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Review: Everything is Wonderful at Everyman Theatre

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By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 15 minutes with one intermissions

Different cultures have different ways of dealing with tragedy. Most will encourage looking to your faith to find a higher meaning than what we mere mortals can imagine. Some encourage forgiveness to those who have wronged you and, some go even further to encourage forgive and forget. How do you forgive and forget someone who has taken the lives of your loved ones, accident or not? Everyman Theatre’s latest production, Everything is Wonderful by Chelsea Marcantel, Directed by Noah Himmelstein, tries to answer this tough question as we see tragedy and loss through from the viewpoints of a family in crisis, a young man full of guilt, and a man who believes he’s near perfect because he’s practically been told so his whole life.

Bruce Randolph Nelson, Deborah Hazlett. Credit: ClintonBPhotography

In a nutshell, Everything is Wonderful concerns itself with an Amish family who lost two sons when a drunk driver smashed into their buggy, a daughter who doesn’t seem cut out for the Amish life, and a culture that forgives and forgets, but only on the surface. Ultimately, I gathered this piece is about following your own conscience to find forgiveness, regardless of what those around you may think or do.

Marcantel’s text is easy to follow and presents these complex problems in simple terms which is why I believe this script is so successful. The dialogue is natural and it flows as conversation between folks should. She has a good comprehension of the subject matter and creates a world into which we can step and be a part of the story making for an enjoyable evening of theatre.

L-R: Steve Polites, Bruce Randolph Nelson*, Tony Nam, Alex Spieth, Deborah Hazlett. Credit: ClintonBPhotography

The story that Chelsea Marcantel weaves is flawless and Noah Himmelstein has given us simple, yet engaging presentation with the help Daniel Ettinger’s exquisite Set Design. Himmelstein and Ettinger use the space well and the action moves at a great pace working in tandem with a precise and effective Lighting Design by Cory Pattak that puts us in each appropriate location without a bunch of bells and whistles. Sometimes less is more and it is absolutely true for this production and both Ettinger and Pattak knock it out of the ballpark.

L-R: Alex Spieth, Bruce Randolph Nelson, Tony Nam, Deborah Hazlett, Hannah Kelly. Credit: ClintonBPhotography

Himmelstein has a tight grasp on this material and his staging is immaculate. He keeps the audience interested in the story by using practically the entire theatre with the correct entrance and exit points while keeping a good flow without a lot of clunky scene changes, which is what I’ve come to love about theatre these days… not a lot of, if any, blackouts, unless they are absolutely appropriate. It’s the details that make this production so successful, as well. For instance, the slight accent of the Amish characters is so authentic, both Himmelstein and the performers are to be applauded for their efforts. Overall, Himmelstein hit the nail on the head with this and should be commended for his work.

Bruce Randolph Nelson, Deborah Hazlett. Credit: ClintonBPhotography

The cast is simply amazing, and I mean every single one of them. Resident Company member Bruce Randolph Nelson portrays Jacob, the patriarch of the Amish family and, he completely embodies this character taking on all of his trials and troubles. He seems comfortable in this role and his performance is strong and confident making him a standout in this piece in both his authenticity with the role and his gentle handling of the character. Along with Nelson, another Resident Company member, Deborah Hazlett shines as Esther, the matriarch, and the mixed, bottled up emotions just spill out of her throughout this production. She has a deep understanding of this character and her portrayal of her, as a grieving, staunch mother is impeccable. Both Nelson and Hazlett, through their performances, bring home the message of forgiveness in their portrayals of these two characters, and not just surface forgiveness, but true and deep forgiveness, even in the hardest of situations.

Tony Nam, Alex Spieth. Credit: ClintonBPhotography

Two highlights in this production are Alex Spieth, who tackles the role of Miri, a former Amish girl and estranged daughter to Jacob and Esther, and Tony Nam, who takes on the role of Eric, the driver of the car that hit the buggy, taking the lives of Jacob and Esther’s sons. Both Spieth and Nam are able actors who have a good comprehension of their characters and portray them naturally in both delivery of the dialogue and in manner. Eric wants to get in and Miri has gotten out, and is fine with her choices and the conflict between these two characters is beautifully presented by Speith and Nam and both give strong, confident, and poignant performances.

