Main Entry: thau·ma·turg
Etymology: French, from New Latin thaumaturgus, from Greek thaumatourgos working miracles, from thaumat-, thauma miracle + ergon work — more at Theater, Work
The official blog of the Dramaturgy Department at Baltimore's CENTERSTAGE. For posts related to our current and upcoming shows, click the links to the right. Alternatively, you could begin at the beginning, and explore our posts in chronological order.
B’more to face San Fran in super Harbowl, wagers must follow… CS vs ACT!
“Dear Carey and Ellen,
Well, it has finally come to this. After years of friendly coexistence and mutual love and respect, you are now the sworn enemy.
The match has assumed Shakespearean dimensions.
Brother versus brother.
Long lost cousin versus better branch of the family.
Poe’s legacy versus the diggers of the Gold Rush.
Right coast versus left, and good versus evil.
Colleague versus colleague.
All riding on the fateful outcome of the Harbowl.
We proudly wager a dozen of our vaunted Faidley’s Maryland crab cakes against whatever you can rustle up to approximate that - if you dare.
Kwame and Stephen”
you may recall our McDonagh pub labs last spring? well, the concept is back and bigger than ever. this coming monday, it’s coming to life on north ave in balto! come and join us, jump in or just drink along.
The Twilight Zone: It’s Alive!
October 15th, 7pm
Liam Flynn’s Alehouse, 22 W. North Ave, Baltimore
CENTERSTAGE explores the strange, creepy, and culturally pervasive world of The Twilight Zone through live readings of touchstone episodes. Join us, and join in: read a role, add sound effects, or follow along with our special Twilight Zone drinking game. You won’t want to miss this surreal, silly, surprising night of stories from the sixth dimension. 100% free theater (bar tab is on you though).
by Boaz Gaon and Nir Erez
Based on the play by Henrik Ibsen
Directed by Joseph Megel
Originally Produced by the Beersheva Theatre
A reading at CENTERSTAGE in Baltimore, October 8 at 7:30 pm
produced by Theater J and presented in partnership with Georgetown University In association with StreetSigns Center for Literature and Performance
A sudden chemical leak in an Israeli industrial park endangers the region’s water supply. The mayor is quick to cover up the scandal, but his brother fights to expose the truth. The family feud quickly turns into a political war with major environmental repercussions. Emerging from Israel’s social justice movement of the past year, this timely adaptation of Ibsen’s play is the brain child of the Israeli playwright and adapter of Ghassan Kanafani’s Return to Haifa.
No, not the Pinter variety. Local boy, playwright Gwydion Suilebhan, reflects on his journey backwards and forwards to tonight’s MY AMERICA premiere:
“Making Good in Baltimore” - Gwydion Suilebhan
When I was a boy growing up in Baltimore, my parents would often go out to the theater. They’d get dressed up, eat a nice dinner at a nice restaurant (usually Tio Pepe), and make their way to Centerstage. For what may seem like obvious reasons, those always seemed like magical nights to me: very grown-up, very meaningful, very important. I romanticized the entire experience, enjoying it from afar. I was always very concerned about whether or not they’d had a good time… and they always did.
More than three decades later, I’m now a playwright, and I’ve never been able to shake the feeling that the pinnacle of achievement in my craft would be to have my work appear on stage at the very same theater. And tonight — I honestly still can’t believe I get to say this — it will.
This evening marks Centerstage’s 50th anniversary. To celebrate, the theater created the My America project: fifty playwrights were asked to write two-minute monologues exploring the state of our country. Our monologues were all filmed by director Hal Hartley, and they’re going to be screened all year long in the theater’s lobby. In addition, a small sample of the work created for the project — including my short piece, ANTHEM — will be performed live this evening.
I’m honestly not sure I’ll be able to stand the excitement. I may faint when Kwame Kwei-Armah, the theater’s artistic director, calls me up on stage. Or get cold sweats. Or both. No, really. I actually mean it.
Part of my anxiety, I should note, comes from a few of the other 49 names on the list of 50 playwrights: Anna Deavere Smith, Quiara Alegria Hudes, Neil LaBute, Christopher Durang, Lynn Nottage, Lydia Diamond (my classmate from Northwestern — go NU!), Lee Blessing, Marcus Gardley, Naomi Wallace, Rajiv Joseph, Qui Nguyen, Kia Corthron, Melanie Marnich, Dan Dietz, Willy Holtzman, Sam Hunter, Julie Jensen, Lauren Yee… you get the picture. I’m incredibly, incredibly humbled to be among them.
Still, though… it’s the thought of my young parents, all dressed up in date clothes, sitting in the same space I’m about to be in, the same space in which my adult words are about to be spoken: it just doesn’t get any better than that, let me tell you. Not even a little.