In the opening montage of the classic 1977 film SATURDAY NIGHT FEVER, an overhead camera soars from Manhattan to Bay Ridge, Brooklyn, where we see John Travolta as Tony Manero, strutting the streets, swinging his paint can.
Margaret Edson’s 1999 Pulitzer Prize Winner WIT is a bold play, known in theater circles for requiring tremendous bravery from its lead actor.
Over the course of Mike Bartlett’s three-hour play EARTHQUAKES IN LONDON, now in its U.S. premiere at Steep Theatre Company, he attempts to tackle themes both universal—quite literally atmospheric and cosmological—and personal.
I love science fiction because the most common of human emotions resonate more deeply when taken out of the realm of “everyday life.” Unrequited love has a much more profound impact when your lover is about to be frozen in carbonite, and greedy villains always seem way more sinister when their selfish whims hinge on the destruction of a planet.
BLUES FOR AN ALABAMA SKY, written by Pearl Cleage and Directed by Ron OJ Parson, takes us back to the 1930s in Harlem. A time when the Great Depression brought about a series of economic challenges for African Americans, which resulted in a dramatic increase in unemployment and economic hardships. Maybe history does repeat itself…
(left to right) Alex Weisman, Lane Anthony Flores, Kyle Hatley, Paul Fagen and Rob Lindley in About Face Theatre’s Chicago premiere of THE TEMPERAMENTALS by Jon Marans, directed by Andrew Volkoff. Photo by Michael Brosilow. Review: THE TEMPERAMENTALS at About Face Theatre By Elizabeth Ellis In early 1950’s America, conformity...
THE TALL GIRLS is a story about five young girls, who form a basketball team while trying to discover their identity as young women during the tumultuous time of the Great Depression.
In this challenging and dividing cultural moment, there can perhaps be no greater longing than the one to make order out of chaos. And that is precisely why the characters in A DISAPPEARING NUMBER are so drawn to mathematics: that universe follows a separate and orderly reality—a reality far more comforting than the one in which these individuals (and the audience members) find themselves. It is a startling and lovely resonance, reinforced by Timeline’s equally lovely production.