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And Miss Reardon Drinks a Little is an often biting and occasionally touching black comedy that centers on the lives of the three Reardon sisters, whose father abandoned the family long ago and whose mother has recently passed away. The sisters, now adults and all working in the New York City public school system, have come to a crossroads — the youngest sister, having barely survived a scandalous incident at school, has suffered a nervous breakdown. When the married sister comes back to the childhood apartment, the two unmarried sisters now share in an effort to commit her to an institution, and the built-up resentments of the last decade are pushed to the forefront. Should Anna be committed? Is it in her best interest, or is it just easier for Ceil if she doesn't have to care for Anna? Is it selfish of Catherine to want to keep her at home? Who is strongest in this fight of wills — and does Catherine really need another cocktail?
Dead End, a seminal play by Sidney Kingsley, is about kids growing up on the streets of New York City during the Great Depression. It takes place in an NYC where tenement houses and luxury apartments stand side by side, and extreme wealth and abject poverty intersect every day. Gangsters and bankers, prostitutes and lost children, failure and dreams of the future all live on the same street. In her new production of the play, director Randy Sharp illuminates these stark contrasts with an understanding of their mythology as well as their resonance in the City of today. A hit when it premiered on Broadway in 1935, Dead End introduced a group of young actors who went on to appear in the film adaptation, which starred Humphrey Bogart. They also appeared in other movies, under monikers such as the Dead End Kids, the Little Tough Guys, the East Side Kids, and the Bowery Boys.
Note: Due to the configuration of the theater, Axis Theatre cannot provide seating to latecomers.
Inspired by the classic children's book The Story of Ferdinand, Ferdinand tells the poignant story of Tom, a single dad, struggling to go with the flow and raise his son in a world determined to make him fight. Raised on the story of his namesake Ferdinand, the bull who refused to fight but just wanted to sit and smell the flowers, young Ferdy learns the hard lessons in life as his father endeavors to shield him from the harsh realities of adulthood.
Federico García Lorca's The House of Bernarda Alba (La Casa de Bernarda Alba) is a tragedy set in a cloistered world of women in 1930s Spain. A tyrannical mother dominates her five unmarried daughters, all of whom harbor a secret passion for one man. Their repressed environment leads to an explosion of passion, jealousy, hatred, and despair.
Note: The play is performed in Spanish with English subtitles via Simultext® In-Seat Captioning System. At matinee performances, subtitles are provided only by request.
Chrissy, a bright young woman with a background of harshness that has robbed her of her innocence long ago, has visions of a career as a dancer. She finds herself in the Boom Boom Room, a disco/bar in Philadelphia meant to be her first step on the road to a better life. Instead, she must fight to defend her dream and keep her anger in check amid the sex and stimulation that surround her, the psychological residue of her parent' betrayals, and the bizarre pack of suitors who follow her. In a desperate search, Chrissy careens from the seductive mistress of ceremonies at the Boom Boom Room to the earnestly friendly gay man next door to a brutally passionate lover. In its compassionate look at Chrissy's living nightmare, In the Boom Boom Room is a piercing look at a society dangerously close to our own lives, and a drama that captures both our hearts and our heads.
Omar, Fred, and Sam are hangin', smoking some weed, but in Trump's America only one of them is a criminal. With the specter of prior offenses over his head, Arab-born Omar needs to be very careful.
This production of Macbeth is a fitting response to our times in its exploration of ambition, tyranny, and what it means to be a leader. The show is an attempt to answer the question "What does it mean to bring our full humanity into our work, play, and lives?"
Nec Spe / Nec Metu is a collection of two dovetailing monodramas.
In "Nec Spe," the great Baroque painter Caravaggio confesses his hideous sins to an imagined or ethereal priest after his own brutal and untimely death, possibly searching for forgiveness. But his swagger and violent personality leave audiences to question whether he truly wants his sins washed away or whether he would rather justify his actions in the eyes of God and man.
In "Nec Metu," the great Baroque painter Artemisia Gentileschi recounts her notorious rape and torture in order to reclaim her legacy and illuminate her brilliant life and art. She tells her story with wry wit and humor, offering an alternative and often neglected perspective on art history and her intimate relationships with some of the world's greatest artists.
Into a quiet urban home come two strangers on a sinister mission they don't disclose. They frighten some, entertain others, and refuse to leave. As the home invasion worsens, the hosts reveal some twists. In a dark and surreal evening of fantasy, farce, and betrayal, audiences should be warned: This drama is about something real. Perversion is a scathing political satire of the America we've lived through and where we still live today.
Random Access Theatre explores two classic pieces with bold characters who fought against injustice in Resistance and Rebellion in Rep, featuring productions of Ernst Toller's Hoppla, We're Alive! and Sophocles' Antigone. Hoppla, We're Alive!, directed by artistic director Jennifer Sandella, tells the story of a group of revolutionaries who, eight years after they were pardoned from death row, have found various ways to adapt to the unchanged world they once rebelled against. Politics, friendship, and conscience collide in this German play that shook up the theater world when it premiered in the 1920s. Then, revisit Antigone, the beloved story of Oedipus' courageous daughter. This modern retelling, adapted and directed by Victoria Teague, examines how a Greek tragedy fits into contemporary society, and whether you would actually be surprised to hear such a story on the nightly news today.
Uncle Abram: A Reconstructed Uncle Vanya, an American retelling of the Russian classic, is set in the Reconstruction South. Centered on a former plantation in south-central Missouri, this adaptation combines Native American and African-American influences that both heighten and intensify the original Chekhovian text. The backdrop, being one of the most progressive periods in American history, instills a hope for what is possible, along with the awareness of the delicacy of social progress.
Uncle Abram awakens audiences' spirit for a better tomorrow and tests their fortitude by asking this question: What are you willing to sacrifice to change the world?
Wink, a homeless and traumatized gender questioning teenager, and Dario Villanova, an ex-A list actor doing B movies, are down on their luck in Los Angeles. Their kindred spirits bond over music and a death in Dario's extended family to forge a heartfelt and unconventional love story of surrogate father and child.
In Johnna Adams' World Builders, Whitney and Max live deep within their own imagined realities — one expansive and fanciful, the other dark and brutal. To break free of these visions and become functional members of society, they embark upon a clinical drug trial that might erase these worlds forever. But are they truly able to leave their fantasies behind? In a medicated age in which our imaginations are colonized by mass media, how do we know when happiness and love are real?
With only $1.50 in her purse and a dream, Zora moved to Harlem. She subsequently became the first black woman to study at Barnard College and Columbia University; rose to fame as a writer; helped pioneer the literary movement that was the Harlem Renaissance; secured a Guggenheim Fellowship Award to study in Haiti, Jamaica, and on the Gulf Coast; and ultimately became a world-famous writer. NAACP winner Antoniá Badón's one-woman bio-play transcends time and place through 19 character portrayals and 15 wardrobe changes, giving the audience a look at the famous Zora Neale Hurston in Zora Returns to Harlem.