Steve Polite and Hannah Kelly. Credit: ClintonBPhotography

Rounding out the small ensemble, the adorable Hannah Kelly takes on the role of Ruth, the good daughter, who is content with her Amish life and wants to be a good person and is a good person, and the dashing Steve Polites, tackles the role of Abram, the tall, handsome, boy next door who seems to be the apple of the community’s eye, but has a secret dark side. Kelly undoubtedly knows her character inside and out and her portrayal is authentic, and, because of her portrayal, you can’t help but like this character from the get. She invokes a gentleness that’s believable and gives a tender performance that is required of this young girl. Polites has a strong command of the stage (it doesn’t hurt that he’s a little over 6’ in height, or so it seems) and his voice is smooth and booming, which works very nicely with this character. He takes this character and makes it his own, walking the line between the perfect son and the devil among us, making for an intriguing and exciting performance.

Final thought…  Everything is Wonderful at Everyman Theatre is a poignant, thoughtful piece that makes us look into our own selves and question what we would do in a certain situation. From Set Design to Costumes Design to performance, this production is not one you want to miss this season. There’s not one performer who can’t hold his or her own and the material is through provoking with dashes of humor that take the audience on a roller coaster of all the feels. It enlightens us about a culture that is seemingly veiled in plain sight and puts us all on a level playing field. If you don’t have your tickets already, get them now. I reiterate… you do not want to miss this one.

This is what I thought of Everyman Theatre’s Everything is Wonderful… What did you think? Please feel free to leave a comment!

Everything is Wonderful will play through February 24 at Everyman Theatre, 315 W Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or you can purchase them online.

Email us at backstagebaltimore@gmail.com

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Review: The Book of Joseph at Everyman Theatre

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By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 15 minutes with one intermission

(l-r) Megan Anderson, Helen Hedman, Beth Hylton, and Bari Hochwald. Credit: ClintonBPhotography

There are secrets in every family whether close or estranged. There are untold stories and questions we may have about or family we just let go of because we either don’t want to know or we don’t know where to find the information and with the current rage of DNA testing and ancestry more and more folks are finding answers to the questions they have about their own families. Everyman Theatre’s latest offering, The Book of Joseph by Karen Hartman is Directed by Noah Himmelstein and is based on the book The Life of Joseph A. Hollander and His Family by Richard Hollander. It is a journey of discovery of a man who was a father, son, brother, uncle, and husband who kept his past in letters and documents that tell an

The Cast of The Book of Joseph. Credit: ClintonBPhotography

extraordinary story of the bonds of family and an unconditional love.

In a nutshell, The Book of Joseph concerns itself with the story of Joseph Hollander, a Polish immigrant who happens to be Jewish, and his correspondence with the family he left behind during World War II, as the Nazi Party took over most of Europe. The story is told by his son, Richard, as he discusses the book he wrote about these correspondences he discovered after the death of Joseph. The thing is, it took years for Richard to read these correspondences because of the fear he had of what he might find out about his family after noticing the Nazi emblems on the letters in his father’s briefcase. Richard had managed to tell the story with kid gloves, glazing over the horrible parts and concentrating on the good parts, while possibly adding a bit of his own optimism. However, Richard’s son, Craig, is determined to get the truth about what happened, even if it means facing a darkness that has been hidden within the family.

Daniel Ettinger’s Set Design is, once again, impeccable, and helps move the story along nicely allowing for easy exits and entrances with thoughtful use of projections and dark colors to express the poignancy of the story. The turntable that takes the audience from one setting to the next is clever and makes for smooth transitions between scenes. Ettinger has created yet another successful design.

