byGeorge Stevens, Jr. Directed by Benny Sato Ambush, and featuring Johnny Lee Davenport
JANUARY 7-FEBRUARY 5, 2017
New Repertory Theatre presents Thurgood, January 7-February 5, 2017 in the Black Box Theater at the Mosesian Center for the Arts, 321 Arsenal Street, Watertown, MA. “There is no mistaking the powerful and lasting legacy that Justice Thurgood Marshall had on the judicial system in the United States,” says Artistic Director Jim Petosa. “Arguing landmark cases such as Brown v. Board of Education deservedly brought him the national attention that eventually propelled him to the nation’s highest court. His story is one of determination and perseverance, so we’re pleased to present this play as we begin our new Prophetic Portraits Series this winter.”
“Thurgood Marshall is the Civil Rights Movement’s unsung hero,” says actor Johnny Lee Davenport. “His nomination to the Supreme Court literally changed America. Looking to the future sometimes means revisiting the past. By doing this play, I hope to remind, maybe even forewarn people that the politics of our country and the laws governing our nation, based on the Constitution of the United States, apply to, and protect all Americans. Not just the rich, not just the privileged, and certainly not just the interests of certain individuals. Thurgood gives us hope and the assurance that one man can make a difference!”
Featuring Johnny Lee Davenport (The Whipping Man) as Justice Thurgood Marshall, the first African-American to sit on the Supreme Court, Thurgood spans Marshall’s impressive career as a lawyer, arguing such landmark cases as Brown v. Board of Education. Presented during the final month of the Obama administration, Thurgood is a tribute to Marshall’s enduring legacy.Johnny Lee Davenport* (Thurgood Marshall) returns to New Repertory Theatre after performing in The Whipping Man and A House with No Walls. Other area credits include The Unbleached American (Stoneham Theatre); It’s A Wonderful Life: A Radio Play (Wheelock Family Theatre); Water by the Spoonful and Broke-ology/Elliot Norton Award, Best Actor (The Lyric Stage Company); Driving Miss Daisy and Master Harold…and the Boys (Gloucester Stage Company); and Invisible Man/Helen Hayes Award, Best Ensemble (Studio Theatre Washington, D.C. and The Huntington Theatre Company). Mr. Davenport has played more than 50 roles in 24 of Shakespeare’s plays including Richard III (Commonwealth Shakespeare Company); Pericles (Actors’ Shakespeare Project); and Richard II (Shakespeare & Company). Film credits include Ted, The Fugitive, U.S. Marshals, and Ascendants. He was named Best Actor in Boston Magazine (2011).
Tickets are $19-$42 and may be purchased by calling the New Rep Box Office at 617-923-8487 or visiting newrep.org.
To Play At the Lyric Stage January 13 Through February 12
Steven Barkhimer and Paula Plum
The Lyric Stage has announced the cast for Edward Albee’s classic play Who’s Afraid of Virginia Woolf set to run from January 1st through February 12th.
Directed by Scott Edmiston who’s My Fair Lady at the Lyric was named among “The Best Theatre of 2015” by the Wall Street Journal, the very strong cast will include Steven Barkhimer (Warrior Class) playing George. He will be joined by the award winning Paula Plum who will portray Martha. Erica Spyres (Company) and Dan Whelton (One Man, Two Guvnors) will play Honey and Nick.
The Lyric Stage is located at 140 Clarendon Street, Boston.
From January 6 to February 4, 2017, SpeakEasy Stage Company will proudly present the New England Premiere of HAND TO GOD, the devilishly smart new comedy about good and evil, sex and sin, written by Robert Askins.
Described as “Sesame Street meets The Exorcist” by the New Yorker, HAND TO GOD tells the story of an awkward Texas teen named Jason, who spends his afternoons at his local church, practicing for the Christian Puppet Ministry run by his widowed mother. All hell literally breaks loose, however, when Jason’s puppet Tyrone takes on a shocking and dangerously irreverent personality all its own. Nominated for five Tony Awards including Best Play, HAND TO GOD explores the startlingly fragile nature of faith, morality, and the ties that bind.
