The Upstart Readers present A Christmas Carol and high tea at 2 p.m. and 6 p.m. on Saturday, Dec. 22, at the Unitarian Universalist Church (107 W. Barcelona Road). At 6 p.m. on Sunday, Dec. 23, and 6 p.m. Tuesday, Dec. 25, you can catch the show at the Vista Grande Public Library in Eldorado (14 Avenida Torreon).
The Grasshopper Rebellion Circus comes to Wise Fool New Mexico (1131-B Siler Road) on Friday, Nov. 16. A workshop on the ancient street theater of cantastoria from 9 a.m. to 12 p.m., on Saturday, Nov. 17.
The Oasis Theatre Company, newly relocated to Santa Fe from upstate New York, launches its inaugural season with David Mamet’s adaptation of a 1976 radio play about the relationship between individual inventors and powerful corporations.
Lessons from history — even theatrical history — have the power to inform the current moment, and a high-school production of Lysistrata seems perfectly timed to take the momentum of #MeToo to the next level.
In Stephen Sondheim’s 1971 musical, long-retired showgirls convene to recall the grandeur — and the gritty reality — of their profession and to examine the lives they have led in passing decades.
Firerock is a production designed as a call to action for communities across the country to engage with the increasingly dire issue of climate change. The musical, which centers on a magical forest at the edge of an old mining town, was conceived with the help of a national team of contributors that include artists, activists, coal miners, and scientists.
The first thing Barbara Hatch did upon moving to Santa Fe in the summer of 2010 was call Theater Grottesco and ask for a job. The founding artistic director, John Flax, told her they were in the middle of a production and had no openings for actors at the moment. And then he asked if she could paint.
The executive director of Teatro Paraguas was a scholarship kid at Santa Fe Prep. After graduation in 1970, he joined an intentional community, called Theatre of All Possibilities, outside of town on Highway 14 at Synergia Ranch. It’s known mainly as a retreat center now, but when MacCallum took up residence, “We were doing theater, raising animals, and gardening,” he said.
Say goodbye to 2017 with some clowning and aerial acrobatics — as well as puppetry, spoken word, and music — that is family friendly yet filled with enough feats of human daring to keep everyone on the edge of their seats.
Vaughn Irving directs Seasoned Greetings!, a collaboration by six local author-actors that, as the company describes it, includes “a dash of comedy, a peppering of drama, and a pinch of multimedia and dance” and spans “the various themes of the holidays, including all the cheer and laughter, as well as the occasional rough moments.”
Since 1991, Santa Fe’s mayor has been honoring members of the arts community with annual awards for excellence in the visual arts, literature, performing arts, philanthropy, and more. The awards celebrate Santa Fe as an arts destination that plays a crucial role in preserving and expanding local and regional culture and history and in supporting the city’s economy.
Scott Harrison directs The Crucible for Ironweed Productions, opening Thursday, Oct. 26, at El Museo Cultural de Santa Fe. He is not keen on drawing a one-to-one comparison between the action of the play and McCarthyism, or between the religious hysteria of 1692 and the Trump era. “It’s too easy,” he said.
Last spring, while watching women perform politically driven song, dance, and poetry at the Railyard Performance Center, Tyger White found himself unusually inspired. In response to that show — called Fierce Feminine Risings — White directs a male-identified cast in a dizzying array of creative expression, from personal monologues to campy karaoke to dancing with swords.
On May 8, 1939, 40,000 people rallied in Havana, Cuba, to protest the proposed landing of the S.S. St. Louis, a ship that was set to sail from Hamburg, Germany, filled with more than 900 Jewish refugees attempting to flee the Third Reich. Most were denied entry. Bemadette Kahn, the octogenarian protagonist of Sotto Voce, was supposed to meet the love of her life in Havana.
Having your writing chuckled at as clever when you were aiming for profound is the bane of many a writer’s creative existence — perhaps none more so than Dorothy Parker, the jaded, hard-drinking poet and short-story writer who palled around with Lillian Hellman, F. Scott Fitzgerald, and Robert Benchley, among others.
Yerma is Spanish for “barren,” and Yerma’s desperation to have a child leads to tragedy. A new adaptation of the play at London’s Young Vic will be screened (courtesy of National Theatre Live) at the Lensic.
