Cambodian Rock Band Dengue Fever musical opening night at ACT Theatre w/ 5th Avenue Theatre. Performing until 11/5/23. Stay tuned for my full review! #showsiveseen #theatre #Cambodia #KhmerRouge #DengueFever #Cambodian
Elevator Thoughts (aka Tweet): Wolf Play at ACT Theatre by Hansol Jung directed by Rosa Joshi. Interesting story about a lesbian queer couple, unconventional adoption, parenting, betrayal, & boxing. Novel puppetry. #LGBT #LGBTQ
Synopsis from the Theatre: When an online adoption process goes sideways, the young boy caught in the middle launches himself into a lone wolf’s journey to find a pack he can call his own. From South Korean playwright Hansol Jung, one of the most imaginative story tellers in the field, comes a wild new play employing puppetry, boxing, and crackling dialogue to tell the affecting story of trust, love, identity, and the families we choose and unchoose.
Reviewed Performance: 5/11/23 Opening Night
Type: Play
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Prior Exposure/Knowledge Required: None
Defined Plot/Storyline: Yes
Recommendation: See it, especially if you’re a(n) (aspiring) gay parent or if you like watching on-stage puppetry. This was not your typical furry Muppets or Avenue Q puppetry though! Read more below.
Was This the First Time I Attended a Production of this Show: Yes
Would I See It Again 3 Years from Now: Probably not, but it was good
Rating Compared to Other Shows with the Same Production Value: 4.5 stars (Out of 5 Stars)
Equity Actors: 2
Total Number of Actors: 5
Length (Including Any Intermission): 2 hours
Intermission: No
Other Rave(s) Not Mentioned in Elevator Thoughts
Puppetry: I usually don’t like puppetry on-stage (and thankfully only the main character was a puppet), but I’ll admit that the puppetry design/presentation in this play was unique. Throughout the show, Morgan Gwilym Tso portrayed a child (Wolf) as a life-sized non-furry puppet. A side benefit was that it let the theatre avoid casting a child actor, which can be problematic.
Courtroom Scene: They lowered poles from the ceiling to simulate a boxing ring in the courtroom.
Lesbian MomsLGBTQ Parents (Updated 5/21): This play showcases an LGBTQ couple with a lipstick female (Robin) and a more butch non-binary person (Ash) who was originally born a female. Ash was a boxer with a beard and hairy armpits! I originally described them as a “lesbian couple” since that’s how Concord Theatricals (the organization that licensed the play performing rights to ACT Theatre) described them. But a reader messaged me that “queer couple” is more accurate.
Rant(s)
Opening Monologe : The play started slow with a monologue but eventually hit its stride. I suggest cutting or shortening the monologue. You want to hook the audience at the very beginning.
Other Musing(s) and Observation(s)
eBay Adoptions: The premise is that a lesbian queer couple adopts a child online from a family who changed their mind about raising an adopted kid. It’s like a how one might adopt a dog at the shelter and later decide to give it away to another family because the dog pees on the carpet. I never really considered people might actually commit this atrocity in real life until this play. Sadly, it probably happens more than we realize.
Theatre Company: ACT Theatre
Venue: Allen Theatre at ACT Theatre
Venue Physical Address: 700 Union St, Seattle, WA 98101
Price: Medium
Ticket Affordability Options: You can self-select lower ticket prices on the ticketing website. Also, check out the the theatre’s official discounts page.
Dates: May 5 to 21, 2023 – Opening night was only 5/11 and they’re already ending the production 5/21! Have ACT Theatre runs always ended this early? I remember the same thing for History of Theatre.
Seating: Assigned Seating
Parking: Paid lot or paid street parking. If I don’t walk to this theatre, I park in the Convention Center garage with the entrance between Seneca and Pike. There is indoor access from the garage to the ACT Theatre going through the convention center.
