This month we take a look at primary sources from our Remembering Lincoln partners at the Abraham Lincoln Library and Museum at Lincoln Memorial University in Harrogate, Tennessee.
Ford’s Theatre is participating in the Washington region’s 2015 Women’s Voices Theater Festival. The festival, with its focus on gender parity in theatre, aligns well with many discussions happening across the country regarding the lack of women’s voices in roles of power and influence in a variety of industries.
Tim Getman, Mitchell Hébert, Josh Sticklin, Kathryn Tkel and Craig Wallace star in the world-premiere Ford’s Theatre production of Jessica Dickey’s The Guard. Watch our new theatrical trailer and get a glimpse of why critics and audiences have praised the production as a griping, reflective and extraordinary theatrical experience.
For the third year, our National Oratory Fellows journeyed to Washington in early September for a two-day planning meeting to kick off their school years. Here are some things they wanted to share about their favorite moments of the Pretreat and being a part of Ford’s National Oratory Fellows.
In The Guard, the three main characters make the decision to touch a famous piece of art hanging in a museum. The play is a beautiful exploration of our connection with art and its meaning and power, but it will make museum professionals everywhere cringe. What’s really so bad about touching the art?
In this blog post, we speak with Jessica Dickey, the playwright behind The Guard.
Five months ago, Ford’s Theatre Society and National Park Service staff honored the memory of Abraham Lincoln and marked 150 years since his untimely death. Ford’s 150 was a behemoth – a once-in-a-lifetime occasion that necessitated planning with Civil War enthusiasts, scholars, museums, group tour operators, performance artists, generous donors, media outlets and more.
During the Civil War, Washington’s population boomed, and John T. Ford decided to try opening a theatre in the city again. Although the former Baptist church he converted to a theatre burned in 1862, he reopened and made the theatre a presence in Washington’s cultural life.