#Ethan Botwick

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REVIEW: "Yellow" at Troy Foundry Theatre

REVIEW: “Yellow” at Troy Foundry Theatre

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Super Dark Times Kevin Phillips. 2017

Bridge Wurts street Bridge,  Old US Rte 9W, Kingston, NY 12401, USA See in map

See in imdb

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Super Dark Times (2017)

Director - Kevin Philips, Cinematography - Eli Born

“No, you never ever go back to the scene of the crime”

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Super Dark Times

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Super Dark Times Review | Movie Trailer 2017

Super Dark Times Review | Movie Trailer 2017

Super Dark Times has an awesome movie trailer. It is a 2017 upcoming American Thriller, Drama film.  directed by Kevin Phillips by written Ben Collins, Luke Piotrowski. The film cast stars Owen Campbell, Charlie Tahan, Elizabeth Cappuccino, Max Talisman, Sawyer Barth, Amy Hargreaves, Adea Lennox and Ethan Botwick. It is scheduled to be released in the United States on September 29th, 2017, by The…

[deltamovies]

Super Dark Times Free Full HD watch online & movie trailer

Release Year: 2017

Rating: 7.4/10 ( voted)

Critic's Score: /100

Director: Kevin Phillips

Stars: Owen Campbell, Charlie Tahan, Elizabeth Cappuccino

Storyline A harrowing but meticulously observed look at teenage lives in the era prior to the Columbine High School massacre.

Writers: Ben Collins, Luke Piotrowski, Owen Campbell, Charlie Tahan, Elizabeth Cappuccino, Owen Campbell, Charlie Tahan, Elizabeth Cappuccino, Max Talisman, Sawyer Barth, Amy Hargreaves, Adea Lennox, Ethan Botwick, Philip H. Ashley, Justin Rose, Kortnee Simmons, Samantha Jones, Anni Krueger, Jeffrey Alan Solomon, Carl Arcilesi, , , , , , , , , , , , , , ,

Cast: Owen Campbell –

Zach

Charlie Tahan –

Josh

Elizabeth Cappuccino –

Allison

Max Talisman –

Daryl

Sawyer Barth –

Charlie

Amy Hargreaves –

Karen

Adea Lennox –

Meghan

Ethan Botwick –

John Whitcomb

Philip H. Ashley –

Chad

Justin Rose –

Kevin

Kortnee Simmons –

Eugene

Samantha Jones –

Joan

Anni Krueger –

Mrs. Barron

Jeffrey Alan Solomon –

Duke

Carl Arcilesi –

Party Goer

Details

Official Website: Official site [United States]

Country: USA

Language: English

Release Date: 3 Jan 2017

Technical Specs

Runtime: 100 min

User Review

Author:

Rating: 7/10 Saw this at the Rotterdam film festival 2017 (website: iffr.com). The synopsis on the festival website contained ample pointers to avoid this movie, for example "life revolves around vying for popularity, hanging out, falling in love and looking for kicks". Luckily there was only little attention for partying, courting, clothes, and more such, unlike other movies covering youngsters of high-school age. The real drama took some time to develop, but once becoming apparent it stayed in the forefront, and so should it be.

A bit problematic (for me) is that the finale went a bit too fast and too bloody for my taste, something that did not follow logically from what happened before. It seemed a bit over the top. On the other hand, a different ending was not easy to think of, as involving the police and the legal system would have ruined the story completely. Moreover, it would require bringing in the parents of our main protagonists, which usually does not bode well for the clarity of the drama. Anyway, unexpected turns of events came at a steady pace and without weak moments, one step after another. The role of the female college students was less cultivated, as if they were only background tapestry, or maybe serving as catalyst material to speed up developments but otherwise not really crucial for the outcome.

Unclear is the opening scene where a deer is found dead in the class room with a broken window. It took some time before the police entered, who started exchanging glances with each other, but I'm at a loss what it all meant.

From the final Q&A I learned a nice statement: "planting little seeds here and there is the essence of script writing". And also: Rhythm and pacing are important (it was a side answer to a question about the sound track, but even more applying to the screenplay).