Puppet designed by Amanda Villalobos in Wolf Play, by Hansol Jung and directed by Rosa Joshi, onstage May 5 – 21, 2023 at ACT Contemporary Theatre. Photo credit: Jim BennettXander DeAngeles, S. Franco, Vahishta Vafadari, Morgan Gwilym Tso in Wolf Play, by Hansol Jung and directed by Rosa Joshi, onstage May 5 – 21, 2023 at ACT Contemporary Theatre. Photo credit: Jim BennettS. Franco setting sights on their opponent in Wolf Play, by Hansol Jung and directed by Rosa Joshi, onstage May 5 – 21, 2023 at ACT Contemporary Theatre. Photo credit: Jim BennettS. Franco throws a punch as Vahishta Vafadari and Morgan Gwilym Tso cheer in Wolf Play, by Hansol Jung and directed by Rosa Joshi, onstage May 5 – 21, 2023 at ACT Contemporary Theatre. Photo credit: Jim BennettActor Morgan Gwilym Tso and puppet howl like wolves in Wolf Play, by Hansol Jung and directed by Rosa Joshi, puppet design by Amanda Villalobos, onstage May 5 – 21, 2023 at ACT Contemporary Theatre. Photo credit: Jim BennettVahishta Vafadari kicks Xander DeAngeles for being rude in Wolf Play, by Hansol Jung and directed by Rosa Joshi, onstage May 5 – 21, 2023 at ACT Contemporary Theatre. Photo credit: Jim Bennett
Vahishta Vafadari and Xander DeAngeles blow up balloons in Wolf Play, by Hansol Jung and directed by Rosa Joshi, onstage May 5 – 21, 2023 at ACT Contemporary Theatre. Photo credit: Jim Bennett
Aaron Blakely holds puppet in Wolf Play, by Hansol Jung and directed by Rosa Joshi, puppet design by Amanda Villalobos, onstage May 5 – 21, 2023 at ACT Contemporary Theatre. Photo credit: Jim BennettAaron Blakely, Morgan Gwilym Tso and puppet in Wolf Play, by Hansol Jung and directed by Rosa Joshi, puppet design by Amanda Villalobos, onstage May 5 – 21, 2023 at ACT Contemporary Theatre. Photo credit: Jim Bennett
Vahishta Vafadari, Morgan Gwilym Tso, and puppet in Wolf Play, by Hansol Jung and directed by Rosa Joshi, puppet design by Amanda Villalobos, onstage May 5 – 21, 2023 at ACT Contemporary Theatre. Photo credit: Jim Bennett
Xander DeAngeles, S. Franco, Vahishta Vafadari, Morgan Gwilym Tso, Aaron Blakely in Wolf Play, by Hansol Jung and directed by Rosa Joshi, onstage May 5 – 21, 2023 at ACT Contemporary Theatre. Photo credit: Jim Bennett
Xander DeAngeles, S. Franco, Vahishta Vafadari, Morgan Gwilym Tso, Aaron Blakely in Wolf Play, by Hansol Jung and directed by Rosa Joshi, onstage May 5 – 21, 2023 at ACT Contemporary Theatre. Photo credit: Jim Bennett
Puppet designed by Amanda Villalobos in Wolf Play, by Hansol Jung and directed by Rosa Joshi, onstage May 5 – 21, 2023 at ACT Contemporary Theatre. Photo credit: Jim Bennett
Role
Name
Wolf
Morgan Gwilym Tso
Ash
S. Franco
Robin
Vahishta Vafadari
Ryan
Xander DenAngeles*
Peter
Aaron Blakely*
Wolf (Understudy)
Koo Park
Ash/Robin (Understudy)
Ayodele Ngozi Tushinde
Ryan (Understudy)
Darius Sakui
Peter (Understudy)
Christopher Clark
—
—
Director
Rosa Joshi
Playwright
Hansol Jung
Assistant Director
Dylan Tomas Nieves
Scenic Designer
Andrea Bush
Costume Designer
Christine Tschirgi
Lighting Designer
Connie Yun^
Sound Designer
Meghan Roche
Puppet Designer
Amanda Villalobos
Puppet Coach
Annett Mateo
Intimacy & Fight Choreographer
Helen Roundhill
Boxing Coach
Laura Wright
Assistant Lighting Designer
Thorn Michaels
Stage Manager
Tori Thompson
Production Assistant
Michelle Chesley
*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
Elevator Thoughts (aka Tweet): Twelfth Night musical adaptation of Shakespeare’s classic by Shaina Taub & Kwame Kwei-Armah at Seattle Shakespeare Company. Directed by Ruben Van Kempen and music directed by R.J. Tancioco. If anything, see it for the Broadway quality score and the great voices! Lots of gender themes Seattle-ites will be sure to eat up. #12thNight #TwelfthNight
