Dave Read

Berkshire Theatre Festival tickets

Berkshire Theatre Festival tickets and driving directions.

Full-time Berkshire residents get 20% off to all season performances in the Main Stage and Unicorn Theatres; Saturday nights in the Main Stage excepted.

Children under 18 get $15 tickets to all season shows, Saturday nights excluded. Students 19-25 with valid ID receive $20 tickets to all shows, again Saturday nights excluded. 2010 Berkshire Theatre Festival schedule details.

PO Box 797, Stockbridge, MA 01262
Box Office – 413-298-5576 ext. 33
website: BerkshireTheatre.org
e-mail: info@berkshiretheatre.org

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The Last Five Years at Berkshire Theatre Festival

June 26, 2010 performance reviewed by Frances Benn Hall.

Almost a hundred years ago, Ezra Pound (whose personal and political life took on disastrous turns later) had profound influence on the creative arts by blasting the message: MAKE IT NEW. Which is exactly what writer/composer Jason Robert Brown has done in ingeniously shaping his haunting musical, The Last Five Years, now playing gloriously at the Berkshire Theatre Festival where Ezra’s “make it new” vibes pulse in every aspect of the musical and its production.

The musical is mesmerizing and dynamic, sad and hilarious, accessible yet fractured in the telling of its love story, with sad ending of two young people Jamie, (Paul Anthony Stewart) a budding but untried author and Cathy (Julie Reiber) an aspiring actress.

On a plot level, they fall in love, marry, and after five years, part . On a performance level is it far more. Under the sensitive and impeccable direction of Andres Cato, the story unfolds, as composed, with songs alternating, those of Cathy sadly beginning at the end and working backward, while those of Jamie begin and move forward.

To further interweave the pattern, although the songs are alternating solos, moving gradually toward each other, from the beginning not only are both actors on stage, but the stage itself is a room from which there is no exit. From the start of the play the five piece orchestra, with grand piano up R and four piece band UL are on stage as are the two actors. Each can move about the space, live his/her own joy or grief in song but never distracting from or responding to the words of the other singing.

This pattern of backward/forward movement of plot material leads in the middle of the play to the one moment in the play when the two time frames briefly coincide and the two meet center stage, to exchange rings, to marry, to hope.

But the relentless press of time itself lets Jamie gradually realize that his success (he gets his book published successfully) does not help the marriage, and that he is unable to keep the faltered marriage alive.

And Cathy,having realized little dramatic fame, and having found it impossible to cope with yearnings for a baby and being a successful artist, can find little hope in a dreary summer part in an impossibly awful summer stock company in Ohio. She is on a downward slope from hopes she had when she fell in love, yet even still she fights to encourage herself, to go on. Knowing it is too late.

Both still love each other. But it can no longer work.

So, when they both reach the five year end time period, Jamie admit must admit that as much as he has loved her, and while he loves her still, “I could never rescue you,” she knows it too. It was in her first sad song. So they part, both grieved by the failure. And the audience is moved to tears.

Jamie, based admittedly on his creator, has the most dynamic and physically active songs. His opening number engages the audience immediately with its vitality as he, young Orthodox Jewish boy steeped in tradition, begins his elation at finding out that he is madly in love with a goyishe whom he soon idolizes as “Shiska Goddess”, and who will inspire him in his longing to become a famous author. His young boyish character develops gradually through the play and he finally reaches the heart-wrenching decision:
“I could never rescue you.”

Cathy knows too. She has quietly let us know the same thing in her first song…and in her second “Still hurting” she tries to deal with her hurt with hopes of moving on in her career. “Still climb up hill.” But until the bitter end, she hopes. Her role is less “showy” but as equally nuanced as his.

And both handle the moods and shifting rhythms of the music admirably.

Designer Lee Savage has created a beautiful set—a trap enclosing time and space but lit by six great windows through which the actors can gaze in hope or despair. Jeff Davis’ lighting is subtle and effective.

