Well, that may not be exactly accurate. What really happened was that after sitting transfixed in front of our TVs as news broke that Mueller had finished his report, many of headed out to see the fabulous satirist perform. Some of us weren’t feeling very good. We had just learned there would be no more indictments, a blow to those who would like to see the Trump family behind bars. But Rainbow knew how to lift our spirits and save the country: He threw paper towels into the house.
And the very funny entertainer took a moment to be serious. “There aren’t going to be any more indictments,” Rainbow said solemnly. “So let’s enjoy the ones we already have.”
In 1972, John Lennon and Yoko Ono sought help from an immigration lawyer to extend their visas by six months so that Ono could continue to make her case in custody proceedings for her 8-year-old daughter.
They were put in touch with a mild-mannered, admittedly “square” immigration lawyer who had never heard of John Lennon, though he did know a little about The Beatles. Leon Wildes would find himself drawn into the muck and mire of the Nixon administration, a landmark immigration case, and a friendship with the mercurial, brilliant, and troubled rock star, cultural icon, and political activist.
Siblings always have issues.
Sometimes the older they get the testier they become, especially when their paths diverge.
This idea became the inspiration for Christopher Durang’s Tony Award-winning play Vanya and Sonia and Masha and Spike, a comedy about sibling resentments that takes some inspiration from Russian short-story writer and playwright Anton Chekhov.
Cassie Mann, who is directing a production of Vanya for the Ann Arbor Civic Theatre, March 14-17, said she fell in love with the play when she read it.
People sometimes struggle with how to refer to the first 10 years of the 21st century. The zeros? The aughts? Ypsilanti playwright A.M. Dean has put forth his own nickname for these transformative years in our nation’s history: The Dumb Decade.
Neighborhood Theatre Group’s original pop/rock musical Dispatches From the Dumb Decade follows its characters as they come of age in the age of 9/11, George W., Weapons of Mass Destruction, the Axis of Evil, "strategery," and the birth of fake news. All these things that I had put behind me were brought alive again through music and song. We were so innocent back then.
Playwrights begin with an idea. They imagine a setting, develop a cast of characters, and write a script. But that’s just the beginning. A director and actors will breathe life into the writer’s words. Only then can a writer get a feel for whether his or her play hits its mark.
That’s where the semi-annual Michigan Playwrights Festival at Theatre Nova provides an important service to playwrights and a great opportunity for theatergoers to see an original play in its infancy.
“Playwrights tell us how valuable it is to hear their play read out loud by professional actors in front of an audience,” said Diane Hill, producing artistic director of Theatre Nova, in an email interview. “They can see if what they thought was funny actually receives laughs or if what they thought might be a poignant moment falls flat. They also listen to the audience discussion that follows the reading concerning its positives and negatives which can sometimes lead to script alterations.”
Five new plays by Michigan playwrights will be presented March 6-10 in staged readings at Theatre Nova in Ann Arbor.
Explosive Comedy: PTD Productions celebrates its silver anniversary with "The Miss Firecracker Contest"
Twenty-fifth anniversaries are usually celebrated with silver.
But PTD Productions is feteing its 25th with firecrackers.
The Ypsilanti-based community theater group kicks off its silver season with Beth Henley's The Miss Firecracker Contest, a successful long-run Off-Broadway comedy that takes place in a small Mississippi town.
The acting students at the University of Michigan’s Department of Musical Theatre will be shifting gears to perform in The Exonerated, a docudrama that reveals serious problems in the United States criminal system.
The Exonerated by Jessica Blank and Erik Jensen tells the true stories of six wrongfully accused convicted survivors of death row in their own words. The script was prepared from interviews, letters, transcripts, case files, and the public record.
It’s a beautiful thing when a play not only passes the Bechdel test with flying colors but offers an intellectually satisfying evening of theater, too.
For Theatre Nova’s production of Sarah Treem’s The How and the Why focuses entirely on the charged conversations between two women: tenured evolutionary biologist Zelda Kahn (Diane Hill) and the daughter she gave up for adoption, post-doc student Rachel Hardemann (Sayre Fox).
As they meet for the first time, Zelda’s department is preparing to host an important conference. When Rachel reveals the radical theory she’s developed concerning the “why” of human female menstruation -- that it acts as a kind of physiological defense mechanism -- Zelda offers her the chance to present her ideas at the conference. When things don’t go well, Rachel’s left to wonder: Did Zelda set her up to fail out of professional jealousy? Or did Zelda just naively give Rachel an opportunity that she and her theory weren’t quite ready for?
Bipolar disorder is not the usual musical fare. But the Tony- and Pulitzer Prize-winning musical Next to Normal joins such recent topical musicals as Avenue Q, Rent, Dear Evan Hansen, and Hamilton as a forum for dealing with current issues using music and words to drive home tough lessons.
The Encore Theatre production of Next to Normal, with music by Tom Kitt and book and lyrics by Brian Yorkey, will not send you home whistling a tune, but it will leave you with a better understanding of the pain, confusion, and challenges faced by those with bipolar disorder and the family and friends around them.
Chamber of Secrets: Purple Rose Theatre's "Never Not Once" pulls no punches as it explores a family's difficult history
We often hear that people shouldn’t be permanently defined by their worst decision or act. But on the other end of that equation, all too often, are men and women who are irrevocably shaped by the violence committed against them.
Carey Crim’s latest world premiere play at Chelsea’s Purple Rose Theatre, Never Not Once, directed by Guy Sanville, treads rather boldly across this ethical minefield.
When Rutgers student Eleanor (Caitlin Cavannaugh) comes home unannounced, with boyfriend Rob (Jeremy Kucharek) in tow, and announces to her two moms that she aims to track down her biological father, her birth mother, Allison (Michelle Mountain), balks, insisting that the one night stand that left her pregnant in college was so inconsequential that she never even learned the man’s name. But when Eleanor’s other mom, Nadine (Casaundra Freeman), secretly supplies Eleanor with a possible clue regarding her father’s identity, the search narrows, and Allison is forced to revisit a trauma from her past.
Perhaps it goes without saying, but Never Not Once is an intense 90 minutes of live theater, despite some moments of levity in the early going. It tackles some tough stuff, and for the most part, it doesn’t pull its punches. But then, it can’t afford to. If you’re going to “go there,” as Crim has chosen to do, you’ve got to have the guts to go all in. So don’t go to the Rose expecting to passively sit back and be entertained by Never. It’s more a grab-you-by-the-lapels kind of show.