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Plays - THE HANDMAID’S TALE 無名劇社 “TROUBLE IN TAHITI/ARIAS & BARCAROLLES” 5/11-20


BOSTON LYRIC OPERA ANNOUNCES LOCATION FOR ITS 2019 PRODUCTION OF THE HANDMAID’S TALE

Historic Lavietes Pavilion at Harvard Athletics Complex
to house BLO’s most-ambitious production May 5-12, 2019.

BOSTON – May 9, 2018 – Boston Lyric Opera (BLO) announced today the location of its 2018/19 Season-ending spectacle The Handmaid’s Tale, which is based on the classic novel by Margaret Atwood.  The opera will be installed at Lavietes Pavilion at Harvard Athletics Complex, a multi-purpose arena in Boston’s Allston neighborhood, May 5-12, 2019. [NOTE: Some performance dates have changed from the initial season announcement earlier this year.]

“A show as large and exciting as The Handmaid’s Tale will resonate in a space of this magnitude and storied history,” said BLO Artistic and General Director Esther Nelson. Lavietes Pavilion is the country’s second-oldest college basketball arena still in use, and the home of Harvard Men’s and Women’s basketball. “I’m delighted we found a space that reflects the proportions and ambitions of this work and brings it home – in a sense – to some locations dramatized in Ms. Atwood’s original book,” Nelson said.
Created in 2000 by Danish composer Poul Ruders and librettist Paul Bentley, The Handmaid’s Tale is based on the lauded novel by Canadian author Margaret Atwood. The story takes place in the Republic of Gilead, a dystopian society formed by American Christian fundamentalists who assassinate the President and construct a rigid class system for women.  The story is anchored by Offred, a woman who rebels against patriarchal rules through alliances and secretive friendships she hopes will uncover the fate of her husband and child, and preserve her story for future generations. The production will be helmed by Obie, Bessie, and American Theater Wing award-winning director Anne Bogart, who is Co-Artistic Director of the SITI Company and has been a leader in theater education for more than three decades. BLO commissioned a re-orchestrated score from Ruders for this production.
Since Nelson’s arrival in 2009, BLO has sought unique alternative locations for at least one of its four annual production.  Since leaving the Shubert Theater in 2015, BLO has worked in theaters and other locations across the city, matching distinctive spaces with the operas’ content.  The artistic challenges have brought significant artistic rewards, Nelson says, as evidenced by the global recognition of its 2017 World Premiere production of Julian Grant and Mark Campbell’s “The Nefarious, Immoral, but Highly Profitable Enterprise of Mr. Burke and Mr. Hare,” which was produced at Boston Center for the Arts’ historic Cyclorama and nominated for Best New Opera at the International Opera Awards this spring.

BLO’s next production—a blending of Leonard Bernstein’s short operatic works TROUBLE IN TAHITI and ARIAS AND BARCAROLLES—will be performed at Boston’s Steriti Memorial Rink, a skating facility transformed into a cabaret modeled after mid-century Manhattan nightclubs like the El Morocco.

“SPOTLIGHT SPECTACULAR” GALA SHATTERS FUNDRAISING RECORD TO SUPPORT HUNTINGTON PROGRAMS AND EDUCATION INITIAITVES

Record crowd celebrates Neal Balkowitsch and Liesl Tommy, helps raise $1.275 million

Managing Director Michael Maso surprises guests with deed to Huntington Avenue Theatre

(BOSTON) – Huntington Theatre Company board and staff are celebrating the shattering of a fundraising record at the Spotlight Spectacular gala, Monday, May 7. Held at the Boston Center for the Arts Cyclorama, the gala brought in $1.275 million to support the Huntington’s operations for the fiscal year, including its broad range of education and community outreach programs.

More than 480 guests – the gala’s largest-ever crowd – honored Wimberly Award recipients including Tony Award-nominated director Liesl Tommy, who has directed several Huntington shows including the current production of Top Girls, and Huntington Trustee Neal Balkowitsch, CEO of Max Ultimate Food (which provided the event’s gourmet food). The event was co-chaired by Carol G. DeaneMaria and Daniel Gerrity, and Ann and John Hall.

During his remarks, Huntington Managing Director Michael Maso broke news that earlier in the day he had received the signed deed to the Huntington Avenue Theatre, which the company now owns outright after its separation from Boston University and the sale of surrounding buildings. The Huntington will renovate the historic theatre as part of an overhaul of the one-block stretch of Huntington Avenue.

“As of 2 hours ago, the deed to this historic theatre is ours!” Maso said. “It is now our job to restore this beautiful theatre to its former glory, not for the sake of architecture, but for the sake of art, for the sake of the people we serve in this community, for artists, and for audience members, and for the thousands of young people we serve and for whom we are gathered here tonight.”

After a cocktail reception, guests were seated for the dinner and the evening’s program. Eden Espinosa, Maurice E. Parent, and Patrick Varner kicked off the evening with a performance of “Old Friends” from the Huntington’s acclaimed production of Merrily We Roll Along. A spirited live auction led by Maso featured exciting trips and unique experiences and drew significant bids. Guests also donated more than $270,000 to sponsor the Huntington’s student matinees. All proceeds raised at the “Spotlight Spectacular” support the theatre, including award-winning education and community initiatives that reach more than 30,000 students and 6,000 community members annually.   

The evening continued with presentation of the Gerard and Sherryl Cohen Awards for Excellence, which recognizes Huntington production and administrative staff members each year. This year’s recipients were Wardrobe Supervisor Christine Marr and Company Manager Jazzmin Bonner. During the presentation, Sherryl Cohen quoted staff members about Marr saying, “Christine works very well under pressure, tech is hard. Not completing a quick change in the allotted number of seconds is hard. Having to do it over and over until it is right is HARD. But she does it with grace and determination and will never let an actor see her frustration, ever.”Gerard Cohen continued saying, “As company manager, Jazz (Jazzmin Bonner) deals with a cast of characters! There isn’t a time where she doesn’t have their best interests at heart. Even in some of the more stressful times Jazz has done it with a smile and an attitude we should all strive for.”  

Artistic Director Peter DuBois presented Liesl Tommy with the Huntington’s Wimberly Award. Tommy first attended the Huntington as a local high school student and has since returned four times to direct acclaimed classic plays including A Raisin in the Sun and the current production of Top Girls. Tommy was unable to attend the event due to a health issue, but sent a video message thanking the Huntington, saying, “I’ve never felt more confident and more valued than when I work at the Huntington. The trust that has been placed in me allows me to do the best work I possibly can. Some of the productions that I am most proud of in my career have been at the Huntington as I have felt so free to be a true interpretive artist.”

Gala co-chair Carol Deane presented the second Wimberly Award to Neal Balkowitsch. In accepting, Balkowitsch spoke passionately about the impact the Huntington had on the South End neighborhood when it built the Calderwood Pavilion: “I watched the Calderwood revitalize our neighborhood, and I know that the Huntington Avenue project will do the same for the Avenue of the Arts and the many deserving young people across the Greater Boston area who are waiting to be introduced to theatre.”

After dinner Eden Espinosa returned to treat guests to “Ring Them Bells!” a number made famous by Liza Minnelli. Yvette Freeman Hartley sang “Ain’t Misbehavin’” as a tribute to Liesl Tommy, and Maurice E. Parentand Patrick Varner sang “I’m Nothing Without You” from the musical City of Angels as a tribute to Neal Balkowitsch.

Event design was by Rafanelli Events, lighting and sound design by High Output, rentals were provided by Be Our Guest, event printing was donated by Noble Ford Productions, and the event was catered by MAX Ultimate Food.

CELEBRATE THE INDEPENDENT SPIRIT OF NEW REP AT THE
NEW REP GALA 2018
ANNUAL SPRING FUNDRAISER CELEBRATING
LILLIAN SOBER AIN, JANE CAPALDI, AND DEAN KENNETH ELMORE
TUESDAY EVENING, MAY 8, 2018
[WATERTOWN] On Tuesday evening, May 8, New Repertory Theatre will hold its annual Gala celebration at the historic Commander’s Mansion at the Arsenal on the Charles in Watertown. New Rep’s Gala 2018 promises to be an exciting evening featuring an array of exquisite food and drink, spirited live performances, and enticing live and silent auction items. We’ll toast our esteemed honorees while dining on delicious fare from area restaurants with live music from Legit Band and special performances from New Rep artists showcasing songs from next season’s 1776.

This year we celebrate our 2018 Gala Honorees: Karoff Leadership Award - Lillian Sober Ain, New Rep Board Member; Community Advocate Award - Jane Capaldi, Capaldi Limited Partnership; Artistic and Education Advocate Award - Kenneth Elmore, Boston University Associate Provost and Dean of Students. We raise a glass to these honorees, each having played an integral role in New Rep’s achievements and triumphs throughout the years. 

“The New Rep Gala is a wonderful opportunity for our friends, families, and supporters to reflect on what we’ve achieved during the year,” says Artistic Director, Jim Petosa. “As our 2017-2018 season comes to a conclusion, we have much to celebrate. We were able to provide a season brimming with powerful productions that triumphantly showcased our mission. The work was engaging, passionate, and personal, and I hope that resonates throughout the festivities at this year’s Gala. We look forward to sharing this special night with the entire New Rep family.”

“New Rep is pleased to recognize Lillian Sober Ain, Jane Capaldi, and Dean Kenneth Elmore as outstanding members of our community,” says Managing Director, Harriet Sheets. “Each of the honorees has uniquely influenced the work that we do at New Rep and we are grateful for the opportunity to present these awards of recognition during our Gala.”



New Rep Gala 2018 Committee
Lillian Sober Ain
Armand Andreassian
Mimi de Quesada
Patrick Demers
Leila Ghaemi
Don Giller
Scotty Hart
Hannah Huling
Jillian Levine
Laurie Nash
Danielle Naugler
Elissa Rogovin
Harriet Sheets
Diane Smith

Sponsors
Eastern Bank
Residence Inn Marriott
Watertown Savings Bank
The Village Bank

Media Sponsor
WGBH

Restaurant and Beverage Partners
Boston Beer Company
Branch Line Restaurant
Catering with Distinction
La Casa de Pedro
Not Your Average Joe’s
Season to Taste
Sensational Foods
The Spirited Gourmet
Stockyard Restaurant
Premier Bartending & Beverage Service




Partners
Be Our Guest
Boston Audio Visual Rental
Commander’s Mansion
Legit Band
Lexington Minute Men
Simply Serving
Vantage Graphics



New Rep’s Mission
New Repertory Theatre produces plays that speak powerfully to the vital ideas of our time.

What we do:
§  Through the passion and electricity of live theater performed to the highest standards of excellence, New Rep seeks to spark community conversations on crucial contemporary issues.
§  Our work expands and challenges the human spirit of both artists and audiences. We present world premieres, contemporary plays and classic works in several intimate settings.  Our productions are designed to be accessible to all.  We are committed to education and enrichment for learners of all ages, with a special dedication to the creation of innovative in-school programming and outreach to underserved audiences.  We embrace theater as the basis for enduring connections with our community and as a springboard for meaningful civic engagement.
§  New Rep is an active advocate for the arts and a major voice in the national dialogue defining the role of theater in our culture.  

