And Introducing: Messenger No. 4

by on Jan.05, 2012, under Uncategorized

Annnnnnnnnnnnnnnnd we’re back…

After a suitable hiatus (to conquer other things) Cambiare Productions gets back to doing what we do…

This time we made Will write the whole thing instead of just adapting and creating the connective tissue, and we promise there’s only one death.

OH and we have a sword fight,
and a dance number,
and romance,
and chase scenes,
AND  jokes at Euripides’ expense!

I know that SOUNDS like a lot from one night of theatre, but that’s not all!
That’s not even nearly half!
Because the other half of this evening of theatre is a WHOLE OTHER WORLD PREMIERE PLAY – The 21 Would-Be Lives of Phineas Hamm from our friends at Paper Moon Rep!
A double feature!

You write all this without exclamation points.

Our high energy tour of love, fate, and the Western Canon is led by Andrew Rodgers (Titus Andronicus) as Messenger No. 4 and newcomer Vanessa Marroquin as Chrysothemis, and propelled by an award-winning ensemble portraying a broad swath of characters from Greek classics and Shakespeare’s masterpieces featuring Elena Weinberg (Hamlet, Imaginary Invalid), Camille La Tour (Echoes of Ireland, The Red Balloon), Rachel Wiese (Big Love, Metamophses), Karina Dominguez (La Pastorela, Story Seekers), Daniel Sawtelle (B. Iden Payne award nominee; Of Mice and Men), Joey Melcher (Baby in the Basement), Phillip Olson (Everything About a DaySlaughter City), Megan Minto, (What You Touch is Gold), and Jessica Allen (Twelfth Night, The Tempest)

And because that wasn’t fun enough? We have an artistic team with a full trophy case to make them all look good, including Ia Enstera (Scenic Design), Megan Reilly (Lighting Design), and Glenda Barnes (Costume Design).

I know this is all a bit breathless but this isn’t some “quiet contemplation of fate as imagined by the heroes of Greek Literature” – this is a full on non-stop freight train… and that’s a breathless sort of thing…

Doors open February 17th.

Be there.

 


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This project is funded and supported in part by the City of Austin through the Cultural Arts Division and by a grant from the Texas Commission on the Arts and an award from the National Endowment for the Arts, which believes that a great nation deserves great art.