The Price, a drama by Arthur Miller that premiered on Broadway in 1968, was nominated for two Tony Awards, and revived four times, came to the Chapel Street Players stage Friday. Director Ray Barto (The Fantasticks) is at the helm of this latest CSP production that stars: Dan Tucker,
“The Price,” the 1968 play by Arthur Miller and third show of the season for Chapel Street Players, is cathartic.
It’s cathartic to watch and must be cathartic to perform, with lifelong conflicts finally resolving into a peace with the past, fictional as it is.
Chapel Street Players continues their 83rd season with You’re A Good Man, Charlie Brown, a lighthearted romp based on the book by John Gordon and featuring the lovable Peanuts created by cartoonist Charles M. Shultz. After the powerfully provocative 1984, a fun musical with beloved characters is just what the doctor ordered,
This holiday season in local theater has brought noticeably fewer Christmas shows than in the past.
Whether in response to the country’s political climate or by coincidence, most of the theaters in Northern Delaware are skipping the sleigh bells and carols in favor of productions that capture the feel of the season without trumpeting Christmas.
You might have heard about Robert Icke and Duncan Macmillan’s “1984” on Broadway this summer, a version so graphic that people reportedly vomited and passed out during shows.
Chapel Street Players aren’t doing that version, which just ended its Broadway run. They’re doing an adaptation of George Orwell’s dystopian horror story by Robert Owens.
Chapel Street Players launch their 83rd season with 1984, the powerful and disturbingly provocative dystopian tale of a world ruthlessly controlled by a totalitarian government. Based on George Orwell’s chilling classic novel, 1984, adapted for the stage by Robert Owens,
submitted By Anthony Renaldi
The Pillowman, is a 2003 play in three acts by Irish playwright Martin McDonagh. This black comedy tells the story of Katurian (Jimmy Van Buren), an amoral writer of fiction, who lives in an unnamed totalitarian state and who is interrogated regarding the gruesome content of his short stories because they closely resemble recent child murders in his town.
By Mike Logothetis
Somewhere at the confluence of Poe, Kafka and Tarantino lies Martin McDonagh’s spellbinding play,The Pillowman. While some would label this as black comedy, I believe it is more dramatic realism. The feelings I had when processing the Chapel Street Players production on my walk home from the theater dealt more with unhealthy realistic possibilities than with sinister “what ifs.”
But my own petty internal arguments should not stop you from getting a ticket to this week’s final run of shows — because this is a play you should experience.
“The Pillowman,” Chapel Street Players’ final production of the ‘16-’17 season is not for the faint of heart.
Simply put, it’s a black comedy about child abuse and child murder, detached from the real world with a futuristic police state setting. It’s a strange,