About NEW REPERTORY THEATRE

New Repertory Theatre is the award-winning, professional theatre company in residence at the Mosesian Center for the Arts in Watertown, MA. For over 30 years, New Rep has been a leader of self-produced theatre in greater Boston, producing contemporary and classic dramas, comedies, and musicals in both the 340-seat MainStage Theater and the 90-seat BlackBox Theater. Annually, New Rep serves over 40,000 patrons, including 2,000 season subscribers. In addition to its mainstage productions, New Rep produces Next Voices, a program dedicated to developing new plays with playwrights through staged readings and world premiere production. Under its Lifelong Enrichment Arts Programs (LEAP), New Rep also produces its Classic Repertory Company, Page To Stage, Insider Experiences, and Spotlight Symposium Series.

無名秋戏《驴得水》演员召集令2018-04-21 京城十三叔 无名剧社
















無名剧社广播电台

为您呈现《無名演员招募》

们常说,一千个读者,有一千个哈姆雷特!然而,你是否真正邂逅过一部经典之作,
它既荒诞滑稽,幽默讽刺,又严肃庄重、纯正崇高;
它既能让人洞悉人性的贪嗔娇痴,亦能让人心生“秋风多,雨相和,夜长人奈何”的无限感慨;
它既充斥着爱情与梦想,激情与怯懦,又有“明镜亦非台”的呼吁与呐喊;
它既有人性的伪善和卑鄙,亦让人收余恨、免娇嗔、改性情、且自新、休恋逝水、苦海回身、早悟兰因
没错,它就是無名剧社秋季大戏《驴得水》!


(《驴得水》剧照)

(《驴得水》在上海话剧艺术中心演出)






是否曾经梦想过:“给我一个舞台,我要让它精彩”?现在,我们给你一个红遍祖国大江南北的剧本,你敢不敢给它一个“后来”?

少年,我看你丹唇外朗,皓齿内鲜,明眸善睐,骨骼惊奇,定是那万里挑一的飙戏奇才。無名剧社2018年秋季大戏《驴得水》演员招募现已正式启动!在这里和我们一起重塑经典、复刻传奇走近科学,放飞自我吧!









剧目简介








《驴得水》,是周申、刘露2012编导的荒诞喜剧作品,一经演出就在全国各地剧院纷纷上演,好评如潮,并于2013年获得"年度小剧场戏剧”殊荣。2016年周申、刘露打造同名电影,获得第17届华语电影传媒大奖最佳女主角提名(任素汐)和第3届豆瓣电影年度榜单评分最高的华语电影。



(电影《驴得水》剧照)






四个为了农村教育,怀揣梦想的大学教师从大城市来到偏远乡村开办了三民小学,学校待遇惨淡、生活艰苦,但老师们都自得其乐,每天嘻嘻哈哈打成一片。

校长将给学校拉水的驴虚报成英语老师,取名"驴得水",并且骗取教育部工资。然而教育部特派员要来突击检查的消息打破了安宁,面临教育部特派员的检查,大家决定让一个铁匠来冒充这个叫"驴得水"的英语老师。随后事情的发展超出了每一个人的预期,在光怪陆离的小群体里,人性开始慢慢崩塌,每个人的内心都发生了巨大的变化,最终上演了一场及其荒诞的黑色幽默。

















人物简介

孙恒海  男
40多岁,三民小学校长兼国文老师
性格特点:以好爸爸自居,但是为了金钱和生存不惜任何代价,哪怕是自己女儿的终生幸福

裴魁山 
30多岁,三民小学教导主任兼历史老师
性格特点:见多识广,善于侃侃而谈,爱情里的可怜虫,又是极度贪欲的典型代表

张一曼 
30岁左右,三民小学会计兼数学老师
性格特点:遵从内心、追寻自由。外表风情万种,内心单纯可爱,也是唯一保持内心清白的教师

周铁男 
20多岁,东北人,三民小学自然科学老师
性格特点:性格耿直、脾气火爆,穿着一身板正的蓝布中山装,在乡村学校里显得鹤立鸡群。

铁匠 
25岁,会开锁的当地铁匠,一口当地方言
性格特点:原本是个虎头虎脑的单纯小伙,但被教师们“带坏”后他性格大变,成了一个追名逐利且为报复不择手段的人。

孙佳 
15岁,校长的女儿
性格特点:未经世事的小姑娘,用言语和行动和这个黑暗的社会抗争

李大洋 
40多岁,国民政府教育部特派专员
性格特点:目不识丁、自称是曾留学英国的教育官员

铁匠老婆 
东北人,铁匠的老婆
性格特点:性格彪悍,蛮横

彼沙居希·芬冼·罗斯  男
美国人,著名教育慈善家,中文流利


(电影《驴得水》剧照)















演员面试
1.需自行准备一段独白(对话形式选段除外)。
2.导演将指定《驴得水》中的选段,演员阅读剧本,简短练习后表演该段。
3.面试铁匠和铁匠媳妇的角色要求会说方言,东北方言优先。









试镜信息
报名方式:填写以下链接,选择一个合适试镜时间段,并留下微信和邮箱的联系方式 (可于文末点击“阅读全文”填写)
https://goo.gl/Wesskh

时间:04/21 周六 17:00 pm-22:00 pm
04/22 周日 17:00 pm-22:00 pm
04/27 周五 10:00 am-16:00 pm
04/28 周六 17:00 pm-22:00 pm
每20分钟为一个时间段,每个时间段可面试的人数有限,请尽快填写合适的时间,首选和备选时间各选一个

地点:MIT13-1143







































   

無名剧社」 

是由来自MIT和哈佛的戏剧爱好者们筹建的戏剧社团,旨在大波士顿地区推广中文戏剧文化,让戏剧妆点生活,让更多人因戏剧而感到幸福。



Boston Playwrights’ Theatre presents

Boston Theater Marathon XX 
May 6
Stanford Calderwood Pavilion 
at the Boston Center for the Arts
527 Tremont Street, Boston

BOSTON, MA – Boston Playwrights’ Theatre (BPT) presents Boston Theater Marathon XX, featuring 50 ten-minute plays, written by 51 New England playwrights, and produced by 50 New England theatres in ten hours.

For two decades, the Boston Theater Marathon—to be held on Sunday, May 6—has brought together playwrights, directors and theatres in an effort to foster collaboration between artists and producers. Many playwrights have enjoyed full-length productions with collaborating theatres because of relationships forged during the Boston Theater Marathon.

This year’s Marathon is dedicated to Jack Welch, a champion and friend of Boston theater who died last year. Welch was a founder of StageSource, the arts service organization for the New England theater community, and was managing director and editor at Baker’s Plays from 1976 to 2002.   

The event will also commemorate its twentieth anniversary with revivals of several plays from past BTMs, including Game On (from BTM XIII) by Gary Garrison, sponsored by SpeakEasy Stage Company; Annie Desmond Gets A Tattoo (from BTM XI) by Kirsten Greenidge, sponsored by Company One; What the Market Will Bear (from BTM II) by Melinda Lopez, sponsored by Huntington Theatre Company; Oral Report (from BTM I) by Jack Neary, sponsored by Acting Out Productions; and The Mutton Bandit Molloy (from BTM IV) by Ronan Noone, sponsored by Imaginary Beasts.

Net proceeds from ticket sales to the Boston Theater Marathon will benefit the Theatre Community Benevolent Fund, which provides financial support to theatres and theatre artists in times of need.

The Boston Theater Marathon is supported in part by the Boston University Center for the Humanities.
THE PLAYWRIGHTS, PLAYS, AND THEATRE COMPANIES OF BOSTON THEATER MARATHON XX
Still by Miranda Adekoje/Our Place Theatre Project
Not A Playground by Rosanna Alfaro/The Umbrella
Ocean View by Raymond Arsenault/Liars and Believers
Elephant by Brysen Boyd/Moonbox Productions
Like it Is by Alan Brody/Underground Railway TheaterDescription: https://lh4.googleusercontent.com/Q6H0xguks_y6WYCmLqH9pcGcywZo3DhRlsKvWPFzPjKzL3kmSY5WfNjpsFR3eybbO_1WUd1FQr3kJhCnS6PbZzaVrGUnwWWPSBSme4nzPvdcvLLuhUioA8rwwwHaK6c6gWQg8IfG
Roxy Rhodes and the Lost Temple by Meg Brown/Theatre on Fire
Automated Auto by Robert Brustein/Suffolk University Theatre Department
The Mother Lovin' Train by Cynthia Chapman/Israeli Stage
After Class by Andrea Fleck Clardy/Fort Point Theatre Channel
Churchill on the Beach by Andrew Clarke/Centastage
Birdhouses by Sean Crawford/Cohasset Drama Club
Swimming in Captivity by Brandon M. Crose/Hub Theatre Company
Last Christmas by William Donnelly/Battleground State
Data Driven by Owen Doyle/Pilgrim Theatre
Nevertheless She Persisted by Richard Dresser/American Repertory Theater
On the Beach by L.H. Finigan/Boston College Theatre Department
The Complaint Department by Peter M. Floyd/Greater Boston Stage Company
Camouflage by Brenda Foley/Wilbury Theatre Group
Second Look (from BTM XIV) by Patrick Gabridge/Firehouse Center for the Arts
Game On (from BTM XIII) by Gary Garrison/SpeakEasy Stage Company
Virtuous Reality by Hortense Gerardo/Gloucester Stage Company
Turk, Turk, Turk by Deirdre Girard/Wheelock Family Theatre
Annie Desmond Gets A Tattoo (from BTM XI) by Kirsten Greenidge/Company One
Burning by Jayne Hannah/Gamm Theatre
Questions You Never Thought You'd Ask by Marc Harpin/Target Stage Company
Play Title by Duke Harten/Northeastern University Theatre Department
The Whole Shaker of Salt by Charles Hertz/Actors’ Shakespeare Project
Will of Men by Terrence Kidd/Hovey Players
A Conversation by Susan Kosoff/Cape Cod Theatre Company
Off the Rails by Bill Lattanzi/New Repertory Theatre
What the Market Will Bear (from BTM II) by Melinda Lopez/Huntington Theatre Company
My Husband's Keeper by Anne Marilyn Lucas/Marblehead Little Theatre
Running in Circles Screaming by Jeni Mahoney/Titanic Theatre Company
Second Look by Nicholas Malakhow/Open Theatre Project
Set in Stone by K. Alexa Mavromatis/Wellesley Repertory Theatre
Parents Weekend by Michael McClung/Playwrights’ Platform
Dying Backwards by Scott McCrea/Tide Take Productions
This is Marriage: Part III by Charlotte Meehan/Sleeping Weazel
Oral Report (from BTM I) by Jack Neary/Acting Out Productions
We the Sisters by Laura Neill/Fresh Ink Theatre Company
The Mutton Bandit Molloy (from BTM IV) by Ronan Noone/Imaginary Beasts
El Oso by Alexis Scheer/Off the Grid Theatre Company
Duet for Shy People (from BTM I) by Richard Schotter (Michael Kosarin, composer)/Boston Children’s Theatre
A Little Night Stand Music by Cassie M. Seinuk/Lyric Stage Company of Boston
Brickwork by Kate Snodgrass/Boston Playwrights’ Theatre
Great Escapes by David Susman/Actors Studio of Newburyport
Tea by Lisa Taddeo/Happy Medium Theatre
Hatched by Michael Towers/Emerson Stage
Personal Demons by Maryanne Truax/Boston Theater Company
Despite Everything by Madison Wiser/Nora Theatre Company

