2016/17 Season
2015 Season
2014 Season
2013 Season
2012 Season
2011 Season
Iago, the villain everyone loves to hate , fans the flames of Othello the Moor’s jealousy, and brings about the downfall of those unlucky enough to know him in Shakespeare’s towering tragedy of love, betrayal, and racism.
Two tubercular patients, but only one cure. A doctor must decide what is truly important in life, and wether medicine should be a profit-driven business. Written in 1906, Shaw’s prescient comedy speaks to the health care issues of our day.
Virgina Woolf: “All women together ought to let flowers fall upon the grave of Aphra Behn, for it was she that earned them the right to speak their minds.” A restoration comedy about the ridiculous side of love and marriage
Kenneth Cavander’s mash up of the Oedipus cycle, drawn from Aeschylus, Sophocles and Euripides. The 5 hour, 2 part event is an immersion into the lust, greed and ambition that still plagues modern man.
2010 Season
2008 Season
2006 Season
Our Academy Company, some of the finest young classical actors in LA, in great moments of Sophocles’ “Iphigenia” and from Shakespeare’s plays, including “Measure for Measure” and “The Merchant of Venice.”
2004 Season
Poems in My Pocket enjoyed a highly successful 3 years run in Los Angeles under the title Rants, Rhymes, and Lies at the Irish Arts Center, beginning in 1996. The show is completely improvisatory and changes every night. Different actors appear in each shoe, and each actor has memorized perhaps 15 to 20 poems (sometimes more!) and, within a thematic progression, they gather onstage to “converse” with each other in poetic language. The order of the poems is never set in advance, so no two shoes are ever the same—actors both rotate and bring in new poems all the time. The actors choose the poems themselves so our poetry cabaret becomes a glorious way for the actor to define and express himself or herself in verse.
Bartleby, the Scrivener is one of several explorations we have made into musical theatre short forms, and in particular the connection to the short story form. In Herman Melville’s tale we found an intriguing ambiguity and a surprising amount of humor, and have been please as our audiences respond to those same qualities. Those who haven’t thought of Bartleby since their school days may be surprised at how lively the story is and how modern it remains
This workshop production of “Twelfth Night” grew out of a reading of the play which Antaeus Academy Company did for the Met Theatre’s Shakespeare Marathon in October of 2003. And we didn’t choose the play, the play chose us. One of our members pulled the title from a hat, and we became responsible for the reading this last and most lyrical of Shakespeare’s high comedies. As we looked for a way into the play, we discovered that “Twelfth Night” draws a great Shakespeare’s high comedies. As we looked for a way into the play, we discovered that “Twelfth Night” draws a great deal of emotional and intellectual power from the conflict between love and time .
“What is love? ’Tis not hereafter; Present mirth hath present laughter;
What’s to come is still unsure. In delay there lies no plenty,
Then come kiss me sweet and twenty; Youth’s a stuff will not endure”
By the end of the play, some of the characters have found love in time, and other’s haven’t. And it’s the imperfections of this world that make “Twelfth Night” resonate so deeply. Like ours, it’s hilarious, poignant, sometimes savage world, and there are many people—Antonios and Malvolios—who lose. But with patience, time, and a little bit of luck, a few also manage to win.