(l-r) Wil Love, Beth Hylton, Hannah Kelly, Danny Gavigan, and Bari Hochwald. Credit: ClintonBPhotography

Working in tandem with the Set Design, the Sound Design by Elisheba Ittoop and Lighting Design by Cory Pattak is superb and sets the mood of not only entire production but each scene as well. Pattak uses rays of isolated light and subtle dimming of light to represent the dreariness and uncertainty in the story as well as brightening to express the more uplifting points. Working with the lighting Ittoop’s sound design blends perfectly into the production and may not be noticeable until she wants you to notice it which makes for an intelligent design. Her original compositions are faintly heard in the background during certain scenes, but are fitting and well-thought out. Together, these aspects of light and sound do not hinder the production and performances but enhance and help them along.

David Burdick rarely disappoints and his Costume Design for this production is no different. His attention to detail is immaculate and, being a period piece that requires a specific style, Burdick’s design is spot on. His choice of wardrobe for each character gives them an individuality and the modern and bygone era styles are presented flawlessly and transitions smoothly from one scene to the next. Kudos to Burdick for his work on this production.

Noah Himmelstein takes the helm of this superb production and presents the story clearly with a focused vision. It’s obvious he has a great comprehension of the text, the characters represented, and the message of the story. Himmelstein has amassed a balanced, well-rounded cast with a chemistry that is second to none and his staging is engaging, making for spot on pacing that is just about perfect. Himmelstein should be applauded for his impeccable work on this production.

Danny Gavigan as Joseph (foreground) and Cast. Credit: ClintonBPhotography

Commenting on the performance aspect of this production, it’s worth mentioning that, according to this story, the Hollander family is a family driven by strong women, with Joseph being the only male amongst supportive females. Hellen Hedman as Berta, the matriarch of the Hollander family, plays her character as a woman who has an unencumbered faith in family and puts on a show of strength for her daughters and only son. Hedman is comfortable with her role and plays it with confidence.

In the same vein, Bari Hochwald plays Mania, the eldest sister, and she plays it in a way that makes this character relatable to anyone who has an older sister, like myself. She seems to portray this character as an obligated caretaker, as many eldest children feel, having a nice blend of being both strict and stern as well as compassionate for her family. The match with Everyman Theatre Resident Company member Wil Love as Salo, her husband, is brilliant and Love’s portrayal of a loving and supportive husband with a gentle demeanor is believable and charming.

Bruce Randolph Nelson. Credit: ClintonBPhotography

Beth Hylton, an Everyman Theatre Resident Company member takes on the role of Klara, Joseph’s next eldest sister who seems to be a tough cookie, as well as Felicja Hollander, the first wife of Joseph. Playing these two vastly different characters is a representation of Hylton’s impressive skills as she plays Klara with a rough-around-the-edges but soft on the inside kind of sister and mother who manages to get along no matter what life throws at her and the snooty, uptight Felicja. Kudos to Beth Hylton on a remarkable performance. Along with Hylton’s Klara, Hanna Kelly tackles the role of Genka and the gender-bending role of Boy Arnold. Much like Hylton, Kelly’s portrayal of these roles is a natural and believable switching flawlessly between the anxious and nervous young immigrant, Boy

Arnold, and the young, optimistic, and hopeful Genka.

Megan Anderson and David Gavigan. Credit: ClintonBPhotography

Two highlights in this production are Everyman Theatre Resident Company members Megan Anderson and Daid Gavigan. Anderson takes the roles of Dola, Joseph’s sister to whom he seems to be closest, and Vita, Joseph’s second wife and lifelong love, and Gavigan takes on the titular role of Joseph, the man who kept correspondence with his family and tried to help them immigrate to the United States for as long as he possibly could. Anderson brings her usual energy and confidence to her roles that make her a joy to watch and she has a tight grasp on her strong, independent characters making for a remarkable performance. Gavigan, too, understands the nuances of his character, a conflicted and worried young man who is desperate to help his family. He has a good presence and is confident in this role and it makes for a fantastic performance that is the backbone of this production.