Ellen Burstyn won a Tony Award for her portrayal of Doris, a married Oakland housewife engaged in a long-standing annual tryst with George, a married accountant from New Jersey, in Bernard Slade’s play. Catch a staged reading directed by Talia Pura at Teatro Paraguas.
Between plays written by Shakespeare, Tennessee Williams, and Nora Ephron, there is a little something to entertain everyone, and venues include restaurants as well as theaters.
The annual farce — titled A Down Home Dance Hall Drama or Sister, Can You Spare A Sanguich? or A Very Kofveve Council Conspiracy — begins with the capital of New Mexico as its residents seem to regularly imagine it: at odds with the world.
The Shakespeare Guild holds most of its activities in New York, but this summer the guild's president John F. Andrews — a Santa Fe resident — is collaborating with Shakespeare in Santa Fe and its artistic director, Rachel Kelly, to bring a production of The Tempest to the Santa Fe Botanical Garden.
Dawn’s mother has been dead almost a year. Since then she has been taking care of her father, worried about his loneliness and isolation. And then one day he tells her that he has been dating, and now a woman is moving into the house he shared with his late wife.
For those prone to interpreting scientific theories in emotional terms, Heisenberg’s uncertainty principle is rife with possibility. Playwright Simon Stephens toys with the blurry line between science and feelings in Heisenberg, his two-person, May-December meet-cute play in which the German physicist is never mentioned by name.
An evening of classic one-act plays takes a sardonic look at the institution through the eyes of George Bernard Shaw, Anton Chekhov, and Molière. Awkward proposals, flowery love poems, contrived situations, and inappropriate age differences provide insight into old-school courtship protocols in the age of Tinder hookups.
We shake our heads in consternation over the Nazi extermination camps, the Killing Fields of the Khmer Rouge, or the Rwandan genocide, but we reassure ourselves that at least it could never happen here. Robert Schenkkan is not so sure. Incensed by the tone of last year’s presidential campaign, the distinguished playwright channeled his emotions onto the page.
The Santa Fe-based intellectual percussive troubadours present Mudfields, as part of Currents New Media, a multimedia theater piece that fuses live music with video projections, audio soundscapes, set design, and costuming.
In an attempt to shift blame for atrocities committed during the Holocaust, Nazis tried for their crimes after World War II often uttered a common refrain: “I was just following orders.” They meant to absolve themselves of personal responsibility by reducing their role to that of cogs in a machine. A modern version of this theme comes home to roost in this new play that is set in 2019, after an attack on American soil sends the country’s anti-immigration policy into overdrive.
The stark truth of death and the prospect of soul-gutting grief color Quality of Life, Jane Anderson’s baby-boomer drama, but the pathos comes with plenty of cushioning humor.
Larry Kramer's play The Normal Heart serves as an important historical drama that can educate those who are too young to understand what the AIDS crisis was really like. Statistics tell a grim tale: By 1985, well over 5,600 people in the United States had died; in 1986, that number was more than 16,000; in 1993, AIDS took more than 23,400 lives. Duchess Dale directs The Normal Heart at the Santa Fe Playhouse, which opens with a preview performance on Thursday, June 8.
Tom Wingfield works in a shoe warehouse and lives in a rundown apartment with his overbearing mother, Amanda, and his shy, sickly older sister Laura, in Tennessee Williams’ 1944 autobiographical stage classic presented by New Mexico Actors Lab.
Photojournalists capture historic, gut-wrenching moments of destruction and devastation in war zones. Weary from constant travel and hardened by what they have witnessed, some succumb to emotional burnout. In Donald Margulies' play, Sarah and James, a longtime couple, have both suffered the slings and arrows of their profession in Afghanistan. Now, back in New York, they must re-learn how to communicate and connect in relative safety.
On Thursday, May 11, at the Lensic, the troupe exploits dear old Will’s oeuvre, weaving the world’s most well-known plots, oft-cited lines, iconic heroes and heroines, and powerful soliloquies into a single rip-roaring narrative.
Sir John Falstaff, the rotund drunken scamp from Henry IV, Parts I and II, is a scoundrel of the womanizing kind in The Merry Wives of Windsor. When he arrives flat broke in a new city, he tries to line his pockets by seducing two married women — a plan that fails spectacularly.
In The Ups and Downs: A Recipe for Stardust Soup, 29 local amateur circus artists of all ages showcase their burgeoning skills in aerial acrobatics, stilt-walking, and more in a mash-up of perspectives choreographed to symbolize the macrocosm and microcosm of human perception.
