Upfront Theatre is a Caribbean student theatre company based at York University. One of the Theatre's mandates is to use drama to deal with social concerns in the Caribbean and Black community as well as to build an ongoing working relationship between the student community and the Caribbean community at large. Advance tickets are $15:00; at the door $20 and children under 12 are $10:00. Tickets are now on sale at the following outlets: All the Nicey's stores - Pickering (905) 837-8228; Scarborough (416) 497-9717; Downsview (416) 739-7513; Mississauga (905) 270-4417; Brampton (905) 450-6045; Vaughan (416) 656-5648; Treajah Isle (416) 787-7615; Dinky's (4l6) 633-2981; Slick Chick (416) 744-3682; Willie's Jerk (4l6) 740-5893; and the Source at York University. Tickets For Better ,For Worse contact: (416) 275-8993.
The Cupid Players is a non-for-profit theater company dedicated to elevating the art of musical sketch comedy. Our hallmark is creating original and intelligent sketchs rooted in social and political satire. We provide a vehicle to nurture artists as performers, writers, and musicians in a collaborative and educational environment. We create original ensemble driven shows, drawing from improvisation, music, script writing, and other various art forms to create a connection between the performers and the audience.
Founded in 1979 by a group of committed community leaders, MRT’s mission is “to advance the cause of human understanding by creating theatrical productions at the highest level of artistic excellence and making them affordable to the broadest possible community.†MRT’s unique artistic vision is shaped by a passion for excellence and a profound commitment to its community. MRT strives to enhance the community’s life while contributing to its economic strength, measuring success by the depth of the company’s artistic and social contribution to the region. Since its founding, MRT has served as a vital cultural, educational and economic resource for the Merrimack Valley, Greater Boston, and Southern New Hampshire regions. With annual attendance of over 35,000, MRT’s producing objectives strike a balance between artistic achievement and accessibility, producing exceptional works while offering a variety of discount programs for underserved and low-income communities, students and seniors. MRT has established a theatrical legacy through its dedication to arts education, new works and collaborations with the local business, non-profit and artistic communities. In fulfillment of its mission, MRT produces six productions each season, engaging the best actors, designers and directors available for each production while promoting accessibility among diverse audiences. Productions are presented in Liberty Hall, the company’s 308-seat theatre adjacent to Lowell Memorial Auditorium in downtown Lowell. Over the last 29 years, MRT’s education, outreach and discount programs have served over 100,000 students and 40,000 senior citizens and have built working partnerships with more than 50 different community and ethnically based service organizations. Consistent with its mission, MRT is dedicated to: (1) Developing and presenting new plays that address contemporary issues and reflect the community’s diverse heritage; (2) Producing established plays that offer a broad range of topics and styles; (3) Ensuring the most expansive reach and deepest involvement of the community by subsidizing ticket costs and offering a variety of outreach programs; (4) Creating a collaborative environment for artists and staff in order to encourage artistic growth and excellence; and (5) Developing young, diverse audiences through its educational programs. Artistic Director Charles Towers’ vision for the theatre makes an important contribution to the advancement of the American theatre through the production of new works of literary merit, support of emerging playwrights, actors and designers, and the development of new audiences for the theatre. MRT has gained a local and national reputation for the excellence of its productions of vibrant contemporary plays, which are consistently performed at the highest level of artistic quality. MRT has received numerous Boston Critics Awards and nearly 100 other accolades, awards, citations and tributes, including recognition in American Theatre Magazine, The Boston Globe and Boston Magazine for artistic excellence and its contribution to the community. MRT’s history comprises more than 150 productions including 13 world premieres and 29 regional premieres, contributing significantly to the canon of the American theatre and bringing new plays to audiences throughout New England.
