We sat down with Diana Lobb, director of our upcoming production of Blood Relations, to talk about the show and her vision for it. In this post she talks about Lizzie Borden, both the historical person and the character in the play.
As Jonathan mentioned in his last post, The Merchant of Venice was a collaboration with local jazz musician Tom Nagy. Tom wrote a score to accompany the production; here he is talking about the music and the process of putting it all together.
Our production of The Merchant of Venice makes some bold choices in its setting (the Jazz Age), its conclusion (immediately following the trial), and its costuming (with most of the characters en masque). Director Jonathan Dietrich has shared some of his thoughts behind those choices with us.
Written by Hannah Moscovitch
Directed by Ryan Bassett
It’s 1970. Rudi stands outside his father’s study in Paraguay for the first time in seven years. After a long absence, he’s been compelled to return to his family’s home. But Paraguay isn’t his home: he was born in a small hospital in Berlin in 1945, just as his father was losing the war.