Synopsis from the Theatre: Viola and her brother Sebastian are separated in a devastating shipwreck. Naturally, Viola decides to disguise herself as a man in this new land and, now as Cesario, get a job for Duke Orsino, with whom she instantly falls in love. Duke Orsino, however, loves the countess Olivia, and sends Viola-as-Cesario to woo her. Olivia, unaware of Viola’s disguise, falls in love with Cesario. Meanwhile, unbeknownst to Viola, Sebastian has been rescued and is about to add another angle to this love shape. Shakespeare’s romantic comedy of mistaken identity and self-discovery is given a rousing musical adaptation originally premiered at New York’s Public Theatre, featuring an onstage band and a score inspired by jazz, soul, and showtunes from critically acclaimed musician Shaina Taub.
Reviewed Performance: 5/13/23 Semi-opening Weekend – The company performed a couple of previews and I think even the opening night. But COVID prematurely closed opening weekend and the weekend after that. This was the first full weekend that they performed, which is unfortunate since that means COVID basically wiped-out half of their performances. The original run was scheduled for 4/26 to this weekend’s 5/21.
Type: Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Prior Exposure/Knowledge Required: This is best enjoyed by those familiar with the original Twelfth Night Shakespeare play story.
Defined Plot/Storyline: Yes, but it’s difficult to follow if you can’t understand Shakespearean English like me. 🙁
Live Band/Orchestra: Yes, a 6-person band with the ensemble occasionally jumping in. James Shilling played the trombone. Karin Terry (Feste) played the accordion. If I’m not mistaken, I think another actor played the ukelele.
Recommendation: See it, especially if you can follow Shakesperean English or you’re familiar with the original Twelfth Night play story. Honestly, I’m not familiar with the play and I couldn’t follow the story (Shakespeare English is hard!), but the Broadway-quality score and great voices made this show worth attending! You’ll like this show if you enjoyed the Head Over Heels mashup between old English and modern musical elements.
Was This the First Time I Attended a Production of this Show: Yes
Would I See It Again 3 Years from Now: Probably not but it was very good
Rating Compared to Other Shows with the Same Production Value: 4.5 stars (Out of 5 Stars)
Equity Actors: 5
Total Number of Actors: 14
Length (Including Any Intermission): 1.5 hours
Intermission: No
Other Rave(s) Not Mentioned in Elevator Thoughts
Broadway-quality Music: Since the set and graphic design was Seattle-themed with Pike Place Market and Rainier beer logos, I initially assumed this was a world premier written in Seattle. From the very first lively opening song hook “Play On” to the funky interludes like “Word on the Street” to the final gospel choir-like “Eyes of Another” song, I kept thinking that the music could be on a Broadway or West End original cast album recording. Later, I found out that this wasn’t a Seattle world premiere and there actually was a New York City production with a cast recording! Below are a couple of other song highlights:
“Is This Not Love?” – Sung by Feste (Karin Terry). It sounded like a classic Broadway ballad.
“What Kind of Man R U Gonna Be?” – This was in the style of 80s fitness training songs. Performers wore retro wrist/head bands. It reminded me of the Miss Step musical and Jane Fonda.
“Count Malvolio” – Sung by Malvolio (Jon Lutyens). It reminded me of vintage golden age can-can showbiz energy. A tap dance number would have been a perfect addition!
“You’re the Worst” – It sounded like a classic Broadway comic relief song.