Pianist Rich Bertone at the great lonely piano leapt agilely from mood to mood and tempo to tempo of the score. He was ably supported by his fine four piece onstage orchestra. Indeed, they all so flowed into the time/timelessness of the performance, one did not observe them.

Weaving this production together was director Cato. It is an unusual evening in theatre and distinctly worth experiencing.

Berkshire Theatre Festival 2010 schedule and ticket information.

Nina Ananiashvili, State Ballet of Georgia at Jacob’s Pillow

June 23, 2010 performance reviewed by Jocelyn McGrath.

Nina Ananshvili has worked practically every day of her life to make ballet look effortless and feel joyful—an extraordinary passion that she continues to share with her company, the State Ballet of Georgia, and on the stage here at Jacob’s Pillow. Ms. Ananshvili is a prima ballerina among primas—an internationally acclaimed dancer who, among many prizes, honors and guest artist appearances, has been a principal for both the Bolshoi and the American Ballet Theatre. 2014 Jacob’s Pillow schedule, Contact info. and links

For the last six years she has added what could be called the most demanding role of her career, that of Artistic Director of the Georgian State Ballet, the country of her birth. She described for us the way in which she was asked to assume the position—summoned by the President of Georgia, he gave her four hours to “decide” to say yes before he planned to go public with her acceptance.

Clearly, he was a wise man, as Ms. Ananshvili has proved to be an innovator committed to expanding repertory and creating international partnerships. She has been determined to add the great 20th century ballet choreographers to the 19th century classics, and this evening’s collection of small works is the fruit of her labors.

The first section of the evening consists of four pieces, three male-female duets and a solo, by Frederick Ashton, created between 1952 to 1985. The solo, La Chatte, provided a humorous contrast to the generally romantic theme. In this piece the ballerina is a precious, white, fluffy pussycat, an interesting change from the more prevalent bird motifs. It’s lovely and refreshing to see an elegant ballerina sensuously rolling around on the floor. For the rest of the Ashton pas de deux, one would think that two dancers would have no trouble fitting on such a modest stage, but Ashton’s sense of the grandeur and spectacle suggest they were designed for much larger venues. Ashton’s ideal still conforms to the romantic vision of woman on a pedestal—resulting in many statuesque lifts, the most strikingly totemic nearing the end of Thais Pas de Deux (1971).

In comparison, the next piece by Balanchine, Duo Concertant (1972), seems easy and intelligent, the partnering naturally intimate and mutual. Delicate, nuanced phrasing; rhythmic, low, passages are all enhanced by a human-sized sense of relationship that is rooted in the music by Stravinsky. The live pianist and violinist on stage, Jeanette Fang and David Southorn, respectively, delineate a home base, literally and figuratively. The initial tableau is that of the two dancers standing musingly behind the piano, listening attentively. It presents a respectful and affectionate family portrait we return to again and again.

Alexei Ratmansky’s Bizet Variations Pas de Six was choreographed in 2008 specifically for this company. After four pas de deux and a solo, this piece with three couples feels wildly expansive and dynamic. Lush, flowing costumes in a palette of cool blues and lavender for the ladies, and Romeo blouses and fitted pantaloons on the men, enhance the pleasure of pure movement. That the women are adored by their men is evident (at one point the men literally kiss the women’s feet), but that the dance itself is the highest love is very clear.

The last piece, Falling Angels (1989) by Jiri Kylian, presents the strongest contrast to the rest of the program. It contains hardly any obvious ballet vocabulary—the drum score and stark, structured lighting; the angular gestures and contracting spines, say Modern all over. Yet, the emphasis on extreme synchronized movement, and the subtle variations by individuals in the group, eventually breaking off to dance duets and solos, draws on the tradition of the corps. Literally forming one body together, this group of eight women exhibit a virtuosic unity that supports and contrasts the ever-changing individuals.

