After seeing Apparition: An Uneasy Play of the Underknown workshopped more than 10 years ago, Handelsman said she became obsessed with the piece. CTC’s one-time showing of the Late Night Special Apparition is at 11:30 p.m. tonight in Bratton Theater.
The May Queen is a child of the ’90s. While the contemporary play’s allusions to ’90s-era high school may be unclear for some Chautauquan audiences, ’fore-Plays aim to clarify the context of each play to enrich the audiences’ experience.
In the United States, women make up less than a quarter of both produced playwrights and those directing productions.
Vivienne Benesch describes Chautauqua Theater Company’s 2014 production schedule as a painstakingly composed brussels sprouts dish, laden with pancetta and cheese, meant to melt in the audience’s mouth.
This week marks the beginning of a substantial undertaking for Chautauqua Theater Company.
As soft light filters through the nearest window, a woman sits upright in bed. Pulling on a raggedy pink terrycloth robe and house slippers, she slides past a curtain into the kitchen. After collecting the morning paper and milk from outside the apartment door, she sets a dented kettle on the stove to boil, sending a metallic clatter rings through the dead air.
When dreams have been deferred for long enough, you don’t want to waste any more time. The Youngers, the iconic family at the center of Lorraine Hansberry’s A Raisin in the Sun, certainly don’t, even if they find themselves at loggerheads (with one another and with themselves) over which dream to finally pursue.
The last 10 days, as racially fraught a period of time as America has seen in 20 years, have prompted the by-now-obligatory question of when, to paraphrase a participant in an earlier racial flashpoint, we can all get along.