Review: WAITRESS at Playhouse On The Square
Musical theatre is known for showcasing the extraordinary. From GYPSY to MOULIN ROUGE to an ogre named SHREK, the most unusual protagonists imaginable are what are on display. Phantoms, witches, cats and even puppets (AVENUE Q) are what audiences have come to expect. Musicals are built for “transportation.”
COCO QUEENS Comes to TheatreWorks@TheSquare in July
Playhouse on the Square will present Coco Queens, written by LaDarrion Williams, running July 12th – July 28th at TheatreWorks@TheSquare, Overton Square Performing Arts District, 2085 Monroe Ave., Memphis, TN 38104.
Review: YOUR ARMS TOO SHORT TO BOX WITH GOD at Playhouse On The Square
The recent college campus protests in America seem to have surprised and bewildered a lot of people around the world. Why do privileged students who can afford a college education risk being expelled or jailed over a conflict in Gaza? Graduations are currently being cancelled, people are being arrested and police with riot gear are on standby from New York to California. It’s almost unheard of.
CLYDE'S Takes The Circuit Playhouse Stage
In this new comedy by Pulitzer Prize-winning playwright Lynn Nottage, a truck-stop sandwich shop in Reading, PA becomes a place of employment and redemption for the formerly incarcerated kitchen staff.
Playhouse On The Square Announces National Playwriting Finalists
Playhouse on the Square, in partnership with Reading Series Sponsor Jeffrey Mayhew and Super Sponsor Dr. Thomas Ratliff, is proud to announce the staged readings for the 2022 NewWorks@TheWorks competition. Presented in-person and streaming live via Showtix4U.com, the four readings will take place on the Playhouse on the Square main stage, December 4th, 6th,11th, and 13th at 7:00 pm.
The Circuit Playhouse Opens Season 54 With Riveting PASS/OVER
Playhouse on the Square, in partnership with An Anonymous Company and super sponsor Dr. Thomas Ratliff, is excited to present the Regional Premiere of PASS OVER by Antoinette Nwandu. Running September 16 – October 19, 2022 at The Circuit Playhouse.
RAGTIME to Close Out Theatre Memphis' Historic 100th Season
Ragtime, The Musical is the highlight of the end of the 100th anniversary season at Theatre Memphis in the Lohrey Theatre, June 3 - 26, 2022. Emotional and inspiring, the show is set at the dawn of a new era in the volatile melting pot of turn-of-the-20th-century New York. Everything is changing and anything is possible. Three distinctly American tales are woven together … a stifled upper-class wife, a determined Jewish immigrant and a daring young Harlem musician. United by their courage, compassion and belief, together they confront timeless contradictions of wealth and poverty, freedom and prejudice, hope and despair … and what it means to live in America.
Playhouse On The Square Has Plans For Your Valentine's Day
Playhouse on the Square, a 501 3(c) non-profit organization, has made Valentine's Day easy this year! A $100 ticket package will include ONE bottle of Champagne, FOUR cupcakes from Macaronagerie Memphis, ONE $25 Gift Card to Pugh's Flowers, and of course, an hour long digital cabaret featuring musical theatre love songs performed by Playhouse on the Square Resident and Associate Company Members! Serenade your sweetie with music from Rent, Memphis, Hairspray, and more!
Playhouse on the Square to Present SISTER ACT, 6/17-7/10
?The final musical in the Playhouse on the Square 2015 - 2016 season is Sister Act! When disco diva Deloris Van Cartier witnesses a murder, she is put into protective custody in a convent! The New York Times cries "when the wimples start quivering, the pinched mouths break into sunbeam smiles, and the nuns start rocking to raise the gothic rafters, all's right in the kingdom of musical comedy." Based on the hit 1992 film of the same name, Sister Act is filled with powerful gospel music, outrageous dancing, and a truly moving story.