“Crazy in Love”: There was a brief wink to Beyonce’s smash hit song.
Voices: Obviously, Andi Alhadeef (Olivia) and Alexandria J Henderson (Viola) showcased their amazing diva-quality voices. They made sweet harmony together especially in “I Am She.” Their harmony was also exceptional in “If You Were My Beloved” when Hisam Goueli (Orsino) joined in. I was surprised when I heard Hisam sing since I’ve seen him so many times on-stage in Seattle in only non-singing roles. Honorable mentions to Danny Kam (Sir Toby Belch) and Jimmy Shields (Sir Andrew Aguecheek) for hitting the high notes.
Other Musing(s) and Observation(s)
Seattle Theme: As mentioned previously, the set and the graphics were Seattle-themed. Was this because of similarities between Seattle and Illyria? Or was it just chosen to indulge the Seattle audience? Let me know in my social media link comments below!
Gender Themes: Seattleites will be sure to eat up the gender bending, gender fluidity, non-binary, gender equality/empowerment themes in this show.
Theatre Company: Seattle Shakespeare Company
Venue: Center Theatre at Seattle Center Armory
Venue Physical Address: 305 Harrison St, Seattle, WA 98109
Price: Medium
Ticket Affordability Options: Surprisingly (for a Seattle theatre company) I could not find anything.
Dates: April 26 – May 21, 2023 with 2 weekends canceled because of COVID-19
Seating: Assigned Seating
Parking: Paid street parking or paid lot/garage parking. I usually park on the street near the skating park (313 Taylor Ave N, Seattle, WA 98109) East of the theatre. It’s more expensive on Climate Pledge Arena event days though. In that case, I might take the bus or park in South Lake Union around Dexter Avenue and Harrison Street.
Other Video +/- Pictures: See pictures in video and under video
Cast and Production Team: See after pictures and video below
Role
Name
Illyrian
Simone Alene
Olivia
Andi Alhadeff*
Fabian, Illyrian
Ania Briggs
Illyrian
Natalya Czosnyka
Orsino
Hisam Goueli
Viola
Alexandria J. Henderson*
Sir Toby Belch
Danny Kam
Malvolio
Jon Lutyens*
Sebastian, Illyrian
Donovan Mahannah
Maria
Pilar O’Connell*
Backstage Illyrian Singer
James Schilling
Sir Andrew Aguecheek
Jimmy Shields*
Feste
Karin Terry
Antonio, Illyrian
Jarron A. Williams
—
—
Olivia (Understudy)
Simone Alene
Viola/Sebastian (Understudy)
Ania Briggs
Fabian/Maria (Understudy)
Natalya Czosnyka
Feste (Understudy)
Pilar O’Connell*
Orsino/MaIvoIio/Toby (Understudy)
James Schilling
—
—
Keyboard/Conductor
R.J. Tancioco or Ben Bentler
Trumpet
Pavel Spichak or Harlan Feinstein
Reed
Jay Easton or Nathaniel Schleimer
Guitar
Anthony Pooley
Bass
Olivia Hamilton or Ethan Sabotta
Drums
James Pingenot or James “Rif” Reif
Orchestration and Band Arranger
Mike Brun
—
—
Director
Ruben Van Kempen
Composer and Lyricist
Shaina Taub
Writers
Kwame Kwei-Armah, Shaina Taub
Music Director
R.J. Tancioco
Choreographer
Kathryn Van Meter**
Scenic Designer
Parmida Ziaei
Costume Designer
Jocelyne Fowler
Lighting Designer
Kristi Matthews
Sound Designer
Benjamin Radin
Properties Designer
Robin Macartney
Intimacy Director
Jasmine Lomax
Fight Choreographer
Harry Todd Jamieson
Assistant Music Director
Benjamin Bentler
Text Coach
Makaela Milburn
Stage Manager
Elizabeth Stasio*
Fight/lntimacy Captain
Pilar O’Connell*
Dance Captain
Jimmy Shields*
Assistant Stage Manager
Clair Kaminski*
COVID Safety Officer
Jocelyne Fowler
Technical Director
Benjamin Radin
Assistant Technical Director
Andrew Long
Master Audio Engineer
Conor Fortner
Master Electrician – Rehearsal/Tech
Danny Herter
Master Electrician – Performances
Clint Bull
Master Painter
Jessica Christensen
Wardrobe Master
Emily Kight
*The Actors and Stage Managers Are Members of Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States. **Members of the Stage Directors and Choreographers Society
Elevator Thoughts (aka Tweet): Every Brilliant Thing one-person storytelling play w/ Ian Bell written by Duncan Macmillan & Jonny Donahoe. Feel-good show that ironically explores depression w/ the help of audience participation. First time I sat front row at ACT Theatre!
