DECADE AT A GLANCE is an epic story of a few families in the Dustbowl,circa 1936, who are uprooted from their farmland by drought, duststorms and mortgage foreclosure. Making the treacherous journey outwest as migrant workers, these ordinary hard working people -- somewith hopes dashed, and dreams deferred or dissolved -- ultimately jointhe union marches. Unfolding like a series of living photographs, thestory, told from the point of view of a Dustbowl survivor, is relatedthrough songs, movement, and interviews preserved from the 1930’s.
The similarities and differences between the Great Depression, and ourown times, are self evident when we listen to simple people tell theirstories. The gestural and expressive movement evokes images of thetime. The actors sing and play the violin, flute, guitar, and ukulele.The music combines Depression-era songs, union march songs from the1930’s, and original vocal harmonies.
Joan Evans has been creating and performing original physical theatrework since 1975. She won a Fringe First Award at the 1996 EdinburghFringe Festival for creating, directing, and choreographing theensemble piece Where Ravens Rule, a theatrical response to the war inBosnia. She has toured her solo work in Austria, Brazil, and Germany.She has performed her work at such theatres as the Performing Garageand Manhattan Class Company in NYC, and the Eugene O'Neill TheatreCenter In Connecticut. She has been the recipient of four NationalEndowment for the Arts Theatre Grants. She was awarded a 1993,Citation of Excellence from the Union Internationale de la Marionnette(UNIMA) for her work combining dance, acting, and puppetry in Rico andDolores. She has taught and directed at Stella Adler for two decades.
Hamlet, 1603, by William Shakespeare, directed by Cynthia Dillon
Priscilla, by Jeff Love, directed by Robert Zick Jr., opens July 7th and closes July 29th
Hamlet 1603: The First Quarto -- One of Shakespeare's first published versions of the quintessential revenge play, Hamlet 1603. Hamlet returns from University to discover that his father is dead and his uncle has married his mother. Visited by the ghost of his father, Hamlet schemes to wrest the truth from his murderous uncle and avenge his father's death. Amid his feigned madness and very real indecision, his actions have tragic results.
Priscilla – New World Theatre's newly commissioned modern adaptation, Priscilla takes Shakespeare's most famous work and puts its premise of indecision leading to destruction into a more contemporary context –and with a woman as the protagonist. Will Priscilla choose a life of love and security or will she lose herself amid the unraveling revelations surrounding her mother's suspicious death?
As its inaugural production, New World Theatre presents award-winning playwright Lanford Wilson's "morality" play Book of Days, a tumultuous tale about the destructive nature of fear, deception, ambition, and power in a town where the truth can hurt one's perceived sense of security more than the alternative delusion.
Dublin, Missouri - a town "so beautiful in the spring it could break your heart." As the town's own Saint Joan searches for the truth behind the death of the town's most prominent citizen, Dublin's soul is revealed and America's fate is in the balance.
Robert A Zick, Jr., whose work in San Francisco has been called "inventive," "revealing," and "splendid," makes his New York directorial debut with Book of Days.
"Book of Days ... is a challenge for everyone involved - concepts of the chorus and a play within a play within a play tear at the fabric of realism and offers us the opportunity to play imaginatively with the play's relationship with the audience.
"It is truly a story of today's small town America presenting the attitudes and mind set that have created the polarized social landscape in which we find ourselves. The appropriateness for producing this play now is beyond question," says Zick.
Lanford Wilson has written this story in a way that reveals fictional Dublin, Missouri to be Anytown, USA making this production resonate with cosmopolitan and country audiences alike.
"I wanna know America, Hank," expounds the young protagonist Hunter. "I wanna know it so deep that when it starts to show its ugly face I can rest knowin' I've seen its heart."
Promised Land is also celebration of the role of the artist, the free-thinking, free-feeling individual who uses his medium to hold a mirror to contemporary society. In the tradition of Sam Shepard and Clifford Odets, Sam Riley writes about America out of conviction for the exhilarating potential of the theater as a conduit for social change. Inspired to counteract the transgression of our societal values from rugged individualism to complacent consumerism, Riley lays a bold path toward serious examination of American culture with Promised Land.