Bertolt’s Brecht’s ‘Verfremdung’ isn’t so scary. It merely aims to be “That which makes the strange familiar, and the familiar strange.”
For over 20 years, playwright Paula Vogel’s 1997 story of “How I Learned to Drive” has been striking a chord with audiences across the globe.
Director Vivienne Benesch takes a bold move toward mixing the past, present, and future in PlayMakers’ “Life of Galileo.”
“Theatre is a demonstration of the terms of our well being and is therefore valuable for the purpose of exposing wounds which have remained unhealed.”
What could possibly be more exciting than PlayMakers hosting a world premiere? The next-big-thing playwright and director-on-the-rise who are bringing it to life.
Dramaturg Mark Perry sat down with “Jump” playwright Charly Evon Simpson to learn more about her creative process. Here’s a bit of their conversation.
Weathered and old, but sturdy and strong, it’s fitting for the striking visual of a large bridge to be at the center of the most theatrical play of the season here at PlayMakers.
As playwright Zack Fine walked to rehearsal on the first Tuesday following Winter Storm Diego, he found Thoreau running through his head: “Surely joy is the condition of life.”
Mark Hartman has whittled the “She Loves Me” orchestration down to fill out a 6-piece band. But it isn’t about economics; it’s a matter of director Kirsten Sanderson‘s vision for the show.
How does a character’s personality inform Bobbi Owen’s costume designs? And how do those designs move from sketch to reality in the hands of draper Jane Reichard?