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持烛涉水,微光长存 —读张西《丁龙的梦》

马蕾 枫香戏剧社 1/11
“这世界没有一件事情是虚空而生的,站在光里,背后就会有阴影,这深夜里一片寂静,是因为你还没有听见声音。”——马良《坦白书》

张西新剧《丁龙的梦》出版枫香西雅图剧社首任社长马蕾读后感慨万千,挥笔写下自己的读后感: 

十九世纪末二十世纪初,世界风云变幻,塞满历史大事。

从如此纷繁时代背景,挑选出一个几乎被遗忘,一位卑微的仆人与傲慢的主人之间的故事,没有刀剑铁骑风号雨泣、却丝毫不显单薄。掩卷回想,这并非易事,离不开作者深度的洞察力和开阔的视野。
1901年,丁龙,一个来自中国不识字的华工和仆人,在美国生活二十年后,将自己一生的积蓄全部捐给了名校哥伦比亚大学。他的心愿很简单,设立中国文化与汉学的讲座,让美国人了解他故乡的文化。而他的主人,卡本蒂尔将军,美国加州奥克兰市的建造人,用尽自己的财力和影响力,执着不懈地帮助他完成这个几乎不可能实现的心愿,设立了以丁龙命名的讲座教授席。这是美国大学里的第一个中文系。如果不了解当时的社会环境,在110多年以后的今天,我们很难体会这件事的艰难程度和深远意义。


丁龙
丁龙的捐款信原件

丁龙的身世之谜至今未解,作者巧妙地把他的经历融进了华工修路与排华法案的历史中。

彼时的中国,在中日甲午战争、八国联军瓜分中国的狂潮之后,封建社会已走向晚期,风雨飘摇。彼时的美国,工业革命带来经济快速发展,资本主义内在矛盾所导致的恶果更加明显,阶级冲突渐趋激烈,贫富分化触目惊心。

穿过历史的风沙,翻开沉默的一群异乡人的苦难史,大批华工离乡背井来到美国,修建了太平洋铁路最险恶的路段,帮助重塑了美国西部地理及社会版图。然后成为美国经济衰退引起的社会冲突的替罪羔羊:饱受仇视和排斥。1882年,美国国会通过了历史上首个针对特定种族的《排华法案》,直到60年后的1943年才被废除。2011年美国参议院对此法案道歉,中间相隔129 年。


在复杂的历史中,作者为我们梳理出丁龙与卡本将军跨越阶层、国家、文化碰撞出的两道人性本色的微光,相映成辉,不灭不息。选材体现作者的认知和素养,作者对人类精神抱有如此执着而深切的关怀,《丁龙的梦》已经超越了讲述华工血泪史和政治立法不公的排华法案。每个时代的脉动,都在悄悄地改变,变幻莫测的潮流影响着每一个人,但是我们精神的家园,却从来不曾消失。

  • 丁龙和卡本蒂尔
丁龙是一位来自中国乡下不识字的华工,他不是通常代表中国传统文化的侠客或者书生,而是普通中国乡下人家,不识字,却在生活中代代相传,践行着孔子的教导、儒学的传统。

长期的传统文化已把外在的规则化成了丁龙内在的习惯。丁龙看到卡本蒂尔需要帮助,即使在自己和华工遭受辱骂后,还是以他的“忠恕”之道,留下来帮助卡本。他不为讨好,不怕卡本,他也不想听辱骂。他的想法是暂时留下帮忙,然后辞职。内尽于心,外不欺物,忖己度人,推己及人。“克己复礼为仁”“不知命无以为君子”,丁龙不抗争,他认为他的命,遇到了主人本卡将军,有一份工作,比死去的同乡华工好。他与秋叶的爱恋听天由命,秋叶因家庭所迫而嫁给年纪大很多的有钱的华工,也是命。他也因此有一份了然与接纳,不患得患失,因而永远平静快乐。这些品质让经历不同信仰文化教育的卡本蒂尔起初不能理解,进而想要了解神奇的中国文化。

丁龙正是费孝通先生1948年的《乡土中国》中讲述的中国乡土的一员。当年的乡下人,以我们今天的眼光来看,大抵是“愚昧”的。在乡村,不用学习文字,在面对面的社会交往中,传情达意,结绳记事本就不需要有文字。乡村的人,在还没有与城市、与东西方接触之前,没有机会学习,带着土气。丁龙不知道1899年,弗洛伊德借由《梦的解析》一书探讨了心灵的无意识领域,也不知道1901年,毕加索将艺术的魂魄从具体可感的人物肖像画中抽离,赋予其抽象化的形式外观。更不知道同时代的爱因斯坦已经发表了几篇引发变革的科学论文,狭义相对论。

卡本将军受过西方大学的教育,雄心勃勃建立了奥克兰城市,有枪有话语权,玩得转法律、搞科技更是风生水起。卡本37岁那年,建立了第一条横贯美国大陆的电报线,发出的第一封给林肯总统的电文是这样写的: 加利福尼亚的电报今天已经完成了。这可能是大西洋各州与太平洋国家之间永久性的联系。那时他不知道:真正能联系上各个国家的,是对文化的相互交流与了解而发展出来的尊重和对话。

丁龙身后的中国文化,对卡本而言, 是陌生的。在面对面的熟人社会,反复地生活在同一生活现状的人们来说,每家人都知根知底,边界模糊,法律往往无从发生,是“无讼”的社会。一群没有机会接受过所谓文字教育的华工,显得“千人一面”,而且“软弱无能”,没有团结起来用法律保护自己争取权益的意识。但是,华工的勤劳、聪明、无争表现在拿着最低的工资,工作时间最长(与其他族裔相比),修筑着最艰难最危险的铁路段,然后把辛苦挣来的钱寄回家乡去建雕楼,乡村已经有土匪抢劫,不太平了。家乡,那里有他们与泥土相连的根,中国的文化,血液里自带落叶归根。

对照1921 年鲁迅小说《故乡》里的少年闰土,可以从中看到丁龙的少年时期。尽管闰土只是一个帮工的爱害羞的儿子,但他却不怕少爷鲁迅,初次见面不到半日,便和鲁迅混熟了。少年时的闰土,活泼,机灵,勇敢,对生活充满热爱。中年的闰土因为生活因为封建的等级观念失去了神彩,中年的丁龙离开了自己的国家,看到了不一样的世界。

丁龙离开了家乡,见证了华工的罢工斗争,听到侮辱的称呼“吃猫肉老鼠肉的猪仔”,与受过教育的同胞王先生有过交谈,王先生为华人争取权益,慷慨陈词、据理力争的演讲,还因社会压力不得不与白人妻子离婚。

卡本蒂尔

傲慢自大, 追求物质享乐的卡本,对华工群体抱持偏见与排斥,是丁龙改变了他的偏见。卡本意识到丁龙身上忠厚、单纯,善良的品质,以及造就影响他的中国文化的神奇魅力。他开始平等尊敬地对待丁龙,不拿他当仆人对待。

丁龙带着卡本回去寻访了他日夜思念的美丽的故乡和美食佳肴。一阙温柔动人的《渔舟唱晚》,晚霞映辉,渔人载歌,月光如水,宁静、平和与恬淡的家乡安抚着漂泊游子的灵魂。东方人的音乐之眼,仿佛精妙的唐诗,一直读到休止处,才发现山高水远,月静山空。
唐诗与音乐如同呼吸的空气,在音乐与诗歌之间,隐藏着生命的根,不断向下延伸的根,构成了隐藏在生命中的最美诗篇。当你找到了音乐与诗歌间神秘的通感,也就找到了那藏在你生命中的、隐而不露的根脉。一个人遇到许多动人心弦的事情,生命之根、性情才会显出来。

丁龙回到美国,遵守诺言照顾卡本,剪掉了辫子,成为卡本的管家,在生活中学习,后来他捐出全部积蓄时给哥大写了一封英文信。东方社会稳定靠公序良俗、自我道德感,而美国立法根基是基督信仰下的人生而平等,法律条例规定的权利与义务。在美国生活了二十年之后的丁龙,人生阅历和接触到的社会,让他思想发生了改变。丁龙生病后,没有把积蓄留给秋叶,秋叶有自己的命,他有秋叶送给他的箫,这就是生生世世的一生。

他有一个梦想,他说,“我知道实现不了。”

卡本将军“上等贵族”的精神被唤醒了。丁龙觉得实现不了的愿望,卡本帮助实现。卡本永不言弃地与两任校长游说,不断追加捐款,当哥大校董,在命名问题上绝不妥协,拒绝用大清帝国之名或者高官公使来命名,坚持用卑微的丁龙的名字。

 “他是一个虑事周全,勇敢且仁慈的人,请不要再伤害他。”“我宁愿倾家荡产! 是他教会我一种品质: 受人之托,忠人之事!”
貌似简单的文字,到底蕴藏着多少深意!一段真实的历史,一位美国成功的商人,为了实现他忠实的仆人的愿望,让更多的人了解中国文化,心甘情愿地把他一生的财产都砸进哥大。不是慈善家的卡本,硬是用了几年的光阴做成了一件轰轰烈烈没有回报的大善事。


  • “一滴水加一滴水不等于两滴水,而是更大的一滴水”

