Julia is extraordinary, and, at 53, she should be tired of hiding. This is what the voices in her head tell her, anyway. They’ve kept her from sleeping for more than a week, and everyone she encounters lets her know how terrible she looks.
The fierce protagonist in Dominique Morisseau’s brilliant play “Sunset Baby” was named after Nina Simone. She was able to turn “the madness that rages inside” into power, “and that’s what we wanted for you,” Nina’s estranged father tells her.
Though relatively new to working in Muskegon’s downtown entertainment scene, Eric Messing recalls it as the place where he was first exposed to the performing arts.
Russian playwright Anton Chekhov and his life will be recreated onstage this month in a one-man drama, Anton, Himself: First and Last.
When we think of Lyndon Baines Johnson, 36th President of the United States, we tend to think of the Vietnam War. Not many know that just days after LBJ stepped in as president following the assassination of John F. Kennedy, he approached Congress with his first priority as president: the Civil Rights Act of 1965.
“Miller.” For many residents of Southwest Michigan, that one word conjures up visions of an auditorium that has spent 50 years as a backdrop for performers, making them laugh, cry, ponder and cheer.
There is a scene early on in Finding Neverland where playwright J.M. Barrie (Billy Harrigan Tighe) is talking about the play he’s working on with theater producer Charles Frohman (Matthew Quinn). Charles tells him that the play can’t be too short or too long. It also can’t be too funny or too serious. It needs to make people think but not think too hard. Finding that perfect balance isn’t always easy in a play, but Finding Neverland makes it look as effortless as lifting a feather.
When Andrea Arvanigian soulfully sings “Love is who we are and no season can contain it,” from Sara Bareilles’ sweet 2011 song “Love is Christmas” in the second act of The Barn Theatre School’s Christmas Cabaret, it’s impossible not to feel the truth of those lyrics straight from the heart of all the performers most regularly seen here during the summer months.
In the mid-century American classic play “The Miracle Worker,” by William Gibson, the child Helen Keller punches, kicks, flings food, throws whatever’s in her clutches, pulls hair, screams, wails, and otherwise throws physical tantrums like a feral animal. She’s a brilliant yet obstinate, wildly spoiled child in her upper-class, post Civil War Alabama home in which all her kin are cousin to General Robert E. Lee. From a baby with enormous vitality to a deaf-mute child, she is pitied for her disabilities caused by illness, and since none of the finest quacks money could buy helped, her family nearly ruins her for any kind of productive life.
The Nutcracker, like so many holiday traditions, is an experience rich with nostalgia. For many, the classical ballet is the only ballet they’ve ever seen; for others, it’s an annual tradition that began in childhood; for others, the music, characters and movement summon memories of the times when they’ve played or danced it themselves.
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