Grand Kyiv Ballet’s National Tour of The Nutcracker in Atlanta Nov. 27
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The Grand Kyiv Ballet brings its first-ever national tour of Pyotr Tchaikovsky’s classic ballet The Nutcracker to Atlanta on Nov. 27 for one performance at Atlanta Symphony Hall. Twenty of the 35 world-class dancers are from Ukraine, and the choreography is by one of the country’s most famous ballet dancers, Valery Kovtun (1944-2005).
Principal Dancers Kateryna Kukhar and Alex Stoianov, a couple with two children who now call Seattle their temporary home due to the conflict in Ukraine, were continents away from their two children when the war erupted with no means of returning. They were in France, preparing for their final performance in Menton for Giselle before returning to Kyiv when they received news at 5 a.m. of bombings and the outbreak of war.
Alex and Kateryna landed in Seattle in large part to Vera Altunina and her family. Vera runs the International Ballet Academy in Bellevue, WA. This resilient couple undertook extraordinary efforts, with the help of friends and family, and worked tirelessly to evacuate their children from Ukraine.
Alex started the Grand Kyiv Ballet as an artistic home for dancers displaced by war.
ABOUT ALEX AND KATERYNA’S CAREERS
With an illustrious career at the renowned National Opera of Ukraine, Kukhar is a distinguished artist, holding the prestigious titles of People’s Artist of Ukraine and the Order of Princess Olga of the 3rd degree. Recognized for her versatility and exceptional technique, she has garnered international acclaim, captivating audiences with performances that resonate on a profound emotional level. Alex Stoianov, the Principal Dancer of the National Opera of Ukraine, also serves as the Artistic Director of the Grand Kyiv Ballet.
There were more than 200 ballet dancers who evacuated Ukraine do to the war with Russia. Alex has started four Ballet companies to bring work to many of those dancers displaced from Ukraine.
The two-act classical ballet The Nutcracker was composed by Pyotr Ilyich Tchaikovsky and first performed in 1892 and tells the story of a young girl who befriends a nutcracker that comes to life on Christmas Eve and fights the Mouse King. A portion of the proceeds from this event will be directed towards the renovation efforts of the Kyiv State Choreographic College in Kyiv.
The YouTube video is from the Broadway production:
“Amélie: the Musical,” a critically acclaimed musical from London’s West End based on the beloved French film Amélie comes to Horizon Theatre, October 4 – November 10. Amélie is a shy and imaginative young woman living in Paris. With a heart as big as her city, Amelie secretly improvises small but surprising acts of kindness that bring joy to those around her. But when a chance at love comes her way, Amélie realizes that to find happiness she’ll have to risk everything and say what’s in her heart. Audiences are invited to join Amélie as she discovers the extraordinary in the ordinary, touching hearts and inspiring dreams along the way in this enchanting new musical.
“Audiences worldwide fell in love with Amélie as a movie, and now it’s been adapted into a delightful, quirky, romantic and funny musical. We were in Paris for the Olympics this summer, and now we are bringing Paris to life on the Horizon stage this fall. It’s a story about finding beauty in the small moments and understanding that even the smallest gestures can have a significant impact on the world,” said Horizon Theatre Co-Artistic/Producing Director Lisa Adler. “We’re excited to share this magical tale and its message of hope, love and the power of human connection with our audience. And we’re thrilled that it will be led by the team that created our hit musical last season, Natasha, Pierre and The Great Comet of 1812.”
Horizon’s production of Amélie will see many returning cast and creative team members from last season’s smash-hit Natasha, Pierre and the Great Comet of 1812, which was recently nominated for 15 Suzi Bass Awards and is set to return for another run later this season. Director and Horizon Artistic Associate Heidi McKerley returns to the helm as director of Amélie. In addition to Great Comet, Heidi has directed more than 35 Horizon projects over the past three decades to great acclaim. Other returning creative team members include Scenic Designers Isabel and Moriah Curley-Clay, Music Director Holt McCarley, Assistant Music Director Bethany Irby, and Costume Designer Carrie Giglio. Returning Great Comet cast members include Anna Dvorak (Sonia) in the lead role of Amélie, joined by Daniel Burns (Pierre), Jordan Patrick (Anatole), Jeff McKerley (The Prince), Skyler Brown (Balaga), Eric Nabeth (Ensemble/Accordion), Miro Gomez (Ensemble/Cello) and Eden Mew (Ensemble) who all play supporting roles in Amelie, with most once again doubling on musical instruments.