As a complete evening of entertainment, this performance is an exceptional sampler of some of the greatest modern ballet choreographers. Here is a marvelous opportunity to explore the range of artistry directly influenced by the great classics, freed from a three-act storyline. Romantic and passionate, subtle and nuanced, there is so much here to enjoy.

This show runs two hours with two 10-minute intermissions.

Freud’s Last Session at Barrington Stage Co.

On the Barrington Stage Company schedule, June 22 through July 3 at BSC Stage 2, 36 Linden Street, Pittsfield, is a return engagement of Freud’s Last Session, by Mark St. Germain, which received its world premiere in June 2009. Starring Mark H. Dold and Martin Rayner, under the direction of Tyler Marchant, Freud’s Last Session moves on to an Off-Broadway production at the Marjorie S. Deane Little Theatre, 5 West 63rd Street, NYC, beginning July 9, with an opening scheduled for July 22.

Freud’s Last Session centers on legendary psychiatrist Dr. Sigmund Freud (Martin Rayner), who invites a young, little known professor, C.S. Lewis (Mark H. Dold), to his home in London. Lewis, expecting to be called on the carpet for satirizing Freud in a recent book, soon realizes Freud has a much more significant agenda. On the day England enters World War II, Freud and Lewis clash on the existence of God, love, sex and the meaning of life—only two weeks before Freud chooses to take his own. The play is based on Dr. Armand Nicholi’s The Question of God, which was presented as a two-part PBS television presentation in 2004.

Playwright Mark St. Germain was intrigued by an account of Sigmund Freud’s meeting with an unnamed Oxford don shortly before Freud committed suicide in 1939 to end his battle with oral cancer. In Freud’s Last Session, the psychoanalyst’s visitor is C.S. Lewis, author of The Chronicles of Narnia and The Screwtape Letters.

Mark H. Dold (C.S. Lewis) At BSC: 7 seasons. Broadway: Absurd Person Singular. Off-Broadway: Shockheaded Peter, The Little Shubert; NY Shakespeare Festival; Classic Stage Company; Manhattan Theatre Club; TFNA; WPA; INTAR. Regional Highlights: Mark Taper; Old Globe (San Diego Critics Circle Award); Chicago Shakespeare; Shakespeare DC; Long Wharf (Connecticut Critics Circle Award); Trinity Rep; Yale Rep. Film: 3 Windows, Say You’ll Be Mine, Junior Creative, Charlie’s Party. TV: 6 years on All My Children, Third Watch, Gossip Girl, Third Watch, Conviction, Brother Outsider (PBS), Law + Order (original, SVU + Criminal Intent), The Progressives (miniseries), Novel Reflections (pilot). Education: The Yale School of Drama.

Martin Rayner (Freud) Recent: American premiere of Frank McGuiness’s Gates of Gold (59E59), Fugard’s The Road to Mecca (Studio Theatre DC), American premier McGuiness’s The Bird Sanctuary (Pittsburgh Public). Favorite On/Off-Broadway: Hans in Sixteen Wounded, Pater in Stoppard’s The Invention of Love, Charles VI in Henry V (Central Park), Henry in Travels with My Aunt (Minetta Lane – Drama Desk, Outer Circle Awards), Frizer in Kit Marlowe (Public). Favorite regional: Yale Rep: Underground, You Never Can Tell; McCarter: Loot; A.R.T.: King Lear, When We Dead Awaken; Wilma: The Invention of Love, The Magic Fire. Television: Dr. Chaotica, Star Trek Voyager, Frasier, Law & Order: CI., Dangerous Curves, Churchill’s People, Benjamin Franklin. Favorite commercial: Grey Poupon.