Also from the Q&A: A serious attempt was made to give Josh more dimensions in his character. Same for the others, though they did not need it that much. All were nice young men without really bad habits, but only nice is not enough to keep our interest.

All in all, I was glad to have booked tickets for this movie, despite my fears that it was to become another coming-of-age story with too much time devoted on courting and partying. This time there were no problems along that line. It sustained a real focus on the central story and its pacing of subsequent developments. The audience awarded this movie a mediocre 73rd place (out of 172) with an average score of 3.905 *out of 5).

The post Super Dark Times appeared first on The Movie Entertainment of the 21st Century!.

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REVIEW: "Proof" at Oldcastle Theatre Company

REVIEW: “Proof” at Oldcastle Theatre Company

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Troy Foundry Theatre Announces Cast for “Yellow” Troy, NY –  It's the middle of the night. You have a dream.  It is beautiful. It is terrifying.

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by Roseann Cane

As you enter the Trojan Hotel, the bar and ballroom of which date from 1830, the immersion begins. The hotel, abandoned for decades, has been restored by members of the Troy Foundry Theatre and the cast and crew of Yellow, a world premiere devised work, a commission with Die-Cast, directed by Brenna Geffers, inspired by Victorian-era horror stories, most notably “The Yellow Wallpaper” by Charlotte Perkins Gilman.

  After the tickets have been distributed and curtain time is drawing near, the pleasant man behind the desk calls for our attention, announcing what we’re used to hearing in curtain speeches, describing the locations of various exits and restrooms. He also provides some directives.

  We are instructed not to touch the actors.

  We are informed that some actors may guide us into different rooms.

  We are advised to wander into other rooms when we feel the impulse, or when we hear something that draws our attention.

  The bar, we are told, will be open throughout the play.

  The Troy Foundry Theatre has earned attention as well as kudos since its formation about two or three years ago by presenting an unorthodox kind of theater. Each of their productions happens at a different site, and the audience’s suspension of disbelief so crucial to the experience of theater shapeshifts. The company promotes immersive, site-specific experiences. You don’t sit in a chair facing a stage in order to observe. You are part of the action.

  As the show began we were summoned from the bar into a large room, most likely the original ballroom of the Trojan Hotel, where the cast clustered in front of us, speaking in unison, then simultaneously uttering different words, moving, making odd chuffing noises. The cluster soon scattered, and that is when I felt a firm, gentle hand on my shoulder: I was being led by an actor who I would later learn was called The Invalid (Andrew Carroll). We entered a small room dominated by a bathtub. The Invalid, clad in shabby pants, spoke with urgency as he climbed into the tub, his voice fueled by an oddly fearful intensity. He seemed focused on convincing me of…what? Something about his mother, some series of events that he was compelled to relay, with rapidfire muttering as his body squirmed and undulated. The Invalid was mad. I knew I was in an asylum. Another actor, The King (Jahzeer Terrell), well groomed and nattily dressed, joined us. He was by all appearances “normal,” but his behavior, climbing into the tub with The Invalid, pulling at him, then moving in tandem, then splitting apart, was anything but normal. Were both men mad?

  I ventured into other rooms, where other men and women shared their own strange, compelling stories. Each actor was remarkably flexible, physically and verbally, and each story was laced with leaping or crawling, dancing or singing. The entire cast inhabited their roles completely and individually, and would come together to create a searingly strong ensemble. At times they seemed to move as a singular organism.

  As I aimed to observe what was happening in various rooms, in time I realized the actors were repeating monologues, dialogues, songs, and sounds. Yellow revealed to me that it was not a linear play. All of the action in each of the rooms is happening simultaneously.

  It was only after the play ended that we received programs. That felt entirely in line with the immersive experience. We had to receive and observe the individuals as they showed themselves, without preconceptions formed by knowing about the actor.

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Unfortunately, the Trojan Hotel is not wheelchair accessible. We had been informed before the play that the floors were somewhat warped and uneven; during the 90 or so minutes, anyone who has difficulty walking or standing for long periods of time might find him/herself uncomfortable scurrying to observe what is happening in each of the rooms. However, several of the rooms have chairs and sofas, and audience members can pretty much wander and sit as they please.

