Baltimore’s one and only dedicated rock opera troupe has been prepping for a nautical musical voyage that begins next Friday.
Tag: baltimore theater
We all know there are many stages of grief. Wild with Happy, at Center Stage will have you embracing the funny side of the emotion people try desperately to avoid. Through a somewhat accurate depiction of some spirited church services, Gil, the protagonist, starts off by letting the audience know exactly where he stands with organized religion.
The Center Stage theater company was so stoked to snag British director Kwame Kwei-Armah in 2011 that they threw him a fantastic party, which I mostly remember because it involved a dance party during which our beloved mayor got down to the camp classic “What What (In The Butt).” Lucky for us, Kwei-Armah liked it here, enough to sign a contract extending his tenure in Baltimore through June 2018. “I found Baltimore to be vivacious. I found the audiences to be intelligent and engaging,” he told NPR this week. Well, shucks. We’re blushing.
If You Can Get to Buffalo, the latest offering by Station North theater company The Acme Corporation, premieres tonight (more info here), and takes as its subject the weird world of early Internet culture: The world’s first social network premiered in 1993 on the newly minted World Wide Web as a virtual mansion comprised entirely of text. It was called LambdaMOO. If You Can Get to Buffalo explores the rise and fall of this new utopia and the attempt of its creators to deal with the sinister puppet master that brought it crashing down during a wild party of virtual revelry.
Baltimore Fishbowl spoke with New York playwright Trish Harnetiaux about 1990s cyberculture, Baltimore’s theater scene, and what a play can do that television can’t:
The play is based on a 1993 Village Voice article about the first reported cyber rape. How did you first come across the article, and what about it made you think the subject matter could be transformed into a piece of theater?
Truth is I totally forget how I came across the article but I do know I was interested in the early days of the Internet – the language people used when it was new, the impact of never-before-encountered social situations, and the opportunity it offered to individuals. Something that we’re continually aware of is that we essentially know how the story of the Internet “ends,” now that it’s 20 years after the incident we’re exploring – and that’s definitely had an impact on how we’re telling it.
It’s easy to get wrapped up in our daily lives; the errands we have to run, the little annoyances like traffic or Turbo Tax freezing can make life seem miserable. Then there is the inevitable jolt of perspective that knocks us back into reality. The little annoyances are just that – annoyances. They aren’t insurmountable challenges, and we’ll likely make it through just fine.
Tonight, let that jolt be Passport, the play that garnered critical acclaim at the Baltimore Playwright’s Festival last August. Passport, “tells the story of an international aid worker trapped in a hotel room during the 2007 Kenyan election that left over 1,100 people dead and 600,000 displayed.” It was written by local playwright Kevin Kostic, and after the performance, there will be a discussion on Kenyan humanitarian issues. Funds will be raised to benefit Catholic Relief Services.
The ever-wonderful Single Carrot Theatre is kicking off their sixth season with another promising production tonight at 8pm at their temporary home at MICA’s Favley Hall. The show, “Drunk Enough to say I Love You?” will truly raise the question, “What does it mean to love America?”, following Guy and Sam as they navigate the tumultuous political love affair America has cultivated with the rest of the world, and its inevitable backlash. Following each performance there will be a panel discussion on foreign policy and the role our country has played in defining the current global state of affairs. As always with Single Carrot, I anticipate a wonderful show that really forces me to ask questions and seek answers.
Serving as the president of a college involves taking on a number of roles — relating to students, reassuring trustees, leading faculty, wooing donors — but rarely do college presidents actually slather on the stage makeup and get in costume. Which is why we got excited when we heard that Towson University’s new president Maravene Loeschke plans on celebrating her inauguration by getting on stage for a one-time performance (with her husband as co-star!) of Love Letters, a play that traces two characters’ relationship from second grade through marriage, divorce, and old age.
As far as artistic subjects go, fracking — the process of extracting natural gas from shale rock — hasn’t yet had its Upton Sinclair moment. But maybe that’s just because no one’s used puppets and accordions to tell the story — until now, at least.