一种文化对另一种文化的造访,是两个民族心灵的对话。俄国导演塔可夫斯基的电影《乡愁》讲述的是这样一个故事:意大利人多米尼克相信如果有一天他能拿着蜡烛穿过一片温池而不灭的话,那么人类将得到拯救。多米尼克的朋友、俄罗斯流亡诗人安德列决定完成他的遗愿:点燃蜡烛,穿越温池。安德列手中的蜡烛一次次熄灭,又一次次点燃,坚持着漫长的跋涉。拯救的希望如风中的烛火摇曳飘渺,持烛涉水,微光长存…

当安德烈有一次去拜访多米尼克时候,多米尼克自言自语“一滴水加一滴水不等于两滴水,而是更大的一滴水”。意大利人多米尼克和俄罗斯人安德列是这样的一滴水,中国人丁龙和美国人卡本蒂尔更是这样的一滴水。


一切的是非都会留在时光中,只有当我们对自己的精神的家园有了足够的了解,才有慧眼去回眸社会最本质的格局和逻辑。

人类文明的根脉拥有呼唤我们灵魂的权利,它躲在我们灵魂里边未知的一个领域,并且总是在某个我们意识到或者是毫无察觉的关键时刻出现。

社会的发展具有很长的渊源,在很长时间内社会形态中的特点会延续下来,并且改变缓慢。《丁龙的梦》,在冷暖世界里,作者深切关注和凝视人类文明的精神源泉,人与人之间关系的本质。文艺作品的魅力超越民族国家与文化的藩篱,人类精神的微光不灭不息。


  • 附记
100多年前华工的历史,其实是华人移民的历史,也就是在美华人的历史。存在在美国法典里的《排华法案》,美国中学生历史课本里却没有。
这些华工从未得到应有的关注。大多数不识字,又因为排华法案而隐藏身份,留下的一手文字与照片记录少之又少。
斯坦福的北美铁路华工研究项目,波士顿的铁路华工新年花车,西雅图Wing Luke 博物馆一面对亚裔不公的法案墙,旨在了解及正视这段长久被忽略的历史,寻回被不公平地遗忘的历史篇章。
1997年,当拍摄出《龙门客栈》的香港名导胡金铨成功筹到足够的资金, 开始筹拍寄托着理想与志向的电影《华工血泪史》时,却因为心脏手术失败,永远不能再创经典了。

2019 年5 月,将迎来美国太平洋铁路竣工150 年。
12000名清朝来美华工入选名人堂。1865年,美国首条横跨大陆的铁路动工修建,由于美西地区严重缺乏劳力,从中国引进大批劳工修建西段铁路,占铁路工人总数的85%,华工在极其危险的工作环境下做出艰苦卓绝的努力,用炸药打通了贫瘠的内华达山脉,帮助重塑了美国西部地理及社会版图。
2014 年美国劳工部部长佩雷斯9日说,跨州铁路修建完工为美国的商业发展和经济空前大繁荣奠定了基础,中国劳工为此做出巨大贡献,值得被高度肯定。“五月是美国亚太裔传统月,为铭记中国劳工的勇气和所作的牺牲,劳工部决定把他们纳入劳工名人堂,以表彰他们的历史性贡献,这是自1988年名人堂成立以来第一批入选的亚裔美国人。”佩雷斯说。

2018 年12 月17日,美国排华法案终止75 年纪念日。
2018年,美国PBS 电视台的《排华法案》纪录片不仅关注政治和立法,还反映了很多社会历史、唐人街的生活以及华裔家庭被迫背井离乡的经历,描述了可怕的暴力浪潮(包括大规模私刑),乃至1882年后在美国西部约300个城镇发生的种族清洗。在恐惧和种族主义面前,顽强和雄辩不是对手。
纪录片《排华法案》探索第一部限制特定种族移民并禁止其成员入籍的美国法律。华人劳工被引进美国,在西部修建贯穿整个大陆的铁路,1870年代,铁路竣工后,南北战争时期的经济萧条导致白人失业,此时华人劳工又被视为威胁。
美国华裔族群一百多年前的人口巅峰达到过10万,但到了1920年华裔只剩下6万。
西雅图的国家档案馆包含大约50,000个与“排华法案”相关的案件档案,该法案几十年来一直禁止大多数中国移民。致力于索引文件的志愿者们表示,他们掌握着宝贵的个人信息和更为深刻的教训。
1875 年3 月的美国法案《佩奇法案》的真正动因是为了保护美国白人在劳动力市场上的竞争力。该法案被立法者冠以道德的名义限制华人妇女入境,迫使华人男子回中国。确保美国西部不会出现一个长期居住的华人族群。

作者马蕾:软件工程师;中医。枫香西雅图剧社首任社长,北美枫香文化中心董事。
HUNTINGTON THEATRE COMPANY'S
“SPOTLIGHT SPECTACULAR” GALA
BREAKS FUNDRAISING RECORD
TO FUTURE PRODUCTIONS
AND EDUCATION PROGRAMS 

CROWD CELEBRATES TRUSTEES DAVID AND BETSY EPSTEIN
AND ARTISTIC DIRECTOR PETER DUBOIS, HELPS RAISE $1.3 MILLION

(BOSTON) – Huntington Theatre Company board and staff are celebrating breaking their fundraising record at the Spotlight Spectacular gala, Monday, May 6. Held at the Boston Center for the Arts Cyclorama, the gala brought in $1.3 million to support the Huntington’s operations for the fiscal year, including its broad range of education and community outreach programs.

More than 440 guests honored Wimberly Award recipients including the Huntington'sNorma Jean Calderwood Artistic Director Peter DuBoisBoard Chairman David Epstein and Education Committee Chair Betsy Banks Epstein. The event was co-chaired by Cokie and Lee Perry, and Linda and Daniel Waintrup.

At last year’s gala, Managing Director Michael Maso broke news that 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. This year’s record-breaking numbers are a testament to the enthusiasm and commitment of the Huntington’s dedicated supporters to the renovation campaign and securing the legacy for the Huntington Theatre Company.

“I feel fortunate that I have called Boston my home for my entire life. In my real estate business, I’ve had the opportunity to meet and work with a diverse cross-section of people living in many of Boston’s neighborhoods. I’ve also seen up-close and personally how Boston’s passion for sports is a reflection of its passion for life,” said 2019 Wimberly Award honoree, and co-investor of the Boston Celtics, David Epstein. “We are better when we connect to community and share experiences. For me this is the treasure at the core of the Huntington’s mission – sharing stories, celebrating artistic risk, and laughing, crying, and learning together. Theatre can be astonishingly transcendent and frighteningly intimate. As a community, our theatre experiences become part of our collective conscience. Within the walls of our restored historic theatre and our new interactive social spaces we will expand our audience to deepen our connections to our beautiful and diverse community.”

Norma Jean Calderwood Artistic Director and fellow 2019 Wimberly Award honoree Peter DuBois also shared his enthusiasm for the Huntington’s future. “We are marrying Boston history with a vibrant modern vision for Boston’s future: something social, something that brings you joy, something that allows for cultural collision in our city which is in the midst of a whole new bloom of innovation, significance, and forward thought.”

After a cocktail reception sponsored by First Republic Bank, guests were seated for the dinner and the evening’s program. Elliot Norton Award winner Aimee Doherty (Merrily We Roll Along, Sunday in the Park with George at the Huntingtonkicked off the evening with a performance of “I Can Cook Too” from On the Town. A spirited live auction led by Maso featured exciting trips and unique experiences including a visit to the set of the Aretha Franklin biopic starring Jennifer Hudson, directed by Huntington alumna and 2018 Wimberly Award recipient Liesl Tommy. Guests also donated a record $300,000 to sponsor the Huntington’s education programs including the Student Matinee Series. All proceeds raised at the Spotlight Spectacular support the theatre, including award-winning education and community programs that reach more than 30,000 students and 6,000 community members annually.   

The evening continued with the 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 Costumes Craft Artisan/Dyer Denise Wallace-Spriggs and Individual Giving Manager Annalise Baird. Trustee Bill McQuillan presented Artistic Director Peter DuBois with the Huntington’s 2019 Wimberly Award. Aron Epstein presented the second 2019 Wimberly Award to his parents David and Betsy Epstein.

After dinner, Elliot Norton Award winner Maurice Emmanuel Parent took the stage to treat guests to “Sit Down You’re Rocking the Boat” from Guys and Dolls. Broadway’s Jenni Barber (The 25th Annual Putnam County Spelling Bee, Wicked, The Nance) andNick Sulfaro (Sunday in the Park with George and A Little Night Music at the Huntington) sang “Move On’” from Sunday in the Park with George as a tribute to Peter DuBois who directed both of them in the Pulitzer Prize-winning musical at the Huntington in 2016.Aimee Doherty returned to the stage to sing a personalized rendition of George and Ira Gershwin’s “I Got Rhythm” as a tribute to David and Betsy Epstein.

Event design was by Rafanelli Events, stage design by Alexander Dodge, lighting and sound design by High Output, rentals were provided by PEAK Event Services, event printing was donated by Noble Ford Productions, and the event was catered by MAX Ultimate Food. Corporate sponsors include John Moriarty & Associates, MAX Ultimate Food, Rafanelli Events, American Plumbing & Heating Corp., Bruner/Cott Architects, The HYM Investment Group, LLC, Leggat McCall, PR Restaurants/Panera Bread, Scape, Shawmut Design and Construction, and Toll Brothers.