Like the young protagonist in his play, HAND TO GOD playwright Robert Askins grew up in a small Texas town, lost his dad at a relatively young age, and even participated in the Christian Puppet Ministry which his mother ran at the local Lutheran church. He didn’t start writing plays until he got to Baylor University, which is where he met playwrights Romulus Linney and Horton Foote. These celebrated writers encouraged Mr. Askins and provided a connection to New York’s Ensemble StudioTheatre, which is where, in 2011, HAND TO GOD had its premiere. In addition to his Tony nomination for HAND TO GOD, Mr. Askins has received two EST/Sloan grants, the Helen Merrill Emerging Playwrights Award, and an Arch and Bruce Davis Award for Playwriting. His most recent play Permission, had its world Premiere Off-Broadway in spring 2015 at MCC Theater.
Norton Award-winner David R. Gammons will direct HAND TO GOD for SpeakEasy. Mr. Gammons’ other SpeakEasy credits include Necessary Monsters, The Whale, The Motherf**ker with the Hat (2013 Elliot Norton Awards for Outstanding Production and Outstanding Actress), Red (2012 Elliot Norton Awards for Outstanding Production and Outstanding Actor), and Blackbird. His work as a director and designer has been featured at American Repertory Theatre, Huntington Theatre Company, New Repertory Theatre, Actors’ Shakespeare Project, and Boston Playwrights’ Theatre, among others
The cast for this New England Premiere production is Marianna Bassham, Josephine Elwood, Eliott Purcell, Dario Sanchez, and Lewis D. Wheeler.
The design team is Cristina Todesco (scenic); Gail Astrid Buckley (costumes); Jeff Adelberg (lighting); and Andrew Duncan Will (sound).
HAND TO GOD will run for five weeks, from January 6 through February 4, 2017 in the VirginiaWimberly Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.
Ticket prices start at $25, with discounts for students, seniors, and persons age 25 and under.
For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com .
The current run of Fiddler On The Roof at the New Rep Theatre was extended even before it opened. Audiences had high expectations for this production which is being directed by Austin Pendleton. So, did Mr. Pendleton and company meet expectations? The answer is a resounding yes. They met and exceeded them.
This version is a joy to see in the intimate setting of the New Rep Theater. From the opening number, Tradition, it is abundantly clear Jeremiah Kissel is more than up for the role of Tevye. While Mr. Kissel may not have the vocal range for all of the numbers, he does have something more important; Kissel’s voice is warm and full of the decency and kindness that is embodied in Tevye.
Kissel’s voice is warm and full of the decency and kindness that is embodied in Tevye.
Watching and listening to him as he sees life around him changing more rapidly than he can keep up with, and as he struggles with his adherence to traditions while also wanting the best for his daughters brings smiles and tears to the eye. Teyve is a man struggling with many things but who remains optimistic and humorous. His ongoing conversations with God reflect this. Jeremiah Kissel captures all of this.
Make no mistake, this is not a one man show. Director Pendleton has assembled a large and very strong cast for this production. Amelia Broome as Tevye’s wife Golde is perfect opposite Mr. Kissel. Listening to them sing together in Sunrise, Sunset and Do You Love Me? is a joy. Their voices convey a warmth and love that will melt the coldest of hearts.
Abby Goldfarb, Sarah Oakes, Victoria Britt
Abby Goldfarb is radiant on the stage as Tzeitel, the first of Tevye’s daughters to rebel against tradition by pledging her love to Motel the tailor. Motel is played by Patrick Varner in an understated fashion that we soon realize encompasses the full range of growth his timid character experiences as he turns into a strong and confident husband. Varner is damn good in doing this. He is a joy when performing Miracle of Miracles.
When Joseph Stein and Jerry Bock first wrote Fiddler they must have had Bobbie Steinbach in mind for the role of Yenta. She takes over the stage as the busy body matchmaker who is seeing the breaks from tradition affecting her business. Just watching her walk on and off the stage is a pleasure.
Abby Goldfarb is radiant on the stage as Tzeitel.
Mr. Pendleton has the Fiddler, played by Dashiell Evett, remain on stage throughout most of the play. His silent presence can be interpreted as, perhaps, a witness to what is happening, or maybe as representing the traditions that are passing. At one point Tevye, while struggling with the decision to disown his daughter Chava (VIctoria Britt) because she has chosen to marry out of the faith, reaches over and joins hands with the Fiddler. It is a poignant moment as we feel the pain of this kind man forced into a terribly difficult position.
Dashiell Even, Amelia Broome, Bobbi Steinbach
The choreography by Kelli Edwards does not disappoint. At first I thought it was going to be very toned down when the dance in To Life did not live up to my boyhood memories of seeing it performed by the Broadway touring company in the 60s. However, the bottle dance during the wedding scene was superb and had the audience clapping along as if they were participants. It is outstanding.