  The profoundly immersive experience that is Yellow may not be to everyone’s liking because of the demands it makes on its audience. Please note that the play is not appropriate for children. I applaud Troy Foundry Theatre’s successful mission to create theater that is provocative and immersive, interweaving artists of different disciplines, and I would strongly encourage theater lovers to wander through this very different artistic adventure. 

Yellow Directed by Brenna Geffers A world premiere devised work, a commission with Die-Cast.

Cast (In Alphabetical Order) *  Member of Actors’ Equity Association

Ross Beschler* Ethan Botwick* Andrew Carroll Niya Cobert Colleen Corcoran Anthony Crosby Emily Curro David Girard* Raya Malcolm Meg Rumsey-Lasersohn Jahzeer Terrell

Performances October 30-November 1 and November 7 & 8 at 8 pm, November 2 & 9 at 7 & 9 pm at  The Trojan Hotel, 41-43 3rd St. Troy, NY 12180. To purchase tickets please visit https://yellowtft.brownpapertickets.com Cash or check only at the door. Tickets: $10 – Students // $15 – Seniors // $18 – Adults

REVIEW: “Yellow” at Troy Foundry Theatre by Roseann Cane As you enter the Trojan Hotel, the bar and ballroom of which date from 1830, the immersion begins.

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by Gail M. Burns

David Auburn’s Proof burst on the national consciousness nearly twenty years ago – winning Tonys and a Pulitzer and being made into a big budget, star-studded film – so the initial flurry of professional and amateur productions across the country has run its course and the play is ripe for revisiting in the #metoo era.

A simple play about complex subjects, Proof centers on 25-year-old Catherine (Talley Gale) who has just lost her widowed father, Robert (Richard Howe), a brilliant mathematician at the University of Chicago, after years of mental illness during which she was his sole caregiver. Her only sibling, older sister Claire (Halley Cianfarini), has opted for a high-powered career in Manhattan, but of course Claire is headed home for the funeral. Also in the mix is Hal (Ethan Botwick), a young professor of Mathematics at the University who was mentored by Catherine and Claire’s father, and who is going through the late professor’s effects to see if any important and undiscovered research survives him.

Claire and Hal begin a relationship, and she gives him a notebook containing an astonishing mathematical proof that she claims she wrote. But Claire doesn’t even hold an undergraduate degree, her studies having been interrupted by her father’s illness and her decision to care for him, and she also seems to have inherited some of his mental instability. Can she prove that the proof is her work and not a last burst of brilliance from her father?

At Oldcastle Eric Peterson has directed a gentle, low-key but deeply engrossing production. Because there is less high drama, the characters come across as more realistic. Gale, who is on stage nearly non-stop, presents Catherine as exhausted and grief stricken – after all these years of dealing with her father’s non-lethal mental illness it is a sudden cardiac event that carries him off – but not mentally unbalanced. There is a seismic shift for a caregiver when they suddenly wake up one morning and no one needs them anymore. Catherine is not only unmoored emotionally, but because was a caregiver during the years most people spend finding themselves and establishing a career, she also has no sense of herself separate from her father – except for her proof, which she worked on in the wee hours of the night, the only time when her father didn’t demand her full attention.

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Gale literally twists herself into pretzels trying to simultaneously hug herself and render herself as small as is humanly possible. But when she and Hal connect and she gives him her most valuable possession, the thing that establishes her as someone other than her father’s daughter, we see the relative freedom and joy in her movements.

Botwick’s Hal is equally physically restricted. Like Catherine, he has lived in Robert’s professional shadow, – before he was 25 Robert had already made two discoveries that changed the course of modern mathematics. Both worry that the adage that a mathematician’s best years are over by the time he or she is 25 – in other words at about the age they receive their doctorate and embark on their academic career – is true. Have Catherine and Hal’s best years already passed? Hal sees himself as a mediocre mathematician and being able to discover and publish a posthumous proof of Robert’s could make his career. The likelihood of the proof Catherine gives him being hers and not her father’s seem slim…

Cianfarini’s Claire is all yuppie bonhomie. Freshly ground gourmet coffee, jojoba crème rinse, and an engagement to her equally upwardly mobile boyfriend form the center of her world. Accepting early that she has inherited only a small portion of her father’s mathematical skills, she has settled into a career as a currency analyst. She acknowledges that Catherine has inherited far more from their father – but worries whether that is a good thing.

