Posts Tagged Ann Kinner
“Angel Street” opens tonight, Friday, November 26 at 8:00 PM. “Angel Street” (also known as “Gaslight”) by Patrick Hamilton is one of the all-time great thrillers, a night of theatrical magic that captivates the audience from start to finish and keeps you guessing right up to the end. If you’ve never seen the play that the famous 1940s movie “Gaslight” was based on, this is the production to see! You may know “who” does it… but what keeps you guessing in this story of unfolding psychological terror are the whys and hows.
A diabolical killer… lost rubies… a charming, insistently persistent detective… mysterious footsteps and light shifts… locked drawers and rooms… secrets… intrigue… all part of an edge-of-your-seat mystery that keeps the audience in suspense until the end. To give away the plot is a crime in itself… Bellla Manningham may be losing her mind… and her husband may be a killer enacting a plot to slowly drive her insane – or is he?
Directed by Alexander Kulcsar, “Angel Street” features sensational performances by Fred Tisch, Ann Kinner, Peter Wood, Ruth Anne Baumgartner and Sarah Smegal, – charming, beguiling, vulnerable, saucy, funny, stoic, villainous, duplicitous… – with cameo appearances by Bob Lasprogato and Al Toth. Jack and Bella Manningham’s world on Angel Street stays with you long after the final glow of the gas light…
Opens Friday, November 26 – December 12, Fridays and Saturdays at 8:00 pm, Sundays at 2:00 pm, and Thursday, December 2 at 8:00 pm. Westport Community Theatre at Westport Town Hall, 110 Myrtle Avenue, Westport. Tickets are $14 – $20; for reservations and information go to (203) 226-1983 or go to westportcommunitytheatre.com for directions.
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Westport Community Theatre’s ETC presents a staged reading of
Orange Flower Water
by Craig Wright
directed by Jessica Denes
Friday, April 30 at 8:00 PM
Westport Community Theatre’s Experimental Theatre Company (ETC) is dedicated to bringing a genre of alternative theatre to the Westport stage – original plays, plays straight from their Broadway or off-Broadway runs, and edgier, critically acclaimed contemporary plays that are not suited for the main WCT stages due to language or content. Director Jessica Denes (Master Class and Veronica’s Room for WCT) brings critically-acclaimed playwright Craig Wright’s sizzling play Orange Flower Water to the WCT stage for a gripping, provocative evening of theatre. The cast includes actors familiar to WCT audiences, Peter Wood (The Best Man, Death and the Maiden) and Ann Kinner (Ice Glen, The Best Man, Separate Tables and others) and introduces Rachael Rothman-Cohen and Brian Riley. A note to theatregoers – this play contains strong language and suggestive situations that are intended for mature audiences.
Married couples David (Peter Wood) and Cathy (Ann Kinner) Larson and Brad (Brian Riley) and Beth (Rachael Rothman-Cohen) Youngquist live with their children in the relatively peaceful town of Pine City, Minnesota. David and Beth, after years of maintaining a platonic friendship, begin an adulterous affair with disastrous consequences. Through a series of scenes which all take place on or around a single bed, we see the painfully intense real-time unraveling of both marriages and, eventually, the construction of a very fragile but authentic new beginning for everyone concerned.
Craig Wright received an Emmy nomination for his “Six Feet Under” episode “Twilight” and a WGA nomination for his episode “Falling Into Place.” He has served as writer and producer for the J.J. Abrams series “Lost” and the ABC series “Brothers & Sisters.” He was also author and Executive Producer of his own series, “Dirty Sexy Money.”
The playwright’s critically-acclaimed recent and upcoming productions include “The Unseen” at the Humana Festival at Actors Theatre of Louisville and at Stages Rep in Houston. He also directed a production of “The Unseen” at the Road Theatre in Los Angeles. “Lady,” which was commissioned by and received its world premiere from Northlight Theatre, recently ran at Asolo Rep. “Grace” premiered at Woolly Mammoth Theatre, where it was nominated for the Helen Hayes Award for Outstanding New Play. One of its subsequent productions at the Furious theatre won three LA Drama Critics Circle Awards, including Best Play. “Recent Tragic Events” also debuted at Woolly Mammoth and was produced by Playwrights Horizons with Heather Graham in the lead. “Melissa Arctic,” a contemporary adaptation of The Winter’s Tale, premiered a the Folger Theatre and won the 2005 Helen Hayes Award for Outstanding New Play. The Horton Foote American Playwrights Festival recently named him as the 2009 recipient of the Horton Foote Excellence in American Playwriting Award.
Director (and actress) Jessica Denes’ most recent project was directing “Love, Sex, and the I.R.S” at Eastbound Theatre. In addition to WCT, directorial credits include: “The Secret Affairs of Mildred Wild & Confessions of a Dirty Blonde” (Eastbound Theatre); “Summer Brave,” “Time & Time Again,” “The Other Side of Friendship” and “Her Majesty Miss Jones” (Crystal Theatre Company); and productions of “Delicious Death & Other Desserts,” “Not Now Darling,” and “A Night of Shakespeare.” Some of her favorite acting credits are “Orson’s Shadow” (Joan Plowright) and “A Murder is Announced” (Julia) at WCT; “Cactus Flower” (Toni Simmons) at the Town Players of New Canaan; “Our Town” (Emily) at the Wilton Playshop; “Li’L Abner” (Daisy Mae) and “Lost in Yonkers” (Bella) at Crystal Theatre Company; and “Boeing, Boeing” (Bertha) at Eastbound Theatre.
Media praise for “Orange Flower Water” includes:
“It’s simultaneously visceral, with crackling humor, and intellectual.” —Star Tribune.
“Wright wastes no time and pulls no punches.” —TwinCities.com
“Do not be deceived by the lyrical, gently perfumed title of Craig Wright’s play. This is a brutally honest drama about marriage and infidelity—one that chronicles the inevitable big damage and ugly fallout engendered by a ceaseless pursuit of selfishness and an unrestrained search for personal happiness. An emotionally and physically lacerating ordeal, it is at once fiercely adult, shrewdly observant, often painfully graphic and most definitely not for the meek.” —Chicago Sun-Times.
“Uncommonly intense and intimate ninety-minute drama…quirky, raw and nervy…But this is not another play about amoral sexual perversity in the LaBute or Mamet mold. It’s a picture of marriage as a vise grip in which the best one can hope for is some velvet inside the handcuffs.” —Chicago Tribune.