ABOUT THE BOSTON THEATER MARATHON
The Boston Theater Marathon (BTM) is an award-winning all-day marathon of new ten-minute plays. The plays are chosen from close to 400 entries from New England playwrights, and the selected plays are produced by New England theatre companies that donate their time to this event. Generously supported over the years by the Boston University Center for the Humanities  and by individual donations, the BTM gives net proceeds to the Theatre Community Benevolent Fund, an organization helping area theatre artists and companies in crisis.
Thanks to a generous gift of space from the Huntington Theatre Company, the Boston Theater Marathon is held each spring at the Stanford Calderwood Pavilion at the BCA in Boston's South End.
In 2000, the BTM received a special Elliot Norton Award from the Boston Theatre Critics Association for “Enlivening Local Theatre.”
ABOUT THE THEATRE COMMUNITY BENEVOLENT FUND
The Theatre Community Benevolent Fund (TCBF) is a non-profit theatre community organization administered by StageSource for the benefit of its individual and organizational members and the theatre artists who are or have been employed by those organizations who face dire need and require financial assistance. TCBF provides financial relief in a confidential, respectful manner to individual and organizations facing extreme illness, catastrophic acts of nature, and other events such as vandalism/theft, and who have limited or no resources with which to handle such occurrences.
ABOUT BOSTON PLAYWRIGHTS’ THEATRE
Founded in 1981 at Boston University by Nobel Laureate Derek Walcott, Boston Playwrights’ Theatre (BPT) is an award-winning professional theatre dedicated to new works. At the heart of BPT’s mission is the production of new plays by alumni of its MFA Playwriting Program, the latter in collaboration with Boston University’s renowned School of Theatre. The program’s award-winning alumni have been produced in regional and New York houses, as well as in London’s West End. BPT’s productions have been honored with numerous regional and Boston awards, including 12 IRNE Awards for Best New Script and five Boston Critics’ Association Elliot Norton Awards.

BOSTON THEATER MARATHON XX AT A GLANCE
WHAT:  Boston Theater Marathon XX
presented by Boston Playwrights’ Theatre
featuring 50 plays written by 51 playwrights, produced by 50 theatre companies
WHERE: 
Stanford Calderwood Pavilion
at the Boston Center for the Arts
527 Tremont Street, Boston
WHEN: 
May 6 from 12 p.m. to 10 p.m.
TICKETS:  $25 tickets in advance and $35 tickets at the door. The all-day pass allows patrons to come and go as they please. Purchase by calling 617-933-8600 or visit www.bostontheatrescene.com or www.bostonplaywrights.org.

BLO RELEASES DESIGN, EVENTS DETAILS FOR ITS MAY 11-20 PRODUCTION of “TROUBLE IN TAHITI/ARIAS & BARCAROLLES”

  El Morocco-inspired nightclub design will transform DCR Steriti Rink on North End Waterfront
  “Swanky Bar Bites,” drinks available at lobby lounge
  Related BLO events honor Bernstein Centennial

BOSTON – April 11, 2018 – Boston Lyric Opera has released renderings of the elaborate set and seating design for its upcoming production of Trouble in Tahiti and Arias & Barcarolles – two Leonard Bernstein works newly combined into one harmonious piece about marriage, dreams, and disillusionment.  The design will transform the interior of DCR’s Steriti Memorial Rink along Boston’s North End Waterfront into an El Morocco-inspired 1950s-style club where the story of Sam and Dinah will unfold for eight performances from May 11-20.

Created by Somerville-raised scenic designer Paul Tate DePoo II, the set includes a thrust stage jutting from a proscenium surrounded by intimate cabaret tables evocative of Manhattan’s popular nightclubs.  Additional tiered seating around the perimeter of the floor ensures no one sits more than 60 feet from the action.  Individual lighting on floor tables and along tiered seating drink rails provides a cozy, intimate experience.  The design’s green-and gold color palette, spiked with tropical florals, plays out on the set and seating design, the chandeliers that hang above the action and the stage where a seven-piece band and four-hand piano will be located.  Projections set the scenes and evoke the mid-century period in which Tahiti takes place.

A lounge space outside the seating area ensures patrons a leisurely place to enjoy beverages created for the occasion as well as other drinks and light food fare provided by Sebastian’s catering.  Drinks and snacks can be brought into the performance space.  Weather permitting, patrons can enjoy pre-show seating outside along the Boston Harbor waterfront with views of the U.S.S. Constitution museum and other sites.



ABOUT THE PERFORMANCE
Trouble in Tahiti’s story arc introduces married couple Sam and Dinah, living what they expected would be a life of charmed suburban perfection in the 1950s.  But they are terribly unhappy: arguing over meals; avoiding time together; finding themselves desperate to save their marriage yet unable to do so.  The two leads are supported by a trio of onstage singers whom Bernstein referred to as “a Greek chorus, born of a radio commercial.”  The material is among his darkest, and one of the few operas for which he wrote the music and the lyrics.  The music is a mix of familiar Bernstein styles, combining jazzy elements reminiscent of his On the Town score with sweeping West Side Story-like melodies, played in BLO’s production by a seven-piece ensemble.

Arias and Barcarolles is a song cycle that jumps stylistically – from twelve-tone scale, to jazzy scat, to pop, to klezmer – over its 30-minute duration. With a title suggested by President Dwight Eisenhower after a Bernstein White House performance (“I like music with a theme, not all these arias and barcarolles”), it was written almost exclusively by Bernstein, reportedly over several decades, and it reflects the composer’s more mature take on relationships.  As the piece unfolds, the characters move through aspects of a couple’s life, from first blush of love to complications of coupledom, to marriage and raising a family, to reminiscing about shared memories. Arias premiered in 1988 in a version for four voices and piano duo.  Soon after Bernstein reduced the vocal needs to one mezzo-soprano and one baritone and reworked the music for four-hand piano.

BLO long wanted to produce Trouble in Tahiti, but its brief length (40 minutes) required a second work to make for a full evening.  With its similar themes and identical lead vocal needs, Arias was suggested, and felt like a natural fit says Artistic & General Director Esther Nelson.  “We wanted to make it a seamless evening, so we sent Stage Director David Schweizer (BLO’s 2017 production of Burke & Hare) and Artistic Advisor John Conklin on a mission to blend the works into a dramaturgically complete evening, something that had not before been done by a professional opera company in the U.S.”

With the Bernstein estate’s blessing, Conklin and Schweizer decided to present Tahiti first, followed without a break by Arias, suggesting a continuation of the story.  Fragments of each work’s music and text will be referenced in the other, the four-hand piano that drives Arias will be replaced by Tahiti’s ensemble at points, and Arias’ gorgeous hummed coda, “Nachspiel,” will open the production, bookending a fuller story of Sam and Dinah.  Conklin says Arias’ songs serve as “reflections, reverberations and premonitions…circling around the revelations in Tahiti’s complex relationships.”

Tahiti/Arias features Heather Johnson and Marcus Deloach as Sam and Dinah.  Mara Bonde, Neal Ferreira and Vincent Turregano sing Tahiti’s “Greek chorus” and other parts within the Arias arrangements. David Angus conducts, with Paul Tate dePoo III and Jeff Adelberg making their BLO debuts as scenic and lighting designers, respectively.  Nancy Leary returns to design costumes and Melinda Sullivan will direct movement.  Both were part of 2017’s production of Burke & Hare.

MASSACHUSETTS TIES
Bernstein was born in Lawrence and raised mainly in Boston.  He attended Boston Latin School and Harvard University, and trained at Boston Symphony Orchestra’s Tanglewood summer program under Serge Koussevitzky.  After his professional training Bernstein had a long-term conducting relationship with the orchestra and the Tanglewood facility.  During his tenure as visiting professor at Brandeis University in Waltham, Mass., Bernstein founded the Festival of the Creative Arts in June 1952, at which Trouble in Tahiti premiered.

CALENDAR LISTINGS / RELATED EVENTS
The Festival of the Creative Arts is among the events at which BLO celebrates Bernstein and Tahiti/Arias this spring.  A full list of the activities related to Tahiti/Arias is here:

SUNDAY, APRIL @ 12 PM – FREE EVENT
BLO MEETS BERNSTEIN: CONCERT and PANEL DISCUSSION
Brandeis University – Slosberg Music Center, 415 South St., Waltham, Mass.
Free and open to the community




Leonard Bernstein directed the world premiere of Trouble in Tahiti at Brandeis’s annual Festival of the Creative Arts in 1952. BLO kicks off this year’s Festival with a concert and panel discussion about Tahiti and its companion piece for this production, Arias & Barcarolles, with members of the Brandeis music department and BLO leaders.
Details and directions here.

WED., APRIL 25 @ 6 PM – FREE EVENT
LEONARD BERNSTEIN: AMERICA’S MAESTRO
Boston Public Library Central Branch – Rabb Hall, Copley Square, Boston
Free and open to the community
Born in Lawrence, Mass., Leonard Bernstein defined classical music and opera for a generation through his charisma as a conductor and composer for opera, symphony and Broadway. In this special tribute commemorating the 100th anniversary of his birth, BLO artists will perform works from throughout his canon, from vocal masterworks Trouble in Tahiti and Arias & Barcarolles, to beloved Broadway musicals.  Guest speaker and coach/pianist James Myers surveys the remarkable life and times of this American artist.
Details and directions here.

THU., MAY 3 @ 6 PM
TROUBLE IN TAHITI and THE AMERICAN DREAM
The Boston Athenaeum, 10 1/2 Beacon Street, Boston
Tix: $20 BLO subscribers and Athenaeum members; $30 general public.  Post-discussion reception included.
The picture-perfect home; the beautiful, young couple; the creeping sense of emptiness and disillusionment. Leonard Bernstein plumbed the darker side of post-World War II suburban paradise with wit and irony in his masterful one-act opera, Trouble in Tahiti. Nicholas Alexander Brown, musicologist and conductor, leads a discussion on Bernstein’s interpretation of the ever-evolving American Dream – a myth powerful in both the Maestro’s personal life and works – while artists from BLO share selections from throughout Bernstein’s canon.
Details and tickets at BLO.org or www.Bostonathenaeum.org.

THU., May 19 @ 6 PM – FREE EVENT
Leonard Bernstein and President John F. Kennedy
John F. Kennedy Presidential Library & Museum – Columbia Point, Boston
Free and open to the community
To honor the Leonard Bernstein centennial, Harvard music professor Thomas Forrest Kelly explores the relationship between the composer and the Kennedy Administration, a partnership that continues to influence the artistic and cultural life of America.  Performances of Bernstein’s music by BLO artists will follow the talk.
Details and information here.

