The setting for How to Catch Creation is an imagined city by the Bay, described by playwright Christina Anderson in her script as “a place that resembles San Francisco and the surrounding areas.” So though the geography lives somewhere in-between fact and fiction, there is great inspiration, for a play about multiple meanings of “creation,”…
Not every trip to Santaland is instant holiday magic. Inspired by David Sedaris' The Santaland Diaries, playing November 30 - December 30 in the Goodman's Owen Theatre. From errant elves and mischievous young ones to holiday picture drama trauma, we want to see your most memorable trip to Santaland. Share your personal Santaland snap with…
Stage and screen star Linda Gehringer returns to the Owen Theatre, where she was last seen in Rebecca Gilman’s The Crowd You’re in With (a performance for which she earned a Joseph Jefferson Award nod). This time, she commands the stage as Helene, the central and sole character in Dael Orlandersmith’s new play.
Perhaps best known for her solo works in which she often inhabits multiple characters—with admirably expressive subtlety—playwright and performer Dael Orlandersmith is a storyteller through and through, an artist for whom no moment in life is insignificant, no person undeserving of consideration.
I want to aim really high, artistically and emotionally. In the ‘70s I saw Bette Midler, and what she did to me as an audience member in making me feel connected to life, I want to do to other people.
“It’s very much like a film score,” Marsh says of the music, which he will perform live on piano at every performance, accompanied by a quintet of musicians. “The song structures harken back to American Songbook-type songs—but with a contemporary flair.
Cale’s performance was recorded live at the Goodman Studio Theatre for National Public Radio’s "This American Life."
Suzan-Lori Parks is widely considered to be one of the most prolific writers of our time, yet her status as a produced playwright in the city of Chicago is still rather unknown. The Goodman invited patrons to a discussion featuring Artistic Director of the Flea Theater and Father Comes Home From the Wars (Parts 1,…
In the wake of the #MeToo movement, it’s clear that difficult conversations about masculinity, vulnerability and inequality are long overdue, and almost impossible to entertain.
This play, at its core, is about a group of guys attempting–not necessarily succeeding—to be open about who they are, what they’re afraid of, and how they might learn to move forward in a world that is moving forward with or without them.
