Posted in theater

Speaking of no intermission…

Photo Credit: Julieta Cervantes
Reed Birney, Olivia Wilde and Tom Sturridge in a scene from 1984 at the Hudson Theatre on Broadway. Photo Credit: Julieta Cervantes

Fashions come and go in clothing, in the arts, even in the theater, which also experiences changing styles. In the Greek amphitheater, plays would last all day. For Shakespeare’s and Marlowe’s audiences, there were often five act tragedies or comedies.

A few years ago, T and B sat in utter surprise when a play ended in just 51 minutes. Today, the drama, comedy, or musical without an intermission is quite common. Likely, it will be longer than an hour, but nonetheless, it will be a one-act play.

Currently running without an interval….

This is far from an exhaustive tour of 90-minute shows currently playing New York City, but it has breadth.

For instance, on stage at the Golden Theatre is Lucas Hnath’s A Doll’s House, Part 2clocking in at under 90 minutes. Laurie Metcalf, this year’s Tony winner for Best Actress, is leaving the production on July 23rd, when there will also be other cast changes. Although Jayne Houdyshell stays on as the family housekeeper, Julie White will take over as Nora Helmer; Stephen McKinley Henderson will replace Chris Cooper as Torvald, and Erin Wilhelmi comes aboard as the Helmer’s daughter, Emmy, replacing Condola Rashad.

Robert Icke and Duncan Macmillan’s 1984 comes to Broadway’s recently redecorated Hudson Theatre from a successful UK run. and is advertised as a “chilling 101 minutes.” 1984, a play adapted from George Orwell’s oft-quoted novel, delivers its abject view of a world in which our minds are controlled by an ubiquitous Big Brother without an intermission.

Pipeline at Lincoln Center’s Newhouse Theater, a new and timely play by Dominique Morisseau, directed by Lileana Blain-Cruz, confronts the realities that pit opportunity against community and identity. Pipeline also plays without an intermission.

At Soulpepper on 42nd Street, the Toronto troupe is performing a repertoire of plays and musicals, ensemble pieces, and cabaret. Some of this repertory, like Kim’s Convenience is performed in a brisk 85 minutes at Pershing Square Signature Center, giving you plenty of time to run out to the corner market before dinner. The musical adaptation of Spoon River also runs without pause, and is a mere hour and 35 minutes.

For tickets, scheduling and information, please click for the show sites:

A Doll’s House, Part 2

1984

Pipeline

Soulpepper on 42nd Street‘s:

Kim’s Convenience and

Spoon River

 

Posted in children's shows, comedy, dance, drama, ShakesBeer, Shakespeare, theater

What’s up around town– a coming soon directory

Picture from http://dziecitheatre.org/the-work/
Picture from http://dziecitheatre.org/the-work/

For some of you drinks and Shakespeare may sound like a companionable way to spend an early fall afternoon. For you, there is ShakesBEER, NYC’s original Shakespearean pub-crawl. New York Shakespeare Exchange, creator of the viral smash The Sonnet Project, has scheduled the Hell’s Kitchen event for Saturday, September 12 and Saturday, September 19.

Start off at Landsdowne Road, where check-in begins at 2:30pm move on to Perdition, The Gaf, and conclude the festivities at The Waylon.

Scenes from Shakespeare plays break out at each location, as actors stand shoulder-to-side and cheek-by-jowl to the audience, drawing them in to each scene. Samplings from As You Like It, Much Ado About Nothing, Merry Wives of Windsor, and Henry IV, Part 1, are included in the three-hour pub crawl. This season’s Shakespearean bash features plenty of romance, a few mistaken identities, and everyone’s favorite tippler Sir John Falstaff.

The players include Carey Van Driest, who also directs; Chris Thorn; Brendan Averett; Shane Breaux; Elizabeth Neptune; Sarah Nedwek. Besides Van Driest, Eva Gil, and Ross Williams take on directorial duties for September’s ShakesBEER, which is produced by Kim Krane and Cristina Lundy.

Tickets are available at www.shakespeareexchange.org or at the door. Advance booking is strongly recommended.

Pipeline Theatre Company tells a ghost story in the world premiere of The Gray Man by Andrew Farmer, opening September 24-October 18 at Walker Space.

In The Gray Man, Simon is haunted by grief, a little girl who speaks of missing children and a familiar figure from the stories his mother told him outside his tenement window.

The production will be directed by Andrew Neisler, with an original score by composers Mike Brun and Chris Ryan. The Gray Man stars Tahlia Ellie, Daniel Johnsen, Katharine Lorraine, Claire Rothrock, and Shane Zeigler.

Tickets will be available for purchase online at www.pipelinetheatre.org.

Dzieci Theater Company presents a site-specific adaptation of Shakespeare’s Macbeth. Makbet, adapted from and directed by Matt Mitler, begins performances on Thursday, October 1 for a limited engagement through Sunday, October 18.
Dzieci’s Gypsy tribe greets you with song and dance, drinks and divination, at Sure We Can in Bushwick, then embarks on their wild, whirlwind of a ritual. Shakespeare’s “Scottish tale” comes alive in this gypsy version, employing haunting folk songs and chants from Eastern Europe. Dzieci explores the very essence of theatre and storytelling in their exuberant rendition of Macbeth, with a handful of actors taking turns in various roles to recreate the dark mood inherent in the classic drama.

The cast of Makbet features Megan Bones, Yvonne Brecht, Ryan Castalia, Felicity Doyle, Timothy Garlid, Golan, Jesse Hathaway, Su Hendrickson, Polina Ionina, and Matt Mitler.

Please visit http://dziecitheatre.org/ to learn more about Makbet.

At Brooklyn Performing Arts Center in April
At Brooklyn Performing Arts Center in April

At the Brooklyn Performing Arts Center, Michael Feinstein opens the 2015-16 season with The Gershwins and Me on October 24th.

In a full season of performances, The Vienna Boys Choir, on December 12th, and The Colonial Nutcracker, on the 13th, are BPAC’s holiday offerings.

Since its founding in 1954, Brooklyn Center for the PerformingArts at Brooklyn College has presented outstanding performing arts and arts education programs, reflective of Brooklyn’s diverse communities, and at affordable prices. Each season, over 65,000 people attend performances at the 2,400 seat Whitman Theatre; of these attendees the 45,000 schoolchildren from over 300 schools who attend their SchoolTime series represent one of the largest arts-in-education programs in the borough.

Children’s programming is a large part of the Brooklyn Center’s mission, with productions of Clifford the Big Red Dog™ – LIVE! on April 17th and Alexander, Who’s Not Not Not Not Not Not Going to Move on May 15th as examples of what’s on tap.

Visit BrooklynCenter.org to learn more about the season and ticket options.