PERFORMANCE DATES & TICKETS
Tahiti/Arias will be performed: Fri, May 11 @ 8 pm; Sat, May 12 @ 8 pm; Sun, May 13 @ 3 pm; Wed, May 16 @ 8 pm; Fri, May 18 @ 8 pm; Sat, May 19 @ 3 pm and 8 pm; Sun, May 20 @ 3 pm. Tickets are $25-$170 + fees and are on sale online at www.blo.org, by phone at 617-542-6772, or via email at boxoffice@blo.org

TRUE STORY OF PLAYWRIGHT ARTHUR MILLER’S SECRET SON IS TOLD IN FALL, A WORLD PREMIERE PLAY BY BERNARD WEINRAUB, DIRECTED BY PETER DuBOIS

“Parenthood” and “The Affair” star Josh Stamberg will play the iconic American playwright

Newton, Mass.-based Nolan James Tierce, an actor with Down syndrome, will play Daniel

May 18-June 16, 2018 at Huntington’s South End/Calderwood Pavilion at the BCA

BOSTON – April 23, 2018 – The Huntington Theatre Company presents the World Premiere of Fall, which tells the true story of Pulitzer Prize-winning playwright Arthur Miller’s secret son Daniel, his child with third wife, Inge Morath. Born with Down syndrome, Daniel was institutionalized, and his existence was never acknowledged by his parents. Written by playwright and renowned journalist Bernard Weinraub (The AccomplicesAbove the Fold), and directed by Huntington Artistic Director Peter DuBois, Fall runs May 18 – June 16, 2018 at the Huntington’s Stanford Calderwood Pavilion at the Boston Center for the Arts.
The cast includes Josh Stamberg (Showtime’s “The Affair,” NBC’s “Parenthood,” and The Power of Duff and Female of the Species at Geffen Playhouse) as Arthur Miller. Joanne Kelly (The House of Yes at the Storefront Theatre, Proof at Red One Theatre Collective) plays Inge Morath, a photographer and Miller’s third wife. Joanna Glushak (Sullivan and Gilbert and The American Clock at the Huntington, War Paint on Broadway) plays Dr. Wise. Nolan James Tierce (Harvey at Newton Country Players), a local actor with Down syndrome, plays Daniel. John Hickok (ParadeLittle Women, and Aida on Broadway) plays Broadway producer Robert Whitehead.
Arthur Miller was perhaps the most celebrated American playwright of the 20th century, with masterful plays, Death of a Salesman, All My Sons, A View from the Bridge, and The Crucible, capturing the darker side of the American Dream, the political zeitgeist of the day and, somewhat ironically, the bonds of the American family -- particularly fathers and sons. His life and career was threaded through the culture of the country in the mid-20th century: he divorced his first wife to marry Marilyn Monroe; he was subpoenaed by the House Un-American Activities Committee; he won the Pulitzer Prize and numerous Tony Awards; and he spoke out against the Vietnam War. Miller was seen by many as a moral conscience for the nation.
But despite chronicling the “common man” and the American Family, Miller did not acknowledge his own son. Daniel was not mentioned in Miller’s autobiography, Timebends, or in either of his parents’ obituaries in The New York Times. Playwright and former Times reporter, Bernard Weinraub became engrossed with the Millers’ story after reading a Vanity Fair article about them in 2007. He took a journalist’s approach to translating the story for the stage, interviewing social workers and others who knew and worked with the family. Fall explores the fascinating dichotomy of Miller’s life with Morath (the couple also had a daughter, Rebecca) and the divide between their public personae and their private lives.
"Arthur Miller was one of our greatest playwrights. His best dramas dealt with fathers and sons, guilt and betrayal, and essentially, our responsibility towards each other,” says Weinraub. “He dealt with the paradoxes and tensions of our lives. What interested me here was the contradiction between the man and the artist. And the impact of his actions on his art."
“Miller wrote many plays about the sins of a father being visited on a son, and as a writer he provided a moral compass for a generation,” says DuBois. “Bernie’s exploration of this iconic man is a story that remained with me since the first time I read the script a few years ago. I’m proud Boston audiences will be the first to see this show and discover more about a playwright they thought they knew.”
Fall is presented in association with Todd Black, Steve Tisch, and Escape Artists, a film production company that has produced a variety of successful, acclaimed, and award-winning films including The Pursuit of Happyness and Seven Poundswith Will Smith, Hope Springs with Meryl Streep, Tommy Lee Jones, and Steve Carell, Southpaw starring Jake Gyllenhaal,The Equalizer starring Denzel Washington, and a remake of The Magnificent Seven starring Washington, Chris Pratt, and Ethan Hawke.

ARTISTIC AND PRODUCTION TEAM
Bernard Weinraub (Playwright) grew up in New York City, attended City College, served in the Army for two years and began working at The New York Times as an office boy. He was soon promoted to the reporting staff and went overseas as a foreign correspondent covering the Vietnam War, India, and London. In the 1980s he moved to the Times’ Washington Bureau, and covered the presidential campaigns of Walter F. Mondale and Jesse Jackson. He also covered the White House – the final years of the Reagan administration and the first two years of George H.W. Bush. In the late 1980s he moved to Los Angeles to cover the movie business. His first play, The Accomplices, was produced in 2007 at The New Group in New York and was nominated for a Drama Desk Award. It also was produced in Los Angeles at The Fountain Theatre and Odyssey Theatre, as well as in Coral Gables and Israel. His second play, Above the Fold, starring Taraji P. Henson, was produced in 2014 at The Pasadena Playhouse.

Peter DuBois (Director) is in his 10th season as Artistic Director at the Huntington, where his directing credits include Moliére's Tartuffe, Stephen Sondheim’s Sunday in the Park with George and A Little Night Music; the world premieres of Gina Gionfriddo’s Can You Forgive Her?, Lydia R. Diamond’s Smart People, Evan M. Wiener’s Captors, Stephen Karam’s Sons of the Prophet (2012 Pulitzer Prize finalist), Bob Glaudini’s Vengeance is the Lord’s, and David Grimm’s The Miracle at Naples. He has directed the regional premieres of A. Rey Pamatmat’s after all the terrible the things I do, Stephen Belber’s The Power of Duff, and Gina Gionfriddo’s Becky Shaw and Rapture, Blister, Burn; and Craig Lucas’ Prelude to a Kiss. DuBois’ West End/London credits include Sex with Strangers and Rapture, Blister, Burn (Hampstead Theatre), All New People with Zach Braff (Duke of York’s Theatre), and Becky Shaw (Almeida Theatre). His New York credits include Can You Forgive Her? (Vineyard Theatre), The Power of Duff with Greg Kinnear (New York Stage and Film/Powerhouse Theater);Rapture, Blister, Burn (Playwrights Horizons, 2013 Pulitzer Prize finalist); Sons of the Prophet (Roundabout Theatre Company); Modern TerrorismBecky ShawTrust with Sutton Foster, All New People, and Lips Together, Teeth Apart (Second Stage Theatre); Measure for PleasureRichard III with Peter Dinklage, Mom, How Did You Meet the Beatles?, andBiro (The Public Theater); as well as Jack Goes Boating with Philip Seymour Hoffman and The View From 151st Street (LAByrinth Theater Company/The Public Theater). He served for five years as associate producer and resident director at The Public Theater, preceded by five years as artistic director of the Perseverance Theatre in Juneau, Alaska. Before his work at Perseverance, DuBois lived and worked in the Czech Republic where he co-founded Asylum, a multi-national squat theatre in Prague. His productions have been on the annual top ten lists of The New York TimesTime OutNew York MagazineThe New YorkerNewsdayVariety, Entertainment WeeklyThe Evening StandardThe Boston Globe, and Improper Bostonian, and he received an Honorable Mention for 2013 Bostonian of the Year by The Boston Globe Magazine.

Fall features scenic design by Brandon McNeel (assistant scenic design for Sunday in the Park With George at the Huntington), costume design by Ilona Somogyi (Disgraced and Good People at the Huntington), lighting design by Philip Rosenberg (Merrily We Roll Along and Can You Forgive Her? at the Huntington), sound design by John Gromada (Ma Rainey’s Black Bottom and Ruined at the Huntington), and projection design by Zachary Borovay (Sunday in the Park with George and The Colored Museum at the Huntington). Production stage manager is Kevin Schlagle; stage manager is Jeremiah Mullane.
#   #   #
ABOUT THE HUNTINGTON THEATRE COMPANY
The Huntington Theatre Company is Boston’s leading professional theatre and one of the region’s premier cultural assets since its founding in 1982. Recipient of the 2013 Regional Theatre Tony Award, the Huntington brings together superb local and national talent and produces a mix of groundbreaking new works and classics made current to create award-winning productions. The Huntington runs nationally renowned programs in education and new play development and serves the local theatre community through its operation of the Calderwood Pavilion at the BCA. The Huntington has long been an anchor cultural institution of Huntington Avenue, the Avenue of the Arts, and will remain so on a permanent basis with plans to convert the Huntington Avenue Theatre into a first-rate, modern venue with expanded services to audiences, artists, and the community. Under the direction of Artistic Director Peter DuBois and Managing Director Michael Maso, the Huntington cultivates, celebrates, and champions theatre as an art form. For more information, visit huntingtontheatre.org.

PRODUCTION INFORMATION AND CALENDAR

WHEN                   May 18 – June 16, 2018
Select Evenings: Tues. – Thurs. at 7:30pm; Fri. – Sat. at 8pm; select Sun. at 7pm
Matinees: Select Wed., Sat., and Sun. at 2pm
Days and times vary; see complete schedule at end of release.
Press Opening: Wednesday, May 30, 6:30pm. RSVP online.
WHERE                 The Huntington’s South End / Calderwood Pavilion at the BCA527 Tremont St., Boston

TICKETS                Single tickets starting at $25 and FlexPasses are available:
·   online at huntingtontheatre.org
·   by phone at 617 266 0800
·   in person at the Huntington Avenue Theatre Box Office, 264 Huntington Ave. and the Calderwood Pavilion at the BCA Box Office, 527 Tremont St. in Boston’s South End.
                                Select discounts apply: $5 off: seniors (65+); $30 “35 Below” tickets for patrons 35 years old and younger (valid ID required); $20 student and military tickets (valid ID required)

SPECIAL EVENTS FOR FALL

POST-SHOW AUDIENCE CONVERSATIONSAfter select Fri. – Sun. evening, Wed. matinee, Sat. matinee, and Sun. matinee performances throughout the season. An opportunity for audience members to discuss what they have just seen led by members of the Huntington staff.

COOLIDGE CORNER “STAGE & SCREEN” SCREENING OF THE MISFITS
Monday, May 21 at 7pm
Tickets: $13
Clark Gable and Marilyn Monroe both made their final film appearances in this melancholy modern Western, directed by John Huston from a screenplay by Monroe's then-husband, Pulitzer Prize-winning playwright Arthur Miller.
 After the screening of The Misfits, join The Boston Globe’s Ty Burr to discuss the autobiographical elements of the film, and how they intersect with the telling of Miller's life in the new play, written by Bernard Weinraub.

