Tag: Duke Performances
A conductor stands at attention. Before him are 25 of the North Carolina Symphony’s finest. To his right sits a row of six musicians that look more like Mumford & Sons than Stravinsky. Silence. On the film screen behind the orchestra bursts a cityscape, with a golden beam of light streaking across it. Duke Performances… Read More ›
On Jan. 28th, The Civilians’ New Workshop Reading for Duke Performances Examined the Charter-School Controversy
It is Tuesday, Jan. 18th. The staged reading of our new play is in 10 days. Ten. Days. Tickets have been sold. Furniture is being arranged. Lights are being focused. Maybe we should start writing the show. Seven days later, after completing 40 interviews with local teachers, parents, students, administrators, and lawmakers, including yours truly,… Read More ›
The Civilians, a Brooklyn, NY-based investigative theater company led by artistic director Steve Cosson and managing director Jane Jung, creates new theater, based on creative investigations into our world’s most vital questions. The troupe has performed all over the country; and on Sept. 29-Oct. 1,Duke Performances brought their latest research-based production, The Undertaking, to the… Read More ›
Filter Skelter: Twelfth Night Is a Delightful Evening’s Entertainment for Duke Performances’ Patrons
If you ever secretly harbored a desire to see what Charles Manson might have made of William Shakespeare’s preening, pompous manservant, Malvolio … well, sorry, too late, because the Filter Theatre Company/Royal Shakespeare Company production of Twelfth Night has packed its bags and set sail following a two-night stand for Duke Performances in Duke University’s… Read More ›
Anyone who wants to challenge nature and embody the works of Billie Holiday has a mountain to scale but when that person is Cassandra Wilson, the mountain becomes a mole hill and Holiday smiles from the great beyond. On April 4th, Wilson took the challenge at The Carolina Theatre of Durham; and as a part… Read More ›
Grammy Award-winning 59-year-old Jackson, MS-born jazz vocalist, musician, songwriter and producer Cassandra Wilsonwill perform Coming Forth by Day: A Celebration of Billie Holiday, at 8:30 p.m. on Saturday, April 4th, at The Carolina Theatre of Durham, as part of the Duke Performances series. According to Duke Performances: “Cassandra Wilson, perhaps the greatest living jazz singer,… Read More ›
Allen Toussaint and the Preservation Hall Jazz Band Rocked The Carolina Theatre of Durham on Nov. 6th
During the first five minutes of the Preservation Hall Jazz Band’s performance on Thursday, Nov. 6th, it was obvious that Duke Performances and The Carolina Theatre of Durham had hit a good ol’ American home run by scheduling the Oh Yeah! Tour, starring Allen Toussaint and the Preservation Hall Jazz Band’s. The musicians stroll onto… Read More ›
The Pat Metheny Unity Group, which played The Carolina Theatre on Saturday, Aug. 9th, includes (from left) Chris Potter, Antonio Sanchez, Ben Williams, Giulio Carmassi, and Pat Metheny Only a genius would have the guts to open a set with the 42-string Pikasso guitar. That genius is Pat Metheny. And he blew away everyone… Read More ›
As part of their “Other Voices Series,” Manbites Dog Theater has brought in Duke Performances’ presentation of the Brooklyn, NY theater company Hoi Polloi’s rendition of a portion of the ancient Greek philosopher Plato’s mighty work Republic.
In 1984, dancer-choreographer Jawole Willa Jo Zollar formed Urban Bush Women, a dance company that “weaves contemporary dance, music, and text with the history, culture, and spiritual traditions of the African Diaspora.” While this statement says a mouthful, it doesn’t even come close to describing the power and beauty of this company of dancing women…. Read More ›
Duke Performances will present divinely decadent Australia-born cabaret diva Meow Meow (nee Melissa Madden Gray), performing “Beyond Glamour,” on Feb 12-14 in the PSI Theatre on the second floor of the Durham Arts Council building in downtown Durham, NC. (Note: Seating is general addmission, and the Feb. 14th Valentine’s Day performance is already SOLD OUT.)
Fiasco Theater Will Perform William Shakespeare’s “Cymbeline” on Feb. 2-4 in Duke’s Reynolds Theater
“I have never seen a ‘Cymbeline’ as easy to follow as this one” wrote Ben Brantley in The New York Times. “For once, the play itself really is the thing. This plucky troupe credibly portrays incredible feats of derring-do; brings elaborate battle scenes to life, and organically blends music into the action. The lucid, modest performances let the comedy, poignancy and unlikely magic of Cymbeline surface gently and naturally.”
Lee Breuer’s adaptation of “The Glass Menagerie” is a bold experiment that starts to go awry almost immediately as Greg Mehrten and Maude Mitchell swap roles and speak each others’ lines — in forced and phony Southern accents — in The Glass Menagerie. (The irritating drawl that Mitchell and Mehrten adopt is the Hollywood notion of how natives of the Deep South sound.)
In “Terminus,” dramatist Mark O’Rowe keeps his speakers separate — perhaps inhabiting their own private portions of Hell — but their stories cross paths in an amazing series of coincidences as they spill their guts and O’Rowe peels layer after layer from their psychic onions.
On March 19th, Duke Performances presented Triangle audiences with “Kronos Quartet • Steve Reich: Three Quartets,” a breathtaking evening of music by the composer Steve Reich. “WTC 9/11” is a powerful, penetrating, stirring piece.
Mabou Mines is an institution of the American avant-garde; for 40 years they’ve staged brave new plays and taken ‘startlingly original’ slants on classic texts (Theatre Journal). Their perpetual revolution continues in a two-week residency at Duke, when the innovators prepare a new, dream-vision take on Tennessee Williams’ “The Glass Menagerie,” under the direction of the ‘wizard-director’ [Lee] Breuer (New York Times).
“Terminus” is a cycle of three interlocking monologues told in a rhymed blank verse that has as much to do with Irish slang as it does with classic English prosody. Three characters [Olwen Fouéré as A, Catherine Walker as B, and Declan Conlon as C] each tell their stories directly to the audience, surreal narratives full of angels and demons, lust and violence.