TWELFTH NIGHT was written over 400 years ago, making it sometimes difficult for modern audiences to connect to his comedy. One way that director Jerry Ruiz decided to overcome this was by setting it in a mid-20th century Mediterranean resort, complete with rich socialites and their first world problems—like a butler who’s gotten too big for his britches. In the case of making Shakespeare accessible, specificity is key.
Playwright and PlayMakers dramaturg Jacqueline E. Lawton has recently received the Junior Faculty Award from the University of North Carolina at Chapel Hill in for her work Among These Wild Things, a piece set to address the ethical and moral dilemmas a couple faces when they learn that any children they bring into the world may have a terminal genetic disorder.
What’s so ‘intimate’ about Intimate Apparel? We sat down with the design team to find out what makes this production more true to life than any other.
When our theatres go dark at the end of the night, we turn on a “ghostlight”—offering visibility and safety for all who might enter. This is our theatrical tradition—and our inspiration. On Thursday night at 5:30p.m., theatrical communities across the country will join in the launch of The Ghostlight Project, a collective action of solidarity and a shared commitment to greater inclusion, participation and compassion in our theatres and in our communities.
As the DE PROFUNDIS creative team begins its short residency here at PlayMakers, we’ll be using this post as a DE PROFUNDIS diary, tracking the show’s development from first rehearsal to opening night. Creators Brian Mertes & Jim Findlay will work with actress Nicole Villamil to take the piece from concept to embodied performance. We hope you’ll find the process as exciting as we do.
Recently, dramaturg Jacqueline Lawton had the opportunity to speak with director Raelle Myrick-Hodges about INTIMATE APPAREL. They spoke about her directing process and what excited her about directing this play now.
This performance of DE PROFUNDIS is being developed here at PlayMakers over the course of sixteen days as a collaboration primarily among three guest artists: director Brian Mertes, performer Nicole Villamil, and designer Jim Findlay. It is not a dramatization of Wilde’s imprisonment, nor even a play with a character in recognizable given circumstances. And yet, out of the depths of this text, a performance is emerging.
By Jerry Ruiz. Since I arrived here at PlayMakers in August, one of my major projects has been launching our Mobile Shakespeare initiative. This pilot program follows in the tradition of the original Carolina Playmakers and takes inspiration from the incredibly impactful work of Michelle Hensley and her Minneapolis-based theater company, Ten Thousand Things.
Actor Rishan Dhamija, hailing from New Delhi, India, is used to the stage, but he isn’t so used to the audience. “That’s what was surprising when I came here,” he says. He took one look at the audience and thought to himself, “Man! Young people don’t go?!”
It’s the dreariest time of year and we find ourselves in Kingston, NY at a boutique insurance company called The Vallor Group. By boutique we really mean small, recessed, tragically out-of-date, and failing to thrive. Meet the colorful employees of the most recessed corner of them all.