"Art is not a mirror held up to reality, but a hammer with which to shape it" – Bertolt Brecht
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Samuel Beckett’s masterpiece.
Eugene O’Neill’s late masterpiece “Hughie”
“The Ann Bronston Story Project” is a selection of stories written by company member Ann Bronston and performed by Troy Dunn, Lindsay Plake, and Martha Duncan. They are stories of love, loss, sex, and family that unravel the secret longings and conflicts that can both torment and transform us.
City Garage stages a timely revival of Havel’s classic piece about totalitarian regimes, censorship, and the price of integrity. In this semi-autobiographical play, translated by Czech-born playwright Tom Stoppard, a dissident intellectual, Leopold Nettles, is dogged by the secret police, pressured by his friends, and nagged by his housemate to just shut up and go along. Shadowy figures arrive to offer him a deal to stay out of prison but Nettles can’t get himself to accept. His world starts to dissolve in a hallucinatory battle of conscience but will he ultimately have the courage of his convictions?
The world premiere of Kosovar playwright Jeton Neziraj’s nightmarish, Orwellian comedy of an autocratic government that demands its citizens deposit their dreams in a central, bureaucratic depository so that it can exert the fullest possible control of their imaginations.
Pulitzer-prize nominee Sarah Ruhl stands the Orpheus myth on its head and retells it from Eurydice’s point of view. Comic, tragic, silly and poetic in turns, this inventive play follows Eurydice as she does her best to adapt to life in the underworld.
City Garage is excited to begin introducing its audience to the work of one of Europe’s most important new playwrights, Jeton Neziraj.
A deluded king. A failing kingdom. Two squabbling queens vying for his attention. An obsequious doctor. A dim-witted but loyal guard and a mouthy servant.
Wealthy and foolish Monsieur Jourdain is in love with the Countess Dorimène and aches to be what he is not — a member of the aristocracy. Determined to overcome his low birth with an education in high style he unwittingly surrounds himself with charlatans and swindlers who gleefully take his money and prey on his innocence. Ingenious servants, pedantic masters, devious nobles, and earnest young lovers all propel this delightful satire of nouveau riche social climbers. And, in the end, is the “nobility” to which Jourdain so ardently aspires all that admirable?
Five people gather on Christmas Eve in a bourgeois, intellectual household. Albert, a writer, is engaged in a ferocious spat with his wife Bettina, a film-maker, over the arrival of her mother, Corinna. But it is Corinna who sparks the dramatic crisis by inviting a man she met on the train, Rudolph, to stay with the family. Rudolph is urbane, civilized, and polite—the essence of cosmopolitan charm. He entertains everyone by playing Chopin and Bach on the piano, but when he reveals that he is a doctor with Paraguayan connections, we realize that he is the silken embodiment of a Nazi past Germany has long thought buried.