Indisputably, regional theaters have been a significant wellspring for new plays reaching back 30 years. But a quickening sea change has occurred quietly but demonstrably over the past decade: Regional theaters – once reliant on warhorses and the latest New York hit — have become the primary incubator and showcase for new work in America
Posted in Features
Tagged Actors Theatre of Louisville, All The Way, American Theatre Critics Association, Amy Rose Marsh, ART, Arts Garage, Barrington Stage, Becky's New Car, Berkeley Rep, Christopher Demos-Brown, Contemporary American Theatre Festival, Daniel's Husband, Deborah Zoe Laufer, Denver Center’s Colorado New Play Summit, Ed Herendeen, Eugene O’ Neill Theatre Center, Florida Stage, Gideon’s Knot, Harold and Mimi Steinberg Charitable Trust, Humana Festival of New American Plays, I and You, Island City Stage, Jim Steinberg, Johnna Adams, Ken Ludwig, La Jolla Playhouse, Lauren Gunderson, Louis Tyrrell, Lucas Hnath’s The Christians, Mad Cat Theatre Company, Manhattan Theater Club, Michael McKeever, Nan Barnett, National New Play Network, New Theatre, Nilo Cruz, Oregon Shakespeare Festival, Paper Mill Playhouse, Playwrights Horizon, Public Theater, Pulitzer Prize, Robert Schenkkan, Samuel French Inc., Signature Theatre and Atlantic Theater Company, South Coast Rep, Steppenwolf, Steve Yockey, Steven Dietz, Sundance Institute, Theatre Lab at Florida Atlantic University, Zoetic Stage
Although the Actors’ Playhouse folks are working very hard to master this Everest of a play, All The Way, about Lyndon Johnson’s campaign to pass the Civil Rights Act of 1964, this time they have barely fought the work to a standstill.
Posted in Performances, Reviews
Tagged Actors Playhouse, All The Way, Chaz Mena, David Arisco, Deborah L. Sherman, Jodi Dellaventura, Jovon Jacobs, Lyndon Baines Johnson, Marckenson Charles, Martin Luther King, Michael Turner, Peter Haig, Robert Schenkkan, Tom Wahl
These are not at all necessarily what we predict will be the best shows this season (although they may be) or the best attended or the most popular or the most award-winning. We don’t care. These are the shows we most want to see for a variety of reasons. The list is woefully incomplete, likely with major but unintentional omissions.
Posted in Features
Tagged Actors Playhouse, All The Way, An American In Paris, Arcadia, Arts Garage, Between Riverside And Crazy, Blues In The Night: A Musical, Broadway Across Fort Lauderdale, Broadway Across Miami, Broward Stage Door, Finding Mona Lisa, GableStage, Guys and Dolls, Island City Stage, Kravis on Broadway, Maltz Jupiter Theatre, Michael McKeever, Nine, Palm Beach Dramaworks, Rob Donohoe, Robert Schenkkan, Slowburn Theatre Company, Something Rotten, Son, Sunday in the Park With George, Tennessee Williams, The Curious Incident of the Dog in the Nighttime, The Night of the Iguana, The Wick Theatre Gypsy, Titanic, Tru. Beautiful – The Carole King Musical, Truman Capote, Zoetic Stage
Robert Schenkkan’s Tony-nominated play All The Way is blessed with a fascinating portrait by Tony-nominated Bryan Cranston as LBJ, but it’s his script’s premise that makes the evening stay with the audience days later. It contemplates that the need for pragmatic sacrifices, even for the most noble of goals, can corrupt the soul.
The American Theatre Critics Association (ATCA) has selected Robert Schenkkan’s meditation on power and pragmatism, All The Way, as the recipient of the Harold and Mimi Steinberg/American Theatre Critics Association New Play Award, recognizing playwrights for scripts that premiered professionally outside New York City during 2012. Schenkkan’s play about Lyndon Johnson’s dogged campaign to pass the Civil Rights Act of 1964 received the top award of $25,000 and a commemorative plaque during the Humana Festival of New American Plays at Actors Theatre of Louisville on April 6. Two citations that carry $7,500 each were also presented to Lucas Hnath for Death Tax and Johnna Adams for Gidion’s Knot.