A Kid Like Jake follows a New York couple, Alex and Greg, as they try to get their son Jake into one of the most elite elementary schools in Manhattan. Jake, a unique and expressive boy, has a fondness for “gender-variant play” (i.e. dressing up like a princess). While Judy, the application administrator, thinks that Jake’s “uniqueness” will help the school appear more diverse and progressive, Alex and Greg struggle to accept this aspect of Jake’s personality and question whether they should foster such behavior. Playwright Daniel Pearle’s hard hitting social commentary poses some thought provoking questions about “hypocritical hypocrisy,” social norms, and upper-class pride. A Kid Like Jake runs through March 15 and showing times are 7:30 PM Thursdays through Saturdays and 3 PM on Saturdays and Sundays. The performance will be held in the Greenhouse Theatre Center and tickets range from $20-35.
For more information and to purchase tickets click here!
Mosses “Fleetwood” Walker was an American baseball player, who is accredited by some to be the first African American baseball player. He played in 1884 one season of baseball in the Majors for the Toledo Blue Stockings and after professional baseball he played in the minors until 1889. He then became an advocate for black nationalism.
The new play The Trial of Mosses “Fleetwood” Walker reconstructs the three day trial of Walker after being charged with second degree murder in the killing of a white man outside a New York bar. The play is brought to life with projected news clippings and an original score by Jackie Taylor.
The play is being preformed at the Black Ensemble Theatre on Thursdays through Sundays until March 15. Showtimes and tickets can be found here.
HELLO BLOG READERS! My name is Kyle McCloskey and I am the Dramaturg and Assistant Director for Loyola’s upcoming production of Spring Awakening. We’ve just begun our first week of rehearsals and I thought I’d start off with a short background about the performance.
The musical Spring Awakening is inspired by the original play, an example of German expressionism written in 1891 by Frank Wedekind, a radical atheist and world-class lute player. Subtitled “a children’s tragedy,” the play was written to express ideas against the conservative nature of the German education system and Otto Von Bismarck’s realpolitik policy that the state should do whatever is necessary to become the most powerful, regardless of the ethical consequences. Wedekind’s play faced heavy censorship not only in its initial performance in 1906 (it took 15 years for a producer even to take the initial journey down the rabbit hole) to performances even now being censored for the raucous and unapologetic look at teenage sexuality and angst that Wedekind crafted.
Fast forward to February 1999 — after a performance of Porgy and Bess, playwright Steven Sater and Duncan Sheik of Barely Breathing fame, conceived the idea of crafting a piece as striking as Gershwin’s classic for a new generation of emerging theatre artists. After seven years of workshops and an Off-Broadway run, Spring Awakening the musical opened on December 10, 2006. It went on to dominate the Tony Awards that year, winning eight awards including Best New Musical, Best Score, Best Book and Best Featured Actor in a Musical for John Gallagher Jr.’s portrayal of the emotionally distressed Moritz Stiefel. The musical has since been performed across the United States, United Kingdom, Germany, Australia, along with many other countries.
Our production will focus on the thought provoking nature of the musical. We’ll also explore what conventions Sheik and Sater are rebelling against in this update. Follow along with our blog entries for possible answers to these questions. Along the way, we’ll offer an inside look at our process as well as some additional entries about the techniques and dramaturgical information we will be using to bring this powerful musical to life.