Terry Knickerbocker Studio














Spotlight On


Frantic Assembly

Mark Taper Forum at LA’s Centre Theatre Group 50th Anniversary

MCC Theatre

St. Ann’s Warehouse in Brooklyn

The Everyman Theatre

Boston Playwrights’ Theatre

1st Stage Theater

59 E 59 Theater

Young Vic of London

Theatre Huntsville

Dance Place in Washington, D.C.

Alabama School of Fine Arts 50th Year Celebration

Rennie Harris at Baltimore Center Stage

Ronald Rand’s new book “CREATE! How Extraordinary People Live to Create and Create to Live”

What is FAFA? The Florence Academy of Fine Arts in Alabama

Rose Bruford College of Theatre and Performance – London’s International Drama School

Alabama Music Hall Of Fame

Historic Zodiac Playhouse — The “Z” in Florence, Alabama

Shoals Symphony Orchestra at UNA

“Grand Ball in the Belle Epoch” – Edwardian Period Style Salon


“In the long history of man, countless empires and nations have come and gone. Those which created no lasting works of art are reduced today to short footnotes in history's catalog. Art is a nation's most precious heritage. For it is in our works of art that we reveal to ourselves, and to others, the inner vision which guides us as a Nation. And where there is no vision, the people perish.”
– President Lyndon B. Johnson


59 E 59 Theater

59E59 Theaters, located on 59th Street between Madison and Lexington Avenues, is a well known and renowned modern theater complex with three stages, and a lively bar at the mezzanine level.

Founded in 2002, 59E59 Theaters promotes Off Broadway productions by not-for-profit companies from across the United States and around the world. Owned and operated by the Elysabeth Kleinhas Theatrical Foundation, a not-for profit foundation, their mission is to bring to audiences new and innovative productions. Among their projects is 5A Season, a five-play season of groundbreaking new works from across the spectrum of the theatrical arts, including an annual festival, “Brits Off Broadway,” plus a preview of productions going to the Edinburgh Festival Fringe called “East to Edinburgh.”

595E59’s recent plays included “Made in China,”  “A Gambler’s Guide to Dying, “Albatross,” a Neil LaBute festival, including a premiere of his newest play, “What Happens in Vegas,” “The Dressmaker’s Secret,” “The Roundabout,” “Angel & Echoes,” “Kunstler,” ”White Guys on the Bus,” “Beneath the Gavel,” “Sam & Dede, or My Dinner with Andre the Giant,” “Fossils, Iphigenia in Spoltt,” “Rotterdam,” “Invincible,” “My Eyes Went Dark,” and Underground.”

Their Summer Shorts Festival included Alan Zweibel’s “Playing God,” directed by Maria Mileaf; “Jack” by Melissa Ross, directed by Mimi O’Donnell; Graham Moore’s “Acolythe” directed by Alexander Dinelaris; Neil LaBute’s “Break Point” directed by the playwright; Chris Cragin-Day’s “A Woman,” directed by Kel Haney; “Wedding Bash” by Lindsey Kraft & Andrew Leeds, directed by J.J. Kandel.

Phigenia in Splott

59E59’s 2017 season includes Route 66 Theatre Company & Bella Vita Entertainment’s “No Wake;” Theater Alliance of Washington DC, in association with Available Potential Enterprises’s production of “Occupied Territories;” New York City Opera presents “Dolores Claiborne;” The Shop’s “Knives in Hens;”  Prospect Theater Company’s production of “The Mad Ones;” J.U.S.T. Toys Productions presentation of “Toys: A Dark Fairy Tale;” Adjusted Realists production of “The Briefly Dead;” Love Productions Records presentation of “Cross That River;” and Flying Bridge Theatre Limited production of “A Regular Little Houdini;”

For info: 59 E. 59 St. NYC, (212) 753-5959 ext 101,  info@59E59.org

TOP HAT by Maribee

"It is a law of life that man cannot live for himself alone. Extreme individualism is insanity. The world's problems are also our personal problems. Health is achieved through maintaining our personal truth in a balanced relation of love to the rest of the world. No expression is more emblematic of this relation than the creative act which we call art. No art by its very constitution typifies the social nature of that creative act more than the theatre. The theatre, to be fully understood and appreciated, must be seen as a manifestation of this process of interchange between society and the individual. It must be judged as a continuous development of groups of individuals within society, a development which becomes richer, acquires greater force and value as it grows with the society in which it originates. Only in this way can the theatre nourish us.  - Harold Clurman

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