Howe’s performance as Robert was a bit of a disappointment. I described Peterson’s production as low key, but in Howe’s case we get little sense of Robert’s illness, his brilliance, or his neediness. Whether there is a physiological connection or not, mental illness and great genius often coincide. This and the deep connection between Robert and Catherine – and we see Robert only in Catherine’s memories and imagination – are lacking.

On my previous encounters with this play I didn’t see the focus on the relationship between Catherine and Hal as central to the plot, but now it takes on a different complexion. At previous production I can remember thinking Hal was quite the villain, but director Eric Peterson makes it clear here that Catherine and Hal are genuinely attracted to each other, and that neither is using the other for ulterior motives. In fact, I don’t think I have ever seen a more engaging love scene than the one Gale and Botwick enacted at the end of Act I.

The other bit of gender politics in the play is the issue, which is still the case, that the majority of mathematicians are male. That a woman, and a young, uncredentialed woman at that, could best the “guys” at their game raises all sorts of toxic masculine reactions, which are played only subtly here.

When you enter the theatre you are greeted by Wm. John Aupperlee’s set depicting the back deck of the house Robert and Catherine share, adorned with Cory Wheat’s projection. I say adorned because as soon as the initial projection – an astonishing black and white trompe-l’œil image of the rear of the house – is switched for more subtle sunlight-through-the-leaves patterns, as it must be or the actors would be performing with blotchy projections all over them, the “house” resolves into nothing but a matte black wall with a door in it. The house projection returns during scene changes, but every time it vanishes again you feel a sense of loss.

It took me until well into Act II to understand that that one door – through which people seemed to access both the interior of the house and the outside world – was meant to be the back door of the house and that there was an unseen front door as well. In other words when people “left the house” they were going in through the back door and then out through the front door. In my mind exits to the outside world should have been made off of the deck, stage left, and indeed occasionally they were. When the critic has to spend a long while pondering a door there is something wrong with the set and/or the direction.

Ursula McCarty’s costumes subtly conveyed character and socio-economic rank while offering freedom of movement. The matter of the vanishing house aside, Wheat’s projections were fine, as was David V. Groupé’s lighting. Wheat is also credited with the sound design, which consisted mostly of an increasingly loud and insistent recording of The Sound of Silence played during scene changes. I usually like that song…

My technical quibbles aside, this a strong and moving production of a thought-provoking play. If you saw a production a decade or so ago, I encourage you to revisit it. And take along a teenage or twenty-something woman while you are at it. There is good fodder for debate and discussion on the ride home.

Proof by David Auburn, directed by Eric Peterson, runs August 31-September 9, 2018, at the Oldcastle Theatre Company, 331 Main Street in Bennington, Vt. Set design by Wm. John Aupperlee; costume design by Ursula McCarty; lighting design by David V. Groupé; sound and projections by Cory Wheat; stage management by Gary Allan Poe. CAST: Richard Howe as Robert, Talley Gale as Catherine, Halley Cianfarini as Claire, and Ethan Botwick as Hal.

For ticket reservations or additional information contact Oldcastle Theatre at www.oldcastletheatre.org or 802-447-0564.

  REVIEW: “Proof” at Oldcastle Theatre Company by Gail M. Burns David Auburn’s Proof burst on the national consciousness nearly twenty years ago – winning Tonys and a Pulitzer and being made into a big budget, star-studded film - so the initial flurry of professional and amateur productions across the country has run its course and the play is ripe for revisiting in the #metoo era.

[larryland]

by Gail M. Burns

One of my happiest farcical memories is of seeing Ken Ludwig’s hilarious 1986 opus Lend Me a Tenor at Oldcastle way back when they were performing in the Everett Mansion on the campus of what is now Southern Vermont College. So I was thrilled that they would be the company to introduce me to Ludwig’s sequel, A Comedy of Tenors, written a full quarter century after the original. Christine Decker has deftly directed this laugh riot which brings many of the central characters from the earlier play together again.

