“And nobody out there ever gets to define the life I’m meant to lead with this unruly heart of mine.” Because love is love is love is love. And you will fall in love with The Prom at Cockpit in Court. Not because it’s an amazing story that should be told and seen and heard and embraced. Not because it has an amazing cast chock-a-block with sensational talent all across the board or because its got astonishing scenery,
Everyone wants publicity, daaahlings. Even the bad kind is the good kind, because any kind beats no kind, right? Lucky for Thomas “Toby” Hessenauer and the company of Ken Ludwig’s The Game’s Afoot it’s the good kind. Mostly. I’m no Daria Chase, daaahlings, but for God’s sake, I am a theatre critic. Launching the ‘upstairs’ half of the upstairs-downstairs-summertime-palooza that we all know to be Cockpit in Court, this zany little Baskerville-wannabe is two parts mystery,
Surreal. And yet utterly relatable. Immersive. And yet distantly isolated. Unfathomable. And yet completely imaginable. This paradox of experiences is what awaits the theatrical explorer that could— and should— be you, with Submersive Productions’ latest offering: Katalepsis. Welcome to a world set many generations in the future, where humanity has been wiped from the face of the earth by a virus, and only a precious few— four to be exact— remain, supported by mysterious benefactors,
Is human life too demanding? Too structured? Try squid life! It’s great. All tentacles and rage-temper-tantrums as you bust out of your human-skin-suit to show your true pink, squishy, sucker-covered colors. Sound appealing? Or at least piquing to your interests? Then Squidsbury at Truepenny Projects is for you! Making its world premiere as a full-length, staged production, this quirky play, penned by playwright Chad Short, is as endearing as it is darkly mysterious,
Something
I wasn’t prepared for when I walked into the theater to see Tornkid was
that I would slowly become a part of the play.
The first scene seemed to have more characters on set than I’m used to
seeing in the introduction to a story, as a series of people sitting on pillows
at the edge of the audience played silent ancestor spirits of the main
characters, clapping their hands to send signs to our hero and narrator,
Tell us your story. Let us talk with each other. But we will soon forget; that is the way of all things. Or is it? Will you forget their story? Partnered in repertory with La Llorona, in Cohesion Theatre Company’s first ever attempt at rotating repertory shows, The Orphan Sea by Caridad Svich boggles the mind over storytelling at its most primitive. Originally commissioned by The University of Missouri-Columbia Department of Theatre,
What’s the weirdest thing you ever believed in? A ghost? A spiritual practice? A religion? What about an urban legend? We’ve all heard them. We all have them. Some of us have even experienced them. What happens when one story crosses through multiple cultures, where everyone knows a different version of the story? Cohesion Theatre Company, in their first attempt at running shows in rep, presents La Llorona, written by Cecelia Raker,
Die Bart Die! Probably not exactly what Kelsey Grammer thinks he’ll be remembered for when his time is up. Side Show Bob, that loveable nefarious evil-doer spawned inside the depraved animator’s brain of Matt Groening, father of the indomitable prime time animated series, The Simpsons. Of course, what will any of us really be remembered for once we’re gone? What about once the world as we know it is gone? What becomes important,
Americans always seem ripe for a good feud. Feuds make great headlines and apparently even better entertainment. Ryan Murphy scored television ratings gold this season with his recounting of the on and off screen cat-fighting between iconic movie stars Bette Davis and Joan Crawford. The current Broadway season features War Paint, a musical based on the corporate backstabbing between leading lady cosmetics pioneers Helena Rubinstein and Elizabeth Arden. Nationally, the riffs and hate have become unveiled and brutally wide between Clinton and Trump supporters,
Water takes the boat people. Water catch ‘em. Water keep ‘em. A cautionary warning to those brave enough, or perhaps foolish enough, to strike out on a Government sanctioned expedition down the Colorado River through the uncharted “Big Canyon” (what we know now as The Grand Canyon) in 1869. Are you brave enough, or perhaps foolish enough, to join Cohesion Theatre Company as their close out their third season with Men on Boats,
Are you prepared to experience the mesmerizing wonder that awaits you inside a brand new cabinet of curiosities? Are you ready to undertake a most daring expedition to explore the excitements of an immersive theatrical endeavor that exists outside the bounds of time and space? Then step off with Submersive Productions and ready yourself for the most unusual and unique experience of a lifetime. In sentient residence at The Peale Center, one of Baltimore’s treasured historic buildings,
Nothing tastes as good as thin feels. Marilyn Monroe was Jell-o on springs. Harsh mantras that plague the warped minds of frustrated teenage girls in Wendy MacLeod’s Schoolgirl Figure, like those just mentioned, are what fuels this black comedic drama forward at Cohesion Theatre Company this season. Refusing to be weighed-in as an ‘issues play’ under the sharp and succinct visionary approach of Director Jonas David Grey, though MacLeod’s work does address eating disorders,