The Man from Now 1906 - Articles Page 2

10 Productions. 50 Performances. Musicals, live-action neon animations, solo performances, comedies, and political satire at the Chain Theatre Oct. 1st - Nov. 3rd.

When the Seattle Rep announced their season and I saw they were taking on Paula Vogel's incredible play a?oeIndecenta?? I was thrilled. But even more so I was surprised as to how many of my friends hadn't heard of it. I mean, it was nominated for a Tony, and even had the entire thing shown on PBS at one point. But still it was only the major theater geeks that had this one on their radar. Well, now that it's here I'm pleased to state that the Rep's production completely met and exceeded my expectations and now I can share my thoughts on this stunning play with you, Dear Readers, and explain why you need to catch it.

While I find Beckett's plays often too intensely intellectual for my comprehension, this was not the case with Irwin's seemingly effortless way of donning a bowler hat (or 2 or 3), juggling them until the perfect one is atop his head, and then going on to flop around the stage in his baggy pants and oversize shoes as a quintessential clown while explaining his interpretation of passages reflecting a?oethe noise of lifea?? in Beckett's a?oeText for Noting,a?? a?oeWatt,a?? a?oeWaiting for Godot,a?? a?oeEndgame,a?? and a?oeThe Unnamable.a?? It was an extraordinary evening of watching a master of the stage interpret the life and brilliance of a theatre legend.

The persistent legend, mystique and fascination of what may have happened to Anastasia during Russia's revolution finds a new home in the musical ANASTASIA

A sweeping, grandiose, and emotionally-searing stage musical adaptation of E.L. Doctorow's expansive 1975 novel, RAGTIME is a gripping, multi-character, and multi-story theatrical experience that uses era-authentic specificity to depict America's past during a time when its increasingly diverse population has been forced to adjust to the ramifications of new technological, social, political, and economic changes that are spreading throughout the nation. Of course, one can't help but observe that, eerily, many of these very same issues are somehow still top-of-mind today, particularly in recent years with the surge in anti-immigrant policies and sentiments, the increasing gap between the rich and the poor, and, of course, the horrific rise of racist sentiments and, worse, racist acts against people of color. Perhaps this overarching motif---that many of these era-specific issues that RAGTIME's characters struggled with in 1906 are still alarmingly present in 2019---is the true motivator behind director Casey Stangl's impressive, 'intimate' theater reimagining of RAGTIME for Chance Theater, which continues performances in Anaheim through August 11, 2019.

As part of BroadwayWorld's expansive coverage of the 73rd Annual Tony Awards, we're bringing you the full text of all of the acceptance speeches; from the emotional to the bizarre, and everything in between. Keep up with all of the winners' speeches on our continuously updated list below.

We got the chance to chat with Tony-nominated director and choreographer Marcia Milgrom Dodge about RAGTIME -- its relevance to the current U.S. political climate and what makes it one of the best musicals of the 20th (and 21st century).

'Savage' is a powerful new musical conceived and developed by UAB Professor of Theatre Karla Koskinen. The touching story is based on the tragically true story of the life of Ota Benga played by the dynamic Royzell D. Walker. This young man from the Congo was paraded as an exotic attraction. This sheer cruelty and inhumane mindset is almost unimaginable. But then again American history has a predictably formulaic way glossing over racial autocracies. This wonderful musical boldly asks 'What makes a man a civilized man?'

In 1906, San Francisco had an intense earthquake and resulting fires. Little did my newly immigrant grandfather know that when he went to build 'shacks' in the city by the bay, that he would be part of what has recently become a new trend-building 'Little Houses.' He constructed many 200 square feet or less temporary homes, some of which became permanent residences.

In 2017, the Broadway musical version of Anastasia (which opened at Hartford Stage nice months earlier), based on the 1997 film, featuring music by Stephen Flaherty, lyrics by Lynn Ahrens and a book by Terrence McNally debuted to much fanfare, and now Nashville audiences are in the thrall of the cast and crew of the national touring company, onstage at Tennessee Performing Arts Center's Andrew Jackson Hall through Sunday, March 24.

Multiple Grammy and Oscar winning artist, musician and producer T Bone Burnett gave a thought provoking keynote speech at SXSW today, warning of the current dangers of the dominance of digital monopolies like Google and Facebook, while championing the value of the independence of artists. See below for the full text of the speech.

Indecent is about the power of theater to dazzle and uplift. Playwright Vogel has discussed plays that make the hair stand up on her neck. That is exactly what Indecent does: makes the hairs stand up on the back of the neck, and we may be at a loss to explain.

