Step back in time to 1950-something, to the beginning of the Golden Age of Television, step into the theater which is now a TV studio, specifically Desilu Studios and enjoy the “filming” of two episodes of the classic TV comedy I Love Lucy.
If you’re a fan of Lucy, Ricky, Fred, and Ethel, then you’ll want to make sure to snap up some tickets to the hit touring production I Love Lucy Live On Stage, now in its “second season.” This production is currently at Baltimore’s Hippodrome Theatre through October 26. What can audiences expect from something that’s probably so familiar to so many? A really fun evening!
In keeping with the Iron Crow Theatre Company’s tradition of staging unconventional, thought-provoking, often dark dramas, the kick-off to their three-play 2014-2015 season did not disappoint. You know you’re in for a signature Iron Crow theatrical experience when before the play begins the audience observes a body dressed in white, highlighted by occasional red lighting, lying prone on the otherwise darkened Baltimore Theatre Project stage with some gloomy New Age music droning in the background prior to its presentation of 4.48 Psychosis.
Some people spend their lives searching for fame and fortune only to find out disappointingly that they are merely mediocre as such lofty goals become elusive. Others find that such gifts are natural and their fame comes easy and enduring. When such people intersect in their life’s journeys, it may not always be pleasant.
That is in essence the core plotline of acclaimed British playwright Peter Shaffer’s 1979 play Amadeus now playing at Center Stage. It revolves around 18th-century Vienna Court composer Antonio Salieri (played by Bruce R. Nelson) who was having things go his way until the child prodigy of Salzburg, Wolfgang Amadeus Mozart, (Stanton Nash) comes on the scene.
As was the case throughout the South during the mid-1950s white folks in Memphis referred to African-Americans as coloreds and by the N-word. Radio stations played either white music or black music – not both. People dared not set foot in an establishment whose ownership and clientele were of another race. Interracial relationships were forbidden and dangerous.
While things have improved significantly but not entirely over the years, these conditions provide the backdrop for the hand-clapping, toe-tapping musical extravaganza, Memphis the Musical, now playing at Toby’s, the Dinner Theatre of Columbia.
The timing of the National New Play Network’s Rolling World Premiere production of Colossal could not be better. The play is about football (the new season has just begun); it’s about a gay male player dealing with the macho world of organized sports (the journey of openly gay football player Michael Sam has caught the nation’s attention); football injuries (constantly in the news); and it’s about love and family (always timely).
Colossal, written by Andrew Hinderaker, makes its debut at the Olney Theatre Center before the new play appears in three other venues in the country. Director Will Davis guides the talented all-male cast with great skill accentuating the physicality of football and dance and how these conflicting elements can sometime be fused. The visuals are as much a part of this unconventional play as the dialogue.
REACHING OUT TO THE GAY AND LESBIAN COMMUNITY?
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