Hartford, CT – “Get swept into the devastating verbal and physical encounter between two men determined to put the past at rest by whatever means at their disposal.”
David Robson‘s PLAYING THE ASSASSIN, based on the true story from 1978, when Oakland Raider star Jack Tatum tackled New England Patriot wide receiver Daryl Stingley with such force that Stingley never walked again. Here, the action picks up two and a half decades later, when Frank Baker is given a golden opportunity: CBS wants him for a pre-Super Bowl interview where, for the first time, he will confront Lyle Turner on air.
To read the full review and for ticketing information, please follow the story HERE.
THE TAXI CABARET, Book, Music, and Lyrics by Peter Mills, Conceived by Cara Reichel, will be a featured musical in the current e-mail campaign, Ease on Down to the Sunset Strip!, distributed to more than 38,000 Samuel French subscribers. THE TAXI CABARET will be presented alongside ROCK OF AGES, LA CAGE AUX FOLLES, THE WIZ, and a few others.
To view the issue, click HERE.
WE ARE PUSSY RIOT, by playwright Barbara Hammond, has been selected as one of the five new plays for the 25th Season of The Contemporary American Theater Festival (CATF). WE ARE PUSSY RIOT, commissioned by CATF, makes its world debut at the Festival. The play tells the story of five young women that walked into Moscow’s Church of Christ the Savior and offered up a punk prayer to the Mother God: “Virgin Mary, Chase Putin Away!” Their act made them enemies of Church and State, and revolutionary artists in the eyes of Western media. This story speaks to their struggles and the power of the human spirit.
To read more about the CATF, please visit the full article HERE.
THE 12, which premieres at Denver Center Theatre Company March 27–April 26 under Richard Seyd’s direction, began as a concept by composer/lyricist Neil Berg, who initially had the idea of “conflating iconic rock figures with the apostles,” said Robert Schenkkan in a recent phone interview. That specific idea appealed to Schenkkan less than the notion of “both Christianity and rock and roll as revolutionary moments.”
…Traditionally the disciples were said to retreat to an “upper room,” in many accounts the site of what had been their last supper with Jesus, until reports that Jesus’s tomb was empty—and that some in the group had seen and spoken with their slain leader—began to spread.
“Essentially, they’re hiding out, but 72 hours later they leave the room having somehow overcome their terror and their grief, their sense of betrayal, ready to preach a whole new doctrine,” said Schenkkan.
So what happened in the interim? Given that Jesus is not listed as a character in the playbill, we can assume that Berg and Schenkkan’s answer is not the obvious reverential one. But, as Schenkkan explained, there are sound dramaturgical and even theological reasons to leave the purported grave-break offstage.
To read more about THE 12, please visit the American Theatre’s article: http://www.americantheatre.org/2015/03/13/what-would-jesuss-disciples-do-in-new-musical-the-12-they-rock-out/.
3/10/2015 – The Asociación de Periodistas de Teatro (APT) recognizes Álvaro Guerrero and Cecilia Suárez as Mexico’s Best Actors. Mark St. Germain‘s FREUD’S LAST SESSION, which starred Sergio Kleiner and Dario T. Pie, won Best Work during the XXXII awards. The awards went out to the best of theater from 2014.
The staging that produced Jorge Ortiz de Pinedo beat SUBJECT and MASTER CLASS, works also included in the category. FREUD also received the Best Director award for José Caballero.
At the stage to collect the award, Ortiz de Pinedo said that this project could only have been a success because of the work of everyone on the project, including the two splendid actors, who delivered a wonderful display of the text.