David and Betsy Epstein have been Huntington Theatre Company supporters for almost 20 years. Currently, David is the chairman of the Huntington’s Board of Trustees and Betsy is a trustee and chair of the Huntington’s Education committee. David is president and founding partner of The Abbey Group, a Boston-based real estate development company, and a managing partner of the Boston Celtics. Betsy is a freelance writer and published author. Her work includes features in The Boston Globe, Cambridge Chronicle, several anthologies, and the recent book Still Becoming: Conversations with People in Their Sixties, co-authored with her sister-in-law Elinor Svenson. Both reside in Boston and together have three children and eight grandchildren. Both David and Betsy Epstein, through their philanthropic endeavors and fervent passion for the city of Boston, have demonstrated an unyielding commitment to the Huntington, their community, and the thriving future that lies ahead.

Peter DuBois is in his eleventh season as the Norma Jean Calderwood Artistic Director of the Huntington Theatre Company, where his directing credits include Stephen Sondheim’sSunday in the Park with George and A Little Night Music; numerous world premieres such as Fall, Smart People, and Sons of the Prophet, and revivals of the classics Romeo and Juliet and Tartuffe. He has directed critically acclaimed productions and world premieres in New York, Boston, and London’s West End. Peter has directed many talented, award-winning actors including Greg Kinnear (The Power of Duff), Sutton Foster (Modern Terrorism, Becky Shaw, Trust), Bobby Cannavale (Trust), Peter Dinklage (Richard III), Zach Braff (All New People), and Philip Seymour Hoffman (Jack Goes Boating). Peter has directed multiple episodes of the podcast “Modern Love,” including its debut with Lauren Molina. His productions have been on the annual top ten lists of The New York Times, Entertainment Weekly, The New Yorker, The Evening Standard, The Boston Globe, andImproper Bostonian. During his time as Artistic Director of the Huntington Theatre Company, Peter has been a devoted advocate of new work, giving burgeoning artists a home on Huntington stages and allowing their voices to be heard by our audiences.
CAST AND CREATIVE TEAM ANNOUNCED FOR
 THE HUNTINGTON THEATRE COMPANY PRODUCTION OF
YERMA

TRANSLATED AND ADAPTED BY MELINDA LOPEZ
2019 RECIPIENT OF THE ELLIOT NORTON AWARD FOR SUSTAINED EXCELLENCE

BASED ON THE PLAY BY FEDERICO GARCÍA LORCA

DIRECTED BY OBIE AWARD WINNER MELIA BENSUSSEN

FEATURING LIVE FLAMENCO-INSPIRED MUSIC ON STAGE
WITH ORIGINAL MUSIC BY AWARD-WINNING BROADWAY
COMPOSER MARK BENNETT

PERFORMANCES BEGIN MAY 31
AT THE SOUTH END /CALDERWOOD PAVILION AT THE BCA

(BOSTON) – The Huntington Theatre Company premieres a timely and essential adaptation of Federico García Lorca’s 1934 play Yerma, a tragic tale of one woman’s desperate yearning to start a family. Adapted and translated by the winner of the 2019 Elliot Norton Award for Sustained Excellence, Melinda Lopez transforms this classic work to resonate with modern audiences. Lopez delves into the heart of a hard-working rural community, revealing that in times of desperation, there can be beauty, and even laughter. Directed by Obie and Norton Award winner Melia BensussenYerma a play with music featuring local Boston musicians playing original flamenco-inspired music by Broadway composer Mark Bennett. Performances begin at the South End / Calderwood Pavilion at the BCA (527 Tremont Street, Boston) May 31 and will run through June 30. Tickets are on sale now to the general public.

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 first encountered Yorca’s work while visiting her aunt in Spain as a teenager. She was struck by how in tune Yerma was with a woman’s primal desire to have a family and the struggle of wanting something that fate will not allow. Lorca’s play channels tragic heroines like Antigone and Medea, transcending generations and culture to reveal the pain of circumstances where hope is the central antagonist. Lopez’s interpretation invokes the strength and spirit of these women and the communities that surround them.

Making her Huntington debut as the title character Yerma, is the 2019 recipient of Lincoln Center Theatre’s Emerging Artist Award, Nadine Malouf (American Conservatory Theatre, New York Theatre Workshop, The Public Theater). Also making their Huntington debuts are Christian Barillas (“Ronaldo” on ABC’s “Modern Family,” Oregon Shakespeare Festival, Pasadena Playhouse) as Juan, Alexandra Illescas (Boston Conservatory, Front Porch Theatricals, Off the Grid Theatre Company) as Veronica; Norton Award winner Evelyn Howe (SpeakEasy Stage Company, Shakespeare and Company, Showtime’s “SMILF”) as Marta; and Ernie Pruneda (Sister Act on Broadway) as Victor. Returning to the Huntington are Alma Cuervo (The Miracle at Naples, Broadway credits include On Your Feet!, Cabaret, Beauty and the Beast) as Incarnacion; Norton Award winner Marianna Bassham (Romeo and Juliet,Becoming Cuba, Luck of the Irish) as Maria; and Jacqui Parker (A Civil War Christmas; Breath, Boom) as Dolores. Yerma also includes on stage performances by local Boston percussionist and Berklee College of Music alum Fabio Pirozzolo with renowned flamenco guitarist and Boston Conservatory graduate Juanito Pascual.

Yerma will include choreography by Misha Shields (Ripcord, A Doll’s House, Milk Like Sugar at the Huntington); music and co-sound design by Drama Desk Award winner Mark Bennett (Broadway credits include Vanya and Sonia and Masha and Spike, The Coast of Utopia); set design by Cameron Anderson (The Niceties and Becoming Cuba at the Huntington); costume design by Olivera Gajic (Curtain Call on Broadway, Vineyard Theatre, Classic Stage Company); lighting design by Brian J. Lilienthal (Awake and Sing! at the Huntington, Merrimack Repertory Theatreand co-sound design byBrendan F. Doyle (Lyric Stage Company, Company One). Production stage manager is Kevin Schlagleand stage manager is Jeremiah Mullane.

“Melinda Lopez brings such resonance and poetry to Federico García Lorca’s Yerma – hers is the best English translation I’ve read,” says Huntington Artistic Director Peter DuBois. “We are thrilled to bring together two of the Huntington’s most trusted artists, our playwright in residence Melinda Lopez and director Melia Bensussen, to create this new, visceral, and music-infused production of Lorca’s timeless work. Their collaboration promises to lift up the of the essential story of a woman unravelling under the pressures of society, religion, and nature.”

ABOUT THE ARTISTS

Melinda Lopez (Adapter/Translator) is the playwright-in-residence at the Huntington Theatre Company. Her play Mala (2018) (ArtsEmerson, Guthrie Theatre, Huntington Theatre Company) earned the 2017 Elliot Norton Award for Best New Play and an Arts Impulse Award for Best Solo Performance. It is available on Audible. Other playwrighting credits include Back the Night (Boston Playwrights' Theatre), Becoming Cuba (2014) (Huntington Theatre Company and North Coast Repertory Theatre), and Sonia Flew (2004) (Huntington Theatre Company). Spanish translations of Ser Cuba and Sonia Se Fue were presented at the 2018 National Theatre Festival in Camaguey, Cuba. Ms. Lopez is one of the Mellon Foundation National Playwright Residents (Huntington Theatre Company) and a 2019 Mass Cultural Council Fellow in dramatic writing. Ms. Lopez is also an actress. She actively provides humanitarian aid for the people of Cuba and was mentioned by President Obama in his speech to the Cuban and American people in 2016. Mayor Martin J. Walsh declared October 29, 2016 “Melinda Lopez Day” in the city of Boston. Upcoming works include Mariel, a radio drama about the Mariel Boatlift set in both 1980 and 2018.

Federico García Lorca (Playwright) was born in 1898 in Fuente Vaqueros, Spain. Mr. Lorca was an artist, poet, director, actor, pianist, and playwright. He studied at the University of Granada, University of Madrid, and at Columbia University School of General Studies. In the 1920s, Mr. Lorca was a part of Generación del 27, a group of artists that included Salvador Dalí. Also in the 1920s, Mr. Lorca published two of his most successful poetry collections: Canciones (Songs) and Romancero gitano (the Gypsy Ballads). In the 1930s, he shifted to playwriting and wrote Bodas de Sangre (Blood Wedding)Yerma, and La Casa de Bernarda Alba (The House of Bernarda Alba). Mr. Lorca spent a few years abroad in Cuba and New York City. In 1931, he returned to Spain to manage and tour with the theatre troupe La Barraca. However, a couple years later the Spanish Civil War erupted, permanently halting Mr. Lorca’s career. In 1936, at the age of 38, he was arrested and subsequently slain by fascist militiamen due to his liberal views and homosexuality. In 1986, the Spanish government commemorated the 50th anniversary of Mr. Lorca’s death by unveiling a monument at the site of his murder.