Part of the Stage & Screen series, a collaboration between the Huntington Theatre Company and the Coolidge Corner Theatre.

AUDIO DESCRIBED PERFORMANCES
Saturday, June 2 at 2pm
Saturday, June 9 at 2pmAudio Description is a live narration of the visual aspects of a performance. It is broadcast via radio transmitter to patrons, who wear a single headphone receiver enabling them to hear both the on-stage dialogue and the describer's narration.

Headsets must be reserved and limited seating is available. Braille and large print programs are available at the performances. Plan to arrive 30 minutes early for audio described program notes and set description. Guide dogs are welcome. Tickets are $20 for each blind/low-vision patron and a guest. To reserve tickets and headsets, contact the Access Coordinator at 617 273 1558 or email. 

HUMANITIES FORUM
Sunday, June 10 after the 2pm performance
Audiences explore Fall with a guest expert after the performance.

ACTORS FORUMS
Thursday, June 7 after the 7:30pm performanceWednesday, June 13 after the 2pm performanceAudience members can meet participating members of the Fall cast after the performance to ask questions.

Boston Playwrights’ Theatre presents the North American premiere
of The Rosenbergs (An Opera)

BOSTON – Boston Playwrights’ Theatre (BPT) concludes its 2017-18 season with the presentation of a special event, the North American premiere of The Rosenbergs (An Opera), produced by Boston University and Brandeis University.

Running from April 12-22, the opera features a score by Joachim Holbek and a libretto by Rhea Leman. Dmitry Troyanovsky will direct, with musical direction by Cristi Catt.

This tragic love story—set during the United States’ Communist witch-hunt of the 1950s—is based on the lives of Julius and Ethel Rosenberg, who were executed for atomic espionage. The Rosenbergs was recognized as Denmark’s Best Opera of 2015 by online journal Copenhagen Culture.

The Rosenbergs is BPT’s first foray into opera, and I’m excited for this production for many reasons. First, the Rosenbergs’ papers are housed at the Howard Gotlieb Archives here at BU, so it makes perfect sense that we would want to support this award-winning opera,” Kate Snodgrass, Artistic Director of Boston Playwrights’ Theatre says. “Furthermore, this story couldn’t be more relevant to today’s political climate—we must remember our past in order to preserve our future. Rhea, our librettist, has been a friend of mine for years, and I wanted very much to support her work here in the States—both she and Joachim are experienced and gifted theatre artists. But the bottom line is…I love the story. It’s moving and alive without being overtly political, and it speaks to Ethel and Julius’s relationship—which is something that gets short-shrift when we think of this period in our nation’s history. Oftentimes when we read the newspapers, we forget that there are real people behind these big stories—people with dreams and loves and deep fears just like us. Whether we think of the Rosenbergs as heroes or traitors, in the end they were people living out a tragic love story.”

Composer Holbek and librettist Lehman have worked together as theatre and television producers for 35 years. Holbeck is best known for his film scores, most notably Lars von Trier’s Medea. He has composed music for more than 50 film and theater productions. Leman is an award-winning director and playwright (Gorilla); her plays have been performed throughout Europe and the U.S. The Rosenbergs is her first opera.

Director Troyanovsky’s recent area credits include Charlotte’s Web for American Repertory Theater and Exit the King with Actors’ Shakespeare Project. He directed Tchaikovsky’s Evgeny Onegin at Opera Idaho, conducted by Grammy nominee Sara Jobin. Music Director Catt has extensive international experience as a performer. In addition to credits as a music director and vocal coach both in the U.S. and abroad, she is the author of The Kinesthetic Singer: Lessons on Singing from Yoga and Basketball

A post-show conversation with Snodgrass, Holbek, Leman, Troyanovsky, Catt and the cast will follow the April 14 performance. After the conclusion of The Rosenbergs’s run at BPT, the production will move to Brandeis University for three performances there.

ABOUT BOSTON PLAYWRIGHTS’ THEATRE
Founded in 1981 at Boston University by Nobel Laureate Derek Walcott, Boston Playwrights’ Theatre (BPT) is an award-winning professional theatre dedicated to new works. At the heart of BPT’s mission is the production of new plays by alumni of its M.F.A. Playwriting Program, the latter in collaboration with Boston University’s renowned School of Theatre. The program’s award-winning alumni have been produced in regional and New York houses, internationally, as well as in London’s West End. BPT’s productions have been honored with numerous national, regional, and Boston awards, including IRNE Awards for Best New Script and Boston Critics’ Association Elliot Norton Awards.

INSTITUTIONAL BIOGRAPHY
Founded in 1839, Boston University is an internationally recognized private research university with more than 30,000 students participating in undergraduate, graduate, and professional programs. BU consists of 17 colleges and schools along with a number of multi-disciplinary centers and institutes which are central to the school’s research and teaching mission.

ABOUT THE COMPOSER
JOACHIM HOLBECK was born 1957 in Lyngby, Denmark, but moved with his mother to Norway and spent his early childhood close to Oslo. He moved back to Copenhagen with his family in 1968 and started playing drums in rock and jazz bands in 1972. Holbek worked as a musician, drum teacher, and musician for dance classes through the 70’s and 80’s. He began writing music for dance and performances in the 80’s and had his first theatre production at the Jytte Abildstrøm Teater in 1984. Holbek composed his first dramatic film score for Medea by Lars von Trier in 1988, and his first grand scale opera commission by the Royal Theatre (Løvehjerte) in 2005. Both have been followed by numerous successful productions both nationally and abroad. Throughout the years he has made music for more than 50 film and theater productions working alongside directors such as Lars von Trier, Lone Scherfig, Ole Bornedal, Henrik Sartou, and Simon Staho to name but a few.  

ABOUT THE LIBRETTIST
RHEA LEMAN was born and raised in New York City where she studied dance and theater before moving to Denmark in 1981. Since then, she has been working as playwright, screenwriter as well as theater, radio and TV director. Her plays have been performed throughout Europe and the U.S.A. Her most recent awards include Best Opera 2015 by CphCulture for The Rosenbergs; an award from the Danish Committee for the Performing Arts (2014) for her direction of the play The Story Behind the Wall; and, in 2013, the Allen Prize from the Danish Screen and Stage Writers Guild for “excellent dramatic writing.” The Reumert Committee nominated Leman for Best Playwright of 2013 for her play about the global financial crisis, Gorilla. In 2003, for a four-year period, Leman was appointed by the Danish Cultural Minister as the chairwoman of The Danish Theater Council and as a member of The Danish Arts Council. The Rosenbergs is her first opera and she dedicates it to her parents who had two passions—opera and politics. Leman and Holbek have been working together and producing numerous theater and TV projects for the past 35 years.


ABOUT THE DIRECTOR
DMITRY TROYANOVSKY stages productions, teaches workshops, and develops new theatrical material at national and international institutions. Recently Dmitry directed Marius von Mayenburg’s The Ugly One at the Shanghai Drama Arts Center in China, Charlotte’s Web at the American Repertory Theater, and Exit the King at Actors’ Shakespeare Project in Boston. Dmitry’s opera credits include Tchaikovsky’s Evgeny Onegin at Opera Idaho (conducted by Grammy nominee Sara Jobin) and a semi-staged version of a rarely performed Schubert opera, Fierrabras, for Bard Music Festival. Dmitry’s work has been seen at Asolo Rep Theater, Baryshnikov Arts Center, American Repertory Theatre Institute, Shanghai Theatre Academy, Moscow Art Theatre School, 92 Street Y in New York, New York University, Pushkin Theater (Moscow), and Miami-Dade Cultural Arts Center. Prominent international productions include a Chinese language version of Sara Kane’s play 4:48 Psychosis at the Shanghai Drama Arts Center. Dmitry has an M.F.A. from the A.R.T./MXAT Institute for the Advanced Theatre Training at Harvard University. Dmitry is on the faculty at Brandeis University. Online portfolio: www.dmitryt.com


ABOUT THE MUSIC DIRECTOR
CRISTI CATT has served as music director and/or vocal coach for numerous productions of musicals, operas, new works, and Shakespearian plays in Chicago, New York, and the greater Boston area as well as in Latvia and Sweden. She is a co-founder of the acclaimed vocal ensemble Tapestry, known for their recordings with Telarc International and German Label MDG. An active performer, she has toured extensively throughout the United States, Europe, Russia, and South America. Cristi teaches at New England Conservatory, Berklee College of Music, and Merrimack College. She is the author of The Kinesthetic Singer: Lessons on Singing from Yoga and Basketball. For more information please visit: www.cristicatt.com

AT A GLANCE:
The Rosenbergs (An Opera)
Music by Joachim Holbek
Libretto by Rhea Leman
Directed by Dmitry Troyanovsky
Musical Direction by Cristi Catt

April 12-22, 2018
Thurs. 7:30 p.m., Fri. and Sat. 8 p.m., Sun. 2 p.m.

It’s 1953 Cold War USA, and Ethel and Julius Rosenberg have been accused of atomic espionage and sentenced to death. In this most famous spy case of the 20th century, and leading into the House Committee on Un-American Activities (HUAC) Senate hearings, the Rosenbergs’ love affair broke all bounds. Recognized as Denmark’s Best Opera of 2015, this tragic love story is adapted from the Rosenbergs’ letters from jail. As seen through the lens of the McCarthy witch hunts, echoes of which can still be heard today, it begs the question to all of us: “Would you die for love?”
A North American premiere co-produced by Boston University and Brandeis University, presented by Boston Playwrights’ Theatre.
The Rosenbergs is generously supported by the Elie Wiesel Center for Jewish Studies at Boston University, the Jewish Cultural Endowment at Boston University, the Brandeis Arts Council, the Boston University Center for the Humanities, and through an arts grant from the BU Arts Initiative—Office of the Provost.
Free to all students, faculty, and staff of Boston University and Brandeis University. Regular ticket prices: Adults ($30); Seniors-62+ ($25); Students with valid ID ($10)
Call 866.811.4111 or visit www.bostonplaywrights.org Additional dates at Brandeis University. For more information, visit www.go.brandeis.edu/productions.

