Grey’s Anatomy and Quiz Lady actor Sandra Oh will star in the Off Broadway American premiere of Lucy Kirkwood’s The Welkin this summer.
The Atlantic Theater Company production begins previews Thursday, May 16, and will open Wednesday, June 12 for a limited engagement through Sunday, June 30.
Directed by Sarah Benson, The Welkin is set in Rural Suffolk, England, 1759, as the country waits for Halley’s Comet. A young woman is sentenced to hang for a heinous murder, and when she claims to be pregnant, a jury of twelve matrons are taken from their housework to decide whether she’s telling the truth or simply trying to escape the noose. Only midwife Lizzy Luke (Oh) is prepared to defend the girl against a mob baying for blood, matrons wrestling with their new authority and the devil in their midst.
Atlantic describes the work as a “dark, fierce,...
The Atlantic Theater Company production begins previews Thursday, May 16, and will open Wednesday, June 12 for a limited engagement through Sunday, June 30.
Directed by Sarah Benson, The Welkin is set in Rural Suffolk, England, 1759, as the country waits for Halley’s Comet. A young woman is sentenced to hang for a heinous murder, and when she claims to be pregnant, a jury of twelve matrons are taken from their housework to decide whether she’s telling the truth or simply trying to escape the noose. Only midwife Lizzy Luke (Oh) is prepared to defend the girl against a mob baying for blood, matrons wrestling with their new authority and the devil in their midst.
Atlantic describes the work as a “dark, fierce,...
- 2/27/2024
- by Greg Evans
- Deadline Film + TV
Sandra Oh will appear in the Off-Broadway premiere of The Welkin, written by Lucy Kirkwood at Atlantic Theater Company this spring.
Oh, known for her starring roles in Grey’s Anatomy and Killing Eve, among many others, has previously appeared on the New York stage in Off-Broadway productions including Satellites, Stop Kiss and Wild Goose Dreams. She will also appear in HBO/A24’s limited series adaptation of The Sympathizer, airing in April.
She is joined by a cast that also includes Dale Soules (Orange Is The New Black), Danny Wolohan (To Kill a Mockingbird), b (American (Tele)visions), Tilly Botsford (Off-Broadway debut), Paige Gilbert (Skin of Our Teeth), Ann Harada (Avenue Q), Jenn Kidwell (Underground Railroad Game), Mary McCann (Harper Regan), Emily Cass McDonnell (I’m Revolting), MacKenzie Mercer (Frozen national tour) and Haley Wong (Mary Gets Hers at McC).
Directed by Sarah Benson, an Obie Award winner for her direction of Fairview,...
Oh, known for her starring roles in Grey’s Anatomy and Killing Eve, among many others, has previously appeared on the New York stage in Off-Broadway productions including Satellites, Stop Kiss and Wild Goose Dreams. She will also appear in HBO/A24’s limited series adaptation of The Sympathizer, airing in April.
She is joined by a cast that also includes Dale Soules (Orange Is The New Black), Danny Wolohan (To Kill a Mockingbird), b (American (Tele)visions), Tilly Botsford (Off-Broadway debut), Paige Gilbert (Skin of Our Teeth), Ann Harada (Avenue Q), Jenn Kidwell (Underground Railroad Game), Mary McCann (Harper Regan), Emily Cass McDonnell (I’m Revolting), MacKenzie Mercer (Frozen national tour) and Haley Wong (Mary Gets Hers at McC).
Directed by Sarah Benson, an Obie Award winner for her direction of Fairview,...
- 2/27/2024
- by Caitlin Huston
- The Hollywood Reporter - Movie News
Madison Wells Live will present a private industry reading of “Locker Room Talk,” a new play by Meghan Kennedy. Directed by Jessie Nelson, the reading will feature Sara Bareilles (“Into the Woods”), Sarita Choudhury (“And Just Like That”), Paige Gilbert (“Late Night”), Donna Murphy (“Passion”), Bonnie Milligan (“Kimberly Akimbo”), Gayle Rankin (“Glow”), Havana Rose Liu (“Bottoms”), Cecily Strong (“SNL”) and Charlotte Surak (“Waitress”).
The event will take place on Oct. 10, 2023 in New York City.
According to its official description, “Locker Room Talk” looks at a complicated, hilarious, diverse group of women in a locker room at a gym. It is an intimate exploration of how women communicate with each other as insecurities and issues around their bodies emerge. Madison Wells describes it as a “stripped-down comedy about female community, identity and connection.”
Kennedy is an award-winning playwright whose work includes “Napoli, Brooklyn” (Outer Critics Circle Award nomination); “Too Much, Too Much,...
The event will take place on Oct. 10, 2023 in New York City.