Melia Bensussen (Director) previously directed A Doll's House (2017), Awake and Sing! (2014), Luck of the Irish (2011), and Circle Mirror Transformation (2010) at the Huntington. Other directing credits include work with Shakespeare & Company, Trinity Repertory Theatre, Sleeping Weazel, Actors' Shakespeare Project, Merrimack Repertory Theatre, La Jolla Playhouse, Baltimore Centerstage, Hartford Stage, Oregon Shakespeare Festival, New York Shakespeare Festival, MCC Theater, Primary Stages, Long Wharf Theatre, Actors Theatre of Louisville, People's Light and Theatre Company (Barrymore Award nomination for best direction), and many others. She has received two directing awards from the Princess Grace Foundation, including their top honor, the Statuette Award for Sustained Excellence in Directing. Her edition of Langston Hughes' translation of Lorca's Blood Wedding is published by Theatre Communications Group, and she is featured in Women Stage Directors Speak by Rebecca Daniels, in Nancy Taylor's Women Direct Shakespeare, and in Jews, Theatre, Performance in an Intercultural Context. She is on the executive board of the Society of Directors and Choreographers and serves as chair of the arts advisory board for the Princess Grace Foundation. Ms. Bensussen is the incoming artistic director of Hartford Stage.



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 31 – June 30, 2019
              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 below.
Press Opening: Wednesday, June 12 @ 7pm; RSVP online.

WHERE
South End / Calderwood Pavilion at the BCA, 527 Tremont Street, Boston

TICKETS
Single tickets starting at $25 and FlexPasses are on sale:
·     online at huntingtontheatre.org;
·     by phone at 617 266 0800; or
·     in person at the Huntington Avenue Theatre Ticketing Services, 264 Huntington Ave. and the Calderwood Pavilion at the BCA Ticketing Services Office, 527 Tremont St. in Boston’s South End.

 Select discounts apply:
·     $5 off: seniors
·     $10 off: subscribers
·     $30 “35 Below” tickets for patrons 35 years old and younger (valid ID required)
·     $20 student and military tickets (valid ID required)

SPECIAL EVENTS IN CONJUNCTION WITH YERMA:

POST-SHOW AUDIENCE CONVERSATIONS
After 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.

35 BELOW AFTER PARTY
Friday, June 14, following the 8pm performance

35 BELOW is the Huntington's special program for anyone 35 and under where tickets to every performance are always $30. Mingle with members of the cast and creative team, enjoy live entertainment and free refreshments, plus meet other young theatre lovers in Boston.

ACTORS FORUMS
Thursday, June 20 after the 7:30pm performance
Wednesday, June 26 after the 2pm performance

Meet participating members of the cast of Yerma and ask them your questions at the Actors Forum, following the performance.

HUMANITIES FORUM
Sunday, June 23 after the 2pm performance

Explore the context and significance of Yerma with a leading expert following the 2pm performance on June 23.

AMERICAN SIGN LANGUAGE-INTERPRETED (ASL) PERFORMANCES
Friday, June 21 at 8pm

The Huntington Theatre Company offers ASL interpretation for patrons who are deaf or hard of hearing at designated performances.

Seating for each ASL-interpreted performance is located in the orchestra, house left. Tickets are $20 for each Deaf patron and an additional $20 ticket can be purchased for a guest. To reserve tickets, please contact Interim Co-Director of Education / Access Coordinator Meg O’Brien atmobrien@huntingtontheatre.org.

AUDIO-DESCRIBED PERFORMANCES
Saturday, June 22 at 2pm

The Huntington Theatre Company offers audio description for patrons who are blind or low-vision at designated performances.

Tickets are $20 for each patron and an additional $20 ticket can be purchased for a guest. To reserve tickets, please contact Interim Co-Director of Education / Access Coordinator atmobrien@huntingtontheatre.org.

OPEN CAPTIONING PERFORMANCES
Sunday, June 23 at 2pm
Tuesday, June 25 at 7:30pm

The Huntington Theatre Company offers open captioning for patrons with slight to profound hearing loss at designated performances.

Tickets are $20 for each patron and an additional $20 ticket can be purchased for a guest. To reserve tickets, please contact Interim Co-Director of Education / Access Coordinator atmobrien@huntingtontheatre.org.
MY MOTHER’S ITALIAN, MY FATHER’S JEWISH & I’M IN THERAPY! GOES BACK TO THE COUCH AT REGENT THEATRE, APRIL 24 - MAY 19
1 Part Lasagna, 1 Part Kreplach, 2 Parts Prozac:
A Hilarious One-Man Comedy


(Arlington, MA February 19, 2019) -- The international comedy hit My Mother’s Italian, My Father’s Jewish & I’m in Therapy!, featuring actor & comedian Peter J. Fogel, will be coming to the Regent Theatre in Arlington, Ma, four four weeks only from April 24 to May 19, 2019.
One part lasagna, one part kreplach, and two parts Prozac, you don’t have to be Jewish or Italian to appreciate this show. All you need to know is what it feels like to leave a family dinner with heartburn and a headache!
You’ll meet Uncle Willie, Stuttering Cousin Bob, Demented Cousin Kenny, Steve's new therapist Cousin Sal (and Sal's parole officer) and a myriad of astounding characters we know, love and tolerate from our own families; each one brought to life on stage by Peter J. Fogel using various dialects and wacky sound effects that only add to the hilarity of each story.
My Mother’s Italian, My Father’s Jewish & I’m in Therapy! ran for two years in New York City at the Little Shubert Theater and Westside Theatre, and has toured internationally to more than 100 cities. This hilarious one man show is a fusion of theater and stand-up comedy with the actor bringing to life more than 25 different characters.Regis Philbin called the show, “Hysterically funny! Non–stop laughs all the way! It’s just great!”
Written by award-winning author Steve Solomon, this hilarious solo comedy is based on his life growing up in a wacky family noted for its bi–ethnic diversity. Solomon’s mother is from Palermo, and his father is from Russia. He grew up as one of two siblings in Brooklyn. His extended family had an aptitude for dysfunctional behavior and their sole purpose seemed to be to drive him into therapy… and they succeeded!
Beginning April 24th, performances will take place Wednesdays at 7 pm, Thursdays at 2 pm and 7 pm, Fridays at 8 pm, Saturdays at 2 pm and 8 pm, and Sundays at 2 pm through May 19th.
Ticket prices are $45–$65 (plus  fees) and may be purchased online hereor in person at the Regent Theatre Box Office, 7 Medford Street, Arlington, MA, or by calling (781) 646-4747.

HUNTINGTON THEATRE COMPANY ANNOUNCES 2019-2020 SEASON
  FEATURING THREE WORLD PREMIERES, TONY AWARD AND PULITZER PRIZE-WINNING PLAYS, AND ADAPTATIONS OF CELEBRATED LITERARY WORKS
(BOSTON) – Huntington Theatre Company Artistic Director Peter DuBois and Managing Director Michael Maso announce the lineup of their 2019-2020 season, featuring three world premieres, a Pulitzer Prize-winning play, a classic Tony Award-winning comedy by one of the world’s most celebrated playwrights, and two adaptations of powerful literary works. 
The new season opens with the first of three world premieres which will all be performed at the Calderwood Pavilion at the BCA. Beginning August 30, The Purists is a new play by emerging playwright Dan McCabe and directed by Tony and Grammy Award winner Billy Porter. The second world premiere is We All Fall Down, by Boston area resident and Huntington Playwrighting Fellow Lila Rose Kaplan, directed by the newly named artistic director of Hartford Stage and Obie Award winner,Melia Bensussen. The final offering at the Calderwood Pavilion is Our Daughters, Like Pillars, by another Boston area native and Obie Award winner, Kirsten Greenidge, directed by Kimberly Senior(Disgraced on Broadway).
At the Huntington Avenue Theatre, the fall begins with Tony and Academy Award winner Tom Stoppard’s whip-smart comedy, Rosencrantz and Guildenstern are Dead, helmed by Huntington Artistic Director Peter DuBois.  Two Boston premieres follow beginning with Quixote Nuevo by Octavio Solis,directed by KJ Sanchez and produced in association with Hartford Stage and Alley Theatre. Next at the Huntington Avenue Theatre is Lynn Nottage’s Pulitzer Prize-winning play Sweat, directed by Kimberly Senior (Disgraced on Broadway). The 2019-2020 season closes in celebration of the 50th Anniversary of Nobel and Pulitzer Prize winner Toni Morrison’s first novel, The Bluest Eye adapted by Huntington Playwrighting Fellow and IRNE Award winner Lydia R. Diamond.
The Huntington welcomes back a number of artists with whom it has had long term relationships, such as Huntington Playwriting Fellows Kirsten Greenidge (Luck of the Irish, Milk Like Sugar), Lila Rose Kaplan (Home of the Brave), and Lydia R. Diamond (Stick Fly, Smart People), as well as directors Billy Porter (Top Dog/Underdog, The Colored Museum), Kimberly Senior (The Niceties), and Melia Bensussen (A Doll’s House, Awake and Sing!, Luck of the Irish, Circle Mirror Transformation).
“This year I was drawn to plays that have the power to stir us up, to make us laugh, to bring us joy — plays that make us feel more alive,” says Artistic Director Peter DuBois. “I am proud that we will premiere work by Kirsten Greenidge, Lila Rose Kaplan, and Dan McCabe — as well as bring back one of Tom Stoppard’s greatest plays and have Kimberly Senior at the helm of a new masterwork by Lynn Nottage. Two very different adaptations complete next season, with Lydia Diamond and Octavio Solis bringing breathtaking insight to two stories we love.”
Subscriptions for the 2019-2020 season are now on sale. Single tickets to The Purists and Rosencrantz and Guildenstern are Dead will go on sale in mid-June and tickets to the rest of the 2019-2020 season will go on sale in August. For more information, visit huntingtontheatre.org

ABOUT THE 2019-2020 SHOWS
World Premiere

THE PURISTS

by Dan McCabe
Directed by Billy Porter
South End / Calderwood Pavilion at the BCA
August 30 – September 29, 2019

A thrilling world premiere by an exciting new voice, The Purists brings Tony Award winner Billy Porter (Kinky Boots, “Pose” on FX) to the Huntington to direct this soaring new play by Dan McCabe. A former rapper, a DJ and a showtune-loving telesales director have become an unlikely group who hang out and spar about music on a stoop in Queens. But when an impromptu rap battle erupts between two younger female emcees, everything gets questioned. With raw emotion and uproarious humor, The Purists asks what is friendship? How can we embrace new ideas? And what does it mean to be wholly yourself?

