Christopher Sullivan's animated dystopia is about as far from a cartoon-for-kids as they come. Relationships among the three main characters -- Earl Gray, Gentian Violet, and Victor Blue -- multiply and divide as their stories becomes increasingly complex, hilarious, and scary.
In a Baghdad influenced by the Arabian Nights, the Ballets Russes, Art Nouveau, and Fritz Lang, Doug Fairbanks’ “what I want, I take” thief, jumping effortlessly from earthenware jar to jar, wins princess Julanne Johnston by posing as a prince himself.
Enter horseless, dark-clad, blazingly blue-eyed Franco Nero dragging a coffin through the inches-thick mud of a crummy town, seemingly populated only by whores and a bartender — and fought over by bandidos and red-hooded clansmen. But what’s in that coffin?
A father and his teenage daughter stand on either side of a closed door. Life is unraveling for him, and is entirely uncertain for her. So begins Melissa James Gibson’s poignant, funny new play about estrangement and the partially examined life.
From the moment the lights dim, you are transported to a wondrous world of magic and wonder. A rousing snowstorm sends a blizzard of ballerinas across the stage, sweeping you to exotic locales in the enchanting Land of Sweets.
Pulitzer Prize-winning playwright Paula Vogel (How I Learned to Drive) weaves a rich tapestry of a beleaguered and divided nation, war-weary and desperate for goodwill, on a blustery Christmas Eve in 1864.