Paula Vogel's 2015 play Indecent, in a production now arrived at Center Stage after stops at D.C.'s Arena Stage and the Kansas City Rep, is a staggering tour de force of playwriting prowess that is also a tour of a largely forgotten world: international Yiddish theater shortly after the turn of the last century. A play about a play about a play, it follows Sholem Asch's God of Vengeance on a circular path, from Lodz, Poland in 1906 to Warsaw, to various stages in Europe, through Ellis Island and various New York theaters, culminating with an abortive stay on Broadway, and thence back to Lodz once more, at the peak of the Holocaust. And then, in a sort of coda, it concludes in Connecticut with the last days of Mr. Asch. All these parts are contained within an initial framing device in which, like Pseudolus in A Funny Thing Happened on the Way to the Forum, a stage manager named Lemml (Ben Cherry), introduces the players and musicians, apparently members of a turn-of-the-century Yiddish theater troupe, and identifies the kinds of parts they will play (like male and female Ingenues). Everything that follows, i.e. a play about presenting a play, is presented as a play performed by this troupe.

Modern audiences were given the opportunity to see the powerful messages of Wedekind's play - set in the late 19th century - juxtaposed with a manic, brilliant rock score by Duncan Sheik and equally impactful lyrics and a book by Steven Slater to create the recipient of 2007's Tony Award for Best Musical. Brought to life by The Argyle Theatre, Long Island fans of the show and those who missed it on Broadway have the chance to see this important work. 

The Sheen Center for Thought & Culture has announced its 2019 winter/spring season, a rich program of theater, film, music, poetry, art, and talk events featuring artists and thought leaders including Grammy Award-winning singer-songwriter Mary Chapin Carpenter;Tony Award winner Lena Hall; Grammy Award-winning musician and recording artist Eileen Ivers; Pulitzer Prize and Tony Award nomineeAlexander Gemignani;and journalist and former Wall Street Journal columnist Sohrab Ahmari.

Directed by Darko Tresnjak, 'Anastasia' is not to be missed at Kennedy Center. A strong story with an equally strong cast to bring it to life, coupled with some great music by one of Broadway's best writing teams, makes it a sure bet.

I'm probably not the only person catching their first professional production of Oklahoma! with the Denver Center Theatre Company. While the first Rodgers and Hammerstein collaboration has been performed plenty since its Broadway premiere in 1943, the DCPA's production is unique-nearly the entire cast is comprised of African-American performers.

The Actors' Gang Theater will begin previews of The Madwoman of Chaillot today, September 27th and run through Saturday, November 10th with an official press opening on Saturday, October 6th.

A dark horse candidate with little political acumen lacking in smarts is battling to become the Republican candidate for president, while keeping silent one in a series of illicit affairs. Sound familiar? In 'Fifteen Men In a Smoke-Filled Room,' playwright Colin Speer Crowley focuses on the candidacy of Warren Gamaliel Harding, who would become the 29th President of the United States. The play examines his loveless marriage and lack of appetite for the political machinations that would eventually result in his election.

The Actors' Gang Theater will begin previews of The Madwoman of Chaillot on Thursday, September 27th and run through Saturday, November 10th with an official press opening on Saturday, October 6th.

Barrington Stage Company (BSC), the award-winning theatre in the Berkshires (Pittsfield, MA) under the leadership of Artistic Director Julianne Boyd, is proud to present the world premiere of The Chinese Lady, presented in a co-production with the Ma-Yi Theater Company. The Chinese Lady is now on stage through August 11.

In a production commissioned by the Finborough Theatre as part of their acclaimed 'Celebrating British Music Theatre' series, the first professional UK production since its 1980 premiere, The Biograph Girl by Warner Brown and David Heneker opens at the Finborough Theatre for a three week limited season on Tuesday, 22 May 2018 (Press Nights: Thursday, 24 May and Friday 25 May 2018 at 7.30pm)

In a production commissioned by the Finborough Theatre as part of their acclaimed 'Celebrating British Music Theatre' series, the first professional UK production since its 1980 premiere, The Biograph Girl by Warner Brown and David Heneker opens at the Finborough Theatre for a three week limited season on Tuesday, 22 May 2018 (Press Nights: Thursday, 24 May and Friday 25 May 2018 at 7.30pm)

Gingold Theatrical Group (David Staller, Artistic Director) is proud to announce the next presentation of the 13th Season of Project Shaw, a special series of evenings offering some of Shaw's greatest works and those of his contemporaries, presented monthly at Symphony Space's Leonard Nimoy Thalia Theatre (2537 Broadway at 95th Street). 

Manfred Honeck will return to the New York Philharmonic to conduct Sibelius's Violin Concerto, with Nikolaj Znaider as soloist; Mr. Honeck's own arrangement of Dvorák's Rusalka Fantasy, orchestrated by Tomáš Ille; and selections from Tchaikovsky's Sleeping Beauty, Thursday, May 3, 2018, at 7:30 p.m.; Friday, May 4 at 11:00 a.m.; Saturday, May 5 at 8:00 p.m.; and Tuesday, May 8 at 7:30 p.m. The following week, Nikolaj Znaider will make his New York Philharmonic conducting debut leading Elgar's Cello Concerto, with Jian Wang in his subscription debut, and Tchaikovsky's Symphony No. 1, Winter Dreams, Thursday, May 10, 2018, at 7:30 p.m.; Friday, May 11 at 8:00 p.m.; and Saturday, May 12 at 8:00 p.m.