• DOGG'S HAMLET,
    CAHOOT'S MACBETH

    By Tom Stoppard
    Directed by Cheryl Faraone

    Three schoolboys who speak only Dogg confuse a lorry driver who speaks only English. The play’s goofy linguistic mismatches tumble into a performance of the 15-minute Hamlet. In Cahoot's Macbeth, a hidden living-room production of the play, interrupted by a wise-cracking Inspector, parallels Macbeth's usurpation of the Scottish throne with Communist takeover in Czechoslovakia. By play’s end, Shakespeare explodes into Dogg.

    “The language and the laughter are contagious...Lewis Carroll would have been at home.”
    —The New York Times

    “A blend of comic nonsense and astringent political satire.”
    —Christian Science Monitor

  • Matt Ball*

    Denise Cormier*

    Tara Giordano*

    Christo Grabowski*

    Christopher Marshall*

    Lucy Van Atta*

    Connor Wright*

    Olivia Christie

    Will Koch

    Emily Ma

    Katie Marshall

    Madeleine Russell

    Lior Selve

    Peter Schmitz

    Zach Varicchione

     

    Stage Management

    Alex Williamson*

    Jade Doina*

    Emily Ma

    Madeleine Russell

     

    Set Design: Mark Evancho

    Lighting Design: Hallie Zieselman

    Costume Design: Chris Romagnoli & Rebecca LaFon

    Sound Design: Ellery Rhodes

    Properties: Sam Martin

     

    * member, Actors' Equity Association

  • HAVEL: THE PASSION OF THOUGHT

    An Evening of Works by Harold Pinter, Václav Havel & Samuel Beckett
    Directed by Richard Romagnoli

    Five serio-comic one act plays:
    In Audience, Private View, and Protest, the dissident Vaněk (Havel’s alter ego) encounters people trapped by the moral dilemmas inherent in a Communist system. The trio of plays is bookended by Harold Pinter’s New World Order and Samuel Beckett’s Catastrophe, the latter written in tribute to Havel.

    The Vaněk plays (along with all of Havel’s work) were banned in Czechoslovakia, but that didn’t prevent people from performing them in their living rooms, copying them surreptitiously as samizdat (illegal, faded copies of banned work), or even recording them on vinyl.

    One of Havel’s core ideas in his philosophical essays is the concept of “living in truth,” that each small compromise we make with the truth leads to larger compromises, until it snowballs into a society-wide epidemic in which lying becomes the institutional path.

    “The dehumanizing effects of totalitarianism are demonstrated with wounding honesty and irony in Vaclav Havel's ‘Private View.’ This triptych of interrelated short plays, opening last night at the Public Theater, is an event of artistic and political urgency.”
    —The New York Times

    “Havel is intentionally creating endlessly cyclical nightmares akin to a hellish Groundhog Day…what was once considered a twice-removed fantasy rife with paranoia and betrayal is now a scenario not as fantastical as it once seemed.”
    —Florida Theatre Onstage

  • David Barlow*

    Emily Kron*

    Michael Laurence*

    Christopher Marshall*

    Danielle Skraastad*

    Emily Ballou

    Madeline Ciocci

     

    Stage Management

    Devin Wein*

    Kate Mandracchia*

    Liv Hughes

     

    Set Design: Mark Evancho

    Lighting Design: Hallie Zieselman

    Costume Design: Glenna Ryer

    Sound Design: Ellery Rhodes

     

    * member, Actors' Equity Association