走近無名,看幕后人生

 2018-02-21 星探無 无名剧社

一出舞台剧的诞生需要多少个部门?多少个工作人员?在無名春戏《杀戮之神》的剧组里,这个答案是3个部门,36名工作人员。来自不同专业不同背景的大家要如何一起筹备?各自都负责了怎样的工作?在《杀戮之神》距演出半月之余,星探無采访了剧组全员,希望能为观众提供更内部的信息,有全新的视角去了解《杀戮之神》。














無名春戏《杀戮之神
时间
2018年3月4日 晚7:00
地址
MIT Wong Auditorium, Tang Center (E51)
2 Amherst Street, Cambridge, MA 02142

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♥ 导游小旗已树,观众老爷们快跟上 














01
对于《杀戮之神》这部剧,大家是如何理解的?
制片-Abby
 《杀戮之神》这部剧层层剥茧,主要通过对话剥下人们的伪装,最后呈现出一种极其丑陋的场面,结局令人分外唏嘘。所以说任何伪装和虚假早晚会被识破,造成心理更加空虚和缺乏安全感。联想我个人在美国经历的各种事情,我特别推崇从容不迫,淡定坦然的生活态度,人能对自己真诚是非常了不起的一个品质。人只有对自己真诚,才有可能对别人真诚。上升到社会问题,我觉得近两代年轻人,很多根本没办法面对自己,心理其实特别脆弱,在网络信息这么发达的时代,很多人的生活是给他人营造的假象,以及给自己营造的假象。我希望大家能更真诚地,待己待人。 

导演 -董洋
与《杀戮之神》标题完全不符的是,本剧故事本身聚焦在一个平白无奇的小事——一件校园斗殴事件。这个安排有几个有意思的点,首先,在远古社会,暴力是解决事情的第一标准,即使如今身处文明社会,我们怎么能保证我们已经没有丝毫暴力因子在血液里作祟呢?唯一改变的可能是,我们的武器从石矛变成了尖牙利嘴。其次,这件事件本身锁定在了一个中产家庭,其中的夫妻关系在当今社会有种数不尽的分身,本剧又将这种具有普遍性的家庭分身活生生地撕开,将血淋淋的伤口展示给观众,暗示着杀戮与暴力因子一直存在在我们的身边。

演员-苏禹宁
《杀戮之神》给我的感觉是一部撕开人们文明的假面,让观众看清人性内核的故事。这个看似标题党的名字,仔细思考很有深意。其实现代社会在很多方面和原始社会有共通之处,文明本身就是由强权、暴力、屠杀来塑造的。在和平时代,这种暴力也并没有结束,只不过是披上了文明的外衣而已。


演员-黄子奇
在我看来“杀戮”指的是情绪对自己生活的毁灭性破坏,其实这部戏很贴近现代人的生活,因为生活的压力和日常的快节奏会累计很多负能量和人际关系裂痕,遇到一个很小的导火索就会导致情绪爆炸,我们只是把最坏的情况呈现了出来,希望大家可以在面对类似情况的时候能做出比剧中人物更好的选择吧。


演员-尹佳
现代社会每个人都有太多的面具,就像这部戏中安妮特的表面“端庄”,维朗尼卡的表面“慈善”,迈克尔的表面“宽容”,而日常生活中的一件小事,甚至一只小仓鼠,就能轻而易举将所有这些“表面的光鲜”撕得粉碎,面具的背后则是真实而丑陋的人性。我不能说是在传递什么文化和价值观,只希望我们能表达一种思考,并让观众享受看戏的过程。

演员-苗泓瑛
故事中四位人物不同的职业代表着一定的社会阶层,表达了现有的社会秩序,谈话过程中不断引发的争执也体现了当代西方社会文明的冲突。我希望可以通过自己的表演给观众带来一个警示,让观众能够通过我对维朗妮卡这个人物的演绎感受到“同理心”的重要性。在大多数情况下,“同理心”可以帮助人类遏制残忍和暴力,并且具有提升人类共同的善良意愿和美好的价值。同时,我也希望观众可以通过故事的整体发展和走向(冲突和争吵)客观地意识到人类文化、文明的多样性,并且深刻地感受到狭隘的理念和偏执的做法可能会带来的灾难性后果。


02
各位演员对自己的角色是如何定位的?

演员-苏禹宁:
我的角色,迈克尔,是一个在整部剧中性格上有明显变化的人。

在会面的开始阶段,我一直装作一位文明人,努力去维持一种和平友善的气氛。可是随着谈话的深入,我的妻子维朗妮卡因为一只仓鼠的事情和雷耶夫妇一起指责我,这令我发狂。我便暴露出了我消极的粗人本性,而我与妻子的争吵也把她推向了最终的崩溃。

我对待仓鼠的做法就和阿伦一直在打电话的做法一样,都是推动两位女士爆发的核心因素。这也正是我这个角色起到的最重要的作用。其实在表演上人物性格的巨大变化本身就是一项挑战。

演员-黄子奇:
阿伦这个角色应该说是开启新话(si)题(bi)的导火索吧,他其实一直抱着一种饶有兴味的态度在观察其他三人的争吵;同时通过引导他人的谈话来证明自己“每个人都只在乎自己的感受”这一观点;而且剧名《杀戮之神》也是通过这个角色的观点引出来的。

演员-尹佳:
在这部中我饰演安妮特这一角色。安妮特这个角色的行为和态度转变与整个剧情的反转和发展是密切相关的。

作为打人孩子的母亲,在一开始,安妮特处于被动和解的状态,配合做到“表面上的平和”。然而,随着种种事件的发生,人物们的面具逐渐被撕开,优雅体面的人设开始崩塌,矛盾开始激化。而后她所有略带暴力的行为,更是将雷耶夫妻的和两个家庭的冲突推向顶点,使整部剧达到高潮。

演员-苗泓瑛:
我对维朗妮卡这个角色的定义就是一位富有远见,具有崇高理想的人道主义作家,她一直在做西方“普世价值”中民主和人权的代言人。

她在剧中一直努力向其他三位人物传输一个观点——我们应该理性地看到孩子们之间的冲突,用文明的方式来解决这个问题。然而,人是情感动物,一旦真正地开始沟通,就无法保持完全的理性。而当情感被引入时,冲突和矛盾就在所难免。

所以无论是从一开始的表面平和还是故事发展到最后对人类文明与野蛮探讨的针锋相对,我的角色一直起到一个承上启下的作用。同时,她自身人性的矛盾和偏执也揭示了本剧的主题。也许每一位生活在文明社会的文明人,骨子里都住着一个杀戮之神。
















03
你觉得自己在無名,工作上遇到最大的挑战是什么?

制片-Abby
由于無名是一个学生剧社,人员流动性大,如何保证人员的延续性便是很大的挑战。因为资源有限,非常重要的事情不能有信息上的断层。只有打好基础,线上线下外联之间互传资源,交流步骤清晰才行。在没必要的事情上不耗费很多精力,整个团队才能更专业。



导演-董洋
本剧是一幕出独幕剧,所以舞台流动时间与真实流动时间是一致的,这种不间断的高强度演出会给予演员极大的压力。本剧对台词要求又是极高,这也需要我们好好琢磨,好好研究,尽量完整地向观众展现剧中的一些核心,精彩的因素。

制片-年糕
筹备时间相比于之前的秋戏会缩短很多,在有限的时间里需要有条不絮地完成外联三方的策划筹备,是本次春戏工作的一个难点。




制片-家杰
最困难的就是没法去各个环节深入了解工作,所以平时细节部分都要留心。


舞台监督-凯丹
舞台总监是一个管理型的工作,相比其他需要艺术创造的工作要更严谨一些,要求个人性格上要收敛一些。在做统筹管理的过程中,我也学习到很多时间管理,以及一个很基本但是很重要技巧就是怎么说话,如何才能顾及到别人的感受。



平面设计-Ricky
最大的挑战就是要把握好剧本的主旨方向,然后根据剧中的情感基调来突出视觉上的故事剧情感。我在無名认识了更厉害更有天赋的人,学习了别人对审美和剧情的研究,启发很大。


平面设计-翔宇
我希望这期海报达到的效果是,当观众见到的第一眼,首先有一定的视觉冲击,之后是对一些元素的理解和想象,而后可能产生一些不解进而带着这种不解去观看话剧,最后看完话剧的时候,能对最初的这期海报内容有新的解读和自己的阐释。所以在选择元素的时候,我选择了一直在客厅中出现的客体郁金香。

郁金香本身有友谊、高贵的含义,那么我将郁金香放倒、同时有倒影(真实与虚拟的关系)、倒影和实体有不同的颜色(到底孰真孰假,孰实孰虚?),而香烟——这个看似完全与郁金香无关甚至有很大的视觉对比的元素,又与郁金香有何联系?

线上宣传-蛋蛋
线上会有大量沟通工作,不管是剧组内和其他部门的联络、还是剧社外和潜在观众的沟通都是很有挑战的事情。进入线上组后才发现每次的推送不仅在构思和文笔上要动脑筋,还需要站在观众的角度上考虑他们会感兴趣的内容。


线上宣传-大地
周更压力还是挺大的,时间紧凑,推文从构思到成文之间大概也就几小时,还有太多未尽善尽美之处。剧透和推广,调侃和诚意之间的度都要好好权衡。但由于团队强大,所有人集思广益,弥补了底稿许多不足的地方,呈现给读者的都是精品诚意之作。



线下宣传-贺繁
有些合作方对于我们的宣传不够配合,不过也有一些挺愿意帮忙的。还是要多沟通,了解双方的想法。


制片助理-sasa
以前没做过持续一整个月的统筹工作,现在我跟着制片人们学习了很多,觉得自己大局观有所长进。而且無名是一个很鼓励人表达意见的地方,之前想要憋着的话现在也会比较自然地说出口。



04
大家觉得平时工作中最重要的是什么?
制片-Abby
作为今年剧组的负责人,有很多方面要协调,如指导老师、MIT校方和剧社各成员。我要保证场地技术音响不出问题,平时有很多paperwork和手续,同时我得确保导演、演员、设计、制片各组之间配合默契,衔接不上的时候便需要帮忙,及时传递信息,保证不影响进程。



导演-董洋
时间的规划是很重要的,安排时间排练总是会遇到演员们时间表的出入,所以协调好时间是一切的重中之重,这样才能保证排练的时间和整部剧的纯熟度。其次,排练的时候周期短,密度大,又恰逢冬春转季之时,演员的身体健康是极其需要注意的,无论如何,身体健康第一啊。


制片-年糕
线上线下外联的联系和协调,问题的及时处理解决,怎么抓住剧的闪光点进行宣传推广也是一个不能忽视的部分。
制片-家杰
对整体工作流程都必须熟悉,每个环节一定要尽量清楚。


舞台监督-凯丹
呈现出一部优秀作品制片团队和创作团队之间一定要紧密配合,所以沟通就变得非常重要。我们这次剧组其实是一个崭新的团队,所以一切都在慢慢磨合。




摄影-夏雨
我平时专注于拍出主体清晰构图合理,亮度均衡有氛围感,高质量的照片,抓拍有趣的瞬间,指不定就是表情包素材呢。





摄影-雨箫
我觉得最应该注意的是要捕捉到演员们最精彩的瞬间吧,比如表情很到位的时候,这样演员以后有照片做参考,剧组也有很棒的影像记录下大家排练认真的样子。尤其是拍定妆照的时候,我觉得拍出每个人的神韵是最重要的。

线下宣传-解一鸣
组员之间的合作和对外的沟通是重中之重。线下宣传主要和学校的CSSA以及波士顿地区比较火的公众号进行联系。要保持和合作方的联系,帮忙宣传对方的活动,并提前考虑对方的需求。在最初则要把工作流程和会遇到的困难和共事的小伙伴们说清楚,譬如关键的售票环节。

外联-刘鑫
一定要留心和潜在的合作方保持联系。作为外联最好能多认识一些人,会很有用,往往能真正发挥作用的都是私下的个人资源。由于本身是学商的,能把在学校学到的东西运用到现实中还是很开心的,在外联学到了很多和人打交道的技巧。


场景设计-玥琀
场景设计我觉得根本的目的是为了在舞台上创造一个属于这个故事的空间领域,让观众和演员都能自然地入戏,并且在视觉上突出演员的表演。最注意的应该是时刻牢记场景是为了剧情服务,舞台作为背景给演员表演服务的本质需求,不能只考虑怎么把场景做的精美,要平衡对艺术风格的追求和现实条件的限制。必须要说的是,这次的场地局限很多,所以为了保证观众的体验,有效演出区域非常小,这不管对我还是对演员都是很大的挑战。

道具组-欣悦
剧里剧外的道具我都会很留心。哪怕一开始筹备时间充裕,还是要提前计划,毕竟万事都有变数,一定要主动沟通跟进,及时记录。同时我很感谢剧组的小伙伴们都各自出力,一起热心地筹备道具,而并不是道具组完全包办,真的帮忙很多!