Amélie playwright Craig Lucas is an acclaimed American playwright, screenwriter and director known for his diverse body of work that includes the Tony Award-nominated play Prelude to a Kiss and the film Longtime Companion. Amélie found its greatest success in London, where it charmed audiences and critics alike with its imaginative staging, enchanting score and a heartfelt portrayal of its titular character. The London production, praised for its innovative and intimate approach, won three Olivier Awards in 2020, including Best New Musical,solidifying its place as a modern theatrical gem.
Amélie tells the story of Amélie (Anna Dvorak, Horizon’s Great Comet), an extraordinary young French woman who lives quietly in the world, but loudly in her mind. After surviving a childhood with two neurotic parents who did not know how to show her their love, Raphael (Marcus Hopkins-Turner, Horizon’s Support Group for Men) and Amandine (Bethany Irby, Aurora Theatre’s Beautiful: The Carole King Musical), and only a goldfish—Fluffy for company, Amélie heads off to Paris on her own. She approaches her journey in the big city with joy, making friends with nearly everyone she meets. As a waitress at a café in Montmartre she has a quiet, happy life, spending time with her three co-workers: Suzanne (Chelcy Cutwright, Steel Magnolias, Springer Opera House), the café’s owner and a past circus performer; Georgette (Jennifer Alice Acker, Horizon’s The Game, Roe, Freaky Friday), a hypochondriac; and Gina (Jessica Miesel, Fox TV’s The Resident, Aurora’s Hands on A Hard Body), who obsessively rereads love letters from her late husband. Some of Amélie’s quirky customers include Joseph (Daniel Burns, Horizon’s Great Comet), a tough-on-the-outside customer who’s in love with Gina; Hipolito (Cameron Smith, Aurora Theatre’s Christmas Canteen), a poet; and Philomene (Kylie Dickinson), an airline hostess. When Amélie finds a child’s box of treasures in the floorboard of her house, she becomes determined to return it to its owner. With help from Dufayel (Jeff McKerley), a shut-in artist who’s obsessed with painting the same scene over and over, she returns it to Bretodeau (Marcus Hopkins-Turner, playing dual roles) who lived in her home as a child. After seeing the joy it brings him, Amélie resolves to do good for those around her in small, anonymous ways. But when Amélie meets young Nino (Jordan Patrick, Horizon’s Great Comet), she takes the biggest risk of her life – learning to love on her own. The cast of charming characters– both real and imaginary– who play a part in Amélie’s journey also includes the Gnome (Eric Nabeth Horizon’s Great Comet), Elton John (Miro Gomez, Horizon’s Great Comet) and Collignon (Skyler Brown, Horizon’s Great Comet), the local grocer
Performances begin Friday, Oct. 4 at 8 p.m.Performances are Wednesday, Thursday and Friday at 8 p.m., Saturday at 3 p.m. and 8 p.m. and Sunday at 5 p.m., running through Nov. 10. Seating is general admission with a reserved seating section for subscribers. General admission tickets start at $40 on Wednesdays and Thursdays and $45 for all weekend performances. Prices rise as performances fill up, so patrons are encouraged to order early for the best prices and availability. Full-time students under 25 can get $20 tickets with valid student ID by calling the box office or at the door if tickets are available. There is limited accessible seating for those needing mobility accommodation, and it must be reserved by phone. For tickets and more information, visit horizontheatre.com or call the Box Office at 404.584.7450.
Video from The Public Theatre’s production:
THE CHINESE LADY
THE CRITICALLY-ACCLAIMED PLAY BY PULITZER PRIZE FINALIST LLOYD SUH
WILL PLAY ON THE HERTZ STAGE
SEPTEMBER 18 – OCTOBER 18, 2024
THE CHINESE LADY WILL FEATURE KEIKO AGENA OF TV’S GILMORE GIRLS AND
REX LEE OF TV’S FRESH OFF THE BOAT
THE CHINESE LADY marks the return of Playwright & Pulitzer Prize finalist Lloyd Suh (Bina’s Six Apples) to the Alliance.
Inspired by the true story of Afong Moy, THE CHINESE LADY is a darkly poetic, yet whimsical portrait of our past seen through the eyes of a young Chinese woman. Afong – thought to be the first Chinese woman to step foot on U.S. soil – is only 14 years old when she’s brought to the United States in 1834 and put on display as “The Chinese Lady.” Decade after decade, she performs as a living exhibit, showing curious white visitors how she eats, what she wears, and how she walks on tiny bound feet. As time wears on, the lines between her performance and her identity begin to blur. Described as “moving and often sharply funny” (The New York Times), THE CHINESE LADY examines the ongoing struggle for empathy and understanding across cultural divides.
THE CHINESE LADY is deeply rooted in history and is concerned with a young person navigating the tumult of history towards a sense of self-actualization,” said Playwright Lloyd Suh. “When I first heard about Afong Moy, her story haunted me. Afterwards, I did a deep dive to find out as much as I could about her, because I needed to understand her story even just on a personal level.”