This is a production not to be missed. I would imagine tickets will be selling rapidly, so I would suggest you get yours soon. After seeing it I can guarantee you will leave the theater shouting L’chaim!
Photo credits: Andrew Brilliant / Brilliant Pictures
Fiddler On The Roof
Now though January 1st
New Rep Theatre
321 Arsenal Street, Watertown 617.923.8487
enwrap.org
A Celtic Christmas In Kennebunkport and Sanford, Maine
December 3rd and 4th Seaglass Chorale is excited to announce that its 2016 winter concert will be A Celtic Christmas, featuring Regina Delaney on Irish harp and Ryan J. Thomson and his son Brennish on fiddle. The concert will include a celebration of the Winter Solstice, seen as a most significant time of year in Celtic culture.
There will be two performances of this concert, the first as part of Kennebunkport’s Christmas Prelude on December 3rd and the second at North Parish Church in Sanford the afternoon of December 4th.
Saturday, Dec 3, 7:00 pm
South Congregational Church, 2 North Street, Kennebunkport, Maine
Sunday, Dec 4, 2:30 pm
North Parish Congregational Church, 895 Main Street, Sanford, Maine
Artistic Director Jean Strazdes
Founded in 1993 by Artistic Director Jean Strazdes, the Seaglass Chorale is a non-auditioned adult choral group of 50-60 voices that has established itself as a voice to be heard! The chorale represents some 20 southern Maine communities and regularly performs throughout the area, with concerts in Kennebunk, Kennebunkport, Wells, Sanford, Saco, and other regional venues. We are well supported by our longtime accompanist, Kimberly Karchenes.
Internationally acclaimed, Seaglass Chorale has traveled to Europe twice, performing in Rome, Venice, Innsbruck, and Budapest.
In September of 2004, choristers proudly led the musical prelude at the National Cathedral in Washington, DC. In March of 2016 the works of Norwegian composer Ola Gjeilo were performed in Merrill Auditorium, Portland, Maine while Maine coastal photographs by renowned photographer Peter Ralson of Rockport, Maine were shown. Some members of the chorale sang in the Hunchback of Notre Dame chorale this past summer at the Ogunquit Playhouse. During summer of 2017 the chorale has been invited to perform in Ireland as part of a prestigious music festival.
This Celtic Christmas concert features Celtic music including Gaelic sung by the chorale as well as Celtic Harp, Celtic fiddlers, flute, piano & other instruments. There will be an audience sing a long of more traditional holiday carols toward the end of the concert.
Ticket Information
Ticket prices are $15 for adults and $12 for children and seniors.
Reserve your tickets by contacting us at 207-985-8747 or seaglass [at] gwi [dot] net.
Tickets can also be purchased at Morse Hardware in Wells or through a Chorale member.
Ezzard Charles; A Boxing Life
By William Dettloff
Published by McFarland, 232 pages $35.00
www.mcfarlandpub.com
Reviewed by Bobby Franklin
Ezzard Charles was not someone you would look at and think of as vicious fighting machine. He looked more like a member of Duke Ellington’s jazz band. He was also very mild mannered with a gentle air about him. As a kid in Lawrenceville, Georgia and later in Cincinnati, Ohio he was friendly but quiet. He did always love boxing and dreamed of one day becoming a world champion.
In 1949, after an amateur career and almost ten years of fighting pro he attained his dream by beating Jersey Joe Walcott for the title Joe Louis had vacated. Unfortunately for Charles he had two things against him. He was stepping into the shadow of the beloved Louis, and he did not possess the exciting and dramatic style of the Brown Bomber. The public just did not take to him. It’s not like Charles hadn’t earned respect. He had fought and beaten a number of the Black Murder’s Row fighters. He had two wins over the very great Charley Burley as well as a decision win and a knockout over Archie Moore.
It has often been said that Charles is the most underrated of all heavyweight champions.