Once again Henry Saunders (Richard Howe) has trouble with tenors. He is trying to stage an epic concert with three of them – operatic Italian megastar Tito Merelli (Peter Langstaff), young American star on the rise Carlo Nucci (Ethan Botwick), and Swedish tenor Jussi Björling – in Paris in 1936. Not only do Saunders and his assistant and son-in-law Max (Max Arnaud) have Tito’s enormous ego to deal with, but on the day of the concert Björling has to hurry home because his mother died. No worries, Max, also an aspiring tenor, will step in.

All is well again until the Merellis arrive – Tito, wife Maria (Yvonne Perry), and 25-year-old daughter Mimi (Ana Anderson). Maria knows, but Tito doesn’t, that Mimi is madly in love with Carlo Nucci, who Tito already despises and sees as a threat to his supremacy as the world’s top tenor. When Mimi and Carlo are nearly discovered in flagrante delicto Maria helps Carlo dress quickly to escape. Tito sees them together, assumes the worst and VOILA a farce erupts.

Act II introduces the characters of Beppo (Langstaff), a garrulous Venetian bellhop who just happens to be a magnificent tenor AND a dead-ringer for Tito; and Tito’s former lover, the renowned soprano Tatiana Racón (Renata Eastlick).  Two lusty ladies, two bedrooms in the hotel suite, and, apparently, two Tito’s makes for merry mayhem as tenors accept and refuse participation in Saunders’ concert and the minutes tick down to curtain time.

Ludwig knows opera, he knows Shakespeare, and he knows how to construct an air-tight farce. He studied with Leonard Berstein at Harvard (listen for the Bernstein reference in this play) and often bases his original works on Shakespearean plot. Here the parallel is obviously to the comedy referenced in the title – The Comedy of Errors – which also deals with the confusion caused by identical characters.

Langstaff provides a solid center around which all this absurdity whirls. While he is portraying two men with large personalities, Langstaff’s performance is not too big for its britches. His aging Tito is genuinely anguished that his beloved Maria may be cheating on him, and righteously angered when Carlo threatens not only his standing in the opera world but the sanctity of his family. His Beppo is winsome and playful, full of wonder at the women, food, and career opportunities that seem to have suddenly landed in his lap.

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As the supposedly sane one in the mix, Arnaud’s Max is also quite distracted by the fact that back in Cleveland his wife Maggie, Saunders’ daughter, is expecting their first child at any minute. A tall man, Arnaud is physically adept and manages to do some gasp-inducing near-pratfalls a al Dick Van Dyke. Conversely, Botwick is slight and nimble. He has done the fight choreography for this production to good comic effect.

In a memorable moment, Arnaud, Botwick and Langstaff actually sing an operatic trio together, accompanied by a recorded orchestra. I was sure that they would lip synch, but no, they took a deep breath and belted it out and while I was not fooled into believing they were world class tenors they all sing very well and I was completely enthralled by their exuberant rendition of Verdi’s Brindisi (drinking song) from La Traviata.

Yvonne Perry is the beautiful, fiery Maria. Ludwig has given all three of his women strong senses of self and healthy sexual appetites. Maria stands up to Tito and tells him exactly what she wants, and doesn’t want, at all times. Anderson is a slinky little minx as Tito and Maria’s daughter Mimi – named after the central character in Puccini’s La Boheme, of course. Her lust, er, love for Carlo is openly expressed, as is her ambition to make it as an actor.

Eastlick is nothing short of dynamic as the Russian diva Tatiana Racón. She doesn’t appear until well into the second act, but once she’s there you will forget everyone else on the stage and only have eyes for her. She has true star power.

A long-time Oldcastle stalwart, Howe seemed adrift without a paddle at the performance I attended. He is usually a most reliable performer, and I hope what I witnessed was just one of those inevitable and infuriating bad days.

