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DTSTART;VALUE=DATE:20250503
DTEND;VALUE=DATE:20250505
DTSTAMP:20250509T063839
CREATED:20250118T094539Z
LAST-MODIFIED:20250118T094539Z
UID:21192-1746230400-1746403199@beltlinetobroadway.org
SUMMARY:Schoolhouse Rock Live! JR.
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/schoolhouse-rock-live-jr/
LOCATION:Raleigh Little Theatre\, 301 Pogue Street\, Raleigh\, NC\, 27607\, United States
CATEGORIES:Musical
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250502
DTEND;VALUE=DATE:20250505
DTSTAMP:20250509T063839
CREATED:20250428T040940Z
LAST-MODIFIED:20250428T040940Z
UID:25202-1746144000-1746403199@beltlinetobroadway.org
SUMMARY:King Lear
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/king-lear/
LOCATION:Ridge Road Baptist Church\, 2011 Ridge Rd\, Raleigh\, 27607
CATEGORIES:Play
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250502
DTEND;VALUE=DATE:20250505
DTSTAMP:20250509T063839
CREATED:20250119T021717Z
LAST-MODIFIED:20250119T021717Z
UID:21329-1746144000-1746403199@beltlinetobroadway.org
SUMMARY:Sonia Flew
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/sonia-flew/
LOCATION:Cary Arts Center\, 101 Dry Ave\, Cary\, NC\, 27511\, United States
CATEGORIES:Play
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250502
DTEND;VALUE=DATE:20250505
DTSTAMP:20250509T063839
CREATED:20250118T095948Z
LAST-MODIFIED:20250118T095948Z
UID:21231-1746144000-1746403199@beltlinetobroadway.org
SUMMARY:The Grown-Ups
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/the-grown-ups-2/
LOCATION:North Raleigh Arts and Creative Theatre\, 7713-51 Lead Mine Road\, Raleigh\, North Carolina\, 27615\, United States
CATEGORIES:Play
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250501
DTEND;VALUE=DATE:20250505
DTSTAMP:20250509T063839
CREATED:20250421T055934Z
LAST-MODIFIED:20250421T055934Z
UID:25007-1746057600-1746403199@beltlinetobroadway.org
SUMMARY:Bright Star
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/bright-star-2/
LOCATION:Leggett Theater\, 15 E Peace Street\, Raleigh\, NC\, United States
CATEGORIES:Musical
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250501
DTEND;VALUE=DATE:20250505
DTSTAMP:20250509T063839
CREATED:20250119T025603Z
LAST-MODIFIED:20250119T025603Z
UID:21395-1746057600-1746403199@beltlinetobroadway.org
SUMMARY:Beauty and the Beast
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/beauty-and-the-beast-2/
LOCATION:Temple Theatre\, 120 Carthage Street\, Sanford\, NC\, 27518
CATEGORIES:Musical
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250501
DTEND;VALUE=DATE:20250505
DTSTAMP:20250509T063839
CREATED:20250118T092148Z
LAST-MODIFIED:20250118T092728Z
UID:21144-1746057600-1746403199@beltlinetobroadway.org
SUMMARY:The Book Club
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/21144/
LOCATION:Theatre in the Park\, 107 Pullen Rd\, Raleigh\, NC\, 27607\, United States
CATEGORIES:Play
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250430
DTEND;VALUE=DATE:20250505
DTSTAMP:20250509T063839
CREATED:20250118T094409Z
LAST-MODIFIED:20250118T094409Z
UID:21189-1745971200-1746403199@beltlinetobroadway.org
SUMMARY:All Smiles
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/all-smiles-2/
LOCATION:Raleigh Little Theatre\, 301 Pogue Street\, Raleigh\, NC\, 27607\, United States
CATEGORIES:Children's Theater
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250429
DTEND;VALUE=DATE:20250505
DTSTAMP:20250509T063839
CREATED:20250118T083044Z
LAST-MODIFIED:20250118T083044Z
UID:21097-1745884800-1746403199@beltlinetobroadway.org
SUMMARY:Kimberly Akimbo
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/kimberly-akimbo/
LOCATION:DPAC\, 123 Vivian Street\, Durham\, NC\, 27701\, United States
CATEGORIES:Musical
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250425
DTEND;VALUE=DATE:20250428
DTSTAMP:20250509T063839
CREATED:20250118T095854Z
LAST-MODIFIED:20250118T095854Z
UID:21228-1745539200-1745798399@beltlinetobroadway.org
SUMMARY:The Grown-Ups
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/the-grown-ups/