While Charles may have looked more like a piano teacher out of the ring, when the bell rang he was a brutal competitor. As I was reading William Dettloff’s excellent biography of Charles I couldn’t help thinking that Ezzard had to have a lot of anger in him that he could only express in the prize ring. He could also be erratic in his performances, sometimes not looking motivated enough to win convincingly. Charles would be a ripe candidate for some psychoanalysis, and in fact, before his rematch with Rocky Marciano the press, in an effort to drum up interest in the fight had a psychiatrist visit the camps of both fighters. The doctor described Charles as “A dreamer type…who loses the spontaneity in his dreams” because of his many “inhibitions”. Interesting insight even if it was just hype to sell tickets.
Mr. Dettloff has done exhaustive research on the life and fighting career of Ezzard Charles. He takes us to the tragic night in 1948 when Charles fought Sam Baroudi. Baroudi would be carried from the ring and die the next day. Ezzard was devastated by this tragedy, but just three months later would step back into that same ring and knock out the very formidable Elmer “Violent” Ray. In fact, he would fight four more times in 1948 including a win over Jimmy Bivins.
Louis vs Charles
Charles would continue winning and fighting often, finally landing a fight with Jersey Joe Walcott for the vacant heavyweight crown. Beating Walcott may have made him champion, but he still had to live in the shadow of Joe Louis. He defended the title numerous times and even went on to defeat his idol Louis in a brutal fifteen round affair that should have removed all doubt to his legitimacy as champion. It did not. The problem was, as Dettloff points out, Ezzard Charles was not Joe Louis.
This lack of public support may have had something to do with his not always being to motivate himself. Another reason was his fighting so often and against such tough competition. Ezzard rarely got an easy opponent. In fact, in reading this biography we are treated to a history of the light heavyweight and heavyweight divsions in the 1940s and 50s. Mr. Dettloff gives brief but very interesting biographies of many of Charles’s opponents; Archie Moore, Walcott, Bivins, Harold Johnson, Bob Satterfield, and many others. This all makes for a very interesting book.
Dettloff also introduces us to many of the characters who occupied the world of boxing during that era. One of the most quotable was Charles’s manager (he had many) Jake Mintz. Mintz could twist the English language in amazing ways. For example, when recounting surgery he had to repair a hernia he said “They thought I had some golf stones there so they took an autograph of my heart and said, ‘One of your ulsters is worn out’. William Shakespeare would be envious.
There are also other interesting facts related here. It turns out a young Charles while serving in the military fought a three round exhibition with Joe Louis. Also, while training for his bout against Bob Satterfield the Charles people brought in a crude young heavyweight by the name of Sonny Liston to be a sparring partner. Liston was not up to the task at that point in his career.
After Charles lost the title to Walcott, and a rematch with Jersey Joe, it looked like his hopes of ever regaining the title were over. He began campaigning for another shot at the title but lost back to back matches against Nino Valdez and Harold Johnson. Charles was getting tired and old, but he did come back to life with wins over Satterfield and Coley Wallace. It was enough to earn him a shot at the new and exciting young champion Rocky Marciano.
Dettloff writes about this fight in detail. He discusses Charles’s training and strategy for the fight, a strategy that at first glance may have sounded foolish but made sense. Ezzard went into the Marciano bout motivated to win but came up short. He did earned the distinction of being the only man to take the Rock the full 15 rounds and came closer than any fighter to taking the title from him, though the decision was clearly in Marciano’s favor.
Charles would get a rematch based on this performance, and even though he severely cut Rocky’s nose, he just did not have anything left. Though he would continue to fight on for another four years it was all downhill from there. He would end up broke, take up professional wrestling, and struggle to make ends meet. His final years were spent suffering from Lou Gehrigs Disease. A very tragic end for such a great fighter.
William Dettloff has written a fine biography of a great champion, and one that Ezzard Charles deserves. Boxing fans should take the time to read this very interesting book and learn about this man who deserves to be remembered. It has often been said that Charles is the most underrated of all heavyweight champions. Mr. Dettloff has down a terrific job in changing that history.
Wakeem Jones and De’Lon Grant Photo credit: Nile Hawver/Nile Scott Shots
Due to unprecedented demand, SpeakEasy Stage will remount its acclaimed production of THE SCOTTSBORO BOYS for four additional weeks, December 30, 2016 – January 22, 2017.The entire original cast will return to the production, which has been hailed as “a powerful and vivid reminder of racial injustice both past and present.” Tickets for the added performances are now on sale.
“I am thrilled to have another opportunity to share THE SCOTTSBORO BOYS with Boston audiences,” said SpeakEasy Founder and Producing Artistic Director Paul Daigneault. “Rarely have I been more proud of a production, and rarely has a show seemed as timely and important as this one.”
