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“It’s exciting for us to have this technology,” Milligan told visitors last week. “This really changes the game for us here at the theater. This will be a new experience for our clients and for the audience.”. The lights’ grand opening was synchronized with music and showed a variety of light patterns, colors and movement on the stage. Sengstack said the new lights may help to attract more clientele to the theater. The Heritage Theatre was built in 1938 as the Campbell Union High School auditorium. The auditorium was shut down in 1982 due to structural concerns, two years after the high school closed. Twenty years later the Friends of the Heritage Theatre formed to restore the auditorium as a community theater. On Feb. 14, 2004, it opened to the public.
The two actresses also had to learn a variety of dance routines including tap, waltz and tango, which Gimenez says was a “huge challenge” at times, “Fortunately, we have a wonderful choreographer in Bobby Bryce, who has managed to move our 16 cast members beautifully across the postage-stamp-size stage,” Maio said, “We’re also lucky to have Greg Zema as the musical director and a very committed cast and team of designers, I’m very excited that the Altarena agreed to do this inspiring show that will be even more powerful given the embellished ballet pointe shoes, fantasy ballet shoes, altered ballet shoes, pink shabby ballet shoe, gift for dancer, ballet de theater’s intimate space.”..
The second in Tarell Alvin McCraney’s three-play cycle being staged in the Bay Area by three regional theater groups, “Brothers,” which opened Tuesday night at the Magic Theatre, is set in a place much like the cluttered junk shop in David Mamet’s “American Buffalo.” In this case it’s an auto repair garage, owned by Ogun Size (Joshua Elijah Reese), who has taken in his younger brother, Oshoosi (Tobie Windham) after the young man is released from prison. At first blush, the setting seems unimportant, simply a place in the Louisiana Bayou where the play happens to take place. But as the story unfolds, it becomes increasingly apparent that the location, like everything else in McCraney’s deceptively simple tale, is vital to the story. It is a loud, ham-fisted and hairy-knuckled place where young men can consider basic questions about their gender and come to grips with what it means to be a man, whatever that may turn out to be.
The narrative spell she weaves is so mesmerizing, in fact, that it’s easy to forget that we’re hearing her story several steps removed from the source, We’re not with Charlotte in the amazing museum of 1890s furniture and knickknacks that she’s collected and preserved in her Berlin home, We’re in a house in northernmost Berkeley, watching actor William Hodgson play Charlotte and a number of other characters in her story, This is her tale as told by Doug Wright in his Pulitzer Prize-winning 2003 play “I Am My Own Wife.” The solo show is Wright’s account of his conversations and correspondence with von Mahlsdorf, told in letters, taped interviews, phone calls embellished ballet pointe shoes, fantasy ballet shoes, altered ballet shoes, pink shabby ballet shoe, gift for dancer, ballet de and re-creations of TV coverage after Charlotte’s story became famous in Germany..
It’s Father’s Day and Antonio Hernandez and his sister Asucena Hernandez of Los Angeles have driven nearly 150 miles to the U.S. border with Mexico to visit their father, Antonio Hernandez. He had been deported nearly 10 years ago. With smiles on their faces they approached the steel mesh fence separating the two countries at Friendship Park. Tucked between San Diego and Tijuana, just steps away from the ocean, the half-acre park is the only federally authorized “bi-national meeting place” along the southern border.