This week is your only chance to see Below and Beyond, a new offering from Philadelphia-based Ramshackle Enterprises, directed by occasional Baltimorean Donna Sellinger. Below and Beyond makes inventive use of puppets, pulleys, movements, maps, and a one-man accordion band to “explore the complications of what lies beneath our feet,” according to its director and creator. The play sold out its run of shows in Philadelphia, receiving plenty of positive feedback (“[Co-creators Beth] Nixon and [Sarah] Lowry manage a bit of scaffolding, scores of puppets and props and their own boundless energies to create a sprawling mythic journey. At turns surprising, hilarious, and earnest the piece is one that makes you stop and wonder about the workings of the city around (and below) you,” said Adrienne Mackey, the artistic director of Swim Pony Performing Arts.)
Now its cast and creators are taking it on the road, stopping in Baltimore for one night only (Saturday, May 5, 8:00 p.m.) at the Whole Gallery, with local openers Foot Talk and City Paper favorites the Annex Theatre. I’ve heard there will be an invasion of urban water buffalo. Highly recommended.
This month, award-winning British playwright, actor/director, broadcaster and singer Kwame Kwei-Armah relocates to Baltimore from London, not to put up a new play or act a short-lived part, but to prepare to play the full-time role of artistic director at Centerstage starting July 1.
Kwei-Armah is well known to Baltimore audiences through his plays Elmina’s Kitchen and Let There Be Love—which had their American debuts at Centerstage—as well as his work as director of Naomi Wallace’s Things of Dry Hours. He serves on the board of The National Theatre and The Tricycle Theatre, both in London. He most recently served as Artistic Director for the World Arts Festival in Senegal, a month-long world festival of black arts and culture, which featured more than two thousand artists from 52 countries participating in 16 different arts disciplines. As an actor, Kwei-Armah appeared in the British TV medical drama Casualty, and in a recurring role on Holby City, among many other British television appearances. He was born in England, and is of British Afro-Caribbean descent.
You have moved to Baltimore with your wife and four children. How do your kids like this town?
Very much. My eldest has been a few times and they always have a great time.
I’ve read that you are super excited to move to Baltimore — and of course work for Centerstage — and I’m wondering what you like most about this city?
The people—the artistic community—and for personal reasons the Harbor. It was the last New Year I spent with my mother, and we spent it there.
Could you name a major difference and maybe a surprising similarity between Baltimore and London, where you’ve been living?
The major difference is that Baltimore doesn’t have a subway! Similarities are harder. I have to think more on that.
Will you make regular, even daily, time for your own writing as you serve as artistic director?
It won’t be daily, but I intend to write one play a year.
What do you expect your (hyper-busy) new schedule will look like?
A combination of finding plays, directing plays, having ideas, having meetings, fund raising and being inspired.
Soon to ask, yes, but what do you already know you’d like to achieve in this role?
Hard to say, but I want to raise the profile of Centerstage nationally and internationally. Want to bring an international feel to the theater and a stable of new writers to the stage.
Irene Lewis said Centerstage is “extremely lucky to get my friend Kwame, who had been an associate artist here. It’s nice to provide some continuity, but it will be very different.” What will that main difference be?
I stand on Irene’s shoulders, so there is a lot of common ground. I’ll know how different we are after a year of reviews!
You said that the selection board for this position was” tremendously brave to make a man of color the artistic director.” Can you say more about this point? Why, “brave”?
Well, there is only one other man of color running a major LORT (League of Resident Theaters) theater, however, I was speaking more to the fact that they “cast” a playwright to run the theater.
Board president Jay Smith said the theater will continue its “commitment to diverse plays and the African-American community in Baltimore, which is a legacy Irene brought to us and left with us.” How conscious will you be of aiming to bring in a diverse audience and diverse material?
I am absolutely committed to it. It’s one of the pillars of our theater’s success.
Having carved a career as a professional playwright and director, what special insights or strengths do you bring to this artistic position?
I’m not sure that they are special insights, but I feel having played all the roles–from actor to writer to director to now producer–I’ll have a natural feel for what is good, not just for our audiences, but for all the theater-makers who pass through or reside here.