At the performance I attended Carl Sprague’s set got its own round of applause when it was first revealed. Portraying a Parisian hotel suite heavy on the red and gold, Sprague has provided all the doors, balcony, steps, and furnishings for a rip-roaring farce. Roy Hamlin has done an excellent job with the props – lacy underthings pop up in the strangest places and a sumptuous buffet of mostly fake food (except for one talkative tongue) graces a table down stage right. Ursula McCarty’s costumes are clever and flashy. Langstaff transforms from Tito to Beppo and back with simple and subtle swaps of vests and cummerbunds.

A Comedy of Tenors is Ludwig and Oldcastle at their best. While there are a few racy moments, there is no reason the whole family can’t come along and end their summer with a big laugh. Lord knows, this summer we all need all the laughter we can get!

Oldcastle Theatre Company presents A Comedy of Tenors by Ken Ludwig, directed by Christine Decker, runs August 18-September 3, 2017. Set design by Carl Sprague, costume and prop design by Ursula McCarty and Roy Hamlin, lighting design by Scott Cally, sound design by Cory Wheat, stage manager Gary Allan Poe. CAST: Richard Howe as Henry Saunders, Max Arnaud as Max, Yvonne Perry as Maria Merelli, Peter Langstaff as Tito Merelli and Beppo, Ana Anderson as Mimi Merelli, Ethan Botwick as Carlo Nucci, Renata Eastlick as Tatiana Racón, Carl Sprague as the Voice of Jacques.

Oldcastle Theatre is located at 331 Main Street (Rt. 9) in Bennington, VT. The show runs two hours with one intermission and is suitable for ages 10 and up. For further information or reservations contact Oldcastle through their website oldcastletheatre.org or call 802-447-0564.

  REVIEW: “A Comedy of Tenors” at Oldcastle by Gail M. Burns One of my happiest farcical memories is of seeing Ken Ludwig’s hilarious 1986 opus…

[larryland]

Oldcastle Theatre Opens "A Comedy of Tenors"

Oldcastle Theatre Opens “A Comedy of Tenors”

Ken Ludwig, America’s master of farcical comedies, has written a new sequel of sorts to his legendary Lend Me A Tenor entitled A Comedy of Tenors which opens August 18th at Oldcastle Theatre. Imagine one hotel suite, four tenors, two wives, three girlfriends, and a soccer stadium filled with screaming fans, what could possibly go wrong? It’s the 1930s Paris and the stage is set for the concert of…

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This year is Oldcastle’s 46th season and the 6th in their Main Street theatre. Oldcastle Theatre Company‘s 2017 season includes lots of laughs, heart-stopping suspense, and a psychological thriller that will leave audiences questioning, and debating.

Shipwrecked! The Amazing  Adventures of Louis De Rougemont (As Told By Himself) by Donald Margulies

David Joseph, who was nominated for a Berkie Award for his portrayal of Charlie Chaplin last season, will appear in “Shipwrecked!”

The season opens May 19 with Pulitzer Prize winning playwright Donald Margulies’ highly inventive Shipwrecked! The Amazing  Adventures of Louis De Rougemont (As Told By Himself). The play brings audiences the thrilling story of bravery, survival and celebrity that left 19th century England spellbound. Be prepared to be whisked away in a story of the high seas, populated by exotic islanders, flying wombats, giant sea turtles and a monstrous man-eating octopus. Shipwrecked! examines how far we are willing to blur the line between fact and fiction in order to leave our mark on the world.  The New York Times wrote “We can also consider  the possibility that the hero of this true story, based on an untrue story, is a little of each.”

Moonlight and Magnolias by Ron Hutchinson

The story of producer David O. Selznick shutting down production of his new epic Gone with the Wind. The screenplay, sadly, just doesn’t work. So the all-powerful movie mogul, while fending off the film’s stars, gossip columnists and his own father-in-law sends a car for screenwriter Ben Hecht and pulls formidable director Victor Fleming from the set of The Wizard of Oz. Summoning both to his office, he locks the door, closes the shades, and on a diet of bananas and peanuts, the three labor over five days to fashion a screenplay that will become a blueprint for one of the most successful and beloved films of all time. Seeing Fleming and Selznick “act out” the novel, playing all the parts from Rhett Butler to Scarlet O’Hara is rip-roaringly funny.The Chicago Sun Times call it a ” hyperventilating slapstick comedy, an impassioned love song, and blazing critique of Hollywood.