In Stephen Adly Guirgis’ The Mother***er With the Hat, a gut-punching comedy about love, addiction, and haberdashery, ex-con Jackie pines for coke-addled Veronica, while Victoria, his slippery sponsor’s wife, makes a play for him.
In the 19th century, women could be diagnosed with hysteria for symptoms ranging from an aversion to housework to hearing voices. The treatment of the day? Doctor-administered orgasms — a tedious process that became easier with the introduction of the vibrator. Sarah Ruhl’s play about that technological advancement opens on Thursday, May 4.
Featured attractions include classic Japanese dance by octogenarian Hanayagi Rokumizu and hip-hop dance by youth group AOL6, as well as kamishibai, a form of storytelling using art prints; archery and martial arts demonstrations; taiko drumming and more.
Santa Fe Performing Arts City Different Players and Teen Ensemble present the nonmusical version of L. Frank Baum’s classic in its final weekend, on Saturday, April 29 and Sunday, April 30.
Theater students at Santa Fe University of Art and Design take on Bertolt Brecht and Kurt Weill’s musical theater classic. Set in Victorian England, the play skewers the hypocrisy of the upper classes and delights in the moral ambiguity of its antihero, Macheath — the title character of the song “Mack the Knife,” which made its way into pop-culture history with covers by Bobby Darin, Frank Sinatra, Ella Fitzgerald, and others.
All Pasatiempo can say about the beginning of the play is that the characters — who are clowns — have been called to a place where their expertise is needed, but when no one tells them what to do, they crack. And then they turn from clowns into bouffons. “The characters are thrown into a situation where they have to relearn what it is to be free or how to function,” Apollo Garcia Orellana said.
When the play Rosencrantz and Guildenstern Are Dead received its first professional production, by the National Theatre Company at London’s Old Vic Theatre in April 1967, it catapulted its obscure author, Tom Stoppard, to the level of theatrical royalty. National Theatre Live in HD screens a performance of the play from the Old Vic featuring Joshua McGuire and Daniel Radcliffe, airing at the Lensic Performing Arts Center on Thursday evening, April 20.
Dominic Cavendish, theater critic of the British daily newspaper The Telegraph, gave a rave review, but he worried in a follow-up column that this latest example of Shakespearean gender reassignment at “our flagship subsidised theatre” may signal that the trend has gone too far. A broadcast of the production will be screened at the Lensic Performing Arts Center on Thursday, April 13.
In January, George Orwell’s dystopian novel 1984 became a bestseller, with 75,000 new copies of the 1949 classic ordered for print by its publisher, Penguin Group, to fulfill sudden demand. If you have not been able to get your hands on a copy, you’re in luck, because the Santa Fe Playhouse presents a stage version of the story.
If there is one way to describe the body of work by playwright and screenwriter Neil LaBute, it would be that in his dramatic world, men and women are not kind to one another. Whether on stage or on film, his characters manipulate and debase their friends and loved ones in morally ambiguous ways, often with a coldness that could seem like sociopathy.
The play by Ron Hutchinson is the fictionalized account of the time that legendary Hollywood producer David O. Selznick trapped movie director Victor Fleming and screenwriter Ben Hecht in his office while they rewrote the screenplay for Gone With the Wind.
Co-directed by Megan Burns and Jonah Winn-Lenetsky of Santa Fe Performing Arts, 12 Switches is a series of vignettes written by the students based on their experiences growing up in Española, their family lowrider traditions, and the ever-popular pastime of cruising to show off fancy custom-built cars.
Panting, pawing, lying, and murder-by-bagpipe take center stage in this fast-paced and lighthearted door-slamming sex romp by Paul Slade Smith, opening at the Santa Fe Playhouse.
Oh, to be young and in love and a mayfly — and learn, while on a great date, that you live for only one day, so your death is imminent. Such is the wry yet sophisticated sense of humor of playwright David Ives, who is just as likely to write about construction workers on their lunch break as he is the love lives of bugs.
The British theater critics were split in their reactions to the National Theatre Live in HD broadcasts this week: George Bernard Shaw’s Saint Joan as directed by Josie Rourke at London’s Donmar Warehouse, a small venue that enforces intimate connection between actors and viewers and that tends toward daring approaches when it mounts classic plays.
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