Kc melting pot theatre

With the theater being in production for its 10 th year and welcoming one of the most diverse audiences in the city, I can say that the passion and dedication was evident from the moment I walked through the doors.

Family dynamics are often fodder for comic relief and a staple for writers — including playwrights. Their plan is to confront their sister, Barbara, about her drug and alcohol use and convince her to go to rehab. She explains that the main subjects are "intervention, addiction, family dynamics, politics and the kind of universality of those issues. Brittany Evans plays another sister, Marie, who, also struggles with addiction. But, she says, the dialogue is surprisingly funny. The same characters, the same situation — but they are Black instead of white.

Kc melting pot theatre

KC Melting Pot Theatre strives to create a public sphere where the contributions of emerging and established Black playwrights can be shared in an enriching community environment. It works toward building diverse, equitable, and inclusive theater experiences that teach, critique, and model a better America; identifies, trains, and incubates theater talent from historically underserved communities; and it collaborates with artists across the diversity spectrum to create work dedicated to social change. In the two decades of its existence, KC Melting Pot has become one of the most intriguing and provocative arts groups in Town, with its savvy mix of classics by August Wilson, Ntozake Shange, and Amiri Baraka and a bold series of new plays by locally based playwrights such as Lewis Morrow. Learn more at KCMeltingPot. Featured in the February 4, issue of The Independent. By Paul Horsley. He also earned a degree in journalism, because writing about the arts in order to inspire others to partake in them was always his first love. After earning a PhD from Cornell, he became Program Annotator for the Philadelphia Orchestra, where he learned firsthand the challenges that non profits face. Rarely have we seen such…. Unique in its field, it is the only publication to focus primarily on the cultural, philanthropic and social aspects of Our Town.

I've enjoyed theater for many years now and one thing that I always pay close attention to are the sets.

Over a number of recent productions, the KC Melting Pot Theater has chosen to explore questions about the ways in which race and class play out in the acts of producing and consuming theatre. The company has put on a number of plays that are specifically about the ways in which race informs the plays themselves and the institution of theater—the implications of putting on plays about race and racism, often with all or majority-POC casts, for audiences that are, on an institutional level, still usually majority white. These questions have been central to quite a few Melting Pot shows, but Fairview takes them to an entirely new level, using structure-busting absurdity to push our expectations and our assumptions as far as possible. The play, written by Jackie Sibblies Drury and winner of the Pulitzer prize, tells the story of an unassuming, even borderline dull upper-middle-class Black family. This is, by all accounts, a pretty quotidian comedy of manners. The moment comes so late in the play around the minute mark and is so brief that it actually feels jarring, and like a structural misstep. From here, Fairview is a staunchly unreviewable play for any playgoers who want to remain unaware of its massive second-act twist.

Requirements: Prepare two contrasting monologues dramatic and comedic —preferably contemporary material. Bring current headshots and resume. All Kansas City talent are welcome to audition. Jawbone Crack Quick by Lewis Morrow Directed by Ile Haggins DEC Synopsis: In this riveting drama, a small-town community grapples with the aftermath of a tragic event, exposing the tensions and secrets that lie beneath the surface of their seemingly idyllic lives. Troy Maxson, a former baseball player turned sanitation worker, struggles to reconcile with his past while navigating the challenges of fatherhood and marriage. The playwrights selected this season will probe important questions about striving for the American dream and the right to pursue life, liberty, and happiness. Our season will examine the ways in which race, gender, sexuality, and class shape how we understand equality and our capacity to affirm those unalienable rights during such a fragile socio-historic moment in time. Previous slide. Next slide. George, a college professor, and his wife Martha, return to their home after a university faculty party where much alcohol was ingested.

Kc melting pot theatre

This month marks a first in the history of Kansas City theater — a local playwright will see three of his works published by an internationally respected publishing house in a single volume. Linda is the general manager. Gradually and with determination the theater company has grown the scope of its mission and solidified its structure. What began as essentially a community theater is now professional. Bloomsbury, a publishing house whose history includes a unique distinction as the original publisher of J. Morrow, despite the fact that he will be among such august company, said he felt a bit like a spectator as the book release looms. Morrow said nothing he has written should be considered strictly autobiographical. But anything he experiences or observes eventually makes it into a script. I challenged myself once to write a full-length play in one day. And I did — 70 pages.

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Our Director of New Play Development is at it again! My eyes continued to be drawn to the style and casting of each performer, identifying the intention behind the young mother portrayed by actress Adeana Carr bringing her baby to the pulpit for prayer. The company has put on a number of plays that are specifically about the ways in which race informs the plays themselves and the institution of theater—the implications of putting on plays about race and racism, often with all or majority-POC casts, for audiences that are, on an institutional level, still usually majority white. Black Violin and the promise of busting genres. Subscribe now to keep reading and get access to the full archive. Related Posts A. Barbara Jewell. He also earned a degree in journalism, because writing about the arts in order to inspire others to partake in them was always his first love. I was reminded of how much I admired the amount of creativity one delivers in designing a stage set. Their exchanges brought not only endearment but also a sense of strength and a reminder of worthiness to each other. I knew then, the story would only continue to draw me in. Thank you Mr. Really powerful! The other dynamic duet on set was between Margaret and her sister Odessa portrayed by Lynn King.

KC Melting Pot Theatre will require proof of vaccination or proof of a negative COVID test within the last 48 hours for audiences, volunteers, performers, crew, and theatre staff. Proof can be provided by presenting either a physical or digital copy along with ID.

December 11, Diane Capps patron. Share this: Twitter Facebook. Kansas city. For more information, visit www. Loading Comments As a c 3 your contributions help us continue the work we do on and off stage. To launch their new season in , artistic director Nicole Hodges Persley invited patrons back with shows featuring Black female directors, challenging the gender bias in the industry. Nicole's experience, vision and commitment to the mission of KCMPT in this capacity will help expand the artistic direction and platform for amazing works of theatre in Kansas City. I love speaking and acting, but never had the opportunity to show my speaking ability until I auditioned for a part in the play Rachel at KCMPT.