Get an insider’s look at the scenic production process for “Leaving Eden.” In Part I, we catch up with scenic designer Jan Chambers and the beginning of the construction process.
Playwright and documentarian Mike Wiley is ever-mindful of history’s echoes. And never more so than in his upcoming new play “Leaving Eden,” with music by Laurelyn Dossett.
This year we even got some guest artists in on the excitement of the rotating repertory. But have you ever thought about what it’s like being part of the rep?
Here at PlayMakers we have a permanent professional team of actors, designers, artisans, and technicians working on every show. So, we wanted to give YOU the chance to meet our team.
After working at numerous theatres across the country, Saheem Ali is bringing his artistic talent to PlayMakers for Molière’s “Tartuffe,” in a dynamic new adaptation by David Ball.
Recently, we had the opportunity to speak with “The Christians” director Preston Lane about his early beginnings, directing process, and what excites him about directing this play now.
In this play, we meet a group of people in conflict. The caretaker of their souls asks a powerful question that cracks open their foundation and shifts their understanding of the world.
Producing two plays on the same stage at the same time certainly involves a whole lot of craziness. Still, we’ve got 5 reasons we love a rep.
The rotating repertory—two shows running in rotation over a the same six-week period—is a PlayMakers tradition seasons in the making.
It’s happened to all of us. Upon hearing where we work, new acquaintances often ask, “PlayMakers Repertory Company, huh? What does that mean?” Well, really, it’s all in the name.