Ashland New Plays Festival presents …
A new play Quietus by Richard Manley, read/performed on Monday April 15, ’13, Unitarian Church 87 4th St. Ashland.
From perspectives of three characters: a medical researcher, an entrepreneur, and a bio-ethicist, the play explores the ability, and ramifications therein, to keep a body functioning after brain death.
Ashland New Plays Festival tickets are $15 for general admission. Call 541 488-7995, or purchase tickets at Paddington Station or the Music Coop. For more information go to their website.
by David McCandless at SOU Center Stage Theatre
In Invisible Threads, a mysterious woman asks some down-at-heel actors and their clueless stage manager to apply their theatrical skills to a real-life crisis. At her urging, they enter the lives of a family beset by illness and emotional problems, in the guises of a Dixie-bred maid, an Oxford-educated tutor and a New Age guru. A skeptical scientist follows, threatening to expose them as frauds. Complications ensue when the actors – or is it their characters? – become emotionally entangled with the family and with each other.
For performance days and more details go to SOU theater department
The Cyrano Project
adapted by Jo Roet from the Edmond Rostand play with additional material by Hilary Tate
Center Square Theatre
This classic tale comes to life in an informal format complete with sword play, comic relationships, expressions of compassion and heroic love. In Paris, in the year 1640, a brilliant poet and swordsman named Cyrano de Bergerac finds himself deeply in love with his beautiful, intellectual cousin Roxane. Despite Cyrano’s brilliance and charisma, a shockingly large nose afflicts his appearance, and he considers himself too ugly even to risk telling Roxane his feelings.
For performance days and more details go to SOU theater department
Oregon Shakespeare Festival Preview Feb 15!
Oregon Shakespeare Festival opens Feb 15th with Taming of the Shrew — the Shrew must go on! [Sorry had to do that…]
Directed by David Ivers, this year’s version is set around beach boardwalks to rock n’ roll tunes.
Petruchio (played by Ted Deasy) is a rockabilly musician, who must win Kate’s love. Kate is played by Nell Giesslinger. Many who have been coming to the Oregon Shakespeare Festival for a few years have been charmed by her performances and will want to see just what she’ll make of this juicy and feisty role.
Oregon Shakespeare Festival will find a way to make it engaging. For more information, go to OSF’s website
Ashland Contemporary Theater premiers Pompadour — a new play by Molly Best Tinsley
“Pompadour” plays three weekends starting January 19th, produced by Ashland Contemporary Theater, at the Ashland Community Center, 59 Winburn Way.
Saturdays at 8pm and Sundays at 2pm, from Jan. 19 thru Feb. 3.
Tickets: Regular admission: $15 Senior/student, $12.
Tickets can be bought at Paddington Station in Ashland, and Grocery Outlet in Medford, as well as online on the ACT website, by credit card thru Paypal.
Ashland Contemporary Theater presents the play as though you were a guest at the tiny private theater in Versailles — which means seating is limited. ADVANCE PURCHASE is recommended.
Voltaire called Mme Pompadour a “soul born sincere,” “with good sense,” and “justice in her heart.”
Tinsley’s play begins at the end, when Pompadour has had a potentially fatal confrontation with the King’s latest young lover. As she clings to life in her chambers at Versailles, she begins to make sense of her own. Read More
Karen’s review of Animal Crackers:
Although I may have seen the Marx Brothers film by this name, I have no independent memory of it. I was assured by a fellow theatre-goer that the play we saw that night bore only the faintest resemblance to the movie. I settled in to enjoy two and a half hours of pure entertainment by a cast with boundless energy and enthusiasm for the material and its historical importance in the American theatrical tradition. And, they hit every single nail squarely on its head.
The first visual joke got the audience in the mood; the second had us smiling. The third followed quickly behind but the fourth, entirely unexpected and “over the top,” brought forth a roar of approval. The jokes never stopped coming and the audience never stopped laughing. Read More
Karen’s Review of Party People:
As the second of this season’s plays in the OSF American Revolutions: The United States History Project, “Party People” struck closer to my personal experience than had “All the Way” the day before. Not only because I lived in close proximity through the events portrayed, but also because a colleague of mine had been shot by a member of the Black Panthers, in spite of her role as one of their defense attorneys.
The production (it is so much more than a “play”) was conceived, created and performed by UNIVERSES, a dozen actors/singers/dancers/composers/political activists who incorporate all of these skills into their work. The result is a multi-media, multi-emotional experience. Read More
“Medea Macbeth Cinderella”
Karen’s Review of MMC:
This is the fourth iteration of a play-making process Bill Rauch began 30 years ago. At that time it was presented in his dormitory basement, then as an Actor’s Gang-Cornerstone production in 1998 in Los Angeles before opening the Yale Repertory Theatre’s season in 2002.
And, it is a fascinating idea. Take three plays, one from each of “the three great populist movements of Western drama” – classical Greek tragedy, Elizabethan drama and the American musical – and meld them together into one theatrical experience. Apparently, Rauch placed the scripts side by side and discovered a “synchronicity” of themes and events. They all dealt with the same things: ambition, magic, transformation, the parent/child relationship, and the role of women in male-dominated societies. “Medea Macbeth Cinderella” pays homage to these themes and the three historical genres. Read More
Another review from Karen, this one on Robert Schenkkan’s play “All the Way.”
Robert Schenkkan’s play about Lyndon Baines Johnson takes place during the first year of his Presidency, immediately after the assassination of Jack Kennedy in 1963. The production went into rehearsal at the same time as the release of Robert Caro’s fourth volume of his LBJ biography, covering about the same time period. The play focuses less on the events of that year, and much more on the interactions between the President and the major players in those events: Martin Luther King, J. Edgar Hoover, Governor George Wallace, and Senators Dick Russell, Everett Dirksen, and Hubert Humphrey. Read More