BWW Review: Playhouse Stages a Large Scale ALL THE WAY
'I am in blood stepped in so far that should I wade no more, / Returning were as tedious as go o'er,' says Macbeth in William Shakespeare's tragedy of the same name. I have always felt that these lines could have described President Lyndon Johnson as he doggedly followed his disastrous course in Vietnam. Now, certainly, Johnson was no villain as such; however, to countless Americans, his term in office will be forever marred by his hubristic determination to succeed. For some families touched by tragedy, his very name will be forever reviled. However, in recent years, many historians (such as Doris Kearns Goodwin) have tried to see 'the forest' beyond 'the trees' and have lauded Johnson for effecting legislation that culminated in the Civil Rights Act of 1964 and in voting rights for Blacks. Playhouse on the Square's current production of Robert Schenkkan's ALL THE WAY (recalling LBJ's campaign slogan 'All the way with LBJ') focuses on Johnson's political maneuvers in that arena -- especially as they factor in his desire to be elected as something more than an 'accidental President.'
Playhouse on the Square to Stage Tony-Winning ALL THE WAY
Playhouse on the Square presents the regional premiere of Robert Schenkkan's political drama All The Way. The winner of the 2014 Tony Award for Best Play, All The Way takes us to November 1963. An assassin's bullet has just catapulted Lyndon Baines Johnson into the presidency. A man with a towering ambition and appetite, LBJ finds himself embroiled in passing the Civil Rights Act as he campaigns for re-election, and searches for the recognition he so desperately wants.
BWW Reviews: Playhouse's GOSPEL AT COLONUS Finds Sophocles 'Holy Rollin'
While watching THE GOSPEL AT COLONUS, the African-American version of Sophocles' OEDIPUS AT COLONUS as created by Lee Breuer (with music by Bob Telson), I was reminded of the reimagining of the Old Testament by Marc Connelly in the 1930 Pulitzer Prize-winning THE GREEN PASTURES. Like GOSPEL, THE GREEN PASTURES serves up time-honored material by transposing it to a religious setting;. PASTURES relates the Old Testament as envisioned by a young Afro-American boy; thus, Heaven is one big fish fry. When I first saw the 1936 film version (which Connelly, a white man, scripted for Warners' director William Keighley), I found it a special experience -- a wonderful all-black cast was an anomaly for a young viewer in the late 1950's and early i60's; now, with the passage of time (and legislation), I can understand why modern audiences would find it politically incorrect (though that cast is still peopled with some amazing talent). Interestingly, Mr. Breuer eschews following Connelly's suit, and though he utilizes a Black minister and church service to tell his tale, he focuses instead on an ancient Greek tragedy rather than the Old -- or New -- Testament.
Playhouse on the Square to Present THE GOSPEL AT COLONUS
Based on Sophocles' Greek myth Oedipus and set in a contemporary African-American gospel church service, this production will move and thrill you with electrifying vocals. Scorned and aged, Oedipus arrives at Colonus where he will die as fate foretold. But before his demise, he must tell his side of events. His journey toward truth, self-understanding, and forgiveness comes with soaring songs and an ending to lift the soul.
Playhouse on the Square to Present THE GOSPEL OF COLONUS
Based on Sophocles' Greek myth Oedipus and set in a contemporary African-American gospel church service, this production will move and thrill you with electrifying vocals. Scorned and aged, Oedipus arrives at Colonus where he will die as fate foretold. But before his demise, he must tell his side of events. His journey toward truth, self-understanding, and forgiveness comes with soaring songs and an ending to lift the soul.
BWW Reviews: Playhouse 'Brushes Up' KISS ME, KATE
For its spring musical, Playhouse on the Square has reached several decades back and produced -- not an 'old warhorse of a musical' (sorry, Rodgers and Hammerstein) -- but a true thoroughbred, Cole Porter's sparkling, innovative (at the time) KISS ME, KATE. Just as Shakespeare himself created enduring plays by utilizing the best plots and characters of other works, so did Porter and his collaborators, Bella and Samuel Spewack -- they went right to the Bard himself, and in building their own superb entertainment around the rollicking THE TAMING OF THE SHREW, they created such a witty, enjoyable romp that would cause even the immortal Shakespeare to set aside his pen, smile, and snap his garters.