Barrington Stage has presented Award-winning playwright Mark St. Germain’s The God Committee, Ears on A Beatle and The Collyer Brothers at Home/Period Piece. He has also written Camping with Henry and Tom (Outer Critics Circle Award and Lucille Lortel Award), Forgiving Typhoid Mary, Out of Gas on Lovers Leap, among others. His musical theatre credits include The Gifts of the Magi, co-written by Randy Courts, and Stand By Your Man – The Tammy Wynette Story.
Mr. St. Germain was also a creative consultant and writer for several seasons on The Cosby Show and co-wrote the screenplay for the acclaimed film, Duma.

Tyler Marchant (Director) At BSC: Freud’s Last Session, A Picasso. Recent directing credits include the world premiere of 40 Days by Laura Eason, RENT, Lend Me a Tenor, Cloud 9 and the world premiere of the musical Anne of Green Gables at the Lucille Lortel Theatre in NYC. From 2000-2006, Tyler served as the Associate Artistic Director at the Off-Broadway theatre Primary Stages. M.F.A. in Directing at University of South Carolina , member SDC.

Barrington Stage’s production design team for Freud’s Last Session will once again includes Brian Prather (scenic design), Mark Mariani (costume design), Clifton Taylor (lighting design), Beth Lake (sound design). Kate Cudworth is production stage manager.

Performances of Freud’s Last Session are Tuesday through Friday at 7:30pm, Wednesdays at 2pm, Saturdays at 4pm and 8pm and Sunday at 7:30pm at BSC Stage 2, 36 Linden St., Pittsfield. Please note additional performance on Thursday, July 1 at 4pm. Tickets: $15-$45. For ticket information call 413-236-8888, stop by the BSC Box Office at 30 Union Street , or visit www.barringtonstageco.org.

Jacob’s Pillow Season Opening Gala

The Season Opening Gala is at the top of the Jacob’s Pillow 2010 schedule of dance in the Berkshires. The event will include a performance in the Ted Shawn Theatre, dinner and dancing, and presentation of the Jacob’s Pillow Dance Award to choreographer and director Bill T. Jones.

The Gala begins at 6pm with an exclusive mixed bill performance in the Ted Shawn Theatre. Festival artist Nina Ananiashvili, named the “definition of grace” by Masha Savitz of The Epoch Times and “classical ballet’s undeniable superstar” by Clive Barnes of The New York Post, performs the iconic solo The Dying Swan. The signature role of Russian ballet legend Anna Pavlova, The Dying Swan was choreographed for Pavlova in 1905 by Mikhail Fokine. “The Dying Swan is not about a woman impersonating a bird,” says Allegra Kent, former Balanchine ballerina, in an article for The New York Times, “it’s about the fragility of life – all life – and the passion with which we hold on to it.” Ananiashvili will perform to live music by master cellist Yehuda Hanani.

Three Creative Development Residency artists who created work at Jacob’s Pillow this past year are also featured on the Gala program. Dancer/choreographer Kyle Abraham will performs his whirlwind contemporary solo Inventing Pookie Jenkins; Camille A. Brown, called “a pixie-ish powerhouse” by The San Francisco Chronicle, debuts a new duet; and Monica Bill Barnes & Company performs high-energy excerpts from Another Parade, set to the music of Bach and James Brown. The students of The School at Jacob’s Pillow Ballet Program will perform a world premiere choreographed on them in just four days by acclaimed contemporary ballet artist Karole Armitage, set to a musical score by Boston-based composer Christine Southworth. Films honoring Bill T. Jones and a new film montage from the Pillow Archives will be premiered. Ella Baff will personally present the Jacob’s Pillow Dance Award to Bill T. Jones.

Following the performance, guests will enjoy dinner and dancing under the festive Gala tent on the Pillow’s Great Lawn, with live music by The E-Water Band. A live auction will kick off the Pillow’s $100,000 “Save the Inside/Out Stage” public fundraising effort. A silent auction to benefit The School at Jacob’s Pillow, as well as the Pillow’s community enrichment programs, includes fine art photography by noted artists, an original print by Jules Feiffer, unique travel packages, and much more.

