We’ve all fantasized about a life in the spotlight at one time or another. For most of us living a typical workaday lifestyle, the idea of being adored by thousands, an endless supply of cash, and carte blanche to act as we please can seem immensely appealing.
Newly released from prison, troubled Percy’s arrival is just the medicine the town needs to heal and find love again. You can probably guess what happens; it’s an obvious plot. What is unexpected, however, are some of the performances.
BAD GIRLS: THE STYLISTS takes place entirely in a hair salon, one of the few domains where women generally exercise complete autonomy.
MERCHANT ON VENICE has lofty ambitions, attempting to discuss highly controversial topics within a 3-hour arena.
Bursting with energy and intention onto a traditional living room set, this ensemble of four: Kat Christensen, Nyssa Lowenstein, Ariana Silvan-Grau, Taylor Wisham, and their director Anna Gelman have expertly crafted an exploration of Chekhov’s text and context that highlights its relevance, especially to the contemporary female experience.
In WOMEN LAUGHING ALONE WITH SALAD, Callaghan explores critical issues surrounding the messages women receive about themselves and their bodies in advertising and in society in a style that is entirely unique to her.