Synopsis from the Theatre: The color yellow. Sunsets. Things with stripes. Wearing a cape. Ice cream! There are a million brilliant things. Can you name them all? The hit play and international sensation Every Brilliant Thing by Duncan Macmillan with Jonny Donahoe is a one-of-a-kind storytelling experience blending comedy, improv, and audience interaction to tell the story of an adult growing up in the shadow of mental illness and learning to grapple with their own experiences of love, loss, and a finding a new way forward, one brilliant thing at a time.
Reviewed Performance: 3/23/23 Opening Night
Type: Play
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings: Several
Defined Plot/Storyline: Seemed more like a collection of related vignettes than an actual plot
Recommendation: See it if either
You like one-person plays
You’re not a cynic
You like the quirky, basic, hipster millennial, whimsical, cutesy vibes of Zooey Deschanel in New Girl
You like sentimentality
You like plays that explore depression and suicide (but remember this is a feel-good play)
You like the private “dance it out” scenes in Grey’s Anatomy w/ Meredith and Christina
You like dancing in the rain
You like seeing audience participation
Or you like participating from the audience
Was This the First Time I Attended a Production of this Show: Yes
Rating Compared to Other Shows with the Same Production Value: 4 Stars (Out of 5 Stars)
Equity Actors: 1
Total Number of Actors: 1
Length (Including Any Intermission): 75 minutes
Intermission: No
Other Rave(s) Not Mentioned in Elevator Thoughts
Playlist: The overhead stage playlist before and after the show was a nice selection of retro feel-good songs
Live Band: There was a live band in the lobby before and after the show. I hope they performed for more than just opening night…
Rant(s)
“Why?” Scene: For some reason, I really hate scenes on on-stage or on-screen when kids incessantly ask “Why?” in response to everything an adult tells them. It is not cute at all.
Other Musing(s) and Observation(s)
Audience Participation: There was a ton of audience participation in this production. I was a little worried when Ian Bell (the solo actor of this performance) passed out cards throughout the audience a couple of minutes before the show began. Be careful if you’re on the front row like I was! Fortunately, he didn’t choose me to participate. While I’m usually not a fan of extensive audience participation in shows (total theatre “pillow princess” here), I thought it was a novel cost-effective way to add additional actors/characters to a one-person show. There were scenes where an audience member euthanized a coat, proposed marriage to Ian Bell, or hosted a therapy session with a sock puppet! I always wonder what’s the contingency plan in shows with such extensive audience participation if a chosen person is an absolute psycho and derails the intended trajectory of the performance.
Theatre Company: ACT Theatre
Venue: ACT Theatre – Allen Theatre
Venue Physical Address: 700 Union St, Seattle, WA 98101
Price: Cheap to Expensive
Ticket Affordability Options:
Pay What You Can: You can self-select ticket prices as low as free for the value seats on the ticketing website. The value seats are just about the same view as the non-value seats.
Parking: Paid lot or paid street parking. If I don’t walk to this theatre, I park in the Convention Center garage with the entrance between Seneca and Pike. There is indoor access from the garage to the ACT Theatre going through the convention center.
