In a time of political unrest, director Andrew Borba shares his insight on the timelessness of Shakespeare’s “Julius Caesar.”
Adventures in bloodying our production of “Julius Caesar” continue with our costume department rising to the challenge of bloodying costumes for six performances a week.
Shakespeare’s “Julius Ceasar” is a bloody tale of political and social scheming, but how do you make that blood happen on stage? Our props department is glad you asked.
The props in “Everybody” took creativity and “epicness” to the next level. Andrea Bullock, PlayMakers Props Master, explains how she helped bring this confrontation with death to life.
It’s 1930s Chicago with 64 scenes in over 15 different locations. Where do you go with the set design of “Native Son” when all Bigger Thomas wants to do is fly? An airplane hanger, of course.
Earlier this month, Annette Storckman of Breaking Character Magazine interviewed playwright and actress Jessica Dickey about the heartening and inspiring “The Amish Project.”
Virginia Grise’s one-woman piece “Your Healing is Killing Me” may be hitting the PlayMakers stage next week, but don’t call it a play. It’s a performance manifesto.
The Paul Green Theatre is a special place. And director Lee Sunday Evans has found it to be down right inspiration for her vision of “How I Learned to Drive.”