THE CHINESE LADY features actors Keiko Agena (TV: Gilmore Girls) as Afong Moy, and Rex Lee (TV: Entourage and Fresh Off the Boat) as Atung.
“Not only does the historical record completely ignore Afong Moy, but there is absolutely nothing on record that comes from her point of view,” said Suh. “My hope is that everyone has a personal reaction [that resonates with] their own personal history, their social location, their relationship with all of what came before and especially what is happening in the world on the particular day they might experience it.”
Tickets are available at the Alliance Theatre Box Office in person or by calling 404.733.4600, or by going online to www.alliancetheatre.org/chineselady.
VENUE INFORMATION:
Hertz Stage at Alliance Theatre
1280 Peachtree Street NE
SPONSOR INFORMATION:
The Hertz Stage series is sponsored by Warner Bros. Discovery. Additional support for THE CHINESE LADY is provided by the Home Depot Foundation.
CALENDAR LISTING SYNOPSIS:
THE CHINESE LADY
September 18 – October 13, 2024
Hertz Stage at Alliance Theatre
1280 Peachtree Street NE, Atlanta, GA 30309
By Lloyd Suh
Directed by Jess McLeod
Inspired by the true story of Afong Moy, The Chinese Lady is a darkly poetic, yet whimsical portrait of our past seen through the eyes of a young Chinese woman. Afong is only 14 years old when she’s brought to the United States in 1834 and displayed as “The Chinese Lady” – the first to step foot on U.S. soil. Decade after decade, she performs as a living exhibit, showing curious white visitors how she eats and what she wears as merchants sell tea and Chinoiserie in the lobby. As time wears on, the lines between her performance and her identity begin to blur. Described as “moving and often sharply funny” (The New York Times), The Chinese Lady examines the ongoing struggle for empathy and understanding across cultural divides. For tickets and info, visit www.alliancetheatre.org/chineselady.
Horizon Theatre continues its spectacular 40th season with the outrageously funny and immensely touching comedy Wild With Happy, playing Aug. 16 – Sept. 15 (press opening August 23). This Off-Broadway hit from Academy Award nominee Colman Domingo follows the adventures of Gil, a man on a mission to find the perfect resting place for his mother. When Gil’s beloved mom passes way, Gil returns home and decides to have her cremated – despite his opinionated Aunt Glo’s demands for a traditional funeral. Then his high-spirited best friend takes him on an unexpected road trip with his mother’s ashes as a furious Aunt Glo follows in hot pursuit with the sensitive funeral director in tow. With bold twists and turns, an amazing Atlanta cast and a journey that might just lead to the happiest place on earth, Wild With Happy is a wild ride full of love, loss and lots of laughs.
“We’re so thrilled we get to bring Wild With Happy to Atlanta audiences.” said Horizon Theatre Co-Artistic/Producing Director Lisa Adler. “This comedy runs the gamut of emotions – joy, hilarity, grief, absurdity – and takes audience members on a whirlwind journey right along with the characters. It’s deeply profound and impactful while also being absurdly funny.”
Wild With Happy tells the story of Gil (Enoch King, Horizon’s The Light, Suzi Award winner for Alliance’s Toni Stone), the Yale-educated, loving son, who’s just lost his beloved mother, Adelaide (Tonia Jackson, Horizon’s Shakin’ the Mess Outta Misery, Theatrical Outfit Clyde’s), a joyous spirit who clings to hope and happy endings. Gil returns home to Philadelphia with the intention of finding the right send-off for his mom on their limited budget, and not yet dealing with his loss. A series of hilarious detours takes Gil and his flamboyant best friend Mo (Brad Raymond, Horizon’s Nobody Loves You, Alliance’s The Preacher’s Wife) on a multi-state escapade with an urn of ashes to bring his mother to her final resting place: the one place on earth that made her “wild with happy.” With Adelaide’s outrageous, strong-willed sister, Aunt Glo, (also played by Tonia Jackson, who takes a turn as both sisters), insisting on a proper burial and church service, she and Terry (Markell Williams, Horizon’s Sweet Water Taste), the charming funeral director who has fallen for Gil, chase after the getaway car, leading to an uproarious, deeply touching journey. Along the way, Gil learns to embrace his grief, celebrate his mother’s memory and find his own path to happiness. Wild With Happy is a joyful, whimsical tale that reminds us that even in our darkest moments, there’s always room for laughter, love and a bit of magic.