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Cast and Production Team: See after pictures below
Ian Bell high-fives the entire room in Every Brilliant Thing, by Duncan Macmillan with Jonny Donahoe and directed by John Langs, onstage March 23-April 2, 2023 at ACT—A Contemporary Theatre. Photo credit: Truman BuffettIan Bell sits next to an audience member playing his first love in Every Brilliant Thing, by Duncan Macmillan with Jonny Donahoe and directed by John Langs, onstage March 23-April 2, 2023 at ACT—A Contemporary Theatre. Photo credit: Truman BuffettIan Bell hands an audience member a book in Every Brilliant Thing, by Duncan Macmillan with Jonny Donahoe and directed by John Langs, onstage March 23-April 2, 2023 at ACT—A Contemporary Theatre. Photo credit: Truman BuffettIan Bell strikes a pose in Every Brilliant Thing, by Duncan Macmillan with Jonny Donahoe and directed by John Langs, onstage March 23-April 2, 2023 at ACT—A Contemporary Theatre. Photo credit: Truman BuffettIan Bell listens for an audience response in Every Brilliant Thing, by Duncan Macmillan with Jonny Donahoe and directed by John Langs, onstage March 23-April 2, 2023 at ACT—A Contemporary Theatre. Photo credit: Truman BuffettIan Bell reflects on life’s brilliant things in Every Brilliant Thing, by Duncan Macmillan with Jonny Donahoe and directed by John Langs, onstage March 23-April 2, 2023 at ACT—A Contemporary Theatre. Photo credit: Truman BuffettIan Bell makes magic happen in Every Brilliant Thing, by Duncan Macmillan with Jonny Donahoe and directed by John Langs, onstage March 23-April 2, 2023 at ACT—A Contemporary Theatre. Photo credit: Truman Buffett
Role
Name
Main Character
Ian Bell*
Understudy
Imogen Love*
—
—
Director
John Langs
Playwrights
Duncan Macmillan w/ Jonny Donahoe
Scenic Designer
Parmida Ziaei
Costume Designer
Danielle Nieves
Lighting Designer
Lily McLeod
Sound Designer
Maggie L. Rogers
Stage Manager
Jeffrey K. Hanson*
Production Assistant
Max Zamorano
Stage Management Intern
Em Wittress
*Members Of Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the USA
Elevator Thoughts (aka Tweet): History of Theatre: About, By, For, and Near play at ACT Theatre w/ The Hansberry Project. Experimental show quite literally about the “history of theatre” from the perspective of past African American actors. #POC #BiPOC #vaudeville #black
Synopsis from the Theatre: Travel back in time – 200 years, to be precise – with your host, Sister Blacknall, and meet the Black theatre artists of America’s history, who have returned to ensure that this time, they will be remembered. Reginald André Jackson’s wildly original play challenges the stories we’ve been told about who makes theatre and who it is for; creating a spellbinding evening that is both illuminating and inspiring. History of Theatre: About, By, For, and Near takes audiences on a journey from 1820 to the mid-1930s, through the lens of a contemporary artist making their way in our very own Seattle theatre scene. Witness the forgotten impact of The Rabbit’s Foot founder Pat Chapelle, who created the first all-Black touring vaudeville troupe in 1900, the boundary-breaking actors Ira Aldridge and Rose McClendon, as well as members of Seattle’s own Negro Repertory Company.
Reviewed Performance: 2/3/23 on opening weekend – Sorry for the late review. I’ve been busy catching up on reviews since my dad was in town. I would have posted earlier than other reviews if I realized sooner that this play had such a short run. Usually, ACT Theatre plays last at least 3 weeks after opening night and I assumed this one was no different.
Type: Play
World Premiere: Yes
Defined Plot/Storyline: No
Recommendation: See it if you’re into history and you have prior knowledge of African American theatre origins.
Was This the First Time I Saw a Production of this Show: Yes
Equity Actors: 7
Number of Actors: 8
Length (Including Any Intermission): 1 hour and 30 mins, which felt a bit long
Intermission: No
Rant(s)
Prior Knowledge: It will be difficult to enjoy this play if you don’t have prior knowledge of African American theatre history. A lot of references went over my head, and it was hard to keep track of all the characters I was unfamiliar with.
