Oregon Shakespeare Festival

February 15 – November 3, 2013

Sweet-tempered daddy’s girl Bianca can have her pick of suitors—but not until her sister, the acid-tongued Kate, can be married off. Rising to the challenge is rockabilly musician Petruchio, but can he match Kate jab for jab? A hilarious, delirious tangle of masquerades and misdirection plays out against a backdrop of beach boardwalks and rock ’n’ roll. And in the end, the surprising love story dares to ask what roles we play . . . and, underneath, who we really are.

This production of The Taming of the Shrew is part of
Shakespeare for a New Generation, a national theatre initiative
sponsored by the National Endowment for the Arts in cooperation
with Arts Midwest.

Audience Notes: Theatrical fog and strobe lights are used in this production.

Oregon Shakespeare Festival

February 21 – November 3, 2013

King Lear is ready to turn his realm over to his three daughters. His plan is simple: Give the biggest piece to the daughter who loves him most. But honeyed words and hubris blind Lear to the true motives of those around him, plunging king and kingdom into a hell of treachery, madness and unspeakable acts—with consequences that reveal the worst and best in human nature.

Chicago Shakespeare Festival

February 6 – March 23, 2014

Directed by: Gary Griffin

[button url=”http://www.chicagoshakes.com/plays_and_events/gypsy” target=”blank”]Buy Tickets[/button]

Boasting one show-stopping song after another—like “Everything’s Coming Up Roses” and “Let Me Entertain You”—this classic musical is inspired by memoirs of the burlesque dancer Gypsy Rose Lee; and it marks Associate Artistic Director Gary Griffin’s continued exploration of the Sondheim canon. Tony Award® nominee Louise Pitre makes her Chicago Shakespeare debut as Rose, the most infamous of all stage mothers. Pitre’s career highlights include many critically acclaimed performances in the theater, on television and concert stages across North America and Europe. Gypsy, a jewel of the American musical theater, has been described by The New York Times critic Frank Rich as “Broadway’s own brassy, unlikely answer to King Lear.”