Based loosely around his own experiences, Wild With Happy is playwright and actor Colman Domingo’s fourth work. It premiered at the Public Theatre in the NYC, was produced at regional theatres throughout the country and was recently released as an Audible podcast, performed by a cast including Colman himself and Oprah Winfrey. Although best known as a Broadway and film actor, Oscar-nominated for his work in the title role of Rustin, his writing career has blossomed. His plays and musicals include Dot (published by Samuel French), Wild with Happy (published by Dramatist Play Service), A Boy and His Soul (published by Oberon Books), the Tony Award-nominated Broadway musical Summer: The Donna Summer Musical and Geffen Playhouse’s groundbreaking musical Light’s Out: Nat King Cole. His plays have been produced by The Public Theater, Vineyard, La Jolla Playhouse, Humana Festival of New American Plays, New York Stage and Film, A.C.T, The Tricycle Theater in London and Brisbane Powerhouse in Australia, among others.
Back again for the 20th year is the award-winning director Thomas W. Jones II who has been at the helm of some of Horizon’s best-loved shows, including The House That Will Not Stand, Blackberry Daze, Da Kink in My Hair, Shakin’ the Mess Outta Misery and so many more. Here, he assembles a cast of his favorite actors, all veterans of Horizon and other Atlanta stages, and now also all over the screen in the many TV series shooting in Atlanta. Resident scenic designers Moriah and Isabel Curley-Clay, projection and sound designer Matt Reynolds (Actor’s Express’ Cabaret), co-lighting designers Mary Parker (Horizon resident designer) and Mike Morin (MFA in Lighting Design, U of Alabama), and long-time Horizon costume designer L. Nyrobi Moss (Natasha, Pierre and the Great Comet of 1812) use their theatrical magic to move audiences swiftly and evocatively through the many locations.
Performances begin Aug. 16 at 8pm, with a Press Opening on Aug. 23 at 8pm. Performances are Wednesday, Thursday and Friday at 8 p.m., Saturday at 3 p.m. and 8 p.m. and Sunday at 5 p.m. The play runs through Sept. 15. No matinee on Aug 17. Seating is general admission with a reserved seating section for subscribers. General admission tickets start at $30 on Wednesdays and Thursdays and $35 for all weekend performances. Prices rise as performances fill up, so patrons are encouraged to order early for the best prices and availability. Full-time students under 25 can get $20 tickets with valid student ID by calling the box office or purchase Student Rush Tickets 30 minutes before show time if seats are available. There is limited accessible seating for those needing mobility accommodation, and it must be reserved by phone. For tickets and more information, visit horizontheatre.com or call the Box Office at 404.584.7450.
Horizon Theatre’s 40th season continues after Wild With Happy! The rest of the season line-up includes the critically acclaimed West End musical Amélie, the 2024 Steinberg/ATCA New Play Award-nominated I Carry Your Heart With Me and the caper-telenovela Laughs in Spanish. Also to come this season are the returns of Madeline’s Christmas during the holiday season and Natasha, Pierre and the Great Comet of 1812 in January 2025. More information on the 24/25 Season can be found at horizontheatre.com/plays/
Horizon Theatre kicks off its spectacular 40th season of the best in contemporary theatre with the new comedy The Game, playing June 28 – July 28. Alyssa and Homer are in a marriage that’s hit a glitch. And it’s all due to the massively engrossing online game that’s wreaking havoc on the lives of couples everywhere. When she puts together a support group for other women in a similar situation, the game enters a new level where all’s fair in love and war. Bekah Brunstetter’s (Horizon’s The Cake, NBC’s This is Us, and Broadway’s The Notebook) hilarious and heartfelt comedy brings technology and community together in the most unexpected ways.
The Game tells the story of Alyssa (Jennifer Alice Acker, Horizon’s Roe, Nobody Loves You), whose husband Homer (Chris Hecke, Horizon’s Completeness) has become obsessed with playing The Game, a popular online video game, to the detriment of their marriage. In a last-ditch effort to get him back, Alyssa recruits fellow “gaming widows” on Facebook to join together to find a solution. This eclectic support group includes out-going, Poshmark-loving mom Rhonda (Marcie Millard, Horizon’s The Cake); sweet, elderly Myra (Shannon Eubanks*) who shares crockpot recipes and wisdom; Jen (Michelle Pokopac*, Horizon’s The Wolves), a war photographer whose female partner is going through a tough time; and Cleo (Hope Clayborne, Atlanta Shakespeare school tour) a young pregnant military wife who is new in town. The women bond together to find ways to woo their partners away from the screen and back to their side. In the process, they win new friends and discover new paths in their lives.