According to its official description, “Locker Room Talk” looks at a complicated, hilarious, diverse group of women in a locker room at a gym. It is an intimate exploration of how women communicate with each other as insecurities and issues around their bodies emerge. Madison Wells describes it as a “stripped-down comedy about female community, identity and connection.”
Kennedy is an award-winning playwright whose work includes “Napoli, Brooklyn” (Outer Critics Circle Award nomination); “Too Much, Too Much,...
- 10/9/2023
- by Brent Lang
- Variety Film + TV
The iconic 1959 play A Raisin In The Sun, which follows the Youngers, a black family trying to move from a tenement in the Chicago’s South Side to a working class white neighborhood, seems ripe for re-exploring for the BLM era with a new production at the Public Theater in New York City.
The family of five is stuck in a two-bedroom apartment in a black ghetto as they await a 10,000 life insurance payout after the death of their father.
Director Robert O’Hera‘s powerful production focuses on the struggle of black manhood of Walter Lee (Francois Batiste), who wants to use the windfall to buy into a liquor store. Matriarch Lena (Tonya Perkins) insists that the funds go toward buying a new home to help lift the family out of poverty. Her daughter Beneatha (Paige Gilbert) wants to use the money to go to medical school while trying to decide between two suitors.
The family of five is stuck in a two-bedroom apartment in a black ghetto as they await a 10,000 life insurance payout after the death of their father.
Director Robert O’Hera‘s powerful production focuses on the struggle of black manhood of Walter Lee (Francois Batiste), who wants to use the windfall to buy into a liquor store. Matriarch Lena (Tonya Perkins) insists that the funds go toward buying a new home to help lift the family out of poverty. Her daughter Beneatha (Paige Gilbert) wants to use the money to go to medical school while trying to decide between two suitors.
- 11/7/2022
- by Erik Meers
- Uinterview
Tonya Pinkins and Francois Battiste are among the cast announced today for the Public Theater’s upcoming production of A Raisin In The Sun, Lorraine Hansberry’s classic drama to be directed by Robert O’Hara (Tony nominated for his direction of Slave Play).
The production, which marks a Public Theater debut for Hansberry, reunites O’Hara with some of his cast from a 2019 Raisin In The Sun staging at the Williamstown Theater Festival, including Battiste, who will play Walter Lee Younger, and Mandi Masden, as Ruth Younger. Pinkins, a Tony winner for Jelly’s Last Jam, will play Walter Lee’s mother Lena Younger (played by S. Epatha Merkerson in the Williamstown staging).
The play begins performances at the Public’s Newman Theater Off Broadway with a Joseph Papp Free Performance on Tuesday, Sept. 27. The engagement officially opens on Wednesday, Oct. 19 and runs through Sunday,...
The production, which marks a Public Theater debut for Hansberry, reunites O’Hara with some of his cast from a 2019 Raisin In The Sun staging at the Williamstown Theater Festival, including Battiste, who will play Walter Lee Younger, and Mandi Masden, as Ruth Younger. Pinkins, a Tony winner for Jelly’s Last Jam, will play Walter Lee’s mother Lena Younger (played by S. Epatha Merkerson in the Williamstown staging).
The play begins performances at the Public’s Newman Theater Off Broadway with a Joseph Papp Free Performance on Tuesday, Sept. 27. The engagement officially opens on Wednesday, Oct. 19 and runs through Sunday,...
- 8/22/2022
- by Greg Evans
- Deadline Film + TV
A Brontosaurus and a Woolly Mammoth taking up residence among the mid-century modern trappings of a middle-class New Jersey household will now and forever make a theatrical impact – that, at least, hasn’t changed since playwright Thornton Wilder’s days – but so much else has, not least of all the ability of The Skin of Our Teeth, a seminal post-modern avant-garde winner of the 1943 Pulitzer Prize, to beguile merely on the strength of the post-modern avant-gardeness of it all.
Lincoln Center Theater’s major new revival of the play, directed by Lileana Blain-Cruz, with additional material by Branden Jacobs-Jenkins and the tireless efforts of an exemplary cast, does, in fact, afford some newfound vitality for a work so often more admired than loved. An exercise in endurance – for the cast, for the audience – The Skin of Our Teeth long ago passed along the novelty of its time-tripping, allegorical flourishes to subsequent heirs, from Caryl Churchill to Tony Kushner to the Wachowskis, so any attempt to meet and rise above the play’s inherent challenges would seem to require a vision, maybe a ruthlessness and certainly a firm grasp of the play’s continued reason for being.
Blain-Cruz does in fact display occasional moments of just those things, and so this Skin of Our Teeth, in fleeting sequences, lifts itself from the play’s traditional slog.
With a Black cast, loving references to bell hooks and allusions to youthful rage that seem as ferociously essential as the Black Lives Matter protests of 2020, Blain-Cruz reshapes Wilder’s universe just enough to encompass the Black experience, placing it firmly within the sweep of Wilder’s epoch-spanning tragicomic history of humanity.
