In addition to gate receipts and fees for educational services, the Theatre is sustained by contributions from individuals, foundations, and corporations.
A lovely, intimate, quiet, comfortable, well-equipped theatre—all of us dream of it. How wonderful it would be to have a space of one’s own, so of course, we continue to investigate possible options for a permanent location—existing, remodeled, or newly built. The most vital criteria, among many that are important, is that the Theatre is able to continue, without compromise, to produce quality productions of classic/classically-influenced works. Therefore, a location/building/building project whose expense necessitates that Brigit Saint Brigit divert its mission/choice of material to more “marketable” productions is a dealbreaker. Our priority could be said to be from the inside to the out. Funding and energy will always go first to the production and the artists.
BeyondBrigit is currently involved in various negotiations and a continuing search for a new permanent home in which to begin our twentieth season (2012-2013). We are proceeding carefully in our search for a space that is both affordable and that will once again enable us to engage in all aspects of our programming.
Please note: The Theatre’s phone number—(402) 502-4910--and website address—bsbtheatre.com--will remain the same.
As we reached the end of April, the challenge of overcoming actor-scheduling conflicts during May/early June for the large-cast Canterbury Tales was becoming greater. (Our seasons have always been completed by early to mid-May.)
Artistic Director Cathy Kurz had been in touch with Colorado-based actor
Tammy Meneghini months before about the possibility of scheduling one Equity
Guest-Artist special performance of the
The Great Goddess Bazaar for BSB
at some point in the future. It
was a lucky turn of kismet when
Kurz learned that the actor planned to be in
Brigit is looking at including
Saint Brigit is pleased to announce that the location for the rest of the
Theatre’s productions this season will be at 1002 Dodge, in the ground floor
corner space of the Capitol District’s 1000
on the northwest corner of Dodge and
We are creating a 70-seat theatre, with a spacious lobby that we think you will find comfortable and friendly.
The rest of the season includes the works of three Irish authors and Geoffrey Chaucer—Conor McPherson’s The Seafarer (opening on February 17th), Samuel Beckett’s one-act Krapp’s Last Tape played on the same bill with J. M. Synge’s one-act The Tinker’s Wedding (April)—and Geoffrey Chaucer’s The Canterbury Tales (May).For More Information and Updates, we urge you to continue to visit this website.
So says the holy houseguest to the Mrs. of the manor. Thus patriarch Orgon and his entire family begin to be “Tar-TOOF-fi-fied”!
In his satire of religious hypocrisy, Moliere boldly and hilariously exposes the type of powerful “holy man” in the upper echelons of the Catholic France of his day whose pursuits were all-too-worldly. Tartuffe’s devout disguise soon gains him live-in status—as Orgon’s spiritual advisor--and unlimited access to the family legacy. His base of operations established, he hangs up his hair shirt and turns his attention to another kind of seduction.
Dazzling characterizations and wickedly sparkling dialogue, performed by such BSB veterans as Eric Salonis, Laura Leininger, MaryBeth Adams, and, in the title role, Equity Guest Artist John Durbin, propel this lightning-paced and brazenly funny expose of moral double-dealing and the gullibility that makes it possible.
For this opening holiday production, Brigit has chosen to partner with the Joslyn Castle Trust (JCT), enhancing the period play by staging it in the Castle’s lusciously historic environment. Each performance will commence at 7 p.m. and be followed by a wine/crudite reception sponsored by the JCT, providing an opportunity for audience members to mingle, meet the actors, and wander through the exquisite castle that is among Sarah Joslyn’s incredible legacies.
Join us for a uniquely festive evening that combines a crisp and lively satire with a warm and lovely encounter afterwards.
Because Brigit is in transit in a transitional season, please note that the schedule for Tartuffe is somewhat unusual. The play will be offered for nine performances, and seating is limited, so you will want to book your prepaid reservations early. The Theatre will begin taking reservations on October 10th. Reserve by calling (402) 502-4910 or selecting the BOX OFFFICE page here at BSBtheatre.com. Check the CALENDAR page for performance dates. See you soon!