The Game was commissioned by PlayMakers Repertory Company in Chapel Hill, North Carolina under Producing Artistic Director Vivienne Benesch. The show received its first public performance on April 10, 2024. The commission project invited playwright Brunstetter to imagine a new comedy inspired by the ancient Greek play Lysistrata in which women go on a sex strike to convince their husbands to stop a war.
With titles like NBC’s This is Us and Broadway’s The Notebook in her repertoire, Bekah Brunstetter is well-versed in storytelling that mixes comedy and drama and tugs at the heartstrings. Her hit play The Cake at Horizon Theatre (starring Marcie Millard, who also appears in The Game) chronicled a Southern baker wrestling with the decision of baking the cake for and attending the wedding of her best friend’s daughter who is marrying a woman. The playwright is well-versed in video games via her husband, from which she drew inspiration for the play. As Brunstetter told BroadwayWorld, “I’ve had to really come to understand why he loves them and the purpose they serve in his life. So, I just thought it would be a great adaptation of Lysistrata because obviously there’s a real war happening in our world right now, but we’ve also got a lot of video games that have brought the concept of war into our domestic spaces.” The result is a play that touches on universal themes of community, friendship and love in the face of ever-evolving technology that can divide.
General admission tickets starts at $30 on Wednesdays and Thursdays and $35 on Friday nights, Saturday nights and weekend matinees. There will be no matinee on Saturday, June 28 and no performance on Thursday, July 4. Prices rise as performances fill up, so patrons are encouraged to order early for the best prices and availability. Students under 25 can get $20 tickets with valid student ID by calling the box office or purchase Student Rush Tickets 30 minutes before show time if seats are available. There is limited accessible seating for those needing mobility accommodations, and it must be reserved by phone. For tickets and more information, visit horizontheatre.com or call the Box Office at 404.584.7450.
Inspired by the beloved film, THE PREACHER’S WIFE is a stirring celebration of community, family, and the power of faith. Featuring an original score by award nominated actor, musician, and writer Tituss Burgess (TV: Unbreakable Kimmy Schmidt) and a book by actress, producer, and writer Azie Dungey (TV: Unbreakable Kimmy Schmidt, Harlem, Girls5eva), THE PREACHER’S WIFE will run on The Coca-Cola Stage at Alliance Theatre through June 16. Opening night is Friday, May 24 at 8 p.m.
The cast of THE PREACHER’S WIFE includes Rebecca E. Covington as Beverly; NAACP Image Award and Emmy Award winner Loretta Devine (Film: Waiting to Exhale, The Preacher’s Wife; TV: Boston Public, Gray’s Anatomy; Broadway: Dreamgirls) as Marguerite Coleman; Alan H. Green (Charlie and the Chocolate Factory) as Joe Hamilton; Jahi Kearse (Ain’t Too Proud) as Deacon Lewis; Davis Matthews as Hakeem; Cameron McCrae as Jeremiah; Wayne Pretlow as Ol’ Mac; Brad Raymond (Film: The Color Purple) as Deacon Johnson; Screen Actors Guild Award and Laurence Olivier Award winner Amber Riley (TV: Glee, Single Black Female, Dancing with the Stars, The Masked Singer, The Wiz Live!, West End: Dreamgirls) as Julia Biggs; Akron Lanier Watson (The Play That Goes Wrong) as Henry Biggs, and Donald Webber, Jr (Hamilton) as Dudley.
THE PREACHER’S WIFE creative team is led by Tony Award-winning Director Michael Arden (Broadway: Parade; Alliance Theatre: Maybe Happy Ending) and award-winning Director and Alliance Theatre’s Jennings Hertz Artistic Director, Tinashe Kajese-Bolden (Regional: Toni Stone, Alliance Theatre: Furlough’s Paradise). The musical’s book is by writer & producer Azie Dungey (TV: Unbreakable Kimmy Schmidt, Harlem, Girls5eva), with an original score by Georgia native and six-time Emmy Award nominee Tituss Burgess (TV: Unbreakable Kimmy Schmidt; Theater: Moulin Rouge!).
Other team members include Choreographer Matthew Johnson Harris (Hippest Trip: The Soul Train Musical); Tony nominated Scenic Designer Dane Laffrey (Parade); Scenic Designer Teresa L. Williams (Jaja’s African Hair Braiding); Tony nominated Costume Designer Sarafina Bush (The Who’s Tommy); Tony nominated Lighting Designer Jennifer Schriever (A Strange Loop); Tony nominated Sound Designer Joshua D. Reid (A Christmas Carol); Wig Designer Cookie Jordan (Merrily We Roll Along); and Illusionist Skylar Fox (Fat Ham). James Sampliner (Legally Blonde) serves as the production’s Music Supervisor, Music Director, Orchestrator, and Arranger.
