“I’m not a lover of clothes, necessarily, but I really love telling stories,” says Melanie Burgess, the guest costume designer for Blues for an Alabama […]
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Share your lessons with us!
As you walk into the lobby of the beautiful Paul Green Theatre for August Wilson’s “How I Learned What I Learned”, you might notice something […]
For the 2021/2022 season, PlayMakers was awarded a National Endowment for the Arts (NEA) grant for Shakespeare’s “As You Like It” outreach. The grant includes […]
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A Sit Down with Dooley
Performing arts critic Roy C. Dicks talks theatre with Ray Dooley in honor of his 100th production at PlayMakers.
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.
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Where in the World is Viv?
Here’s what our Artistic Director Vivienne Benesch is up to while directing in D.C.
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Not a Play
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.
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Unacceptable yet Common
When a playwright trusts the audience, it can result in a truly powerful night at the theatre. Paula Vogel trusts you with “How I Learned to Drive.”
With the help for Propsmaster Andrea Bullock, Vivienne Benesch and Jim Findlay have dreamed up a world where where the past is constantly flowing in and out of the present.