Classic Comedy
ROSENCRANTZ AND GUILDENSTERN ARE DEAD
by Tom Stoppard
Directed by Peter DuBois
Avenue of the Arts / Huntington Avenue Theatre
September 20 – October 20, 2019

Tom Stoppard’s Tony Award-winning Best Play arrives in a marvelously funny, spectacularly beautiful new production. This modern-day classic tragicomedy imagines the lives of two minor characters from Shakespeare’s Hamlet, Rosencrantz and Guildenstern.  As the story unfolds, they voice their confusion about the play that’s being performed without them, untangling bigger questions about life and death, reality and art. It’s all from the pen of Academy Award and four-time Best Play Tony Award winner Stoppard (Shakespeare in Love, The Real Thing, Arcadia), and directed by the Huntington’s own Artistic Director, Peter DuBois.
Boston Premiere
by Octavio Solis
adapted from Don Quixote by Miguel de Cervantes
Directed by KJ Sanchez
Produced in association with Hartford Stage and Alley Theatre
Avenue of the Arts / Huntington Avenue Theatre
November 15 – December 15, 2019


World Premiere
WE ALL FALL DOWN
by Lila Rose Kaplan
Directed by Melia Bensussen
South End / Calderwood Pavilion at the BCA
January 10 – February 9, 2020

Linda and Saul Stein still live in the Westchester home where they raised their two beautiful daughters. But when Saul unexpectedly retires, Linda summons the family to celebrate Passover for the first time in decades. Linda tends slightly toward the theatrical (okay, a lot), and their family has never been particularly religious (okay, not at all). So, their comic attempts to bring the Seder to life go from riotous to heart wrenching in this play from Huntington Playwriting Fellow and Somerville resident Lila Rose Kaplan. Can this family come together, or will an age-old tradition tear them apart?
SWEAT
by Lynn Nottage
Directed by Kimberly Senior
Avenue of the Arts / Huntington Avenue Theatre
January 31 – March 1, 2020

The Pulitzer Prize-winning and Tony Award-nominated Best Play by Lynn Nottage comes alive in a moving and urgently relevant new production directed by Kimberly Senior (The Niceties). Based on interviews with the residents of Reading, Pennsylvania, a group of close friends struggles to stay connected when their factory is at risk of collapse. In a neighborhood bar, each of them reaches for their piece of the America dream. Can their friendships survive this test? Nottage weaves a tale of trust and doubt, longtime bonds and short-term possibilities. The New York Times raves, “Superb… Nottage is writing at the peak of her powers.”  
World Premiere
OUR DAUGHTERS, LIKE PILLARS
by Kirsten Greenidge
Directed by Kimberly Senior
South End / Calderwood Pavilion at the BCA
March 20 – April 19, 2020

It’s a surprise to everyone when Lavinia invites her sisters and their mother to a gorgeous summer house in New Hampshire for a vacation that she hopes will last forever. But when the sisters’ stepmother Missy – the woman who inherited their dad’s everything – shows up unannounced, long-simmering feuds flare up, and family bonds are called into question. Where is this family heading? Can they be happy with what they’ve been given? And who invited Missy? Obie Award-winning playwright and Boston area native Kirsten Greenidge (Luck of the Irish, Milk Like Sugar) and director Kimberly Senior (The Niceties) tell the incredibly funny and moving story of one whirlwind weekend in the life of a contemporary black American family.
50th Anniversary
THE BLUEST EYE
Novel by Toni Morrison
Adapted by Lydia R. Diamond
Avenue of the Arts / Huntington Avenue Theatre
April 24 – May 24, 2020
Celebrate the 50th anniversary of Pulitzer and Nobel Prize winning author Toni Morrison’s acclaimed debut novel The Bluest Eye. Brought to life as a tremendously moving theatrical event by Boston favorite Lydia R. Diamond (Stick Fly, Smart People), The Bluest Eye tells the story of Pecola, a young black girl who believes everything in her world would be made wonderful if only she had blue eyes. Enthralling, gorgeously written, and incredibly emotional, The Bluest Eye asks powerful questions concerning racism, beauty, and identity with stunning grace and subtlety.

For more information about the artists in the Huntington’s 2019-2020 season, visithuntingtontheatre.org/season/2019-2020/.

SUBSCRIPTIONS ON SALE NOW

Subscriptions to the Huntington’s 2019-2020 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 (make a link). Groups of 10 or more can place orders by calling 617 273 1657.

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

THE HUNTINGTON'S COMMITMENT TO NEW PLAY DEVELOPMENT CONTINUES WITH THE 2019 BREAKING GROUND FESTIVAL, APRIL 12 - 14


(BOSTON)  The Huntington Theatre Company’s 2019 Breaking Ground festival of new plays will be held April 12 – 14, 2019 at the Huntington’s home for new work, the Calderwood Pavilion at the BCA. The festival is a vital part of the Huntington’s new play development efforts and highlights the work of locally-based Huntington Playwriting Fellows and national writers in partnership with the Huntington. Over the last decade, Breaking Ground plays have gone on to appear at the Huntington as well as theatres in Boston, across the country, and internationally. 

Readings are free and open to the public, though not to reviewing members of the press. Advance reservation is required. RSVP at https://www.huntingtontheatre.org/season/new-work/breaking-ground/

The three-day festival will include:
  • The Kritik written by Brenda Withers, directed by Moritz von Stuelpnagel
    Friday, April 12 at 8pm; South End / Calderwood Pavilion at the BCA
  • Mr. Parent written by Melinda Lopez & Maurice E. Parent, directed by Megan Sandberg-Zakian   
Saturday, April 13 at 8pm; South End / Calderwood Pavilion at the BCA
  • Deal Me Out written by MJ Halberstadt, directed by Rebecca Bradshaw
    Sunday, April 14 at 7pm; South End / Calderwood Pavilion at the BCA

Of this year’s festival, Huntington Theatre Company’s Director of New Work, Charles Haugland says, “The new plays in this year’s Breaking Ground festival each highlight their playwright’s distinct voice – from Brenda Withers’ riotous and insightful send-up, to MJ Halberstadt’s clever and surprising comedy, to Maurice Parent and Melinda Lopez’s arresting look at education and identity. We look forward to showcasing these brilliant writers from the Boston community and to spending an evening in the company of each of their plays.”

Breaking Ground is supported by The Harold and Mimi Steinberg Charitable Trust, the Harry Kondoleon Playwriting Fund, and the Stanford Calderwood Fund for New American Plays.

MORE ABOUT THE PLAYS AND PLAYWRIGHTS

The Kritik
Written by Brenda Withers
Directed by Moritz von Stuelpnagel
Friday, April 12 at 8pm
South End / Calderwood Pavilion at the BCA

In an imagined corner of 19th century Russia, a provincial theatre critic struggles to write his first honest review. A send-up and celebration of the theatre, the truth, and all things Chekhovian, The Kritik joyfully examines how candor, corruption, and community affect the creative process.

Brenda Withers is a playwright, actor, and founding member of the Harbor Stage Company on Cape Cod.  Her plays include The Deer and the Antelope, Northside Hollow (with Jonathan Fielding), The Ding Dongs, and String Around My Finger, and have been developed and presented at places such as Portland Stage, Hudson Valley Shakespeare Festival, Urbanite Theatre, Amphibian Stage, and Gloucester Stage.  Onstage she has appeared at theatres including Actors Theatre of Louisville, McCarter Theater Center, PS122, the Folger, and Hartford Stage.  Her work has been awarded an Edgerton Award and the Clauder Prize, and she’s enjoyed playwriting residencies with New Georges and the Camargo Foundation. She studied drama and religion at Dartmouth College.

Mr. Parent
Written by Melinda Lopez & Maurice E. Parent
Directed by Megan Sandberg-Zakian
Saturday, April 13 at 8pm
South End / Calderwood Pavilion at the BCA

When an actor turns to teaching for a steady paycheck, he learns that it's less of a job and more of a constant, visceral reminder of one's own success and/or failure. Mr. Parent is a hilarious, joyful, and heartbreakingly honest peek into the kids, adults, and systems of the Boston Public Schools. Based on the real-life adventures of favorite Boston actor Maurice Parent, Mr. Parent asks, "What does it mean to show up for our kids — and ourselves?"

