By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By William Shakespeare
Directed by Alan Paul
September 25-October 28, 2018

Leave logic behind and delight in the confusion of Shakespeare’s beloved comedy, where servants misplace their masters, wives overlook their husbands, and sons forget their fathers. With a cast of beloved STC performers, Associate Artistic Director Alan Paul (Camelot; Kiss Me, Kate) brings this madcap world to life in all its antic, anarchic glory.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By J.B. Priestley
Directed by Stephen Daldry
November 20-December 23, 2018

A festive evening with a well-heeled British family is suddenly punctured by a mysterious visitor: a grim inspector investigating the death of a young woman, whose revelations shatter the foundations of their comfortable lives. With “great directorial daring, breathtaking visual invention and passionate moral urgency” (Daily Telegraph), Stephen Daldry’s (Billy Elliot, The Crown) reinterpretation of J.B. Priestley’s expressionistic thriller has been hailed as one of “the defining productions” of modern British theatre.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By David Ives
Inspired by the work of Carl Sternheim
Directed by Michael Kahn
December 4, 2018-January 6, 2019

David Ives (The Liar) gives his “translaptation” treatment to Carl Sternheim’s epic trilogy—transforming three full-length plays into a single brisk evening filled with panties falling, lovers juggling, dueling pistols shooting and other signs of near-apocalypse. Returning for one final collaboration with Artistic Director Michael Kahn (The School for Lies), Ives sharpens his celebrated wit to larger-than-life social commentary.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By William Shakespeare
Directed by David Muse
February 5-March 10, 2019

What Richard of Gloucester lacks in looks he makes up for in bottomless ambition, ruthless cunning and rapacious zeal: the crown, at all costs. As he climbs ever higher, Richard bends the world to his will until even his mother can’t bear to own him. Shakespeare’s mesmerizing chronicle of the megalomaniac’s rampage to the throne remains an irresistible study of villainy.

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Kate Hamill
Based on the novel by William Makepeace Thackeray
Directed by Jessica Stone
February 26-March 31, 2019

A bright dance hall pageant poking fun at all our pretenses, this new adaptation by Kate Hamill (Sense and Sensibility, The Wall Street Journal’s Playwright of the Year 2017) harnesses the frivolity of Thackeray’s novel while recasting its (anti) heroines as complex, vibrant women, delivering “a gift to actors and a goody bag for its audience” (New York Times).

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.

By Ellen McLaughlin
Adapted from Aeschylus
Directed by Michael Kahn
April 30-June 2, 2019

The sole surviving trilogy in Greek tragedy, The Oresteia chronicles a deluge of violence that can only be stopped when society peers into its own soul and sees the depths of its complicity. Playwright Ellen McLaughlin (The Persians) has written a new version of the classic, weaving together the works of Aeschylus with stunning poetry and emotional heft. An epic world premiere, The Oresteia makes a fitting end to Michael Kahn’s tenure as Artistic Director of the Shakespeare Theatre Company.