BRIGADOON Opens Burning Coal's 2012-2013 Season Tonight, 9/6

Burning Coal Theatre Company has just announced its new season of plays for the coming 2012/2013 season, including BRIGADOON and RUINED. The full season includes:

BRIGADOON
September 6 – 23, 2012 (NOW!)*
The classic American musical By Lerner and Lowe
Directed by Emily Ranii
Choreographed by Robin Harris
“A stranger could stay if he loved someone here... not Brigadoon itself, mind, but someone in Brigadoon... enough to be willing to give up everything to stay near that person... which is only right because after all, lad... if you love someone deeply enough, anything is possible.”

SHINING CITY – November 1 – 18, 2012
An Irish ghost story By Conor McPherson
Directed by Jerome Davis
“When I got home, there was nothing untoward. Only, I remember now, because I heard it again, there was the sound, the tune of an ice cream van. But there couldn’t have been. Because they don’t go ‘round at night.”

AS YOU LIKE IT – November 29 – December 16, 2012
A comedic romp By William Shakespeare
Directed by Jason King Jones
“The fool doth think he is wise, but the wise man knows himself to be a fool".

GOOD – January 31 – February 17, 2013
A holocaust drama with music By C.P. Taylor
Directed by Ian Finley
“You see, I’m not a political person…. Just now, whatever you do would be alright to do.”

RUINED – April 11 – 28, 2013
A Story of hope in modern day Africa By Lynn Nottage
Directed by Rebecca Holderness
“Art? Girl, survival is the only art I recognize.”

Burning Coal Theatre Company is Raleigh's small, professional theatre. Burning Coal is an incorporated, non-profit [501 (c) (3)] organization. Burning Coal's mission is to produce literate, visceral, affecting theatre that is experienced, not simply seen. Burning Coal produces explosive reexaminations of overlooked classic and modern plays, as well as new plays, whose themes and issues are of immediate concern to our audience, using the best local, national and International Artists available. We work toward a theatre of high-energy performances and minimalist production values. The emphasis is on literate works that are felt and experienced viscerally, unlike more traditional linear plays, at which audiences are most often asked to observe without participating. Race and gender non-specific casting is an integral component of our perspective, as well as an international viewpoint.

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