Melinda Lopez is the playwright-in-residence at the Huntington Theatre Company, a Huntington Playwriting Fellow, and is currently working on a new translation of Yerma to be produced by the Huntington May 31 – June 30, 2019. She is also developing a radio drama, Mariel, set in 2018 and 1980, during the Mariel Boatlift. She is the author of Mala, (ArtsEmerson, Guthrie Theatre, Huntington Theatre Company, Elliot Norton Award for Best New Play, Arts Impulse Award for Best Solo Performance: Emerson Stage) now available on Audible; Back the NIght (Boston Playwrights Theatre); Becoming Cuba (Huntington Theatre Company, North Coast Rep); and Sonia Flew (Elliot Norton Award, Huntington Theatre Company, and many others).  Ser Cuba and Sonia Se Fue are available in Spanish translation and were presented at the 2018 National Theatre Festival in Camaguey, Cuba.

Ms. Lopez is one of the Mellon Foundation National Playwright Residents (at the Huntington) and a Mass Cultural Council Fellow in Dramatic Writing (2019), and is also an actress. She is active in providing humanitarian aid for the people of Cuba and was mentioned by President Obama in his speech to the Cuban and American people in 2016. Mayor Martin J. Walsh declared October 29, 2016 “Melinda Lopez Day in the city of Boston” in her honor.

Maurice Emmanuel Parent is a Boston-based actor, director, educator, and arts administrator with nearly 20 years of experience. He is the co-founder and Executive Director of The Front Porch Arts Collective, a professional, black-led theatre company committed to advancing racial equity in Boston through theatre. As an actor, Mr. Parent has performed across the nation and overseas, working with artists such as Leslie Uggams, Jonathan Groff, and director Liesl Tommy. In Boston he’s performed on nearly every professional theatrical stage, winning two Elliot Norton Awards, three Independent Reviewers of New England Awards (IRNE), and one Arts Impulse Award. Mr. Parent’s directorial debut Breath and Imagination was recently nominated for a 2019 IRNE Award. He has been an educator for 14 years, having spent nearly six years as a performing arts specialist in the Boston Public School system. Mr. Parent is currently a professor at Tufts University and Boston University, and is the 2018-2019 Monan Professor in Theatre Arts for Boston College.

Deal Me Out
Written by MJ Halberstadt
Directed by Rebecca Bradshaw
Sunday, April 14 at 7pm
South End / Calderwood Pavilion at the BCA

Before beginning their longstanding weekly board game night, a group of social outcasts sets out to kick out the friend who has been grating on their nerves. A play about what happens when friendships are at odds with firmly held beliefs, Deal Me Out has the risky conversations people are afraid of having.

MJ Halberstadt is a playwright and teacher, and can usually be found knitting geometric patterns on his couch in Brookline, MA. His work seeks humor within social commentary, often as it relates to LGBTQ stories and privilege. He is a 2017-19 Huntington Playwriting Fellow, recipient of the Elliot Norton Award for Outstanding New Script (The Launch Prize), commissioned playwright at SpeakEasy Stage, and adjunct professor of screenwriting at Emerson College. His work has been produced by Arctic Group, Bridge Repertory Theater, Fresh Ink Theater, the Museum of Fine Arts Boston, Pingree School, and others. He has received  support from Assets 4 Artists, BU’s Creative Writing Global Fellowship, Company One’s PlayLab, Flat Earth Theatre, KCACTF, Last Frontier Theatre Conference, Museum of Science Boston, and NOMTI. He is a Playmaker Emeritus of Bridge Repertory Theater, alumnus of Emerson College (BA) and Boston University (MFA), and a member of the Dramatists Guild of America, Inc. Learn more at mjhalberstadt.com.


ABOUT THE HUNTINGTON THEATRE COMPANY’S NEW PLAY INITIATIVES AND PLAYWRITING FELLOWS PROGRAM
The Huntington Theatre Company is a national leader in the development of new plays and has produced 120 world, American, or New England premieres. The cornerstone of activity is theHuntington Playwriting Fellows (HPF) program, a two-year fellowship for selected local writers. A three-year, $245,000 grant from the Andrew W. Mellon foundation adds local playwright Melinda Lopez to the Huntington’s full-time staff as playwright-in-residence. The annual two-weekSummer Workshop and Breaking Ground Festival of new plays allows selected HPFs and national writers to develop their plays in two and three dimensions.
The Huntington Playwriting Fellows (HPF) program creates relationships between a local community of writers and a nationally prominent producing theatre, forges those bonds through authentic conversation and artistic collaboration, and encourages dialogue between local artists. Huntington productions of plays by HPFs include Sonia Flew, Becoming Cuba, and Mala by Melinda Lopez; Milk Like Sugar and Luck of the Irish by Kirsten Greenidge; A Guide for the Homesick by Ken Urban; The Atheist, Brendan, and The Second Girl by Ronan Noone; Stick Flyand Smart People by Lydia R. Diamond; Ryan Landry’s “M” and Psyched by Ryan Landry; Before I Leave You by Rosanna Yamagiwa Alfaro; The Cry of the Reed by Sinan Ünel; and Shakespeare’s Actresses in America by Rebekah Maggor.

Since 2003, the HPF program has invited writers to participate in two-year residencies, during which playwrights receive a modest honorarium, join in a biweekly writers’ collective with artistic staff, attend Huntington productions and events, and are eligible for readings and support through the annual Summer Workshop and Breaking Ground festival of new plays. 

The primary focus of the program is creating relationships with writers at all stages of their careers, from emerging talent to established professionals. The program provides a framework for an in-depth, two-year artistic conversation and a long-term professional relationship. The Summer Workshop, which began in 2012, was developed from conversations at convenings with HPFs past and present to solicit ideas about how to improve and expand the program.

Since 2009, the Huntington has instituted an open application process with submissions from any writer primarily based within commuting distance of Boston; applications are currently solicited every 18 months. The theatre selects two to three writers whose terms overlap with adjacent cohorts.

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
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Huntington Theatre Company
Office: 281 Huntington Avenue | Boston, MA 02115

“MAN IN THE RING” BRINGS BOXING CHAMPION
EMILE GRIFFITH’S STORY TO THE HUNTINGTON

Written by Tony Award and Pulitzer Prize winner Michael Cristofer, and
directed by multiple Tony Award and Drama Desk nominee Michael Greif

Features two-time Tony Award nominee John Douglas Thompson and newcomer Kyle Vincent Terry

BOSTON – September 19, 2018 – The colorful and complex true story of six-time world champion prizefighter Emile Griffith is told in Man in the Ring, a new play written by Pulitzer Prize winner Michael Cristofer, directed by Michael Greif, and presented by the Huntington Theatre Company from Nov. 16 to Dec. 22, 2018 at the Calderwood Pavilion at the Boston Center for the Arts.  Imbued with the warmth of Griffith’s character and the joyful music of his childhood home, Man in the Ring chronicles Griffith’s sweeping life story, from his humble beginnings in the Virgin Islands to his passionate love affairs and the tragedy that changed his life.

The production features John Douglas Thompson and Kyle Vincent Terry, who portray Griffith at different stages of his life. Thompson, who recently appeared as the Starkeeper in the Broadway production of Carousel and was nominated for a Tony Award for Becker in August Wilson’s Jitney(2016), plays Griffith as an older man whose fading mind and memories drive the play’s impressionistic, music-filled narrative. Terry plays young Emile, who had a humble Caribbean upbringing and a tumultuous childhood, and whose gentle nature and early desire to be a milliner were swept aside when his physical size and strength led promoters to recruit him into professional boxing.

Cristofer’s script plumbs the impact of Griffith’s vibrant boxing career and doesn’t shy from the fluid sexuality he wrestled with throughout his life.  Griffith’s homosexuality was an open secret in the boxing world of the 1960s, and many believe the homophobic taunts from opponent Benny “the Kid” Paret fired up Griffith in the infamous 1962 fight in Madison Square Garden that led to Griffith’s lifelong search for acceptance, redemption, and true love. 

“One of the hardest things to do in theatre is to tell the full story of a complex person’s life,” says Huntington Artistic Director Peter DuBois. “Michael Cristofer beautifully captures the excessive, eccentric, and emotional parts of Emile’s amazing story by mixing the champ’s easy charm with the raw and traumatic things he experienced.”

“Emile Griffith was a true hero in my book,” says Cristofer. “He was a young immigrant from the Virgin Islands and a man struggling with his identity while in a brutal sport who, as an older man slipping into dementia, worked to find peace amid the love, pain, and joy that was his life.”

CAST AND CREATIVE TEAM

In addition to John Douglas Thompson and Kyle Vincent Terry as Emile Griffith, the cast for Man in the Ring also includes Victor Almanzar (Between Riverside and Crazy in NYC) as Luis, Griffith’s lover and later his caretaker, Starla Benford (Cat on a Hot Tin Roof on Broadway) as Griffith’s mother Emelda, Krystal Joy Brown (Motown on Broadway) as his wife Sadie, Gordon Clapp(Emmy Award for “NYPD Blue”) as boxing manager and promoter Howie Albert, Sean Boyce Johnson (To Kill a Mockingbird at Pendragon Theatre) as his rival Benny “the Kid” Paret, Carla Martinez (Merrily We Roll Along at the Huntington) as Paret’s wife Lucia, and Eliseo Roman (On Your Feet on Broadway) as Paret’s manager Manuel Alfaro. The ensemble includes Richard Gatta(Bright Star on Broadway), Dave Heard, and Michael Underhill (Richard III, Commonwealth Shakespeare Company) as boxers and others. Max Kennedy is the guitarist and Juan Mejia is the percussionist.