Featuring music and lyrics by Broadway legends John Kander and Fred Ebb, and a book by David Thompson, THE SCOTTSBORO BOYS brings to light the shocking true story of nine African American teenagers jailed in Alabama in 1931 for a crime they did not commit. With an exhilarating and infectious score that mixes gospel, jazz, and vaudeville, the show flips the script on the classic minstrel construct to lay bare the fateful case that inspired the American civil rights movement. Nominated for 12 Tony Awards during it initial Broadway engagement, THE SCOTTSBORO BOYS is also notable as the final collaboration between Kander and Ebb, whose works include such musical theatre classics as Cabaret, Chicago, and Kiss of the Spider Woman.
The entire original cast will be back for these additional performances. They are: Darren Bunch,Shalaye Camillo, Taavon Gamble, Russell Garrett, De’Lon Grant, Brandon G. Green,Sheldon Henry, Wakeem Jones, Steven Martin, Darrell Morris, Jr., Maurice Emmanuel Parent, Aaron Michael Ray, and Isaiah Reynolds.Ticket prices start at $25, with discounts for students, seniors, and persons age 25 and under.
The second installment of THE SCOTTSBORO BOYS will run for four weeks, December 30, 2016 through January 22, 2017, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.
For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com
Jared Troilo, Kirsten Salpini. Photo by Mark S. Howard
Two actors playing thirteen characters while singing, dancing, and playing the piano. Sounds a bit complicated. That’s what I thought as Murder For Two began Sunday afternoon. How would I ever be able to keep track of all that was going on? Well, when the two actors are Jared Troilo and Kirsten Salpini it is not a problem. Add in the fine direction of A. Nora Long and a very funny and fast moving script and music by Joe Kinosian and Kellen Blair, and you can just sit back, relax, and enjoy a great time at the theater.
The story is set at the home of the great American novelist Arthur Whitney where his wife has arranged a surprise birthday party for him.
A little song, a little dance, a little murder, what could be more enjoyable?
Unfortunately for poor Arthur, he runs into a bullet before he is able to open his presents. This is where police officer Marcus Moscowitz (Jared Troilo) comes on the scene. Moscowitz is mistaken for a detective, a confusion he does nothing to dissuade the suspects from believing. Marcus sees cracking this case as his ticket to a promotion, as long as he can do it before his superior officer gets there. He is going to go strictly by Protocol, which also happens to be the name of his first musical number.
Ms Salpini is funny, creative, and a joy to watch.
He begins interviewing the suspects, all of whom are played by Kirsten Salpini. She also plays the members of a boy’s chorus who have been hired to provide entertainment for the party. They are a mischievous lot and very funny. Ms Salpini switches roles from moment to moment without the aid of costume changes. She manages this, and very well I might add, by changing her voice and accent along with some very creative body language. I have seen some impressive performances where one actor plays multiple roles solely by changing voice and movement, most notably Chaz Palminteri in A Bronx Tale and John Douglas Thompson in Satchmo At The Waldorf , and while Kirsten Salpini does not rise to their level, she is certainly a contender and does a fine job in her many roles. Ms Salpini is funny, creative, and a joy to watch. Her singing is the icing on the cake.
Jared Troilo as pseudo Detective Moscowitz is right at home in his role as the nervous cop trying to solve the big crime. His singing and dancing is a reminder of how much fun theatre can be, even if it’s about a murder. While the part was not written for him he performs it like it was.
Jared Troilo, Kirsten Salpini. Photo by Mark S. Howard
Finding two actors who can sing, dance, and also play the piano had to be a challenge for director Long. Finding two with these talents who could also work so well together had to be almost impossible, but with Jared and Kirsten she found a theatre match made in Heaven.
I will not spoil the fun by letting on more about the details of the play, only to say that there was also another crime committed during the party, and those of you with a sweet tooth may consider that one the more serious.
Murder For Two is a great way to take some time out during this busy time of the year to enjoy a very funny and fun play. A little song, a little dance, a little murder, what could be more enjoyable?
Charles Mosesian Theater at the Arsenal Center for the Arts
Watertown, MA
DECEMBER 2-24, 2016
New Repertory Theatre presents Fiddler on the Roof, December 2-24, 2016 in the Charles Mosesian Theater at the Arsenal Center for the Arts, 321 Arsenal Street, Watertown, MA.
