David Mamet writes great debates. His characters navigate the twists and turns of a well-formed argument, deflating weaker points, inflating new ideas, poking holes in meaning, until finally the play ends, at which point the audience is left defeated.
Leave it to Austin’s maverick troupe, the Rude Mechs, to tackle Shakespeare’s “problem plays.” Even the Bard’s esteemed canon contains a few duds, and in the new bi-annual series, Fixing Shakespeare, the Rude Mechs attempt to slice and dice these plays into more contemporary, and perhaps more palatable, shows.
If the title character of J.M. Barrie’s Peter Pan existed before the beloved story begins, he might have been a nameless boy in the bowels of a boat caught in the crossfire of warring pirates. That’s the story of Peter and the Starcatcher, a winsome play touring the country and still enjoying a successful run on Broadway.
The logo of the Undermain Theatre adorns a sandwich board at the edge of the Deep Ellum neighborhood in Dallas. The lone black and yellow marker beckons curious theatergoers to venture below Main Street for shows they can't see anywhere else. Undermain Theatre celebrates its 30th year with a lineup of three brand new plays, continuing its lifelong commitment to presenting original plays that challenge audiences. Whether it's an edgy new work by David Rabe or a scintillating production of August Strindberg or Harold Pinter, the consistently high quality of work at the Undermain Theatre is unrivaled in the local scene.
A centerpiece of the first act of The Book of Mormon is the song, "Hasa Diga Eebowai." This Ugandan phrase punctuates the show's irreverent version of "Hakuna Matata," in which a tribe sings about AIDS, Africa, and telling God where he can stick his lightning bolts.