音效-刘曼
音效素材一定要合适剧情,然后切入切出的点要控制好,要注意跟演员配合好,在确定合适的音效的时候要花点心思。然后跟设计组还有导演演员要多沟通,比如比较关键的男主角的手机铃声,不能随便找,而是需要一个不太花哨,听起来不太悦耳,听多了让人心烦,这种感觉的铃声,得多揣摩一下跟人物情景的关系。

05
在無名,你学到了什么,收获了什么进益?
制片-Abby
这个优秀的团队海纳百川都是人才,有从事电影工作的有从事设计的,和大家共事有很大的收获。虽然所有人背景不一样,却都喜欢戏剧文化,很难得我们能够聚集在一起,专注做戏剧。




导演-董洋
对于台词的把控,如何抠台词是我最大的心得。对于这种独幕剧台词是起支撑作用的,每一句台词都得感受到编剧的重角在哪里。对于台词的诠释也极其重要,因为演员完全靠台词来传递情绪——每一句台词,每一句对话,什么时候顿什么时候强什么时候爆炸,都是讲究的。


制片-年糕
遇到了很多有趣的人,学习到了很多东西,收获颇多,非常感谢大家。



制片-家杰
在無名结识了不少出色的小伙伴,学习他们在各方面的专业知识,还有感染到共同的要把话剧做好的热情,我以前没有做过话剧制片所以也是一个全新的学习经历。



舞台监督-凯丹
我觉得蛮有趣的地方其实是在发生冲突,甚至是沟通不畅产生矛盾的时候。我有遇到非常真诚的人,会诚实地说出对我做一些事的看法。我非常感激有这样的朋友,他们让我看到自身的优缺点,再进行反思。因为在这样的自我发现之后,也使得我在自我表达的方式上更有“一张一弛”的这种把控力。



设计总负责-Amy
我之前对话剧其实没有多少了解,只是因为喜欢看所以想加入剧社有更深入的理解。加入無名之后,我觉得除了对话剧和幕后方面有更多了解之外,很幸运的是通过话剧社我可以加深对中国文化的一些了解,这个是我之前没有机会的。剧社的人来自不同的地方,学着不同的专业,讲着不同的方言,我觉得跟大家相处也可以了解下自己这个小圈子以外的世界。
摄影-赵易
加入無名对我摄影方面的学习和进步很大,平时学校里不太会有这样经常拍照的机会,还能和其他喜欢摄影的小伙伴一起交流。尤其是拍定妆照的时候,从前期构想到和化妆、演员组一起合作,以及后期的修图,都是很好的实践锻炼。在有限的条件下,合理利用灯光、幕布、道具,和演员沟通角色性格和设定,以期得到最好的效果。

化妆老师-王蕾
加入無名一年,最大的收获是交了一群年龄相仿或年轻的朋友们。从这些留学生身上我学习到很多,以前可能会有些偏见,现在觉得哪怕是年轻一辈也都很有才华,方方面面包括谈吐修养,待人接物,工作起来很认真尽责。



线上宣传-行超
在17年秋戏《长恨歌》当志愿者帮助排戏,18年春戏《杀戮之神》加入线上宣传组,無名剧社给我带来的不仅仅是舞台艺术的强烈冲击感,也让我感受到了整个团队在追求舞台艺术、追求重现经典方面的热情。各个部门通力合作,各种事项有条不紊,我们每个人都在为了向观众展现最完美的话剧而献上自己最大的努力。


线下宣传-Karida
在無名,我最大的收获是团队的协调和合作,如何沟通各个部门来把自己的工作做好。每次我都需要尽快联系不同学校CSSA负责人,进行材料的互换推送的转载。我曾经在商学课上学过channel of communication这个概念,而在無名,我通过实践领会、理解了这个概念的实际意义,怎样进行有效的沟通来达到效率最大化。

线下宣传-Angelina
在加入無名之后,我看着大家从最开始的头脑风暴,到最后拿出一件件成品,无论是推文报道还是海报道具,体会到了热爱的强大。而我加入线下宣传也是因着自己对于渠道拓展,宣传推广的热衷,無名正好给了我一个完美的将它和戏剧结合的机会。只要每天对于喜爱的事物有所坚持, 应当就是一种进步。


制片助理-馅儿
跟这么多有意思的小伙伴一起干活很开心,也学习到了一个话剧从开始到上舞台的过程,以及亲眼见证了背后大家的付出!


灯光-施瑞扬
我在無名学习到最多的是一种认真做事的精神,大家为了共同的目标很负责任又很努力地把事情做好。这是我在無名学到最重要,也是我最喜欢無名的一个方面。




無名剧社」 
是由来自MIT和哈佛的戏剧爱好者们筹建的戏剧社团,旨在大波士顿地区推广中文戏剧文化,让戏剧妆点生活,让更多人因戏剧而感到幸福。

感谢南北家园对無名剧社的支持

HUNTINGTON THEATRE COMPANY ANNOUNCES 2018-2019 SEASON –
SEVEN PROVOCATIVE AND POWERFUL STORIES, EXCITING NEW PLAYS AND CLASSICS MADE CURRENT

(BOSTON) – Huntington Theatre Company, Boston’s leading independent theatre, announces its 2018-2019 season,featuring two of the most highly acclaimed Broadway plays of the last year, Shakespeare’s enduring love story, a theatrical caper with Sherlock Holmes, and three of the most compelling new plays in the country, all with rich and relevant stories that speak to the times we live in.

The new season opens for the first time at the Calderwood Pavilion at the BCA with The Niceties, an explosive new play about race, history, and privilege from Boston native and Huntington Playwriting Fellow Eleanor Burgess.Other Calderwood Pavilion offerings will include Man in the Ring, a new play by Pulitzer Prize-winning playwright and actor Michael Cristofer based on the life of world champion boxer Emile Griffith, directed by Michael Greif; and a reinvention of Lorca’s searing classic masterpiece Yerma by Huntington Playwright-in-Residence Melinda Lopez.

At the Huntington Avenue Theatre, the fall begins with the comedy-thriller Sherlock’s Last Case by Charles Marowitz and the return of beloved director Maria Aitken (Alfred Hitchcock’s The 39 Steps, Bedroom Farce); followed by Lucas Hnath’s A Doll’s House, Part 2, the hit comedy about marriage that received universally excellent reviews on Broadway last season; Huntington Artistic Director Peter DuBois will put his stamp on Romeo and Juliet, the world’s most famous love story and the first Shakespeare play to be produced by the Huntington in eight years; and Tony Award winner Rebecca Taichman will recreate the spellbinding Broadway staging of Indecent by Pulitzer Prize winner Paula Vogel.

“Next season marks the return of artists we love and the Huntington debuts of many others I have wanted to bring to Boston,” says Artistic Director Peter DuBois. “Smart comedies and heartfelt stories told by world-class artists – this is what we do best. I was drawn to stories of powerful and unique women this year, and am inspired by the imaginative scope of each playwright’s vision.”

The Huntington welcomes back a number of artists with whom it has had long term relationships, such as playwrights Melinda Lopez (Mala, Becoming Cuba, Sonia Flew), Paula Vogel (A Civil War Christmas), and Huntington Playwriting Fellow Eleanor Burgess, and directors such as Maria Aitken (Alfred Hitchcock’s The 39 Steps, Bedroom Farce, The Seagull, Private Lives), Melia Bensussen (A Doll’s House, Awake and Sing!, Luck of the Irish, Circle Mirror Transformation), and Rebecca Taichman (Mauritius).

In addition to these female artists, the Huntington season features powerful, women-centered stories and strong female characters throughout the year, beginning with the equally brilliant student and professor characters in The Niceties and ending with the mostly female cast of Yerma.  Music is another hallmark of the Huntington’s 2018-2019 season as this slate of shows is infused with song: in particular, Man in the Ring features songs with a Caribbean flair, Indecent incorporates an onstage klezmer band, and Yerma includes flamenco-inspired songs and original music by composer Mark Bennett.


ABOUT THE 2018-2019 SHOWS
THE NICETIES

by Eleanor Burgess
Directed by Kimberly Senior
South End / Calderwood Pavilion at the BCA
September 5 – October 7, 2018
EXPLOSIVE NEW PLAY

In this riveting play, a black student and a white professor – both brilliant, both liberal – meet to discuss the student's paper about slavery's role in the American Revolution. A polite conversation becomes an intellectual powder keg of race, history, and privilege, where neither woman will ever be the same. An explosive new play from Boston native and Huntington Playwriting Fellow Eleanor Burgess that everyone will be talking about.

Top 10 of 2017! “A barnburner of a play! Destined to be performed everywhere. One of the best plays I’ve seen about who gets to tell the story of America, and how.” – The Washington Post

“I'm thrilled to be working at the Huntington – the place where I saw my first plays as a teenager, and the place that gave me my start as a professional playwright through the Huntington Playwriting Fellows program,” said Burgess. “And I'm extra thrilled to bring this particular play to Boston. A story about academic power and liberal dogmas, about frighteningly smart people and the stories we tell ourselves about history – it's made for this city.”

SHERLOCK’S LAST CASE
by Charles Marowitz
Directed by Maria Aitken
Avenue of the Arts / Huntington Avenue Theatre
September 28 – October 28, 2018
MURDEROUSLY FUNNY CAPER

Sherlock’s Last Case takes audiences on a surprising trip to Baker Street with the legendary detective Sherlock Holmes and his trusted sidekick Dr. Watson, who are tested once again to solve the seemingly perfect crime. Sherlock’s life is threatened by the son of his longtime nemesis Moriarty, but not all is as it appears. A mystery with equal parts hilarity and intrigue in a comedy-thriller directed by Huntington favorite Maria Aitken (Alfred Hitchcock’s The 39 Steps, Bedroom Farce).

“A clever spoof with fabulously over-the-top twists and turns.” – Backstage
        
“Brilliant!” – London Telegraph

"I have spent an uneasy year away from the Huntington, working all the time, but feeling deprived of my true theatrical home,” said director Aitken. “Now, thank heaven, I'm doing Sherlock’s Last Case in the fall – a brilliant and eccentric comedy – and I will be united with my favorite theatre in the world, staffed by wonderful people who anticipate my every whim. I can't wait."

by Pulitzer Prize winner Michael Cristofer
Directed by Michael Greif (Dear Evan Hansen, Next to Normal, Rent)
South End / Calderwood Pavilion at the BCA
November 16 – December 16, 2018
POWERFUL EPIC STORY

Man in the Ring is the incredible true story of six-time world champion boxer Emile Griffith and the fatal fight he could never forget. This sweeping tale covers Emile’s humble beginnings in the Virgin Islands, his passionate love affairs, and the infamous, lifechanging Madison Square Garden match against his archrival. He searches for redemption and must confront his past in this epic new play, imbued with warmth and the sounds of the Caribbean.


