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The Compass Theatre

In the 1970s the company even toured to Hillingdon and the German twin cities and became known as one of the most successful theatre groups of its time. The theatre also held courses in acting, movement and inspiration, as well as a series of concerts and a variety of other events, such as concerts at the Royal Albert Hall.
In the mid-1980s, the financial crisis threatened to close the theatre, but under Sherratt’s leadership, members were able to raise the £55,000 needed to keep it afloat.
By this time Viola had already moved to Los Angeles, but was brought back to Chicago to direct a new production of “Life in Chicago,” a play about the life of a young woman in the city. I wanted to introduce it to an audience outside Chicago while it was playing in Chicago, so I decided to try to build the new play by asking for a stage-appropriate outline of the story.
Other special events in October include a special fundraiser with stand-up comedy to fund a locally produced comedy pilot project called “Post. The comedy fundraiser show is scheduled for Saturday, October 22, at 7 p.m. with a food and drink raffle. Tickets cost $25, with limited available seats, and bebe $5 for the comedy show and $10 for a limited number of tickets for the post-show events.
The Compass Performance Arts Center is pleased to usher in a new era and invites you to support the diverse program presented at 545 Elmwood Avenue.
The second city is now best known for offering a commercial brand of the original Compass vision. The story of this period of intense creative fermentation is told in a recent documentary, “The Compass Cabaret: The Story of New York City’s Creative Revolution.” Siska’s film is what might almost be called a documentary about the creative process, but one that does not focus on the intellect.
I have to say that Greenberg’s pieces are my favorite, and I have to say that they are some of my favorite of all. Things about them are quaint, but let the quirkiness roll out of your senses. There is unusually good – spoken – about heads in this film, especially the talking heads of the late 60s and early 70s.
The terms “audience participation” and “group discussion” tend to get bad reactions from theatre-goers, but when used by a knowledgeable director for the right purposes, they can have worthwhile results. Rain, “which I saw at the San Diego International Film Festival, where I saw some of the best work of the triumvirate of San Diego actors.
This new show, conceived by Michald Rohd for Steppenwolf’s Young Adult series, challenges audiences to address directly the question of whether free will is relevant in criminal justice. Under the guidance of a well-trained actor and presenter, the audience becomes a participant in a fascinating case set a few years into the future. The questions raised are fodder for passionate discussion, and the play itself is the kind of strong story-telling that inspires young people to recognize the value of art to explore political issues.
Playwright Theresa Rebeck is a master of dialogue, and she never hesitates to portray a wide range of characters, from the innocent and the guilty to the criminals and the righteous.
This is the story of an ambitious architect who tries to realize her dream of opening her own office in New York City, but with the help of her ex-husband.
This play, set in 1992, was revived last year against the backdrop of the Timesup movement. The Compass Theatre in Ickenham and paid tribute to its long-time artistic director John Sherratt, who has died aged 77. When it opened in 1968, he became the first director of the company in 1969 and remained at the helm until 1991.
Know said: “He has made it his mission to ensure that theatre offers opportunities to all, regardless of age or experience.
Returning to his native New York, which he found ineffective, Shepherd made a stop in Chicago to start a Brecht-inspired cabaret, and then returned to the West Coast before returning and still being strong. The impetus for Compass was a growing aversion to conventional drama, coupled with the belief that it was our destiny to produce popular theatre for the masses. It presents the best version of what you are likely to get at Compass, with everything inspired by Shepherd’s vision for a new kind of theater, not just for people of color, but for everyone.
Before the book was published, I went to a play in Los Angeles that was performed by a group of players who had worked with Paul Sills for years. Many of the people I interviewed were touched and could not help but speak of his influence on their lives. I told myself that people there wouldn’t be interested in what I was doing, but they were.