As always, The Skin of Our Teeth opens with Sabina, maid to the upwardly mobile Antrobus family of Excelsior, New Jersey. Sabina nervously tidies the attractive house while catching us all up on the who’s who and what’s what – Mr. Antribus (James Vincent Meredith) has been very busy at the office of late, consumed as he is with inventing the wheel, while Mrs. Antribus (Roslyn Ruff) fusses protectively over the kids, little Gladys (Paige Gilbert) who is picking up some bad lipstick habits from the girls at school and young Henry (Julian Robertson) who just can’t keep his hands off rocks and other boys’ skulls any more than he can outrun the real name – Cain.
And on top of everything, the Ice Age is heading toward New Jersey, and not even the friendly
Bronto who lumbers around the living room – a marvelous and massive hand-operated puppet designed by James Ortiz – or the orange mammoth who romps like a puppy are likely to survive.
And so they don’t. Come Act II, when the action and the Antrobus Family finds itself on the boardwalk of Atlantic City during what appears to be both the 1920s and the Biblical Flood, the mammoth and the dinosaur will not be among the chosen two-by-twos to take refuge on that big boat just off the Jersey Shore. Violent Henry is still causing trouble, Sabina now calls herself Lily and Mrs. Antrobus has all but had it with her pathetic excuse for a husband, but, hey, family’s family, and that storm is coming hard.
When Skin finally arrives at Act II, the Antrobuses have been torn asunder by war – the blue and gray uniforms and antebellum dresses leave no doubt which war – and the long-in-coming, but never resolving, conflicts between father and son, husband and wife, mother and daughter, reach both a zenith and, Wilder suggests, a sort of equilibrium that can only exist in forgiveness. The next calamity is always in the offing, so stop squabbling.
Except of course that Wilder couldn’t have imagined nuclear holocaust or existential climate change, so The Skin of Our Teeth is always going to feel a bit, well, quaint in its ancient disasters and feel-good proposals. As theater, the Lincoln Center staging makes impressive use of the puppetry and the projections of hurricanes and a gorgeous evocation of the Atlantic City boardwalk as a modern-day Sodom and Gomorrah – which, by the way, looks like terrific fun, with loads of cool people, not least the all-knowing fortune teller played, in a relatively brief but wonderfully commanding performance, by the great stage star Priscilla Lopez. In a lovely final image, human wanderers follow the sun through distant fields. Here’s hoping they get where they are going – it’s been a long hike.
Lincoln Center Theater’s major new revival of the play, directed by Lileana Blain-Cruz, with additional material by Branden Jacobs-Jenkins and the tireless efforts of an exemplary cast, does, in fact, afford some newfound vitality for a work so often more admired than loved. An exercise in endurance – for the cast, for the audience – The Skin of Our Teeth long ago passed along the novelty of its time-tripping, allegorical flourishes to subsequent heirs, from Caryl Churchill to Tony Kushner to the Wachowskis, so any attempt to meet and rise above the play’s inherent challenges would seem to require a vision, maybe a ruthlessness and certainly a firm grasp of the play’s continued reason for being.
Blain-Cruz does in fact display occasional moments of just those things, and so this Skin of Our Teeth, in fleeting sequences, lifts itself from the play’s traditional slog.
With a Black cast, loving references to bell hooks and allusions to youthful rage that seem as ferociously essential as the Black Lives Matter protests of 2020, Blain-Cruz reshapes Wilder’s universe just enough to encompass the Black experience, placing it firmly within the sweep of Wilder’s epoch-spanning tragicomic history of humanity.
As always, The Skin of Our Teeth opens with Sabina, maid to the upwardly mobile Antrobus family of Excelsior, New Jersey. Sabina nervously tidies the attractive house while catching us all up on the who’s who and what’s what – Mr. Antribus (James Vincent Meredith) has been very busy at the office of late, consumed as he is with inventing the wheel, while Mrs. Antribus (Roslyn Ruff) fusses protectively over the kids, little Gladys (Paige Gilbert) who is picking up some bad lipstick habits from the girls at school and young Henry (Julian Robertson) who just can’t keep his hands off rocks and other boys’ skulls any more than he can outrun the real name – Cain.
And on top of everything, the Ice Age is heading toward New Jersey, and not even the friendly
Bronto who lumbers around the living room – a marvelous and massive hand-operated puppet designed by James Ortiz – or the orange mammoth who romps like a puppy are likely to survive.