Bruce Randolph Nelson as Richard and Elliott Kashner as Craig. Credit: ClintonBPhotography

Rounding out the cast are two more highlights – Elliott Kashner as Elliott, Joseph’s grandson, and Everyman Theatre Resident Company member Bruce Randolph Nelson as Richard, Joseph’s son. Both these actors bring the modern into this production amidst the flashbacks and memories and they do it seamlessly and they both have a deep comprehension of their characters and the text. Nelson brings a certain levity to this poignant piece that fits in perfectly without making a mockery of the story and his rollercoaster of emotions is clear making for an authentic performance that is a delight to experience. Kashner, who enters later in the piece, is absolutely believable with a great mix of flippancy that makes you want to smack him, a yearning to know his own history, and a compassion for his father. He has a confident presence on stage and it makes for an admirable performance, overall.

Final thought… The Book of Joseph is a poignant, heart-wrenching look into the life of one family during the turbulent and uncertain times during WWII. The story is well framed and structured even though it hops through time, it’s easy to follow in the way the script is laid out. It’s a story that incorporates hope, regret, love of family, survival, and moving on under extreme circumstances. It also has a certain amount of levity mixed in with the tragedy that gives the audience emotional peaks and valleys that make for great theatre. It reminds us of the untold stories of war and strife that don’t come to light until years later when those involved are long gone and we only have letters and documents to put the pieces of the past puzzle together. The performances are extraordinary and the script is well put-together making for a thoughtful and entertaining production as a whole. Once again, Everyman has not disappointed and you don’t want to miss this final production of the 2017-18 season.

This is what I thought of Everyman Theatre’s production of The Book of Joseph… What did you think? Please feel free to leave a comment!

 The Book of Joseph will play through June 10 at Everyman Theatre, 315 W. Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or you can purchase them online.

Email us at backstagebaltimore@gmail.com

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Review: Los Otros at Everyman Theatre

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By Jason Crawford Samios-Uy

Running Time: 90 minutes with no intermission
When people who come from different walks of life collide, directly or indirectly, one wonders how the two came together. What journey did they take to place one in the other’s life? Everyman Theatre’s latest offering, the premiere of Los Otros, with Book & Lyrics by Ellen Fitzhugh and Music by Michael John LaChiusa, Direction by Noah Himmelstein, and Music Direction by Jon Kalbfleisch gives us a glimpse into that journey and of the steps two characters take through life to cross each other’s path. I’d like to, if I may, give major kudos to Everyman Theatre, as well, for stepping out of their “comfort zone” of strictly plays and producing not only a musical but a brand new, commissioned musical, at that!

Judy McLane and Philip Hernandez. Credit: ClintonBPhotography


Los Otros revolves around Lillian, a white woman, and Carlos, a Hispanic man, who both live in California and is told in a series of vignettes composed of their memories, reflections, and discoveries about themselves and the world around them between the years of 1938 and 1995. According to Everyman Theatre, “Inspiring, energetic and emotionally charged, this semi-autobiographical work captures a universal story of interconnectedness, love, risk and revelation through the lens of two people’s lives.”

Director Noah Himmelstein, Composer Michael John LaChiusa, Writer/Lyricist Ellen Fizhugh. Credit: Kirstin Pagan


The story of Los Otros itself is engaging and I feel for these characters and am genuinely interested in their lives and the stories they tell. The book by Ellen Fitzhugh is authentic and raw with simple storytelling that makes this piece so charming. For spanning so many years, it’s organized and easy to follow and the ending is certainly fitting and satisfying. Michael John LaChiusa’s music leaps off the page and is absolutely appropriate for this piece. I appreciate the hints of different styles representing different eras and though some of the melodies seem a little elementary, overall, the score is pleasing and well thought-out.
For as good as the music and book are, Lyrics, also by Fitzhugh, though good, in general, could use a little more editing. At points it seems Fitzhugh is trying too hard for a rhyme and over-telling the story through song. A couple of the pieces, such as “Arturo,” which is a still a good song, had many parts that sound more like a recitative that can be been spoken rather than trying to throw it into a song. That being said, Music & Lyrics, aside from a few minor, specific criticisms that may smooth out over time, work very well together for this piece as a whole.

