City Garage Classics
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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.
"TOP TEN – Recommended!" – Stage Raw
The Great Depression in 1930s Chicago. Unemployment. Fear. Graft and corruption at City Hall. What do you need when society starts to fall apart? A strong man who steps in to take control. Arturo Ui, a small time gangster with an insatiable appetite for power, convinces a panicked population that no one has the answers but him. He and his cronies will provide the protection you’re looking for: even if you don’t know you’re looking for it. Brecht’s 1941 satirical masterpiece classic about Hitler’s rise to power in 1930s Germany demonstrates, with a savage blend of comedy and pastiche, how demagogues take power and how easily—and willingly—democracies become autocracies.
In Molière’s comic masterpiece Arnolphe, a rich merchant, is under the delusion that he can create the perfect marriage for himself by creating the perfect wife. He raises a young orphan, Agnes, from infancy, determined to keep her ignorant of everything except what he teaches her. As the play begins, he is about to marry her at last, or so he thinks, until the young woman skillfully turns the tables on him. In this award-winning translation by Frédérique Michel and Charles Duncombe City Garage remounts its acclaimed 2009 production with a contemporary twist that speaks to the issues of patriarchy, gender, and power in the “Time’s Up” headlines of today.
Irene awakes from a cryogenic chamber into a future where her terminal cancer has been cured but the world as she knew it no longer exists. She is welcomed by curious humans who command and are commanded by “Platform,” a vast computer network which appears to have replaced all known reality. Has the Singularity occurred? Is there still a recognizable planet where earth once was? In Wake Dahlquist examines society and sociability when lives are long, wants are met, and no need for cooperation beyond the response to solitude.
An opera singer lost in the city. A gorgeous male prostitute. A tough-talking taxi driver. A global trader. A teenage dreamer. Everyone’s looking for something they can’t find in this US premiere from acclaimed British playwright Simon Stephens (Heisenberg; The Curious Incident of the Dog in the Night-Time) whose strange and beautiful play re-imagines Bizet’s opera Carmen and explores the possibility of love in a fractured urban world.