Opening Night is Friday, May 24 at 8 p.m. and runs through June 16. Tickets are available at www.alliancetheatre.org/preacherswife.
AuthentiCity’s Authentic 10 Showcase features 10 new one-act plays over a little more than two hours. Among them, my favorite was “Sugar,” which starred Autumn McNutt and the outstanding Neuma Joy. Their performances truly shined and captivated the audience.
“Introducing Ian” was a close second for me, largely due to Rachel Ballard’s entertaining portrayal of a free-spirited, uninhibited ex-girlfriend. She plays opposite Andre Eaton Jr.’s Emerson, who is navigating how to introduce her to his son, who is on the autism spectrum. Rachel’s performance was a joy to watch when her voice was audible, but unfortunately, there were moments when both she and other actors could not be heard clearly. This was particularly frustrating given the small, intimate setting of the theater, which has only about a dozen rows of seats.
The 10 one-acts are listed below:
CAN I GO NOW by Louise Schwarz
CHRISTMAS TODAY by Rhea MacCallum
DETAIL ORIENTED by Erin Osgood
DIVORCE DURING PANDEMIC by James Carey
INTRODUCING IAN by James C. Ferguson
MOLTING by Michael Towers
OUT AND ABOUT by Ed Friedman
OUT FROM UNDER WITH MARY by Chris Shaw Swanson
SOMETHING IN COMMON by Robin Pond
SUGAR by Jennifer O’Grady
AuthentiCity reviewed over 100 one-act plays before selecting its top 10 for this showcase. The Authentic 10 Showcase runs through Saturday, May 18, at 7:30 p.m. at The Warehouse at Frat Pack Productions, located at 620 Kentucky Street in Scottdale, Ga., just outside Decatur. For more information, visit authenticitytheater.
Fat Ham Cast
James Ijames’ Highly Acclaimed Play Reinvents Shakespeare’s Hamlet
Through Identity, Love, Loss, and Self-Acceptance
Directed by Tony Award nominee, Stevie Walker-Webb, with Associate Direction by Dawn M. Simmons
| Fat Ham, the deliciously funny, Pulitzer Prize-winning new play, makes its Atlanta debut at Alliance Theatre following its critically acclaimed Broadway run. Playwright James Ijames has reinvented Shakespeare’s masterpiece, Hamlet, creating what The New York Times calls “a hilarious yet profound tragedy smothered in comedy.” |
| Juicy is a queer, Southern college kid, already grappling with some serious questions of identity, when the ghost of his father shows up at their backyard barbecue, demanding that Juicy avenge his murder. But here’s the rub! Revenge doesn’t come easy to Juicy, a sensitive and self-aware young Black man in search of his own happiness and liberation. From an uproarious family cookout emerges a compelling examination of love, loss, masculinity, pain and joy. |
ATLANTA, March 14, 2024 – The Alliance Theatre is excited to announce its upcoming production, the critically acclaimed new play, FAT HAM. Written by James Ijames and directed by Tony Award-nominated Stevie Walker-Webb, with Associate Direction by Dawn M. Simmons, the 2022 Pulitzer Prize-winner for drama is presented in association with The Huntington Theatre Company and Front Porch Arts Collective, and runs on the Hertz Stage from Wednesday, April 3 through Sunday, May 12, 2024. Opening night is Wednesday, April 10, 2024.
Playwright James Ijames has reinvented Shakespeare’s masterpiece, Hamlet, turning “Hamlet upside down” according to the Boston Globe, and creating what The New York Times calls “a hilarious yet profound tragedy smothered in comedy.” Juicy is a queer, Southern college kid, already grappling with some serious questions of identity, when the ghost of his father shows up at their backyard barbecue, demanding that Juicy avenge his murder. But here’s the rub! Revenge doesn’t come easy to Juicy, a sensitive and self-aware young Black man in search of his own happiness and liberation. From an uproarious family cookout emerges a compelling examination of love, loss, masculinity, pain and joy.
“Bringing FAT HAM to Atlanta is like a homecoming for the story itself,” said Director Stevie Walker-Webb. “Shakespeare’s Hamlet is set in a castle in Denmark. James Ijames’ FAT HAM takes place in a backyard BBQ in the South. Atlanta is the perfect place for a southern premier.”
