Theatre at Trevecca

To receive details about tickets, reservations,
or our special 2010-2011 season group rates, please call our offices at 615-248-1429 or at 615-248-1370, or by send an e-mail to theatre@trevecca.edu.


Pictured LEFT:
Cassie Hamilton ("Amanda") and T. J. Adams ("Tom")
from THE GLASS MENAGERIE (Spring 2010)

You remember the plot. You love the characters. You know "the song."  Based on one of the most celebrated and beloved movies of all time, the highly acclaimed stage adaptation of Singin’ In The Rain jubilantly taps its way onto Trevecca’s stage this fall.  Reveling in parody, the musical turns the precarious birth of the “talkies” (and the demise of nearly all silent picture stars during the late 20s) into an unforgettably hilarious, light-hearted romantic comedy. Singin’ In The Rain has been described as “one of the best musicals of all time” featuring some of the best loved comedy routines, dance numbers, and songs ever written, including “Good Morning,” “Make ‘em Laugh,” “Moses Supposes,” “You Were Meant For Me” and, of course, “Singin’ in the Rain.”

For one night only, ‘wrights of passage invites audience members to join us for a dramatic presentation of staged readings from original, one-act plays written and performed by some of Trevecca’s finest student playwrights (or “'‘wrights”!) and actors.  This informal evening of storytelling and artistic collaboration will encourage the audience to offer constructive feedback to our emerging young voices and to celebrate with us their creative achievements.

Tony Award-winning lyricist/composer Jason Robert Brown’s riveting song cycle, Songs for a New World, draws from a sweeping range of styles and genres, including pop, gospel, classical, and jazz.  Each song unfolds a unique story, humorous and gripping, reflecting America’s diverse cultural identity and experience.  Transporting the audience from the deck of a 1492 Spanish sailing ship to a ledge 57 stories above Fifth Avenue to a vast array of fictional and historical characters, Brown says that “it’s about one moment. It’s about hitting the wall and having to make a choice, or take a stand, or turn around and go back.”  Hailed as “a leading member of a new generation of composers who embody high hopes for the American musical” (The New York Times), Brown gives us characters who are the voices of today, whose rich expressions are songs for a new world.

Winner of the 1992 Olivier Award for best comedy, and revived this year both in London and on Broadway, La Bête crowns Trevecca’s season: a fresh take on David Hirson’s cutting, contemporary satire that relishes flipping “high art” outrageously on its head. Hirson’s inventive and remarkably funny modern parody (a brilliant pastiche of Moliére) unleashes a torrent of language and character in the spirit of classical comedy like no playwright has done before.    The play, although set in 17th-century France, brims with present-day irony and pits artistic integrity against an encroaching, if not disturbing trend of popular entertainment.  Satirizing the subject of "art" itself—a subject many playwrights today might consider taboo—La Bête “takes the brave chances so rare in new American plays.” (The New York Times)