Other Musing(s) and Observation(s)
Experimental: This play was definitely different than what’s usually on stage. For starters, it was self-aware that it was play. It also addressed the 4th wall frequently and sometimes had arguments with itself. There was also time travel, which distorted the play’s chronology.
Audience: Where were the African American theatre patrons? The audience was a testament to the homogeneity in Seattle and theatre. But at least the play is a step in the right direction.
Theatre Company: ACT Theatre
Venue: ACT Theatre
Venue Physical Address: 700 Union St, Seattle, WA 98101
Price: Medium to Expensive
Ticket Affordability Options: Visit the ACT Theatre Discount Page. Usually, Goldstar and TodayTix have good deals too.
Dates: January 28 to February 12, 2023 – Opening night was February 2. Sorry this review is so late!
Seating: Assigned Seating
Parking: Paid lot or paid street parking. If I don’t walk to this theatre, I park in the Convention Center parking lot with the entrance between Seneca and Pike. There is indoor access from the garage to the ACT Theatre going through the convention center.
Other Video +/- Pictures: See pictures below FaceBook post
Cast and Production Team: See after pictures
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Amy Thone and R. Hamilton Wright in the World Premiere of History of Theatre: About, By, For, and Near, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.Tracy Michelle Hughes, Arlando Smith, and Be Russell in the World Premiere of History of Theatre: About, By, For, and Near, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.Reginald André Jackson in the World Premiere of History of Theatre: About, By, For, and Near, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.Dedra D. Woods and Reginald André Jackson in the World Premiere of History of Theatre: About, By, For, and Near, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.R. Hamilton Wright, Amy Thone, and Tracy Michelle Hughes in the World Premiere of History of Theatre: About, By, For, and Near, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.Malcolm J. West, Be Russell and Arlando Smith in the World Premiere of History of Theatre: About, By, For, and Near, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.Arlando Smith, Malcolm J. West, and Be Russell in the World Premiere of History of Theatre: About, By, For, and Near, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.The ensemble cast: R. Hamilton Wright, Amy Thone, Be Russell, Arlando Smith, Dedra D. Woods, Malcolm J. West, Tracy Michelle Hughes, and Reginald André Jackson in the World Premiere of History of Theatre: About, By, For, and Near, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.Malcolm J. West, R. Hamilton Wright, and Be Russell in the World Premiere of History of Theatre: About, By, For, and Near, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.Dedra D. Woods in front of the ensemble cast in the World Premiere of History of Theatre: About, By, For, and Near, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.R. Hamilton Wright, Malcolm J. West, Arlando Smith, and Dedra D. Woods in the World Premiere of History of Theatre: About, By, For, and Near, by Reginald André Jackson and directed by Valerie Curtis-Newton, onstage February 2-12, 2023 at ACT—A Contemporary Theatre and in partnership with The Hansberry Project. Photo credit: Robert Wade.
Role
Name
Cast
Tracy Michelle Hughes* Reginald André Jackson* Be Russell* Arlando Smith* Amy Thone* Malcolm J West Dedra D. Woods* R. Hamilton Wright*
—
—
Understudies
Anne Allgood* Nicholas Japaul Bernard* Alexandria J. Henderson*
—
—
Director
Valerie Curtis-Newton
Playwright
Reginald Andre Jackson
Choreographer
Donald Byrd
Scenic Designer
Jennifer Zeyl
Costume Designer
Cathy Hunt
Lighting Designer
Robert J. Aguilar
Sound Designer
Larry D. Fowler
Projection Designer
Juniper Shuey
Dialect Coach
Amani Dorn
Dramaturg
Martine Kei Green-Rogers
Associate Lighting Designer
LB Morse
Stage Manager
Ruth Eitemiller*
Assistant Stage Manager
Hazel Rose Gibson*
Production Assistant
Noah Sarkowsky
* Members of Actors Equity Association, the Union of Professonal Actors and Stage Managers in the USA