If the human eye was a digital camera it would have 576 mega pixels. 30% of businesses in the U.S.A. are owned by women. McDonald’s opens a new restaurant every 14.5 hours. Swedish wasn’t made the official language of Sweden until 2009. Approximately 300 couples get married in Las Vegas, Nevada every day. Forum Theatre is producing the area premier of Caryl Churchill’s Love and Information. Is it better to know things or not know things?
“We are going to have borders nice and strong. We are going to build a wall.” A direct quote from— at the time— president-elect Donald J. Trump. The full horror of what was to come wasn’t even an inkling in the eyes of the masses. In a stunning new evocative, jarring, emotionally blindsiding, and harrowing work making its debut as a part of the National New Play Network’s Rolling World Premiere series, Robert Schenkkan’s Building The Wall is sparking a visceral powder keg of conversation in the nation’s capital.
Every girl should first understand herself. And in order to understand herself she must fully understand herself, inside out and all throughout. After all, what’s the point of sinning if you can’t tell a good story about it? Playwright Monica Byrne crafts up quite a good story with What Every Girl Should Know, even if it is set 100 years prior to when she penned it. Appearing as the other half of the #NastyWomenRep at Forum Theatre,
What happens when you’re faced with the unthinkable? What happens when you’re uninformed and faced with the unthinkable? That’s just the tip of the iceberg when it comes to the present-day half of Forum Theatre’s #NastyWomenRep. With two shows cycling through the repertory rotation, both dealing with extremely important women’s rights issues, Dry Land, written by Ruby Rae Spiegel, dives headlong and unapologetically into the dicey subjects of abortion;
When the wind howls do you answer it by building a shelter or by building a kite? Forum Theatre answers by not only building a kite but flying it through an emotionally turbulent storm with their 13th season opener, with the DC-area debut of I Call My Brothers, written by world-renowned playwright Jonas Hassen Khemiri. Translated from Swedish by Rachel Willson-Broyles and Directed by Michael Dove, this gripping and visceral tale explores the narrative experience of Amor,
There is something to be said for comforting fictions. While they may not be the most elucidating tales they provide a certain umbrage from the harshness of reality that accompanies terminal illness. In an evocative rolling world premiere presented in association with the National New Play Network, Forum Theatre closes out its 12th season with Steve Yockey’s Blackberry Winter. Directed by Michael Dove, this stunning 90-minute tale awash in profoundly polarizing emotions sparks a compelling conversation of perceived realities,
We are not animals. We are watching. But what if we are animals and are not to be trusted? Forum Theatre brings to the stage in a fully immersive and unapologetically evocative experience Martin McDonagh’s The Pillowman. Directed by Yury Urnov, this deceptively dark drama and majestically macabre tale unfolds in a surreal reality that is simultaneously in the audience’s periphery and just outside of their vision. Remarkably experiential, as the audience is quite literally the on-looking totalitarian dictatorship masses,
Let them eat— s’mores? Following along through Season 35 at Woolly Mammoth Theatre Company, their world premier of Lisa D’Amour’s work Cherokee settles nicely into the “let them eat” theme of the season. In a TheatreBloom exclusive interview we’re talking with Woolly Company Member and Director John Vreeke about his involvement with the project and why it interested him.
Thank you, John, for taking time to phone in with us for this interview.
Labels are for soup cans! Join the party— The T Party— at Forum Theatre this January for their exciting remount of the world premier of their gender-driven conversation starter The T Party. Having absolutely nothing to do with the political party— as the show was being conceptualized and work-shopped before the party was formed— this provocative, evocative conversational piece of theatrical work is a compelling and connective cabaret of gender-binary defying stories,