The cast features James T. Alfred (Off-Broadway: Black Odyssey, National Tour: Jitney) as Rev/ Pap, Thomika Marie Bridwell (The Huntington: Joy and Pandemic) as Rabby, David J. Castillo (Actors’
Shakespeare Project: Edward II, New Repertory Theatre/Boston Center for American Performance, Baltimore) as Larry, Marshall W. Mabry IV (Pittsburgh Public Theatre: A Midsummer Night’s Dream in Harlem, Speakeasy Stage Boston: Once on this Island) as Juicy, Ebony Marshall-Oliver (Broadway: Ain’t No Mo’ and Chicken and Biscuits) as Tedra, Victoria Omoregie (SpeakEasy Stage: Fairview, Actors’ Shakespeare Project: The Bomb-itty of Errors) as Opal, and Lau’rie Roach (Alliance Theatre: Toni Stone and The lion, The Witch, and The Wardrobe) as Tio.
The creative team for FAT HAM is led by Tony Nominated Director Stevie Walker-Webb and Associate Director Dawn M. Simmons, and includes Choreographer PJ Johnnie Jr, Dialect Coach Adi Cabral, Sound Designer Aubrey Dube, Fight Director and Intimacy Coordinator Jesse Hinson, Costume Designer Celeste Jennings, Hair and Wig Designer Earon D. Nealey, Illusions Designer Evan Northrup, Scenic Designer Luciana Stecconi, and Lighting Designer Xiangfu Xiao.
Additional production support is provided by Stage Manager R. Lamar Williams, Stage Management Production Assistants Myah Harper and Madeline Conrad, Line Producer Jody Feldman, and Production Management Lead Courtney O’Neill.
“As an artist who has worked all over the world, I know that the audience is the most important scene partner for a play. I’m excited to share this juicy story about family and faith, love and longing,” said Walker-Webb. “This story is full of surprises, and ‘JUICY’ comic bits of family gossip, but ultimately takes you on a journey of celebration and victory as you watch characters become their truest selves. FAT HAM will resonate powerfully in a city with as much heart as Atlanta.”
Get tickets here at the Alliance Theatre.
ATLANTA’S ALLIANCE THEATRE PRESENTS WORLD PREMIERE OF
FURLOUGH’S PARADISE
BY A.K. PAYNE AND DIRECTED BY TINASHE KAJESE-BOLDEN
JANUARY 31 – MARCH 3, 2024
FURLOUGH’S PARADISE MARKS THE 20TH ANNIVERSARY OF THE ALLIANCE’S INFLUENTIAL ALLIANCE/KENDEDA NATIONAL GRADUATE PLAYWRITING COMPETITION
ALLIANCE WILL ALSO PRESENT THE FOUR FINALISTS OF THE ALLIANCE/KENDEDA NATIONAL GRADUATE PLAYWRITING COMPETITION IN FREE, STAGED READINGS DURING THE THEATER’S ANNUAL FESTIVAL OF NEW WORKS, FEB 5 – 9, 2024
ATLANTA, GA (January 3, 2024) — The Alliance/Kendeda National Graduate Playwriting Competition continues to spotlight the best emerging playwrights with a full production for the competition winner and staged readings for four competition finalists. The 20th competition winner FURLOUGH’S PARADISE is written by a.k. payne, a graduate of the David Geffen School of Drama at Yale, with Direction by Tinashe Kajese-Bolden, Alliance’s Jennings Hertz Artistic Director. FURLOUGH’S PARADISE will have its world premiere on the Hertz Stage at Alliance Theatre Jan 31 – Mar 3, 2024. Opening night is Wednesday, February 7, 7:30 p.m.
FURLOUGH’S PARADISE follows Cousins Sade and Mina, raised like sisters but now leading very different lives, as they return to their childhood town for a funeral. While Sade is on a three-day furlough from prison and Mina experiences a brief reprieve from her career and life on the West Coast, the two try to make sense of grief, home, love, and kinship. But traumas and resentments from the past, both real and surreal, threaten to pull them apart, all as time ticks towards the correctional officer’s impending arrival.
“These characters are fighting for moments,” said Playwright a.k. payne. “Because it’s been taken from them, they are fighting for moments to be in the same room together. A lot of the play is about being present and how we witness each other. How do we share space together. And so, my hope, for audiences, is the same – that they are invited into a chance to share; to share breath and to share air with people, I think that is really special.”
The cast of FURLOUGH’S PARADISE includes Asha Duniani (Synchronicity Theatre: Eclipsed; Tyler Perry Studios: Meet the Browns) as Mina; and Kai Heath (Baltimore Center Stage: Hall in Men on Boats; Kennedy Center: The Play that Goes Wrong) as Sade. Understudies include Cymiah Alexander and Makallen Kelley.