LOCATION:North Raleigh Arts and Creative Theatre\, 7713-51 Lead Mine Road\, Raleigh\, North Carolina\, 27615\, United States
CATEGORIES:Play
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250424
DTEND;VALUE=DATE:20250428
DTSTAMP:20250509T063839
CREATED:20250421T060324Z
LAST-MODIFIED:20250421T060324Z
UID:25009-1745452800-1745798399@beltlinetobroadway.org
SUMMARY:Caine Mutiny Court-Martial
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/caine-mutiny-court-martial/
LOCATION:Owens Auditorium\, 3395 Airport Rd\, Southern Pines\, NC\, 28374\, United States
CATEGORIES:Play
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250424
DTEND;VALUE=DATE:20250428
DTSTAMP:20250509T063839
CREATED:20250421T055824Z
LAST-MODIFIED:20250421T055824Z
UID:25005-1745452800-1745798399@beltlinetobroadway.org
SUMMARY:Bright Star
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/bright-star/
LOCATION:Leggett Theater\, 15 E Peace Street\, Raleigh\, NC\, United States
CATEGORIES:Musical
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250424
DTEND;VALUE=DATE:20250428
DTSTAMP:20250509T063839
CREATED:20250119T025513Z
LAST-MODIFIED:20250119T025513Z
UID:21392-1745452800-1745798399@beltlinetobroadway.org
SUMMARY:Beauty and the Beast
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/beauty-and-the-beast/
LOCATION:Temple Theatre\, 120 Carthage Street\, Sanford\, NC\, 27518
CATEGORIES:Musical
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250424
DTEND;VALUE=DATE:20250428
DTSTAMP:20250509T063839
CREATED:20250119T020141Z
LAST-MODIFIED:20250421T055637Z
UID:21281-1745452800-1745798399@beltlinetobroadway.org
SUMMARY:Merrily We Roll Along
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/merrily-we-roll-3/
LOCATION:Burning Coal Theatre\, 224 Polk St.\, Raleigh\, NC\, 27604\, United States
CATEGORIES:Musical
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250424
DTEND;VALUE=DATE:20250428
DTSTAMP:20250509T063839
CREATED:20250118T092059Z
LAST-MODIFIED:20250118T092059Z
UID:21141-1745452800-1745798399@beltlinetobroadway.org
SUMMARY:The Book Club Play
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/the-book-club-play/
LOCATION:Theatre in the Park\, 107 Pullen Rd\, Raleigh\, NC\, 27607\, United States
CATEGORIES:Play
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250423
DTEND;VALUE=DATE:20250428
DTSTAMP:20250509T063839
CREATED:20250118T094302Z
LAST-MODIFIED:20250118T094302Z
UID:21186-1745366400-1745798399@beltlinetobroadway.org
SUMMARY:All Smiles
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/all-smiles/
LOCATION:Raleigh Little Theatre\, 301 Pogue Street\, Raleigh\, NC\, 27607\, United States
CATEGORIES:Children's Theater
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250422
DTEND;VALUE=DATE:20250428
DTSTAMP:20250509T063839
CREATED:20250118T091649Z
LAST-MODIFIED:20250118T091649Z
UID:21133-1745280000-1745798399@beltlinetobroadway.org
SUMMARY:Little Shop of Horrors
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/little-shop-of-horrors-3/
LOCATION:PlayMakers Repertory Company\, 120 Country Club Rd\, Chapel Hill\, NC\, 27599\, United States
CATEGORIES:Musical
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250418
DTEND;VALUE=DATE:20250421
DTSTAMP:20250509T063839
CREATED:20250119T023224Z
LAST-MODIFIED:20250119T023224Z
UID:21356-1744934400-1745193599@beltlinetobroadway.org
SUMMARY:Stop Kiss
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/stop-kiss-2/
CATEGORIES:Play
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250417
DTEND;VALUE=DATE:20250421
DTSTAMP:20250509T063839
CREATED:20250119T020053Z
LAST-MODIFIED:20250119T020053Z
UID:21278-1744848000-1745193599@beltlinetobroadway.org
SUMMARY:Merrily We Roll
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/merrily-we-roll-2/
LOCATION:Burning Coal Theatre\, 224 Polk St.\, Raleigh\, NC\, 27604\, United States
CATEGORIES:Musical
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250415
DTEND;VALUE=DATE:20250421
DTSTAMP:20250509T063839
CREATED:20250118T091556Z
LAST-MODIFIED:20250118T091556Z
UID:21130-1744675200-1745193599@beltlinetobroadway.org
SUMMARY:Little Shop of Horrors
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/little-shop-of-horrors-2/