Judy McLane. Credit: ClintonBPhotography


Once again, Everyman Theatre has no disappointed with their beautiful set. Set Design by Daniel Ettinger is simple and minimal, yet elegant and appropriate for a production of compiled vignettes. Each character has his or her own main space on either side of the stage with shared space in the center. The use of sliding lattice and slight levels makes the setting interesting without taking away from the action of the piece. This is yet another fantastic set design from Daniel Ettinger.

Philip Hernandez and Judy McLane. Credit: ClintonBPhotography


Lighting and Sound Design by Nancy Schertler and Ken Travis, respectively, also adds to this piece and does not distract from it. Both work in tandem to set the mood of each vignette and brings the audience into the piece subtly guiding the emotion of the action onstage.
David Burdick’s Costume Design is minimal, as it should be for a piece such as this, and each character is costumed befittingly with an wardrobe that is simple, but versatile enough add a piece or take away a piece to represent the different eras of the five decade timeline.
Music Direction is tackled by Jon Kalbfleisch and I would imagine that taking the musical reigns of a brand new piece can be challenging, even daunting, but if it is, Kalbfleisch does an exquisite job. Under his direction, the vocal performances and orchestra were well-rehearsed, giving us a superb final product.

Philip Hernandez. Credit: ClintonBPhotography


Everyman Theatre’s new Associate Artistic Director, Noah Himmelstein, takes the reigns of this production and not only took on Direction of this new and re-imagined piece, but also had a hand in development. His vision is unpretentious, but innovative and effective. His vision is evident and he handles the material nicely and makes it relevant for today’s social and cross-cultured environment. The story is told clearly and the characters are precise making for an enjoyable and enlightening evening of theatre.
Both Judy McLane and Philip Hernandez, both experienced, veteran actors of stage and screen do an impeccable job bringing these characters to life and embodying them completely. Their performances are absolutely engaging and their storytelling is top notch. The connection between these two characters is gradual and clear and both McLane and Hernandez follow this connection at and equal pace impressively reaching the climax seamlessly and simultaneously.

Philip Hernandez. Credit: ClintonBPhotography


Philip Hernandez takes on the role of Carlos, who goes on a journey of sexual identity, defining and finding love, and honoring culture and Hernandez plays it near flawlessly. He has a strong, confident presence and seems to really understand his character. Vocally, he gives an admirable performance with a clear voice that resonates beautifully throughout the theatre. Though, at times, the performance seemed a bit (just a bit) forced, his gradual change in demeanor during his storytelling of his childhood through adulthood is seamless and one is brought into an immersed in the story rather than just sitting on the outside listening making for a commendable and impressive performance.

Judy McLane. Credit: ClintonBPhotography


Judy McLane as Lillian is an absolute joy to watch. She gives an outstanding, natural performance with an exceptional ability to tell a story. McLane presents the authenticity of her character tastefully but with a raw, unabashed undertone throughout the entire production. Life has thrown some curve balls at Lillian and McLane portrays it near perfectly. Her vocal performance is outstanding and strong even while smoothly (and brilliantly) acting her way through her songs. Overall, she gives a solid and remarkable performance.
Final thought… Los Otros at Everyman Theatre is basically a poignant coming-of-age tale spanning many decades and two different cultures. The simple storytelling is what makes this piece work so well and the music is fresh with hints of each decade it represents though the lyrics are a bit hokey and elementary, at times, while at other times, too much. The script is light as the concentration is on the music, but it is engaging and commanding. The journey these characters take us on is mixed with sadness, happiness, smooth sailing, and bumps in the road, but the ending of this story is worth the traveling. It’s always a pleasure and a privilege great to see new and re-imagined works at our larger small theatres in Baltimore and Everyman Theatre is to be commended for their work with this piece. This is definitely a production worthy of your time and consideration!
This is what I thought of Everyman Theatre’s production of Los Otros… What did you think? Please feel free to leave a comment!
Los Otros will play through April 23 at Everyman Theatre, 315 West Fayette Street, Baltimore, MD. For Tickets, call the box office at 410-752-2208 or purchase them online.
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PRESS RELEASE: Los Otros Premiere Brings New Musical to Everyman Theatre from Tony Award Nominated Creative Team