Michael McElroy (Disaster! on Broadway) is the music director and composer of incidental music,Malaiyka Reid is the movement coordinator, David Zinn (Tony Award winner for Spongebob Squarepants and The Humans on Broadway) is the set designer, Emilio Sosa (On Your Feet andMotown: the Musical on Broadway) is the costume designer, Ben Stanton (Junk and Fun Home on Broadway) is the lighting designer, Matt Tierney (The Low Road at The Public Theater) is the sound designer, and Peter Nigrini (Dear Evan Hansen and Spongebob Squarepants on Broadway) is the projection designer. Rick Sordelet is fight director, Christian Kelly Sordelet is co-fight director, andDeborah Hecht is the dialogue coach. Emily F. McMullen is the production stage manager and Jeremiah Mullane is the stage manager.

John Douglas Thompson (Emile) has been seen on Broadway in the 2018 production of Carouseland in the 2016 production of August Wilson’s Jitney, both for which he was Tony Award nominated, as well as A Time to KillCyrano de Bergerac, and Julius Caesar. Off Broadway Thompson has starred in King LearThe Iceman Cometh (Obie Award, Drama Desk Award), Othello (Obie, Lucille Lortel Award), Tamburlaine the Great (Obie, Drama Desk), and Satchmo at the Waldorf (Drama Desk, Outer Critics Circle Award, NAACP Theatre Award. On film, Thompson has been seen in The Bourne Legacy, Glass Chin, Michael Clayton, and Wolves, and he has appeared in numerous television series and made for TV films. Thompson is a Fox Fellow and a Robert Brustein Award recipient. 

Kyle Vincent Terry (Young Emile) recently served as fight choreographer on The Royale(Merrimack Repertory Theatre, Capital Repertory Theatre). Regional theatre credits include Othello(New York Theatre Workshop), Fred in A Christmas Carol (Trinity Repertory Co.), George inIntimate Apparel (Chautauqua Theatre Company), and Guy of Gisbourne in Robin Hood(Williamstown Theatre Festival). Television credits include “Gotham,” “Elementary,” “SMILF,” “Madame Secretary,” “Bull,” and “The Badlands Girl.” He received his MFA from the Brown University/Trinity Repertory Consortium and his BA from the University of Illinois at Chicago.  He was born and raised in Chicago, IL.

Michael Cristofer won the Tony Award and Pulitzer Prize for his 1977 play The Shadow Box. He previously appeared at the Huntington in Captors. Broadway credits include A View from the Bridge, Hamlet, and The Cherry Orchard with Irene Worth, Raul Julia, and Meryl Streep. Off Broadway credits include The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the ScripturesA Body of Water, Trumpery, Romeo and Juliet, and The Seagull with Joanne Woodward. His film and television credits include The Other Woman, “Rubicon,” and “Smash.” He wrote the screenplay for the film adaptation of The Shadow Box directed by Paul Newman, as well as the screenplays for Falling in Love with Meryl Streep and Robert DeNiro, The Witches of Eastwick, The Bonfire of the Vanities, Breaking Up, and Casanova with Heath Ledger. His directing credits include Gia which introduced Angelina Jolie and earned him a Directors’ Guild Award and five Emmy Award nominations.

Michael Greif directed Dear Evan Hansen, the ongoing Broadway smash hit for which he was nominated for a Tony Award for Best Direction of a Musical, and the 2017 Broadway musical War Paint. His past Broadway credits include RentGrey Gardens, and Next to Normal (all for which he received Tony Award nominations), as well as Never Gonna Dance and If/Then with Idina Menzel. His other recent New York work includes A Parallelogram at Second Stage, Our Lady of Kibeho and Angels in America at NY’s Signature Theatre, The Intelligent Homosexual’s Guide… at The Public Theater and The TempestA Winter’s Tale, and Romeo and Juliet at The Public’s Delacorte Theater.


PRODUCTION INFORMATION AND CALENDAR

WHEN:         November 16 – December 22, 2018
·        Select Evenings: Tue. – Thu. 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, Nov 28, 7pm. RSVP online.

WHERE:       The Huntington’s Calderwood Pavilion at the Boston Center for the Arts / 527 Tremont Street, 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.
·        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) 


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.
Boston Playwrights’ Theatre announces 2018-2019 season of new plays
Line-up to feature work by graduating class of M.F.A. playwrights

BOSTON – Boston Playwrights’ Theatre (BPT) today announces the new plays that will comprise its 37th season. The line-up includes The Tragic Ecstasy of Girlhood by Kira Rockwell, Winter People by Laura Neill, Wynwood by Alexis Scheer and Dead House by Beirut Balutis.

“Once again we are collaborating with the award-winning Boston University College of Fine Arts School of Theatre,” BPT Artistic Director Kate Snodgrass says. “Our last collaboration resulted in one world premiere at the Perseverance Theatre in Juno, Alaska (Franklin by Samantha Noble), and one National Student Playwriting Award at the Kennedy Center (The Honey Trap by Leo McGann). Needless to say, I have great hopes for this new crop of plays that are hot off the presses and impatient to be noticed!”

All of this season’s plays were written by the Boston University M. F. A. Playwriting Program class of 2019. They will be co-produced with the Boston University College of Fine Arts School of Theatre—part of their New Play Initiative—and will feature collaborations between graduate-level playwrights, directors, and designers.

The season opens in October with The Tragic Ecstasy of Girlhood by Kira Rockwell, about five teenage girls in a Texas residential care facility combating their grief in five different ways after the suicide of their housemate. The play will be directed by Leila Ghaemi. Playwright Rockwell’s Nomad Americana was produced by Fresh Ink Theatre Company earlier this year, and her With My Eyes Shut was an award-winner at last summer’s Hollywood Fringe Festival.

Next, in December, is Laura Neill’s Winter People (directed by Avital Shira), about Hamptons locals living in the shadows of the summer people’s empty mansions. Tensions rise when one of those mansions erupts in flames, and five families struggle to protect their own. Neill’s play DIVAS was produced by OperaHub last summer. She is the 2017 winner of University of Tulsa’s WomenWorks, a national script competition focused exclusively on plays by female graduate students.

Wynwood by Alexis Scheer, directed by Sara Katzoff, opens in late February. The comedy centers on Marianna and the gallery she runs in Miami’s Wynwood Arts District. The high stakes environment of annual international arts fair Art Basel reaches new levels when Marianna’s movie-star mother gets involved. Scheer’s play Our Dear Dead Drug Lord(produced by Off the Grid Theatre last summer) was selected as a finalist in the 2018 Latinx Theatre Commons Carnaval of New Latinx Work. Scheer was named Rising Theater Star in The Improper Bostonian’s 2018 Boston’s Best issue.

The season closes with Beirut Balutis’s drama Dead House, directed by Adam KassimSet in Bone Flat, Pennsylvania, the high school community is plunged into shock and grief following the death of a beloved varsity football player. New student Merle provides closure for those in mourning, but when Merle’s interest demands more than just a shoulder to cry on, things get dangerous. Balutis’s works have been developed or produced at the Boston Theater Marathon, Cape May Playwright Symposium, Mt. Gretna Theatre Festival, and the Hershey Area Playhouse.


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, as well as in London’s West End. BPT’s productions have been honored with numerous regional and Boston awards, including numerous IRNE Awards for Best New Script and Boston Critics’ Association Elliot Norton Awards.

ABOUT THE BOSTON UNIVERSITY NEW PLAY INITIATIVE
The BU New Play Initiative (NPI) expresses the Boston University College of Fine Arts’ commitment to the School of Theatre’s participation in the development of new work. This special initiative provides playwrights, directors, designers, and actors with a variety of developmental options to support the collaborative creation of new work for the theatre. Students, faculty, alumni, and guest artists are given the opportunity to utilize the creativity of the rehearsal room to develop their plays, which are then presented through workshop productions. The life of these new plays doesn’t end on the BU stages. Many New Play Initiative productions are often later fully produced by member companies of our Professional Theatre Initiative, including the School of Theatre’s professional extension—Boston Center for American Performance. www.bu.edu/cfa/npi

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. Established in 1954, Boston University College of Fine Arts is a top-tier fine arts institution. Comprised of the School of Music, School of Theatre, and School of Visual Arts, CFA offers professional training in the arts in conservatory-style environments for undergraduate and graduate students, complemented by a liberal arts curriculum for undergraduate students.

ABOUT THIS SEASON’S PLAYWRIGHTS
BEIRUT BALUTIS is an Appalachian playwright. His works have been developed or produced at the Boston Theater Marathon, Cape May Playwright Symposium, Mt. Gretna Theatre Festival, and the Hershey Area Playhouse. Beirut previously earned his first M.F.A. in Stage and Screen at Lesley University. He is currently producing and performing within a Boston art collective.

LAURA NEILL’s previous productions include DIVAS (OperaHub), Skin and Bones (Wilbury Theatre Group), and Don’t Give Up the Ship (Fresh Ink Theatre). A 2016 Company One PlayLab affiliate and the 2017 winner of University of Tulsa’s WomenWorks, Laura will teach at Boston College in spring 2019.