LOCATION:PlayMakers Repertory Company\, 120 Country Club Rd\, Chapel Hill\, NC\, 27599\, United States
CATEGORIES:Musical
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250411
DTEND;VALUE=DATE:20250414
DTSTAMP:20250509T063839
CREATED:20250119T023136Z
LAST-MODIFIED:20250119T023136Z
UID:21353-1744329600-1744588799@beltlinetobroadway.org
SUMMARY:Stop Kiss
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/stop-kiss/
CATEGORIES:Play
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250410
DTEND;VALUE=DATE:20250414
DTSTAMP:20250509T063839
CREATED:20250131T065401Z
LAST-MODIFIED:20250131T065401Z
UID:21862-1744243200-1744588799@beltlinetobroadway.org
SUMMARY:Pan
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/pan-2/
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250410
DTEND;VALUE=DATE:20250414
DTSTAMP:20250509T063839
CREATED:20250119T015955Z
LAST-MODIFIED:20250119T015955Z
UID:21276-1744243200-1744588799@beltlinetobroadway.org
SUMMARY:Merrily We Roll
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/merrily-we-roll/
LOCATION:Burning Coal Theatre\, 224 Polk St.\, Raleigh\, NC\, 27604\, United States
CATEGORIES:Musical
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250409
DTEND;VALUE=DATE:20250414
DTSTAMP:20250509T063839
CREATED:20250126T112552Z
LAST-MODIFIED:20250126T112552Z
UID:21521-1744156800-1744588799@beltlinetobroadway.org
SUMMARY:Steel Magnolias
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/steel-magnolias-3/
LOCATION:Cape Fear Regional Theatre\, 1707 Owen Drive\, Fayetteville\, NC\, 28304
CATEGORIES:Play
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250409
DTEND;VALUE=DATE:20250414
DTSTAMP:20250509T063839
CREATED:20250118T084958Z
LAST-MODIFIED:20250118T084958Z
UID:21127-1744156800-1744588799@beltlinetobroadway.org
SUMMARY:Little Shop of Horrors
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/little-shop-of-horrors/
LOCATION:PlayMakers Repertory Company\, 120 Country Club Rd\, Chapel Hill\, NC\, 27599\, United States
CATEGORIES:Musical
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250408
DTEND;VALUE=DATE:20250414
DTSTAMP:20250509T063839
CREATED:20250118T082917Z
LAST-MODIFIED:20250118T082917Z
UID:21095-1744070400-1744588799@beltlinetobroadway.org
SUMMARY:The Book of Mormon
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/the-book-of-mormon/
LOCATION:DPAC\, 123 Vivian Street\, Durham\, NC\, 27701\, United States
CATEGORIES:Musical
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250403
DTEND;VALUE=DATE:20250407
DTSTAMP:20250509T063839
CREATED:20250131T065301Z
LAST-MODIFIED:20250131T065301Z
UID:21859-1743638400-1743983999@beltlinetobroadway.org
SUMMARY:Pan
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/pan/
CATEGORIES:Children's Theater
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250403
DTEND;VALUE=DATE:20250407
DTSTAMP:20250509T063839
CREATED:20250118T094136Z
LAST-MODIFIED:20250118T094136Z
UID:21183-1743638400-1743983999@beltlinetobroadway.org
SUMMARY:Morning After Grace
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/morning-after-grace-3/
LOCATION:Raleigh Little Theatre\, 301 Pogue Street\, Raleigh\, NC\, 27607\, United States
CATEGORIES:Play
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250402
DTEND;VALUE=DATE:20250407
DTSTAMP:20250509T063839
CREATED:20250126T112506Z
LAST-MODIFIED:20250126T112506Z
UID:21518-1743552000-1743983999@beltlinetobroadway.org
SUMMARY:Steel Magnolias
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/steel-magnolias-2/
LOCATION:Cape Fear Regional Theatre\, 1707 Owen Drive\, Fayetteville\, NC\, 28304
CATEGORIES:Play
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250328
DTEND;VALUE=DATE:20250331
DTSTAMP:20250509T063839
CREATED:20250118T095742Z
LAST-MODIFIED:20250118T095742Z
UID:21225-1743120000-1743379199@beltlinetobroadway.org
SUMMARY:The World Goes 'Round
