Island Theatre Workshop will be presenting two programs of one acts on the second and third weekend in March.
Open auditions for these productions are on Saturday, Jan. 26, at 11 a.m. Katharine Cornell Theatre.
Leslie Stark, who made his directing debut in last year’s one act program, will return with another new play, This Seat Is Taken. Xavier Powers will offer Eugene O’Neill’s Sniper. Artistic director Lee Fierro and Kevin Ryan have not selected the works they will present.
It was early morning at Edgartown’s Espresso Love last month and some regulars sat joking about the turkey and piping plover stories that had just unfolded in the Island papers.
Chilmark police shot a wild turkey six times only to be assaulted by a man claiming to be its owner. On the other side of the Island, authorities had been called in to investigate the death of an endangered piping plover. Both were font-page stories,
The Vineyard Playhouse presents Island Interludes: New Work by Island Writers on two Saturdays, May 24 and May 31, at the playhouse on Church Street in downtown Vineyard Haven. This festival of new work is sponsored in part by the Massachusetts Cultural Council.
Tomorrow night sees staged readings of two short plays, Crosswords by Jay H. Kaufman and A Midsummer Night’s Alternative by Susanna J. Sturgis. On Saturday May 31, there will be a staged reading of Kim and Delia, a new full-length play by Brian Ditchfield.
Vineyard Playhouse artistic director M.J. Bruder Munafo kicks off the theater’s popular summer series of new work — the Monday Night Special — with Expatriate, a new play by Bill C. Davis and starring Tony award-winning actress Frances Sternhagen.
The staged reading of Expatriate, directed by Mr. Davis, will be held on Monday, June 30 at 7 p.m. at the Vineyard Playhouse, 24 Church street in downtown Vineyard Haven.
The tap shoes are on, the ballet slippers tied and the members of the chorus line are ready to kick their heels high.
And on Thursday night, they will do so as the curtain rises at the Martha’s Vineyard Regional High School Performing Arts Center for the opening performance of A Chorus Line, the longest-running American musical on Broadway.
Storyteller Susan Klein comes to Featherstone Thursday, August 14, at 7:30 p.m. to share tales from her travels, her past and her take on the world around her.
Renowned for her memoir workshops. Ms. Klein’s storytelling material is at once historical and hysterical, engaging and amusing. Her tales encompass experiences from mundane adventures growing up in downtown Oak Bluffs to wider visions from Alaska to New Jersey.
A trio of ten-year-olds crowded the ticket booth of the Vineyard Playhouse last week, earnestly peddling imaginary tickets to playhouse employee Geneva Monks. This was their dress rehearsal, preparation for last Saturday’s production of Cave Critters Unite, the play created by Bridget Mello’s class at the Edgartown School for their part in the playhouse’s Fourth Grade Theatre Project.
Do you like to act? sing? dance? Are you between the ages of 8 and 18? Then here is a performance opportunity for you: IMP is producing the family fun play with music Bears Beware! Goldilocks Is in Your Town, by Donna Swift and Ross Mihalko, lyrics by Ross Mihalko, music by Brian Weiland and A.J. Robb. No experience is needed, just a desire to work hard and have fun.
Live radio returns to the Vineyard Playhouse, as It’s a Wonderful Life: The Radio Play makes its second consecutive showing as the annual family holiday production. The popular play is based on the Frank Capra film, adapted by Philip Grecian and directed by playhouse artistic director, MJ Bruder Munafo.
This classic tale plays for ten more performances, and one was last night. Shows are Thursdays through Mondays, through Dec. 21 at the playhouse in downtown Vineyard Haven.
T here is probably not a soul — not even an Oxford don who’s written his umpteenth thesis on King Lear — who takes Shakespeare so seriously that he can’t enjoy a little fooling around with the canon. Nothing is sacred when it comes to Shakespeare, even though hordes in every generation of theatregoers since the bard lived and wrote (up until he died in 1616) have pretty fairly worshipped him.