KIRA ROCKWELL hails from the heart of Texas. Her character-driven plays aim to foster empathy, cultivate hope, and challenge the complacent. Kira’s most recent credits include a world premiere of Nomad Americana with Fresh Ink Theatre and an award-winning production of With My Eyes Shut at the Hollywood Fringe Festival.

ALEXIS SCHEER was named Rising Theater Star in The Improper Bostonian’s 2018 Boston’s Best issue. She is earning her MFA in Playwriting at Boston University and holds a BFA in Musical Theatre from Boston Conservatory. Alexis moonlights as the Producing Artistic Director of the award-winning fringe company, Off the Grid Theatre.


SEASON 2018/2019 AT A GLANCE:
The Tragic Ecstasy of Girlhood by Kira Rockwell
Directed by Leila Ghaemi

October 11-21, 2018 
Thurs. 7:30 p.m., Fri. and Sat. 8 p.m., Sun. 2 p.m.

Life is difficult when you’re forced to raise yourself in the shadow of the System. After the suicide of their housemate Amber, five teenage girls in a Texas residential care facility combat their grief in five different ways. A wise and discerning exploration of young women facing an all-too-common crisis.

A BU New Play Initiative production, produced by Boston Playwrights’ Theatre and the Boston University College of Fine Arts School of Theatre.

Boston Playwrights’ Theatre
949 Commonwealth Avenue
Boston, MA 02215
Adults ($35); BU Faculty/Staff ($25); Seniors-62+ ($25); Students with valid ID ($10)
Subscriptions Available: Playwrights’ Pass ($65)

Call 866.811.4111 or visit www.bostonplaywrights.org

OPERA

THE BARBER of SEVILLE -- Boston Lyric Opera's fall opens with a whimsical take on Rossini's The Barber of Seville. Rosetta Cucchi (BLO's La Bohème and The Marriage of Figaro) directs with her precise musical connection to the score and libretto. Daniela Mack makes her BLO debut as Rosina, Matthew Worth (BLO’s A Midsummer Night’s Dream and Cosi Fan Tutte) is Figaro; Jesus Garcia (BLO’s La Bohème) is Count Almaviva, and David Crawford is Basilio.  David Angus conducts. October 12-21 at the Cutler Majestic Theatre.

SCHOENBERG IN HOLLYWOOD -- WORLD PREMIERE -- Boston Lyric Opera's World Premiere of Tod Machover's new work about the life of composer Arnold Schoenberg after he fled to American from Nazi Europe features Machover's futuristic take on opera including mixed electronic/traditional orchestrations, technologically advanced staging, and a film that runs behind and throughout the action.  (NOTE: acclaimed British director Braham Murray, who was to helm this work based on a scenario he developed with Machover, passed away last week. BLO is working to name a successor soon.)  Longtime Machover collaborator Omar Ebrahim takes on the meaty title role.  BLO's first Principal Artist in Residence Jesse Darden, and Emerging Artist alumna Sara Womble play several roles.  David Angus conducts.  Nov. 14-18 at the Emerson Paramount Center's Orchard Stage.

THEATER

THE NICETIES -- The Huntington Theater Company starts early this season with an August 31 opening (and Sept 12 press night) for the explosive and buzzy new play, THE NICETIES, by Brookline-born playwright Eleanor Burgess.  The Huntington has encouraged Burgess for a few years, providing her first theater experiences as a Brookline H.S. student, and later naming her a Huntington Theatre Playwriting Fellow.  THE NICETIES, about a confrontation between a black Ivy League student and her white history professor that devolves into a national incident, was developed in large part during Burgess' fellowship.  Workshop showings of the play have been tense, sparking conversations about race, history and what's the truth behind what we teach?  Directed by Kimberly Senior (DISGRACED on Broadway).  Aug 31-Oct 6 at the Calderwood Pavilion at the Boston Center for the Arts

SHERLOCK'S LAST CASE
One of the Huntington's favorite directors Maria Aitken ("Alfred Hitchcock's The 39 Steps" at the Huntington and on Broadway; and Huntington's "Bedroom Farce") returns to Boston to revive Charles Marowitz's surprising and twisty trip to Baker Street, where legendary detective Sherlock Holmes and sidekick Dr. Watson again attempt to solve a perfect crime. This time, however, Sherlock’s work is complicated by a threat on his life and the crumbling of longtime alliances. Runs Sept 28-Oct. 28 at the Huntington Avenue Theatre.

DANCE

BMAP FALL SHOWCASE
Boston Moving Arts Productions' David Orr is equally focused on the development of dance, as well as its impact on audiences.  Orr says, quite simply, that a satisfied audience member is one whose expectations have been met.  His growing production company takes a second step in that direction this fall, aiming for dance lovers and first-timer goers alike with a multiple-choreographer show curated to reflect how people connect (and don't) in an age of technological isolation and charged human interactions.  Orr commissioned choreographer Jenna Pollack for a new work, and recruited dancer/choreographer/educator Kristin Wagner to help line up dance artists such as Junichi Fukuda to bring recent and in-progress works to the show. The as-yet untitled BMAP production (currrently BMAP FALL SHOWCASE) runs Nov. 2-3 at the Boston Center for the Arts Plaza Theater. 

BOOKS

DUELING DRAGONS by Marjorie Harshaw Robie
Ipswich resident Marjorie Harshaw Robie's work as an Irish historian and writer began with her search to discover if the long-told family lore of a Northern Irish farmer ancestor who kept a detailed diary of pre- and post-famine life was true.  Her journey led through towns, churches and homes of distant relatives across the UK and, surprisingly, back to the midwest U.S.  With a trove of emotionally rich and detailed stories about the extended Harshaw clan's tumultuous life in Newry and beyond -- rife with religious and political activism, imprisonment in Australia, farming woes, and the struggle in a changing world to keep a free and fair press-- Harshaw recreates mid-19th century stories of struggle and survival. Her new book, Dueling Dragons (available in October) follows the Irish Famine through the stories of three men: fiery exile-turned-Parliament member John Martin, farmer and Presbyterian elder James Harshaw, and newspaper editor George Henderson.  Dueling Dragons will be available in October through Amazon.com and other online sellers.

HUNTINGTON THEATRE COMPANY ANNOUNCES
NEW ENGLAND PREMIERE OF HILARIOUS MUSICAL SPOOF
“SPAMILTON: AN AMERICAN PARODY” FEBRUARY 12 – MARCH 10

BOSTON – July 31, 2018 – Huntington Theatre Company will present the New England premiere of the hit musical comedy Spamilton: An American Parody at the Wimberly Theatre in the Calderwood Pavilion at the BCA in Boston’s South End, from February 12 to March 10, 2019.Spamilton joins the 2018 – 2019 season as a special added event. Tickets are now on sale only to Huntington subscribers; any remaining tickets will be made available for sale to the public in December.

Created by Gerard Alessandrini, the comic mastermind behind the long-running hit Forbidden Broadway and performed by a versatile cast of seven, Spamilton is a side-splitting new musical parody. After tearing it up in New York, Chicago, Los Angeles, and now London, Spamilton fulfills its manifest destiny by conquering Boston for a limited time only.

Marilyn Stasio of Variety mused, “Hip-hop, Broadway showtunes, Viennese waltzes — is there anything this guy can’t write? No, not Hamilton creator Lin-Manuel Miranda, but Gerard Alessandrini, whose ingenious parody Spamilton simultaneously salutes and sends up Miranda and his signature musical.” Ben Brantley of The New York Times said, “This smart, silly, and often convulsively funny thesis, performed by a motor-mouthed cast that is fluent in many tongues, is the work of that eminent specialist in Broadway anatomy, pathology, and gossip, Gerard Alessandrini.”

ABOUT THE CREATOR:
Gerard Alessandrini (Creator, Writer & Director) is a Special Tony Award winner for Excellence in the Theatre. He created, wrote, and directed all 25 editions of Forbidden Broadway in NYC, Los Angeles, and around the world, and performed in the original 1982 cast. He can be heard on four of the 12 Forbidden Broadway cast albums and on the Disney classics Aladdin and Pocahontas. He has written television specials for Bob Hope, Angela Lansbury, and Carol Burnett. He contributed material to the recent Barbra Streisand album Encore. His other musicals include Madame X (co-written with Robert Hetzel) and an all-sung version of Tchaikovsky’s Nutcracker. Most recently in New York, he directed the new revue Anything Can Happen in the Theater: The Songs of Maury Yeston. His Spamilton won Best Unique Theatrical Experience (Off-Broadway Theatre Alliance) and Show of the Year (2017 MAC Award). Other awards include seven Drama Desks (including two for Best Lyrics), one Obie, two Lucille Lortels, and a Lifetime Achievement Award from the Drama League.


PRODUCTION INFORMATION AND CALENDAR


WHEN                   February 12 – March 10, 2019
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.

Press Opening: Wednesday, February 13, 7pm. RSVP online. Please note that press tickets will be limited for this production and are subject to availability.
WHERE                 The Huntington’s Calderwood Pavilion at the BCA / South End527 Tremont St., Boston

TICKETS                Available currently to Huntington subscribers and FlexPass holders:
·   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.
                                               
                                Any remaining tickets will be available for sale to the general public beginning in December.

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.

無名秋戏《驴得水》演员召集令2018-04-21 京城十三叔 无名剧社








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。


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》。

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