Mauritius by Theresa Rebeck

Tingling suspense follows with Theresa Rebeck’s Mauritius, a tension filled exploration of the seemingly benign hobby of stamp collecting. Two sisters, following their mother’s death, discover a book of rare stamps that may include the crown jewel for collectors. One sister tries to collect on the windfall, while the other resists for sentimental reasons. In this gripping tale, a seemingly simple sale becomes dangerous when three seedy high- stakes collectors enter the sisters’ world, willing to do anything to claim the rare find as their own.

Ms. Rebeck, who lives part-time in Dorset, has written for “NYPD Blue” ,”Law & Order: Criminal Intent, she created the TV series “Smash.” Her feature films include “Harriet the Spy”. Her numerous plays include Broadway productions of “Dead Accounts,” “Seminar” and “Mauritius.”

Oldcastle’s handsome theatre located at 331 Main Street in the heart of downtown Bennington, VT.

A Comedy of Tenors by Ken Ludwig

Picture one hotel suite, four tenors, two wives, three girlfriends, and a soccer stadium filled with screaming fans. What could go wrong? It’s 1930s Paris and the stage is set for the concert of the century—as long as Producer Henry Saunders can keep Italian superstar Tito Merelli and his hot-blooded wife Maria from causing runaway chaos. Prepare for an uproarious ride, full of mistaken identities, bedroom hijinks and madcap delight.

One of the most popular comedies in Oldcastle’s long history was Ken Ludwig’s Lend Me a Tenor which the Washington Post called: “One of the classic comedies of the 20th century.” It was nominated for seven Tony Awards, winning two including Best Director and Best Lead Actor.

Equus by Peter Shaffer

Equus is the story of a psychiatrist who attempts to treat a young man who has a pathological religious fascination with horses. The play is a kind of mystery with a children’s psychiatrist as the detective. The play was first produced by England’s famed National Theatre. A later Broadway production starred first Anthony Hopkins and then Anthony Perkins, Leonard Nimoy and Richard Burton, who starred in the film version. It won Tony Awards for Best Play, Best Actor and Best Featured Actress. The Oldcastle version features Nigel Gore as the psychiatrist. Ethan Botwick, who appeared with Gore in Oldcastle’s production of “A Lion in Winter” plays the young boy.  Christine Decker and Richard Howe play his parents and Ana Anderson plays the young woman attracted to Botwick.

Nigel Gore plays the psychiatrist, Martin Dysart.

Richard Howe will appear in both “Moonlight and Magnolias” and “Equus” this season.

Christine Decker joins Howe to play the parents of the troubled young man at the center of “Equus.”

Get your 2017 Flex-Pass today to guarantee your seat for this phenomenal season!! Call the box office to order your 802-447-0564

  Oldcastle Theatre Company Announces 2017 Season This year is Oldcastle's 46th season and the 6th in their Main Street theatre. Oldcastle Theatre Company…

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Theater Voices Present a Reading of "A Life in the Theatre"

Theater Voices Present a Reading of “A Life in the Theatre”

Theater Voices will present a staged reading of A Life in the Theatre by David Mamet, directed by Bob Goepfert, on Friday, May 18 at 8pm; Saturday, May 19 at 3pm and 8pm; and Sunday, May 20 at 3pm at Steamer No. 10 Theatre, 500 Western Avenue, Albany.  House opens one half-hour before performance. *Admission is free.*

A Life in the Theatre cast features John Romeo and Ethan Botwick. Photo by…

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Oldcastle Theatre to perform "The Lion in Winter" in the round with all-star cast

Oldcastle Theatre to perform “The Lion in Winter” in the round with all-star cast

Christine Decker as Eleanor, Jason Asprey as Geoffrey, Andrew Krug as Richard , Chris Restino as John. Oldcastle to Present THE LION IN WINTER      “The Lion in Winter, an award winning play and later an Oscar winning film, by James Goldman is the final play of Oldcastle Theatre’s regular season opening Friday September 25. The play, described as dramatic comedy, concerns King Henry II of England…