The creative team of FURLOUGH’S PARADISE is led by Director Tinashe Kajese-Bolden (Alliance: Toni Stone and The Many Wondrous Realities of Jasmine Starr-Kidd) and includes Chika Shimizu (Scenic Design), Shilla Benning (Costume Design), Thom Weaver (Lighting Design), Milton Cordero (Projection Design), Christopher Lane (Sound Design), Julie B. Johnson, PhD (Movement Integration), Laura Morse (Mental Health Consultant), and Ashey Thomas (Dramaturg). Additional production support is provided by Kaylee Mesa (Stage Manager), Samantha Honeycutt (Stage Management Production Assistant), Amanda Watkins (Line Producer), Jayla Dyas (Associate Line Producer), and Lawrence Bennett (Production Management Lead
Interest expense is calculated as the effective-interest rate times the bond’s carrying value for each period. The amount of amortization is the difference between the cash paid for interest and the calculated amount of bond interest expense. Par value, in turn, is simply another term for the bond’s face value, or the stated value of the bond at the time of issuance. A bond with a par value of $1,000 and a coupon rate of 6% pays $60 in interest each year. Note that under the effective interest rate method the interest expense for each year is increasing as the book value of the bond increases. Under the straight-line method the interest expense remains at a constant amount even though the book value of the bond is increasing.
Understanding the tax implications of your bond investments is crucial for effective wealth management. Amortizable bond premiums refer to the portion of the premium paid by an investor for purchasing a bond that is deductible over the life of the bond. DebtBook also offers another acceptable form of the Effective Interest method that takes into account the callability of maturities. In the event a bond is a callable premium bond, there is a higher likelihood that the bond will be called before or at the call date. DebtBook’s Effective Interest Rate to Call method amortizes the premium on these maturities with that likelihood in mind. Since the sales proceeds ($936,815) is less than the bonds’ face value, the bonds were issued at a discount of $63,185.
Calculating Interest Expense, Amortization of Bond Discounts or Premiums, and Interest Payments
If the bond in the above example sells for $800, then the $60 interest payments it generates each year represent a higher percentage of the purchase price than the 6% coupon rate would indicate. Although both the par value and coupon rate are fixed when the effective interest rate method is used, the amortization of the bond premium at issuance, the bond pays a higher rate of interest from the investor’s perspective. Notice that under both methods of amortization, the book value at the time the bonds were issued ($104,100) moves toward the bond’s maturity value of $100,000.
Implementing wealth management strategies that involve diversification, tax efficiency, and interest rate risk management can optimize bond portfolios and enhance overall returns. As we amortize the premium/discount over the life of the bond, the book value is reduced back to its original par amount at the maturity date of the bond. The Effective Interest Rate method compares a bond’s Face Value Stated Interest to the bond’s Book Value Effective Interest, let’s walk through what each of these terms mean and how they are calculated using our Series information pictured below. PwC refers to the US member firm or one of its subsidiaries or affiliates, and may sometimes refer to the PwC network.
Effective Interest Method of Amortization FAQs
The effective interest method is used when evaluating the interest generated by a bond because it considers the impact of the bond purchase price rather than accounting only for par value. CPA examiners will ask a candidate to calculate the “unamortized bond premium or discount”. Note that this amount is referring to the amount of the bond premium/discount that is yet to be amortized. The constant yield method provides a more accurate reflection of the bond’s yield, while the straight-line method is simpler and easier to understand. Investors should consider their specific investment objectives and tax situation when choosing the appropriate method. By doing so, the investor can reduce their taxable income each year by deducting a portion of the bond premium as an amortized expense.
- In the following example, assume that the borrower acquired a five-year, $10,000 loan from a bank.
- The amount of amortization is the difference between the cash paid for interest and the calculated amount of bond interest expense.
- To calculate the amortizable bond premium using the constant yield method, multiply the bond’s adjusted cost basis by its effective interest rate and subtract the annual interest payment.
- Under the effective interest method, the semiannual interest expense is $6,508 in the first period and increases thereafter as the carrying value of the bond increases.
- Including bonds with varying coupon rates, maturities, and credit ratings can help investors achieve a balanced portfolio that takes advantage of amortizable bond premiums while managing interest rate risk.
- Assume that the final payment will be $2,774.99 in order to eliminate the potential rounding error of $1.06.
- The yield to maturity is the total return an investor can expect if they hold the bond until it matures.
This content is for general information purposes only, and should not be used as a substitute for consultation with professional advisors. Multiply the $100,000 by the 5% interest rate and $5,000 is the amount of interest you owe for year 1. Subtract the interest from the payment of $23,097.48 to find $18,097.48 is applied toward the principal ($100,000), leaving $81,902.52 as the ending balance. In year 2, $81,902.52 is charged 5% interest ($4,095.13), but the rest of the 23,097.48 payment goes toward the loan balance. Therefore, the interest rate is constant over the term of the bond, but the actual interest expense changes as the carrying value of the bond changes. Unlike the real interest rate, the effective interest rate does not take inflation into account.
