depth..."Howard Kissel, Daily News"

"What a fascinating, totally theatrical excursion we're in for in this 17th Century fairytale-fable first spun by French classical dramatist Pierre Corneille."

By: Jose Rivera

"José Rivera's drama “Marisol,” Oct. 26 to Nov. 4 at the Barber Theater"

"In much of the publicity material generated by the Denver Center Theatre Company regarding this play, the term "magic realism" was used to describe the style of the play and the production."

The Boys From Syracuse
Music by: Richard Rodgers
Lyrics by: Lorenz Hart

"Dromio, Dromio, wherefore art thou, Dromio? Well, thou art in the land of musical comedy, that's where!"

"its Three Stooges-like slapstick for modern audiences."

By: Caridad Svich

"A love story and vaudeville of the far and near country."

"and one that makes this play with songs"

The Bacchae
By: Euripides

"is considered one of the greatest Greek tragedies ever written."

"is an acient greek tragedy by Euripides"

On The Verge
By: Eric Overmyer's

"Overmyer's comedy follows three Victorian ladies as they travel forward in time and land in 1950s America."

"These are, stalwartly, pre-feminist representatives of the stronger sex." (Women's Issues)

By: George C. Wolfe

"The play is an anthology of Zora Neale Hurston folk tales narrated and acted out by the characters and the Guitar Man and Blues Speak Woman who transform the tales into a mini-musical."

''Spunk,'' in which three short stories have been adapted for the stage and folded into a bluesy musical framework, reveals how time has finally caught up with Hurston's view of the Afro-American experience"

By: Joshua Sobol

"At the bare minimum, dramatic works about the Holocaust have an obligation to restore vivid immediacy to horrors that scoundrels and the passing of time would have the world forget."


"From the meticulous diary of a librarian, playwright Joshua Sobol combines fact and fantasy to tell the tale of a theater group formed in Vilna, Lithuania, during the Holocaust."