The 2010 Season Opening Gala is chaired by Helice Picheny and Hunter K. Runnette. Individual tickets are $350-$750 and tables of eight are available for purchase from $2,800-$6,000. Call 413.243.9919 x126 for more information and to purchase tickets. All proceeds directly support the Festival, School, Archives, and Community Programs of Jacob’s Pillow.

About the Jacob’s Pillow Dance Award: The Jacob’s Pillow Dance Award was created in 2007 with an ongoing, annual anonymous gift of $50,000, of which $25,000 is given to an artist of exceptional vision. In addition to the cash award, the honoree receives a custom-designed glass sculpture by Berkshire-based artist Tom Patti, whose work is in the collections of the Metropolitan Museum of Art and the Museum of Modern Art in New York, among other prominent collections worldwide. In 2007, the inaugural Award was given to Annie-B Parson and Paul Lazar, co-directors of Big Dance Theater. In 2008, Alonzo King, Artistic Director of Alonzo King’s LINES Ballet, was honored and in 2009 the Award was given to Merce Cunningham, whose company gave its final performances during his lifetime at Jacob’s Pillow.

The other $25,000 of the annual gift supports Jacob’s Pillow commissions, presentations, and the Creative Development Residency Program, which has supported Festival 2010 artists Monica Bill Barnes, Kyle Abraham, and Camille A. Brown, all of whom will perform at the June 19 Gala.

The Jacob’s Pillow Dance Award emphasizes the Pillow’s commitment to support choreographers at various stages of their careers, and to support the creation of new work through the Pillow’s Creative Development Residency Program. During these residencies, artists are invited to spend one to three weeks at the Pillow creating or rehearsing new work, with free housing for the company, unlimited use of studio space, and access to the Pillow’s rare and extensive Archives and other Pillow resources. In the beautiful, retreat-like atmosphere of the Pillow, the Creative Development Residencies are rare opportunities for artists to focus on the creative process without distraction.

2010 WTF schedule at-a-glance

Here is an at-a-glance look at the 2010 WTF schedule; for more information: Williamstown Theatre Festival 2010 schedule details.

Wednesday June 23rd:

‘It’s Jewdy’s Show: My Life As A Sitcom’, 8pm Nikos Stage $35

Thursday June 24th:

Jewdy’s, 3pm and 8pm (Opening) Nikos Stage $35

Friday June 25th:

Jewdy’s, 8pm Nikos Stage $37

Saturday, June 26th:

Jewdy’s, 4pm and 8:30pm Nikos Stage $37

Sunday, June 27th:

Jewdy’s, 2pm Nikos Stage $37

Tuesday, June 29th,

Jewdy’s, 8pm Nikos Stage $35 (Q&A)

Wednesday, June 30th :

Jewdy’s, 8pm Nikos Stage $35
(Preview) Main Stage: 8pm ‘A Funny Thing Happened On The Way To The Forum’ $45

Thursday, July 1st:

Jewdy’s, 3pm and 8pm Nikos Stage $35
A Funny Thing: 3pm $55 and 8pm (Opening) $60

Friday, July 2nd:

Fridays @ 3pm (Weekly readings, a preview of future shows) Paresky Center $5 donation suggested
Jewdy’s, 8pm Nikos Stage $37
A Funny Thing, 8pm Main Stage $55 (18 Under Free with Adult Ticket purchase)

Saturday, July 3rd:

Jewdy’s, 4pm and 8:30pm Nikos Stage $37
A Funny Thing, 4pm and 8:30pm Main Stage $60

Sunday, July 4th:

Jewdy’s, 2pm Nikos Stage $37
A Funny Thing, 2pm Main Stage $55
Monday, July 5th:
Free Theatre: Camp Monster (Family-Friendly) 7pm Main Stage FREE
Tuesday, July 6th:
Free Theatre: Camp Monster 11am Main Stage Free
A Funny Thing, 8pm Main Stage $55 (Q&A)
Wednesday, July 7th:
Free Theatre: Camp Monster 11am Main Stage FREE
‘Samuel J. And K.’ 8pm Nikos Stage $35
A Funny Thing, 8pm Main Stage $55