Walkin' the World: McPherson, Beckett and Synge
A Triple Tribute to Brigit's Ireland
As Brigit “walks the world” between permanent homes this season, what better company than the spiritual vagabonds and their tinker ancestors given voice by three of Ireland’s best storytellers?
“Succinct, startling and eerie, and the funniest McPherson play to date.”
“…enthralling fable… tingles with the sense of what is knowable and unknowable . . . not that you think in such lofty terms while you’re listening to the liveliest, funniest dialogue yet… McPherson is quite possibly the finest playwright of his generation.”
(New York Times).
“It’s Christmas Eve, and Sharky has returned to
McPherson spins what begins as a seemingly simple story anchored in the lives of a handful of unremarkable (albeit messy) people, but quickly becomes both an intense and hilarious struggle for survival--in this life and the next. With an acute sensibility of the Irish tradition--hilarity in the face of obliteration, the haunting power of myth, and a turn of phrase that makes even profanity lyrical, McPherson creates a theatrical wonder that touches us on every level.
Since Brigit’s first celebrated run of this play, the Theatre has received many requests to bring it back. What better season to mount an encore—with the original cast—than one in which BSB will triple its annual tribute to the playwrights of Ireland, offering not one, but three highly-acclaimed Irish dramas?
“Tears and laughter, they are so much Gaelic to me” (S. Beckett).
Lights up. Sitting before a tape recorder, facing front, a “wearish” old man: Krapp. It is his 69th birthday, and between bottles of wine, bites of banana, and Vaudevillian business with the banana peels, he readies himself for the annual ritual of recording his views of the past year, “separating the grain from the husks.”
But first he fits
the tape (
What is recorded memory? Is life a unified whole or are we different chapters of once-upon-a-time?
“Poetry, drama, humor, horror, and even a hint of redemption—it’s all to be found in the 50 minutes of Krapp’s Last Tape”
(Frank Rich, 1986, NYT)
“…a tragic clown; just as Krapp is addicted to bananas, it’s not in his nature to avoid slipping on the peel he tosses to the floor… [yet there’s] an affecting dignity. He is both wise man and fool, an old gent trapped, like the rest of us, in his own story”
(Peter Marks, 1998, NYT)
“a feat of great precision and tense economy… (BAM). Beautiful, poignant, and heartbreakingly funny, it explores the light and the dark of the journey that is a man’s life”
(Signal Ensemble Theatre in
(April-second half of double bill with Beckett production)
What’s not to love about Sarah Casey, the Beauty of Ballinacree? “A great sight surely” thinks tinker-companion Michael Byrne, even though since the changin’of the moon, she’s proclaimed her ultimatum: a wedding ring made over their tinkers’ fire and the priest to proclaim the vows. All that’s left is to bribe the tippling priest with 10 shillings and a milk can, and keep Michael’s mother, the “oul flagrant heathen” Mary Byrne from stealing the goods to “keep Mary Byrne in her full pint.”
“Rollicking, joyful, aggressive characters—a burst of freedom in earthy comedy led by females old and young, both being the likely descendants of the randy and imperious Maeve.”
If you think the Middle Ages is only about morality plays and the Spanish Inquisition (which no one expects), meet Geoffrey Chaucer. Better still, meet some of his Canterbury pilgrims—the relic-selling monk, the prissy Abbess and her well-fed lapdog, the randy Miller, and best of all, the gap-toothed, many-husbanded Wife of Bath. These and other unlikely compatriots animate this boisterous masterpiece of the kind of real-life “sinners” we can all relate to.
The pilgrimage takes place in spring, so Brigit will present it then and looks to mount it in the authentic style of the period: outdoors, with each scene played on adjoining platforms or flatbed wagons—vital, fast-paced, delightfully funny.