"I am happy to return to the Huntington as a playwright this time,” said Pulitzer Prize-winning playwright and actor Michael Cristofer, “bringing them the true story of Emile Griffith – a young immigrant from the Virgin Islands, a gay man struggling with his identity in the brutal world of sports, trying at the end of his life as he slips into dementia to piece together the story of love and pain and joy that was his life. And to find peace. A true hero in my book."

A DOLL’S HOUSE, PART 2
by Lucas Hnath
Directed by Les Waters
Avenue of the Arts / Huntington Avenue Theatre
January 4 – February 3, 2019
BROADWAY HIT COMEDY


“A TRIUMPH! Smart, funny, and utterly engrossing!” – The New York Times

Time magazine’s Top 10 of 2017

by William Shakespeare
Directed by Peter DuBois
Avenue of the Arts / Huntington Avenue Theatre
March 1 – March 31, 2019
WORLD’S GREATEST LOVE STORY

Impassioned young lovers are caught between the violence and prejudices of their feuding families in Shakespeare’s most famous and enduring love story. In helming the first Shakespeare play produced by the Huntington in eight years, Huntington Artistic Director Peter DuBois brings an exhilarating and modern sensibility to this timeless classic about the intensity and joy of first love and attraction amid a dangerously divided community.

“I had the time of my life directing Romeo and Juliet in Alaska, and I knew this was the moment to return to Shakespeare’s most moving play,” says DuBois. “Shakespeare explores the peril of a society possessed by blind tribalism against a love story that has a boundless sense of joy and abandon. This production will show off Boston’s wealth of Shakespearean talent and some incredible performers from across the country.”

INDECENT
by Pulitzer Prize winner Paula Vogel (How I Learned to DriveA Civil War Christmas)
Directed by Tony Award winner Rebecca Taichman
A co-production with Center Theatre Group
Avenue of the Arts / Huntington Avenue Theatre
April 26 – May 25, 2019
SPELLBINDING BROADWAY HIT

Pulitzer Prize winner Paula Vogel’s captivating new play with music took Broadway by storm last year and nowRebecca Taichman recreates her Tony Award-winning production for Boston audiences.  Inspired by the true story of Sholem Asch’s controversial play God of Vengeance and the passionate artists who risked their lives to perform it, this riveting and richly theatrical backstage drama is a fierce indictment of censorship and a joyful celebration of art and love.

“TERRIFIC! A powerful new play.” – The New York Times

Time magazine’s Top 10 of 2017

“What an honor to be in this lineup!,” said Pulitzer Prize winner Vogel. “I am always thrilled to be produced in a town where family and friends live, and always excited to be under Peter DuBois’ roof at the Huntington.”

YERMA
Translated and adapted by Melinda Lopez (MalaSonia FlewBecoming Cuba)
Based on the play by Federico Garcia Lorca
Directed by Melia Bensussen
Original music by Mark Bennett
Conceived by Melinda Lopez and Melia Bensussen
South End / Calderwood Pavilion at the BCA
May 31 – June 30, 2019
SEARING DRAMA WITH MUSIC AND HEART

Yerma, a young wife, wants nothing more than to have a child and become a devoted mother. As she watches her friends start their families, she begins to question her own value as a woman. Her desperate desire turns into an all-consuming obsession with devastating consequences. Beloved by Boston audiences, Huntington Playwright-in-Residence Melinda Lopez reinvents Lorca’s classic masterpiece, infusing this searing drama with flamenco-inspired music and heart.

“Lopez proves again that she’s one of Boston’s most important writers.” – WBUR, reviewing Lopez’s Becoming Cuba

“I am profoundly grateful to the Huntington for bringing my adaptation of Yerma to the stage,” says Lopez. “As the Playwright-in-Residence, I have had the opportunity to deepen my craft as a playwright, and also pursue ideas that have haunted me for a long time — such as Yerma!  I have always had a deep love for Lorca, and am beyond thrilled to bring my interpretation of his masterpiece to Boston.”

For more information about the artists in the Huntington’s 2018-2019 season, visithuntingtontheatre.org/season/2018-2019/.

SUBSCRIPTIONS ON SALE NOW

Subscriptions to the Huntington’s 2018-2019 season are now on sale. Seven-play seated packages start at just $161 and offer the very best value – seven plays for the price of six – and up to 50% off single ticket prices. FlexPass packages (a minimum of 4 tickets to be used for any show and which never expire) are available now for redemption for the current season and beyond.

Subscriptions may be renewed or purchased by calling the Huntington Box Office at 617 266 0800 or by visiting huntingtontheatre.org/subscribe. Groups of 10 or more can place orders by calling 617 273 1657.

Individual tickets to The Niceties and Sherlock’s Last Case will go on sale in mid-June and tickets to the rest of the 2018-2019 season will go on sale in August.

ABOUT THE HUNTINGTON

The Huntington Theatre Company is Boston’s leading professional theatre and one of the region’s premier cultural assets since its founding in 1982. Recipient of the 2013 Regional Theatre Tony Award, the Huntington brings together superb local and national talent and produces a mix of groundbreaking new works and classics made current to create award-winning productions. The Huntington runs nationally renowned programs in education and new play development and serves the local theatre community through its operation of the Calderwood Pavilion at the BCA. The Huntington has long been an anchor cultural institution of Huntington Avenue, the Avenue of the Arts, and will remain so on a permanent basis with plans to convert the Huntington Avenue Theatre into a first-rate, modern venue with expanded services to audiences, artists, and the community. Under the direction of Artistic Director Peter DuBois and Managing Director Michael Maso, the Huntington cultivates, celebrates, and champions theatre as an art form. For more information, visit huntingtontheatre.org.








無名剧社自2014年创社已经连续排演三年
今年秋季将是無名的第5场中文话剧的演出

历时半年,無名剧社的秋戏《长恨歌》即将于11月26日在 MIT的Kresge Auditorium 公演!早鸟票新鲜出炉,限时抢购,最低仅需$11.99!更多购票信息,请在文末点击“阅读全文了解购买。


这次的剧目「长恨歌」将带您回到上世纪40年代的老上海洋场,在一片歌舞升腾的盛世幻象中,一个清丽的身影如一朵白莲花般,浮现在“上海小姐”的舞台中央。她的命运,是在这一片繁华拉开帷幕,却在冥冥中预示着的悲伤的结局……

    接下来,就先让我们一起来认识下,我们部分的演员吧:
人物定妆


[ 青年王琦瑶] 
娇俏温婉的“上海小姐”
她是上海弄堂里走出来的姑娘,
骨子里藏着不输于人的骄傲,
那看似热闹的人生开场,
繁华虽耀眼,却在转瞬即逝。

[程先生] 
温柔、细腻、痴情的文艺青年
 用半辈子的光阴迷恋,
守护于王琦瑶身旁40年;
原想否极泰来,
他却道是物是人非,撒手而去;
他是那个默默的“背后先生”
也是王永远无以为回报的男人。

[吴佩珍] 
对朋友掏心掏肺,善良的热心肠
 瑶瑶少时闺密,
永远只为朋友着想,
偏偏只能主动结束这段友谊,
道路的不同,身不由己。

[萨沙] 
飞扬跋扈、个性活泼的中苏混血儿
代表了中国和苏联的革命交情,
是为自己自豪的混血儿,
他本可以没什么顾忌,
活得飞扬跋扈,
却沦为王琦瑶最后的遮羞布。

[蒋丽莉] 
敢爱敢恨、心直口快的富家小姐
 “程先生,我爱你
你放心,
我知道你眼里只有瑶瑶,
我依旧爱你。”

[王母] 
好面子、但爱女儿的好妈妈 
“你说我嫌贫爱富?
我只希望你一生幸福
那怕你与我一世相离...”

[严师母] 
厂长太太 ,养尊处优的“人上人”
为社会地位而骄傲的主流女性,
她有家庭可以依靠撑腰,
相比之下,王琦瑶只能靠自己。


摄影:赵易,夏雨
海报设计:Linda Ye
文章排版:姚凯丹,Nina Xu,Abby Li,张雨璟


秋戏「长恨歌」早鸟票售票渠道正式打开!


历时半年,無名剧社的秋戏《长恨歌》即将于11月26日在 MIT的Kresge Auditorium(W16, 48 Massachusetts Ave, Cambridge, MA 02139) 公演!

在博士屯的初冬季节,無名诚意邀请热爱戏剧的你们一同回到四十年代的老上海,身临其境地感受长恨歌所描绘的四十年悲欢离合。無名在公演剧场的选择上也做了精细考量,Kresge Auditorium远观由球面铺陈而成,内部是宽敞的开放空间,让每位观众都拥有最佳观剧视角。相信“美轮美奂的剧场+悲喜交加的年代大戏”的完美搭配定会给各位2017的冬日留下一番难忘的体验。 

还等什么?赶快呼朋唤友,叫上在博士屯和屯附近的亲戚、朋友一起来看戏吧!此次秋戏面向所有华人群体,早鸟票正在火热出中,只需$11.99 就能观看由無名剧社所有成员尽心付出历时半年出品的戏剧,真是物超所值!优惠时间截止到10月30号之后将会恢复正价票, $17.99。此次,我们还将开放传说中,价值$24.99 的VIP座位,将全剧场中最好的位置奉献给最好的你,同时更有神秘奖励等你来拿哦!

欲观戏者,请快快点击文章底部的“阅读全文”,或复制以下链接,前来购票把~
购票链接: 



無名剧社Instagram账号成立了!

如果你想一睹無名历史演出的剧场照,也可以移步我们新开的Instagram账号:wumingtheaterclub,或搜索话题 #无名剧社 #wumingtheaterclub 
如果你想看日后关于「长恨歌」话剧周边与更多演员排练的推文,欢迎关注無名剧社的微信公众号!





ABOUT THE HUNTINGTON THEATRE COMPANY
The Huntington Theatre Company is Boston’s leading professional theatre and one of the region’s premier cultural assets since its founding in 1982. Recipient of the 2013 Regional Theatre Tony Award, the Huntington brings together superb local and national talent and produces a mix of groundbreaking new works and classics made current to create award-winning productions. The Huntington runs nationally renowned programs in education and new play development and serves the local theatre community through its operation of the Calderwood Pavilion at the BCA. The Huntington has long been an anchor cultural institution of Huntington Avenue, the Avenue of the Arts, and will remain so on a permanent basis with plans to convert the Huntington Avenue Theatre into a first-rate, modern venue with expanded services to audiences, artists, and the community. Under the direction of Artistic Director Peter DuBois and Managing Director Michael Maso, the Huntington cultivates, celebrates, and champions theatre as an art form. For more information, visithuntingtontheatre.org