Thursday, July 8th:

Free Theatre: Camp Monster 11am Main Stage FREE
Samuel, 3pm and 8pm (Opening) Nikos Stage $35
A Funny Thing, 3pm and 8pm Main Stage $55
Cabaret 11pm Goodrich Hall $30

Friday, July 9th:

Free Theatre: Camp Monster 11am Main Stage FREE
Fridays @ 3pm (Weekly readings, a preview of future shows) Paresky Center $5 donation suggested
Samuel, 8pm Nikos Stage $37
A Funny Thing, 8pm Main Stage (18 Under Free with Adult Ticket purchase) $55
Cabaret 11pm Goodrich Hall $30

Saturday, July 10th:

Free Theatre: Camp Monster 11am Main Stage FREE
Samuel, 4pm and 8:30pm Nikos Stage $37
A Funny Thing, 4pm and 8:30pm Main Stage $60
Cabaret, 11:30pm Goodrich Hall $30

Sunday, July 11th:

Samuel, 2pm Nikos Stage $37
A Funny Thing, 2pm Main Stage $55

Monday, July 12th:

Greylock Theatre Project (One-On-Ones) 5pm and 8pm Goodrich Hall FREE

Tuesday, July 13th:

‘Samuel J and K’, 8pm Nikos Stage $35 (Q&A)

Wednesday, July 14th:

Samuel, 8pm Nikos Stage $35
‘Six Degrees of Separation’ (Preview) 8pm Main Stage $42

Thursday, July 15th:

Samuel, 3pm and 8pm Nikos Stage $35
Six Degrees, 3pm ($50) and 8pm ($54 Opening) Main Stage

Friday, July 16th:

Fridays @ 3pm (Weekly readings, a preview of future shows) Paresky Center $5 donation suggested

Samuel, 8pm Nikos Stage $37
Six Degrees, 8pm Main Stage $50 (18 Under Free with Adult Ticket purchase)

Saturday, July 17th:

Samuel, 4pm and 8:30pm Nikos Stage $37
Six Degrees, 4pm and 8:30pm Main Stage $54

Sunday, July 18th:

Samuel, 2pm Nikos Stage $37
Six Degrees, 2pm Main Stage $50

Monday, July 19th:

Fellowship Musical 7pm and 11pm Directing Studio FREE

Tuesday, July 20th:

Fellowship Musical 7pm and 11pm Directing Studio FREE
Six Degrees, 8pm Main Stage $50 (Q&A)

Wednesday, July 21st:

‘After the Revolution’ 8pm Nikos Stage $35
Six Degrees, 8pm Main Stage $50

Thursday, July 22nd:

Revolution, 3pm and 8pm (Opening) Nikos Stage $35
Six Degrees, 3pm and 8pm $50
Cabaret, 11pm Goodrich Hall $30

Friday, July 23rd:

Fridays @ 3pm (Weekly readings, a preview of future shows) Paresky Center $5 donation suggested
Revolution, 8pm Nikos Stage $37
Six Degrees, 8pm Main Stage $50 (18 Under Free with Adult Ticket purchase)
Cabaret, 11pm Goodrich Hall $30

Saturday, July 24th:

Revolution, 4pm and 8:30pm Nikos Stage $37
Six Degrees, 4pm and 8:30pm Main Stage $54
Cabaret, 11:30pm Goodrich Hall $30

Sunday, July 25th:

Revolution, 2pm Nikos Stage $37
Six Degrees, 2pm Main Stage $50

Tuesday, July 27th:

Revolution, 8pm Nikos Stage $35 (Q&A)

Wednesday, July 28th:

Revolution, 8pm Nikos Stage $35
‘Our Town’ 8pm (Preview) Main Stage $42

Thursday, July 29th:

Revolution, 3pm and 8pm Nikos Stage $35
Our Town, 3pm $50 and 8pm Main Stage $54 (Opening) Main Stage

Friday, July 30th:

Fridays @ 3pm (Weekly readings, a preview of future shows) Paresky Center $5 donation suggested
Revolution, 8pm Nikos Stage $37
Our Town, 8pm Main Stage $50 (18 Under Free with Adult Ticket purchase)

Saturday, July 31st:

Revolution, 4pm and 8:30pm Nikos Stage $37
Our Town, 4pm and 8:30pm Main Stage $54 (Reeve Scholarship Night)

Sunday, August 1st:

Revolution, 2pm Nikos Stage $37
Our Town, 2pm Main Stage $50

Monday, August 2nd:

Greylock Theatre Project (Playmaking) 5pm and 8pm Goodrich Hall FREE

Tuesday, August 3rd:

Our Town, 8pm Main Stage $50 (Q&A)

Wednesday, August 4th:

Our Town, 8pm Main Stage $50

Thursday, August 5th:

‘The Last Goodbye: A Musical Adaptation of Shakespeare’s
Romeo & Juliet’, 8pm Nikos Stage $40
Our Town, 3pm and 8pm Main Stage $50

Friday, August 6th:

Fridays @ 3pm (Weekly readings, a preview of future shows) Paresky Center $5 donation suggested
Goodbye, 8pm Nikos Stage $40
Our Town, 8pm Main Stage $50 (18 Under Free with Adult Ticket purchase)

Saturday, August 7th:

Goodbye, 4pm ($40) and 8:30pm ($42 Opening) Nikos Stage
Our Town, 4pm and 8:30pm Main Stage $54 (Reeve Scholarship Night)

Sunday, August 8th:

Goodbye, 2pm Nikos Stage $42
Our Town, 2pm Main Stage $50

Monday, August 9th:

Fellowship Play 7pm and 10pm Directing Stage FREE

Tuesday, August 10th:

Fellowship Play 7pm and 10pm Directing Stage FREE
Goodbye, 8pm Nikos Stage $40 (Q&A)

Wednesday, August 11th:

Goodbye, 8pm Nikos Stage $40
‘Fifth of July’, 8pm (Preview) Main Stage $42

Thursday, August 12th:

Goodbye, 3pm and 8pm Nikos Stage $40
5th of July, 3pm ($50) and 8pm ($54 Opening) Main Stage
Cabaret, 11pm Goodrich Hall $30

Friday, August 13th:

Fridays @ 3pm (Weekly readings, a preview of future shows) Paresky Center $5 donation suggested

Goodbye, 8pm Nikos Stage $42
5th of July, 8pm Main Stage $50 (18 Under Free with Adult Ticket purchase)
Cabaret, 11pm Goodrich Hall $30

Saturday, August 14th:

Goodbye, 4pm and 8:30pm Nikos Stage $42
5th of July, 4pm and 8:30pm Main Stage $54
Cabaret, 11:30pm Goodrich Hall $30

Sunday, August 15th:

Goodbye, 2pm Nikos Stage $42
5th of July, 2pm Main Stage $50

Tuesday, August 17th:

Goodbye, 8pm Nikos Stage $40
5th of July, 8pm Main Stage $50 (Q&A)

Wednesday, August 18th:

Goodbye, 8pm Nikos Stage $40
5th of July, 8pm Main Stage $50

Thursday, August 19th:

Goodbye, 3pm and 8pm Nikos Stage $40
5th of July, 3pm and 8pm Main Stage $50

Friday, August 20th:

Goodbye, 8pm Nikos Stage $40
5th of July, 8pm Main Stage $50 (18 Under Free with Adult Ticket purchase)

Saturday, August 21st:

5th of July, 4pm and 8:30pm Main Stage $54

Sunday, August 22nd:

5th of July, 2pm Main Stage $50