Meehan and Collins use convincing Christopher Walken impressions in an intriguing look at how the fantasies of popular culture provide escape from our lives while they shape them.
For their debut production, Susanne Collins and Kevin Meehan looked to one of the most iconic actors of contemporary cinema: Christopher Walken.
To celebrate this year’s conference, Phindie is running interviews with prestigious playwrights who have benefited from their experiences with PlayPenn.
Kenneth Lonergan’s new play explores the many levels of trust.
The mysterious world of film noir is given a new twist as an all-female cast reconfigures the traditionally male crime-detective genre.
Part Two of Douglas Williams backstage diary as the play he wrote finishes rehearsals and opens to audiences.
Diary of a Playwright: Doug Williams tracks his thoughts as he prepares for his first professional production
Douglas Williams has partnered with Phindie to share the playwright’s perspective as a new play is developed, rehearsed, and produced
Director Whit MacLaughlin employs both live actors and shadow puppets to convey both the darkness and magic of the popular story.
Whit MacLaughlin is going off the deep end with this one. Are you willing to jump in with him? New Paradise Laboratories’ handsomely crafted, meticulously acted, and totally weird production, is not easily accessible. Nothing much can be taken literally here, and the production doesn’t reward searching for specific meanings as it creates its own tilted world with its own skewed logic.
Rhrough minimal, absurd dialogue and highly stylized, disjointed movement, the ensemble-devised work evokes the boredom and bad behavior of a privileged vacationing family of film artists and their guests.
SoLow is about play.
There are some plays in it.
There are some . . . things . . . in it which are not plays.
But, SoLow is about reducing the boring stuff—the stages and lobbies and tickets and grants and endless marketing strategies—which stands between the artist and the audience, so that everyone can play.
To give you a clearer picture of what’s being played around with, freelance writer/performer Julius Ferraro conducts a series of flash interviews of our artists.
Call it Don Juan or Don Giovanni, the Don Juan story, handed down through time, is pre-loaded with a mix of serious and comic elements and a supernatural dimension. DON JUAN COMES HOME FROM IRAQ, from theater luminaries Paula Vogel (playwright) and Banka Zizka (director), has the gravitas down and doesn’t lose sight of humor, but extra pieces lodge within this puzzle’s slippery treatment of time and reality.
Drury’s funny, traumatic, inventive and timely play will stab at you, personally, at least once. She asks whether it is important that a story be told, or if it is more important that it be told in a certain way. She uses the events in Namibia to illustrate the cracks in our own culture, the divides caused by racial issues even among a group of people who would probably all vote for the same candidate..