When I conceptualize choreography for a show it’s important that it is driven by the story … and this story is ON A BUS! So you can only do so much before things start to look like a bad 80s music video. But the challenge is something I’ve embraced over the past six months.
This year’s Summer Youth Conservatory show Violet takes us on a journey across the American South in the 1960s. As we travel from Appalachian North Carolina toward Oklahoma, the music that moves us along is as varied as the locations and characters we visit on the way. From bluegrass to gospel, folk to Memphis blues, it’s an experience that invites us to hop on the bus and join our heroine, Violet, for the ride.
“What made me want to direct this show? Its huge HEART and amazing MUSIC.”
We’re thrilled to announce the addition of two key staff members to the PlayMakers leadership team as Justin Haslett joins us this month as Managing Director and Jerry Ruiz begins as Associate Artistic Director in August! They join Vivienne Benesch, who became the Producing Artistic Director in January, in the great work of shaping a… Read more »
As one of the leading performing arts organizations in the state, proudly embedded in a public research university with a legendary foundation in social justice and inclusion, PlayMakers Repertory Company will continue to unequivocally support diversity in all forms.
After his production Tings Dey Happen, on life in oil drilling towns of Nigeria, Dan Hoyle wanted to investigate closer to home. He spent three months driving across our country, attempting to find the true meaning of America and what it means to be American.
When Bill Brewer served up “gloriously epic” costume designs for Sweeney Todd, PlayMakers’ costume shop delivered. Longtime PlayMakers Costume Director Judy Adamson leads a talented team of professionals and students to create the stunning looks we see onstage for all of our productions. For a show like Sweeney Todd with its large cast, multiple costume changes, and specific and challenging designs, the charge is especially great.
There’s no place like London, but Jan Chambers‘ masterful design for Sweeney Todd undoubtedly pulls us right into the heart of Fleet Street. The set is expansive and multi-tiered, featuring everything from revolving rooms to trap doors.
It took director Jen Wineman a while to figure out what drew her to the story of Sweeney Todd, but when she figured it out, it all clicked. “It’s actually quite simple. Sweeney Todd is ultimately a musical about love. No matter how gruesome the subject matter—or maybe because of it—people relate to this story.”… Read more »
My job title, Resident Vocal Coach, is commonly used throughout American theatre, but I find the title misleading. In fact, most people assume I either teach people how to sing or that I wear athletic shorts and a whistle around my neck as I bark orders.