DESCRIPTION:It’s been a while\, but South Stream Productions is back. After a delightful and exhilarating Twelfth Night experience in the first weeks of 2024\, now comes the darkly fraught and violent encounter of King Lear\, and what a mesmerizing journey it proves to be.  \n \nProducer and Director Brook North has assembled an incredibly talented and familiar group of actors. As expected\, those performances are marvelously impressive. \n \nJulie Oliver tackles the title role with admirable relish. Her Lear is initially jaunty with anticipation of dividing his kingdom amongst his three daughters\, figuring to relinquish his power while still enjoying the trappings of his position. But things go sideways quickly. He demands that his daughters declare their love for him\, preferably excessively effusive. Two of the daughters\, Goneril and Regan\, respond accordingly\, gush their affections\, and even throw shade at one another.  \nHowever\, the youngest\, Cordelia\, and Lear’s declared favorite\, will have none of his nonsense and refuses to participate in this charade. She will not flatter her father\, causing disappointment and sending her father into a rage that will doom all the members of this family and those of another. \nNorth’s bold decision to cast Chloe Oliver\, daughter of Julie Oliver\, in the dual roles of Cordelia and the Fool is pure genius. As Lear admonishes his daughter\, we also witness a mother berating her real-life child\, adding to the chilling dynamics of the scene. Chloe Oliver’s Cordelia\, draped in white like a temple’s vestal virgin ready for sacrifice\, restrains herself\, head held high\, her body almost vibrating as she endures his painful\, nearly violent barrage.  \n \nWhen Chloe Oliver emerges again as Lear’s Fool\, in white pants and top\, a red harlequin hat and collar\, and comic face paint\, it suggests that Lear is not free of his daughter – and serves as a reminder of Cordelia for both her father and the audience. Sometimes\, the two are back-to-back to emphasize a closeness\, even as the Fool mocks Lear’s actions and reminds him that he should have grown wise before growing old.  \n \nKing Lear is all about family\, particularly the problematic relationships between parents (in this case\, fathers) and their progeny and the antagonistic interactions amongst siblings. Indeed\, this play adds a whole new level to sibling rivalry!  \nGoneril (Maggie Lea) and Regan (Barrett) initially seem to have a reason to unite against their father as he becomes more unstable. Still\, that union quickly disintegrates as Regan reveals her lust for both power and violence. Barrett’s Regan is deliciously devious\, her eyes and smile glinting as she schemes and plots. Her savoring of the violence is genuinely terrifying.  \nBut Regan isn’t the only one wreaking havoc; Edmund\, the bastard son of the Earl of Gloucester\, has also decided to exact revenge on both his father and his brother\, Edgar. Elizabeth Johnson delivers the right amount of dastardliness as Edmund\, and John Honeycutt delivers a strong and heartbreaking performance as Gloucester\, who is so sorely duped by Edmund. \nBut it is Benjamin Tarlton as Edgar\, becoming ‘Poor Tom’ when forced to retreat because of the machinations of Edmund\, who steals scenes in the second half. Stripped down to a loincloth and a tattered blanket\, Tarlton’s strange antics are creepily humorous as he prances around before again becoming the sympathetic son who rescues his father. \nA father demanding fidelity while pitting his children against each other and himself. Another father is deluded by the actions of one son against the other. Gloucester becomes disillusioned and desperate with sorrow while Lear goes mad with rage\, subjecting himself to the elements and ranting against them. Oliver ramps up mightily in the storm scene\, even if the sound elements (thunder) were not quite as successful. \nAs expected from a Shakespeare tragedy\, bodies pile up by the end. King Lear is bloody and leaves you feeling spent at the end. But this production makes it oh so worthwhile. \nKing Lear runs through May 18 in Raleigh. For more information\, click here.
URL:https://beltlinetobroadway.org/events/the-world-goes-round-3/
LOCATION:North Raleigh Arts and Creative Theatre\, 7713-51 Lead Mine Road\, Raleigh\, North Carolina\, 27615\, United States
CATEGORIES:Musical
END:VEVENT
END:VCALENDAR