http://www.lajollaplayhouse.com
The La Jolla Playhouse is properly recognized as one of our nation's most important theatres. It is renowned for its high standards of production; the quality and extent of its development of new work; an innovative and free spirited approach to productions; a broad-based aesthetic; its ongoing success in having productions transfer to not-for-profit and commercial venues; and, quite fundamentally, its attraction as a place for artists to do their best work. In January 2005, the Playhouse fulfilled a long time dream when it opened a new addition to its theatre complex, the "Joan and Irwin Jacobs Center for La Jolla Playhouse." Its state of the art flexible theater space seating up to 450 people now joins the three theatres (proscenium, thrust and studio stages) shared with long time collaborating partner, the Department of Theater and Dance at the University of California San Diego (UCSD). This new Center also adds three more rehearsal halls (suitable for public performance), administrative offices, educational spaces, enhanced production capacity, and many audience amenities. Readings, workshops, and cabaret performances are all possible in this lively new village. A full-service restaurant with a nationally known restaurateur is soon to be added to the mix. The Playhouse now produces throughout the year as it expands beyond its former 7-8 month season. There is also the opportunity to enrich the partnership with UCSD which has so far been based on shared facilities, shared technical production staff, and training of theatre artists. The Playhouse has a record of brilliant and innovative productions of classics and new plays and musicals, including 41 world premieres, 24 West Coast premieres, and seven American premieres. These have merited over 300 major honors including the 1993 Tony Award as America's Outstanding Regional Theatre. The most recent American Theatre recognition were the four Tony awards for its production of Jersey Boys on Broadway. From Broadway to Moscow, the Playhouse has established an extraordinary history of productions that have gone on to stages around the world. These include Roger Miller and William Hauptman's Big River; The Who's Tommy; Lee Blessing's A Walk in the Woods; Matthew Broderick in How to Succeed in Business Without Really Trying; Lifegame; Lisa Kron's 2.5 Minute Ride; Jessica Hagedorn's Dogeaters; Randy Newman's Faust; the West Coast premiere of Rent; the American premiere of Jane Eyre; the world premiere of Thoroughly Modern Millie; Dracula, the Musical; the Playhouse's Page to Stage productions of the Tony Award and thePulitzer Prize winning I Am My Own Wife and Billy Crystal's 700 Sundays. In addition to its productions, the Artistic Director can also look forward to taking pride in the Playhouse's Education and Outreach Programs that directly impact some 40,000 children and adults each year, including a major program that tours a commissioned new play each year to the schools. The theatre was founded in 1947 by Gregory Peck, Dorothy McGuire and Mel Ferrer, and revived in 1983 under the leadership of Des McAnuff, who served as Artistic Director from 1983 to 1994. Mr. McAnuff was succeeded by Michael Greif, who served as Artistic Director from 1995 to 1999. Since 2001, the theatre has again been led by Des McAnuff, who has announced his intention to step down effective in the spring of 2007. The 2007-2008 season (through March, 2008) will be the last selected by him. At that point he will become Director Emeritus and may on a limited basis develop and direct work for the Playhouse. The Playhouse has worked to fulfill it mission "to advance theatre as an art form and as a vital social, moral, and political platform by providing unfettered creative opportunities for the leading artists of today and tomorrow,.[and to be] a permanent safe harbor for the unsafe and surprising." Today, the new spaces and the expanded schedule present enormous opportunities for growth, especially in the play development process and in community standing and positioning. The new Artistic Director will work closely with Steven Libman, the Managing Director entering his second year of service; a creative and committed artistic and administrative staff; a flexible and gifted production team; and a growing Board of Trustees. Collectively, they will assure the Playhouse will remain a community asset, as well as a national treasure, in perpetuity. This naturally requires a strong organization with sufficient financial reserves to support the breadth and ambition of the artistry. Sustainability is key to the future, and the entire team, including the Artistic Director, will be working to achieve this objective. The Playhouse operates on a budget of $10 to $13 million per year. It has a full time permanent professional staff of 57. It is governed by a Board of about 40 business, civic, and social leaders. The local audience draw is from throughout the greater San Diego region which has a rich cultural, ethnic, and socioeconomic landscape, including a demographic of 35% Caucasian, 20% Hispanic, 20% Asian/Pacific Islander, and 15% African American. The core value held by all who work in and for the Playhouse holds to an artist-driven approach to the Playhouse's present and future.
City Theatre is a professional theatre company founded in February 1996 and dedicated to the solicitation, development and production of a genre completely unique to our cultural community - short (one-act) comedies, dramas and musicals by established and emerging playwrights from South Florida and throughout the nation. The company's lightning-quick growth and success have nearly become local legend. In the matter over a decade, City Theatre has come to be recognized by audiences, artists, critics and supporters alike as an organization that is playing an increasingly important role in nurturing original plays and collaborating with a growing ensemble of artists.