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everyman-theatre-logo
Newly Commissioned Reworking Explores Cross-Cultural Connections
Baltimore, MD – Everyman Theatre presents the Baltimore/DC Premiere of Los Otros, a timely new reworking of the musical from Tony Award nominees Michael John LaChiusa (music) and Ellen Fitzhugh (book and lyrics). Los Otros is currently in rehearsal and runs from March 22 through April 23, 2017.
Following its 2012 debut at the Mark Taper Forum, this compelling new reimagining is the result of an Everyman-commissioned workshop this past fall in New York City. Infused with compassionate, cross-cultural understanding, Los Otros bursts to life with an immersive set design, a vibrant score and two affecting lead performances – nearly entirely sung – from Broadway vets Judy McLane (Mamma Mia!) and Philip Hernandez (Kiss of the Spider Woman), backed by a live on-stage instrumental ensemble.
Through a series of beautiful and intimate vignettes, two Californians, Lillian and Carlos, reflect on profound moments from the past in which their individual experiences (as a white woman and Hispanic man) are linked by a collective sense of “otherness.” Juxtaposing such familiar human tensions as past/present, memory/mysticism and cultural/sexual identity, director Noah Himmelstein and musical director Jon Kalbfleisch command a production that is at once quietly perceptive and startlingly relevant in the context of today’s real-world social climate. Inspiring, energetic and emotionally charged, this semi-autobiographical work captures a universal story of interconnectedness, love, risk and revelation through the lens of two people’s lives.
“Ellen and Michael John are two of the most extraordinary thinkers in musical storytelling,” said Himmelstein. “The imaginative structure and near-cinematic breadth of Los Otros has inspired a visual design that echoes the experience of both characters, physically transforming as their stories unfold.”
“Commissioning this new version of Los Otros speaks to Everyman Theatre’s ardent belief in supporting important new work,” said Founding Artistic Director Vincent M. Lancisi. “Los Otros represents a profound investment in Ellen and Michael John’s creation, and the culmination of an intensive, ongoing collaboration between two great artists and this institution.”
los-otros-logoLos Otros is the first production directed by Noah Himmelstein under his new title of Associate Artistic Director at Everyman Theatre. A native of Baltimore, Noah previously directed the critically acclaimed production of An Inspector Calls during Everyman’s 2015/16 season. Mr. Himmelstein’s recent credits also include directing Andrew Lippa’s I Am Anne Hutchinson/I Am Harvey Milk at the Strathmore Center with Kristin Chenoweth, in addition to earlier incarnations of the work at Lincoln Center and in San Francisco and Los Angeles. He also recently directed Jonathan Tolins’ play The Forgotten Woman at Bay Street Theatre, Bleeding Love at the Fredericia Theatre in Denmark and the premiere of Michael Korie’s opera Positions 1956 in Washington, DC. He is a former assistant director to James Lapine and Bartlett Sher and a graduate of Emerson College.
Composer Michael John LaChiusa’s career includes multiple Tony Award nominations. His many scores include The Wild Party, Marie Christine, Hello Again, Giant, First Lady Suite, First Daughter Suite and See What I Wanna See. Lyricist and book writer Ellen Fitzhugh is the lyricist behind Grind on Broadway, several off-Broadway musicals, including Paper Moon, Herringbone, and Don Juan DeMarco and Paradise Found in London. 
Judy McLane (Lillian), whose Broadway credits include Kiss of the Spider Woman, Aspects of Love and Chess, co-stars as Lillian in Los Otros, her first Everyman Theatre production. After starring as Tanya in Mamma Mia! for nearly eight years, Ms. McLane stepped into the lead in the long-running ABBA tuner as Donna Sheridan in 2012, a role she played until the show’s run on Broadway ended in 2015. She received critical acclaim for her performance as Vienna in Johnny Guitar off-Broadway (Drama Desk Nomination and a Drama League Award for Distinguished Performance in the Theater). Most recently, she starred as Diana in Next to Normal at the Pioneer Theater.
Philip Hernandez (Carlos), who first appeared on Broadway in the original cast of the Tony Award-winning musical Kiss of the Spider Woman, co-stars as Carlos in Los Otros, his Everyman Theatre debut. He is the only man in Broadway history to play both Jean Valjean and Inspector Javert in Les Miserables. Mr. Hernandez played opposite Marc Anthony and Ruben Blades in the original Broadway cast of Paul Simon’s The Capeman. His career goes beyond Broadway, having sung with symphony orchestras throughout the U.S. and recorded a Latin jazz album with a big band.
McLane and Hernandez have previously appeared together in Kiss of the Spider Woman on Broadway and in Man of LaMancha at Paper Mill Playhouse.
Tickets for Los Otros are now on sale online (www.everymantheatre.org), by phone (410.752.2208), or at the Everyman Theatre Box Office (315 W. Fayette Street, Baltimore, MD 21201). Two-play subscription packages are also available, and include the upcoming Resident Company production of Noises Off (May 17 through June 18, 2017).

