First seen on Broadway in 1963, “She Loves Me” was as good as lost to generations of theatergoers until the story of two feuding clerks at a Hungarian parfumerie got its first revival.
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“As soon as I read it, I knew I would do it.” G Clausen makes his PlayMakers debut with a show that’s right up his alley. Experience the hip-hop-infused, rhythm-driven sound design of “Skeleton Crew.”
One setting, four players. Scenic designer Jan Chambers and director Valerie Curtis-Newton take you inside the world of Dominique Morisseau’s “Skeleton Crew.”
Theatre can get a bad rep for being stuffy, but Dominique Morisseau is shaking things up with her Rules of Engagement.
Detroit, 2008. What was once an industrial powerhouse has become a microcosm of the threats to economic security and prosperity facing the nation.
Finding the spirit of Robin Hood in a time that truly needs it can be difficult, but Jessie Austrian is up to the challenge. And she thinks you are, too.
“Leaving Eden” may be Laurelyn Dossett’s first time working with PlayMakers, but she’s no stranger to composing for theatre about North Carolina life.
UNC’s newest Distinguished Alumnus returns to PlayMakers for the final piece of a season bookended with productions about life and social disparity in North Carolina.
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.
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.