Founded in 1995, Dad's Garage Theatre has grown from a small volunteer led organization to a thriving mid-size theatre led by professional artistic and administrative staff. The Family at Dad's has continued to grow along with us including over 300 volunteers and performers. We now entertain more than 30,000 people a year at our two-theatre facility in Inman Park and at public events across the state and at improv festivals across the continent. Led by Artistic Director Kate Warner, Dad's gives a new definition to the phrase "original work" with regional premiere productions such as A Very Merry Unauthorized Children's Scientology Pageant (by Kyle Jarrow), and COLORADO (by Peter Sinn Nachtrieb), as well as innovative world premieres created by the Dad's Garage family like Invasion Our Town: The Unknown, Uncensored, Unscripted Tales of Grover's Corners (an improv show inspired by the classic) and The Song of the Dead: A Zombie Musical (opening June '08). In addition to our outrageous original productions, Dad's Garage produces 52 weeks a year with improv shows every Thursday, Friday, and Saturday except Thanksgiving and Christmas Day. We perform traditional and original formats including the improvised soap opera Scandal!, TheatreSports® (we're the only officially sanctioned team in the Southeast), our very own improv psychology seminar led by Dr. Bob Frapples, and our brand new Japanese-style game show Samurai Davis Jr. and Dim Sum's Super Mega Happy Fun Time Improv Show! Our work has been recognized and supported by the Atlanta Foundation, Andrew W. Mellon Foundation, Doris Duke Charitable Trust, The Arthur M. Blank Family Foundation, National Endowment for the Arts, Theatre Communications Group, Metropolitan Atlanta Arts Fund and The Community Foundation for Greater Atlanta. By creating a supportive environment for an artistic, technical, and administrative ensemble, we are able to elevate the awareness of the Atlanta community to original theatrical works and the creative outlets found through improvisation. This leads to the production of more than 300 performances a year for our audiences, and the training of new improvisers in our High School Outreach Program with performances each semester, as well as onsite classes and workshops for the general public. Now a fixture in the Atlanta arts scene, Dad's Garage has won Best Theatre and Best Improv Troupe in Creative Loafing for five years in a row, as well as similar awards in almost every major publication in the city. The theatre includes a 120-seat Mainstage space and a 50-seat black box space (the Top Shelf). The Top Shelf allows us to experiment with new types of shows and production styles that ultimately influence our work on the Mainstage. Recent Top Shelf productions include original premieres by members of the Dad's Family like Skin by Steve Yockey, The History of Rock & Roll by Chris Blair, Drove by Scott and Sloane Warren, and the runaway hit Lawrenceburg by Travis Sharp.
Tamasha was formed in 1989 by director Kristine Landon-Smith and actor / playwright Sudha Bhuchar with a mission to bring contemporary work of Asian influence to the British stage. The company's debut production, Untouchable - an adaptation of the novel by Mulk Raj Anand following a day in the life of an Indian latrine cleaner - opened at London's Riverside Studios in December 1989, performed by an entirely British Asian cast and playing alternate nights in English and Hindi. The success of Untouchable, and the diverse audiences it attracted, confirmed a growing appetite in Britain for quality drama which could accurately reflect the complexities of Asian cultures, while speaking to theatregoers from all backgrounds. The company's second production, House of the Sun, again drew its inspiration from modern literature (in this case a novel by Meira Chand), and provided a window into India's little-known Hindu Sindhi community. Ruth Carter's Women of the Dust followed a year later, commissioned by Oxfam to mark its 50th anniversary, recounting the untold story of all-female workforces drafted in from India's villages to work on urban construction sites. Both productions saw the team visit India to talk directly to the communities in question - primary research, which has since become a cornerstone of Tamasha's creative process. Women of the Dust also performed in Delhi and Bombay, marking the company's first international tour. Abhijat Joshi's A Shaft of Sunlight and Ruth Carter's A Yearning would follow in 1994 and 1995 respectively, the latter transposing Lorca's Yerma to Birmingham's Punjabi community. It was among five Tamasha productions that were subsequently adapted for broadcast on BBC Radio 4: the radio versions of both A Yearning and Women of the Dust went on to win CRE Race in the Media awards.
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