Event Listings

Pay-What-You-Can Performance
March 19, 2017 at 7:00 PM
March 21, 2017 at 7:30 PM
TNT: Theatre Night for Teens
March 21, 2017 at 6:00 PM
Students in grades 9-12 can enjoy dinner by Two Boots Pizza, an artist meet-and-greet, the play, and post-show discussion and dessert. Tickets: $10 each.
Salon Series: Women’s Voices: The Language Archive
March 27, 2017 (Cocktails at 6:00 PM; Performance at 7:00 PM)
A reading of Julia Cho’s The Language Archive, a heartfelt comedy exploring the power of words and the capacity of language to fail or save us. Tickets: $15 each ($5 for students).
Taste of Everyman: California Bounty
April 6, 2017 at 6:00 PM
Mix and mingle with other theatre lovers during a pre-show social, this month featuring California wines paired with hors d’oeuvres by The French Kitchen. Tickets: $60 each for show and event.
World of the Play
April 8, 2017 at 5:00 PM
Take part in an in-depth panel discussion on the themes and topics of the show, hosted by Marc Steiner (WEAA’s The Marc Steiner Show). Tickets: $5 each (free for subscribers).
Cast Conversations
April 13, 2017 at 9:30 PM
Talk about the play with the members of the cast after the show. Free.
About Everyman Theatre
Everyman Theatre is a professional Equity theatre company celebrating the actor, with a Resident Company of artists from the Baltimore/DC area. Founded in 1990 by Vincent M. Lancisi, the theatre is dedicated to engaging the audience through a shared experience between actor and audience seeking connection and emotional truth in performance. Everyman is committed to presenting high quality plays that are affordable and accessible to everyone. The theatre strives to engage, inspire and transform artists, audiences and community through theatre of the highest artistic standards and is committed to embodying the promise of its name, Everyman Theatre.
Los Otros is executive produced by Susan W. Flanigan. Additional support is provided by Producers’ Circle donors: Beth Goldsmith, Gina & Dan Hirschhorn, George Roche, Shen Family Foundation, The Stockman Family Foundation, and Lawrence Yumkas & Miriam Fisher. The 16/17 Season is generously sponsored by LifeBridge Health and Neil & Ellen Meltzer. Everyman Theatre’s Pay-What-You-Can nights are supported by Dr. E. Lee & Bea Robbins. Everyman Theatre is proud to have The Baltimore Sun Media Group and WYPR Season Media Sponsors. MSAC provides financial support and technical assistance to non-profit organizations, units of government, colleges and universities for arts activities. Funding for the Maryland State Arts Council is also provided by the National Endowment for the Arts, a federal agency.
Everyman Theatre is a proud member of the Bromo Tower Arts and Entertainment District and the Greater Baltimore Cultural Alliance.
Vincent M. Lancisi is the Founding Artistic Director of Everyman Theatre; Jonathan K. Waller is the Managing Director. For information about Everyman Theatre, visit www.everymantheatre.org or call 410.752.2208.