“Fiddler on the Roof has a much deserved place in the history of musical theatre,” says Artistic Director Jim Petosa. “It was first produced at a time when ideas of tradition and cultural identity were in an upheaval. It became a response to the transition that was happening in American culture and continues to resonate today as it examines the traditions of life, communities, and family.”
“We’re thrilled to welcome back to our stage so many New Rep favorites in our much- anticipated production of Fiddler on the Roof,” says Managing Director Harriet Sheets. “We’d also like to welcome back Austin Pendleton. While this is his first time directing for us, he is no stranger to our stage having appeared in Quills, Waiting for Godot, and King Lear. His play, Orson’s Shadow, also received its Boston-area premiere during our 2006-2007 season to resounding critical praise, and in 2015 we were honored to present him with New Rep’s Award for Lifetime Artistic Achievement at our annual Gala.”
Jeremiah Kissel
A spirited revival of the beloved musical, Fiddler on the Roof features Jeremiah Kissel (Broken Glass, The King of Second Avenue, Imagining Madoff) as Tevye, leading a cast of Boston-area favorites in this Tony Award-winning play. Rendered with striking intimacy and simplicity by Tony-nominated director Austin Pendleton, who originated the role of Motel the Tailor on Broadway, this energetic production puts the classic story’s fierce heart at the center of the audience experience with its timeless warmth, humor, and honesty.
The SpeakEasy Stage’s production is as good a one as you will see.
The Scottsboro Boys was John Kander and Fred Ebb’s final collaboration. Mr. Ebb passed away in 2004 and Mr. Kander finished the play on his own. It debuted in 2010. It is a musical about nine young black men, actually boys (the youngest was only thirteen), who, in 1936, were falsely accused of raping two white women in Alabama. It is a tragic and heart wrenching story about a terrible miscarriage of justice and racism.
While the original production received 12 Tony Award nominations, it was greeted with mixed reviews and some protests when it appeared on Broadway.
Wakeem Jones and De’Lon Grant Photo credit: Nile Hawver/Nile Scott Shots
The SpeakEasy Stage’s production is as good a one as you will see. Staging a musical such as this that deals with a true story that is sure to make an audience very uncomfortable has to be difficult; however, everything about Paul Daigneault’s direction is excellent. The sets, the music, the lighting. And that is just what can make this awkward for the audience. A lively musical with many one liners that stings.
Kander and Ebb set this as a minstrel show with some of the roles reversed. You will see such mainstay minstrel characters as Mr. Tambo and Mr. Bones, only in this case they are black men playing grotesque and exaggerated depictions of white characters. Makes you see things from a bit different perspective to say the least.
At no time during the play do you lose sight of the tragic injustice that is taking place.
Yes, this is a musical, and a lively one too with many great tunes and lively dance numbers. This can also lead to much discomfit. I asked some of the cast members after the show if different audiences react in different ways (at the performance I attended most applauded after each number, though I felt it inappropriate to do so.). They told me that some remain silent until the end and applaud when the play is over. At other times they can feel a hesitation before getting a response. This all makes sense in a show such as this where the music is very good and the performers excellent. However, you don’t exactly want to walk out of the theatre humming Electric Chair or Minstrel March. At no time during the play do you lose sight of the tragic injustice that is taking place, and that took place not very far in our past. The solid cast never allows that to happen. All the players are deeply vested in their characters and it shows.
Darrell Morris Jr. and Isaiah Reynolds (Photo Credit:Nile Hawver/Nile Scott Shots)
Don’t let any of this dissuade you from seeing this fine cast perform on the stage of the Calderwood Pavillon. As usual, the SpeakEasy has assembled a very talented cast that does not disappoint. This is a rare opportunity to see Kander and Ebb’s final work, and we are lucky to have the SpeakEasy that does not shy away from such productions.
Due to popular demand, performances have been extended through November 26.
speakeasystage.com
617.933.8600 At The Calderwood Pavillon, 527 Tremont Street, Boston’s South End
“There is no mistaking the powerful and lasting legacy that Justice Thurgood Marshall had on the judicial system in the United States,” says Artistic Director Jim Petosa. “Arguing landmark cases such as Brown v. Board of Education deservedly brought him the national attention that eventually propelled him to the nation’s highest court. His story is one of determination and perseverance, so we’re pleased to present this play as we begin our new Prophetic Portraits Series this winter.”
