If you look for it, love actually is all around you.
Unless you’re bitter-pill Cassie, whose got an icepick up her hoo-hah over
love, romance, and happy endings. As the zany and quirky title might imply,
Second City’s Love, Factually, is bringing you the jaded and hardened
look at the warm-n-fuzzy feel goods of the holidays this December at The John
F. Kennedy Center for Performing Arts. Appearing through December 29 in the
Theatre Lab,
Adventures are supposed to be dangerous and exciting, captivating and wondrous! Filled with never-ending adventures, Synetic Theater brings to the stage their very own adaptation of J.M. Barrie’s iconic adventurous classic Peter Pan. Directed by Paata Tsikurishvili, with Co-Direction and Fight Choreography by Vato Tsikurishvili and Choreography by Irina Tsikurishvili, this stage production— The Adventures of Peter Pan adapted by Ed Monk and overseen by the Creative Team of Marley Giggey and Tori Bertocci— has fighting,
The system only works if the system comes first.
The system only works if— errør— :://cødΞ does not c-c-compute. There is a GLITCH in the system.
It’s just a glitch. Ignore it. Move on.
It’s just a— .dØt, after all.
The statistical possibility of one little— .dØt— becoming the downfall of the system— why that’s impossible. Isn’t it? Pointless Theatre Company astonishes and amazes with their newest production: .dØt:: a RotoPlastic Ballet.
What a bitch of a time. The play is shit. You’ve Alfred Jarry to thank for that. The production is unique. You’ve Pointless Theatre Company to thank for that. In a new adaptation, translated by none other than the infamous Google-Translate (that bugger’s been mucking things up for years!), from the original Ubu Roi, comes a fitting-for-the-times disastrous calamity that they’re calling King Ubu, they being Pointless Theatre Company.
Art is sacred. Art is pointless. Pointless is art. Art is n; the fope. Fuck it. DADA! Pointless is a theatre company in DC and they’re making— performing— doing— ooh, how about unabashedly obliterating the boundaries between theatre, dance, puppetry, movement, and other performance based art forms, throwing it all in a blender, hitting hurly-whirly and splattering it all over the Trinidad Theatre of the Logan Fringe Arts Space this spring? And they’re calling it Hugo Ball: A Dada Puppet Adventure!!/?1!!??
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,
Ho! Ho! Holiday-mamma-freaking-ho! The Pointless Theatre is bringing their annual tradition, A Very Pointless Holiday Spectacular to the stage for 2015 and they’re going to sack it to you, Santa babies! It’s the North Pole’s 239th annual talent show and Mrs. Claus and the elves are ready to get down, boogie, and go to town on the one night a year that they get off— and holy holiday moly do they get off!
Ay! Ay! Ay! She’s the lady with the tutti-frutti hat on her head! Singing sensation, Brazilian beauty, Carmen Miranda has her whole story explained in Pointless Theatre’s world premiere production of Gimme a Band, Gimme a Banana! The Carmen Miranda Story. Directed by Roberta Alves and Matt Reckeweg, this show appears as part of the Women’s Voices Theater Festival and is an intriguing examination of a popularized figure told through interpretive movement and song.
Ladies and Gentlemen! Step Right up! Witness the marvelous morose, the wondrous strange, the nightmares that inspire ephemeral fantasticality! Pointless Theatre presents an honest theatrical masterpiece with their production of Doctor Caligari, a devised theatrical ensemble extravaganza that entrances the mind, stimulates the senses, and shakes the core of reality in a surreal and fascinating fashion. Directed by Matt Reckeweg, this homage to the 1920 German Expressionist film The Cabinet of Dr.