While many depictions of the events surrounding President Abraham Lincoln’s assassination exist, most are artist renditions, created well after the fact. As of April 14, 2016, visitors to the Ford’s Theatre campus may now see the only known artistic representation of the Lincoln assassination created by an eyewitness.
Now a month into its spring run at Ford’s Theatre, the musical 110 in the Shade is wowing audiences and critics alike with its big heart, marvelously sung performances and dynamic direction and choreography. We recently connected with actor Ben Crawford, who plays the animated rainmaker Starbuck, to hear his thoughts on the production!
From first rehearsal through the show’s opening, the cast of 110 in the Shade have powered through to create a musical in about five weeks! We’ve collected some of our favorite photos and video that the cast and fans have shared on Instagram. We’d love to see your pics, too—please tag them #Fords110!
Time and again, Kevin McAllister has wowed Ford’s Theatre audiences with his roles in the musicals Parade, Violet and more. Here Kevin spoke with us about the challenges and joys of his newest role in our current musical, 110 in the Shade.
Tracy Lynn Olivera plays the lead role of Lizzie in 110 in the Shade, a show picked by Ford’s Theatre Director Paul R. Tetreault specifically to showcase her. In the following interview, Olivera discusses her life as a Washington actress.
Next up at Ford’s Theatre, follow the story of Lizzie Curry as she encounters drought, falls in love with a con man and searches for self-acceptance in 110 in the Shade.
Great American playwright Tennessee Williams was an unknown when The Glass Menagerie debuted on Broadway on March 31, 1945. Shortly after the production began, his world was transformed. Biographer John Lahr writes, “The hubbub of Williams’s new life began almost immediately.”
The Glass Menagerie is undeniably a classic in the American theatre canon. Since its Chicago premiere in 1944, this play by Tennessee Williams has been a staple in our theatrical landscape. But why is this the case?