Next on the Studio 321 Stage…
In a world where forgiveness, grace, and patience in seeking truth are lost; Chaos, revenge, blind justice and cruelty have no limits. TITUS ANDRONICUS challenges these things while blending classic myths with truths, and half- truths of today.
Join us for this rarely produced brutally controversial play, Shakespeare’s TITUS ANDRONICUS. Evansville Shakespeare Players and STAGETwo bring Shakespeare into the 21st century by blending a classic tale of revenge and an original live rock score created by Jesse Gallamore.
Why Titus, right now? Why go to the theatre to see more violence when we can open our Facebook and see senseless violence every day? The answer is simple: because Titus is not about the violence, it is about vengeance–the mistaken idea that retribution is justice. What is often forgotten is: we always have choice. If we refuse to take responsibility for that choice, we are doomed to repeat the violence of the past. The choice is ours: vengeance or grace, forgiveness and love. That choice always holds a weight. Without the horror of vengeance, we can’t show the virtue of grace.
Thursday, January 5 at 8 pm
Friday, January 6 at 8 pm
Saturday, January 7 at 8 pm
Sunday, January 8 at 2 pm
Tickets will sell for $10, except for Thursday night performance. The Thursday night performance will be a “Pay What You Can” performance.
**to reserve tickets and for questions, please contact Evansville Shakespeare Players or Toni Schaperjohn via fb or email at firstname.lastname@example.org.**
Due to the graphic violence (including sexual) content and mature subject matter, not for children under 16 without parental consent. Blood effects heavily used.
***** “Warning Label: this is equally rough to perform and as it is rough to watch…. viewer discretion very much advised. Anyone suffering from PTSD or sexual assault may want to pass on this experience. So please strongly consider your personal sensibilities before deciding to attend. It is a cautionary tale equally not meant to be entertainment for the cruel.
Think PINK is an Evansville-based theatre production company, dedicated to bringing new, under-produced, and challenging shows to local audiences. Our shows are produced to challenge performers and audience members alike. The Think PINK team is a driving force for theatrical innovation in Evansville- championing diverse, and socially significant works; creating vibrant theatrical experiences; and fiercely supporting the passion of artists, young and young at heart.
We are founded on the principle that excellent theatre is created by playing positive intentions. We’re here to create theatre that will inspire audiences, actors and technicians by upholding professional standards, emphasizing the importance of ensemble support, and dedicating ourselves to the pursuit of truthful, innovative storytelling.
For tickets to Think Pink Productions, please contact Kensington Eck at 812-456-8719.
twitter handle is thinkpinkevv
Falsettos is the story of a large, eccentric, and dysfunctional — but loving — Jewish family in New York at the end of the 1970s. Initially, Marvin seems blessed with the perfect family. He has a caring wife, Trina and a young son, Jason. Nevertheless, the family is soon broken apart, when bisexual Marvin leaves Trina for a man called Whizzer. Trina, meanwhile, ends up romantically involved with the family psychiatrist, Mendel. All the while, their son, Jason, is stuck in the middle. Included in the mix are a lesbian, Dr. Charlotte and Cordelia. When Marvin’s lover, Whizzer, is diagnosed with AIDS, the entire family — non-traditional as it may be — must put aside their issues and come together.
Titanic: Ensemble – Playing April 28-30, 2017 (Friday and Saturday @ 7:30, Sunday @ 6)
Through an ingenious doubling scheme, created by original Broadway cast member, Don Stephenson, Titanic Ensemble Version requires a cast of just 20 to tell the gripping story of the ocean liner’s maiden voyage and tragic demise. The orchestration created by Ian Weinberger requires six players.
The sinking of the TITANIC in the early hours of April 15, 1912, remains the quintessential disaster of the twentieth century. A total of 1,517 souls — men, women and children — lost their lives (only 711 survived). The fact that the finest, largest, strongest ship in the world — called, in fact, the “unsinkable” ship — should have been lost during its maiden voyage is so incredible that, had it not actually happened, no author would have dared to contrive it.
But the catastrophe had social ramifications that went far beyond that night’s events. For the first time since the beginning of the industrial revolution early in the 19th Century, bigger, faster and stronger did not prove automatically to be better. Suddenly the very essence of “progress” had to be questioned; might the advancement of technology not always be progress?
Nor was this the only question arising from the disaster. The accommodations of the ship, divided into 1st, 2nd and 3rd Classes, mirrored almost exactly the class structure (upper, middle and lower) of the English-speaking world. But when the wide discrepancy between the number of survivors from each of the ship’s classes was revealed — all but two of the women in 1st Class were saved while 155 women and children from 2nd and 3rd (mostly 3rd) drowned — there was a new, long-overdue scrutiny of the prevailing social system and its values.
It is not an exaggeration to state that the 19th Century, with its social stricture, its extravagant codes of honor and sacrifice, and its unswerving belief that God favored the rich, ended that night.
The musical play TITANIC examines the causes, the conditions and the characters involved in this ever-fascinating drama. This is the factual story of that ship — of her officers, crew and passengers, to be sure — but she will not, as has happened so many times before, serve as merely the background against which fictional, melodramatic narratives are recounted. The central character of our TITANIC is the TITANIC herself.