And so they don’t. Come Act II, when the action and the Antrobus Family finds itself on the boardwalk of Atlantic City during what appears to be both the 1920s and the Biblical Flood, the mammoth and the dinosaur will not be among the chosen two-by-twos to take refuge on that big boat just off the Jersey Shore. Violent Henry is still causing trouble, Sabina now calls herself Lily and Mrs. Antrobus has all but had it with her pathetic excuse for a husband, but, hey, family’s family, and that storm is coming hard.
When Skin finally arrives at Act II, the Antrobuses have been torn asunder by war – the blue and gray uniforms and antebellum dresses leave no doubt which war – and the long-in-coming, but never resolving, conflicts between father and son, husband and wife, mother and daughter, reach both a zenith and, Wilder suggests, a sort of equilibrium that can only exist in forgiveness. The next calamity is always in the offing, so stop squabbling.
Except of course that Wilder couldn’t have imagined nuclear holocaust or existential climate change, so The Skin of Our Teeth is always going to feel a bit, well, quaint in its ancient disasters and feel-good proposals. As theater, the Lincoln Center staging makes impressive use of the puppetry and the projections of hurricanes and a gorgeous evocation of the Atlantic City boardwalk as a modern-day Sodom and Gomorrah – which, by the way, looks like terrific fun, with loads of cool people, not least the all-knowing fortune teller played, in a relatively brief but wonderfully commanding performance, by the great stage star Priscilla Lopez. In a lovely final image, human wanderers follow the sun through distant fields. Here’s hoping they get where they are going – it’s been a long hike.
- 4/26/2022
- by Greg Evans
- Deadline Film + TV
The large ensemble cast of Lincoln Center Theater’s upcoming revival of Thornton Wilder’s Pulitzer Prize-winning classic The Skin of Our Teeth will include Priscilla Lopez, James Vincent Meredith (The Book of Mormon) and Gabby Beans (Succession).
Directed by Lileana Blain-Cruz, making her Broadway debut, The Skin of Our Teeth begins previews Friday, April 1, at the Vivian Beaumont Theater with opening night set for Monday, April 25. (Previews had previously been scheduled to begin March 31).
Lincoln Center also announced that playwright Branden Jacobs-Jenkins will contribute additional material for the production.
In addition to Lopez, Meredith and Beans, the cast will include Eunice Bae, Terry Bell, Ritisha Chakraborty, William DeMeritt, Jeremy Gallardo, Paige Gilbert, Avery Glymph, Donnetta Lavinia Grays, Tyrone Mitchell Henderson, Maya Loren Jackson, Anaseini Katoa, Cameron Keitt, Megan Lomax, Kathiamarice Lopez, Lindsay Rico, Julian Robertson, Julian Rozzell, Jr., Roslyn Ruff, Julyana Soelistyo, Phillip Taratula,...
Directed by Lileana Blain-Cruz, making her Broadway debut, The Skin of Our Teeth begins previews Friday, April 1, at the Vivian Beaumont Theater with opening night set for Monday, April 25. (Previews had previously been scheduled to begin March 31).
Lincoln Center also announced that playwright Branden Jacobs-Jenkins will contribute additional material for the production.
In addition to Lopez, Meredith and Beans, the cast will include Eunice Bae, Terry Bell, Ritisha Chakraborty, William DeMeritt, Jeremy Gallardo, Paige Gilbert, Avery Glymph, Donnetta Lavinia Grays, Tyrone Mitchell Henderson, Maya Loren Jackson, Anaseini Katoa, Cameron Keitt, Megan Lomax, Kathiamarice Lopez, Lindsay Rico, Julian Robertson, Julian Rozzell, Jr., Roslyn Ruff, Julyana Soelistyo, Phillip Taratula,...
- 2/22/2022
- by Greg Evans
- Deadline Film + TV
Previews are underway for McC Theater's New York Premiere production of Blks, written by Aziza Barnes, and directed by Robert O'Hara. The cast features Marie Botha, Antoinette Crowe-Legacy, Alfie Fuller, Paige Gilbert, Chris Myers and Coral Pea. Blks began performances on Saturday, April 20th in the Newman Mills Theater at The Robert W. Wilson McC Theater Space 511 West 52nd Street, with an official opening night set for Thursday, May 9th.
- 5/2/2019
- by BWW News Desk
- BroadwayWorld.com
McC Theater will soon present the New York Premiere production of Blks, written by Aziza Barnes, and directed by Robert O'Hara. The cast will feature Marie Botha, Antoinette Crowe-Legacy, Alfie Fuller, Paige Gilbert, Chris Myers and Coral Pea. The creative team for Blks includes scenic design by Clint Ramos, costume design by Dede Ayite, lighting design by Alex Jainchill, sound design by Palmer Hefferan, and casting by Telsey CompanyAdam Caldwell,Csa, William Cantler, Csa, Karyn Casl, Csa. The Production Stage Manager is Brett Anders.
- 3/29/2019
- by TV - Press Previews
- BroadwayWorld.com
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