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King Hedley II is a play by American playwright August Wilson, the ninth in his ten-part series, The Pittsburgh Cycle. The play ran on Broadway in 2001 and was revived Off-Broadway in 2007. The play ran on Broadway in 2001 and was revived Off-Broadway in 2007.
Pittsburgh Public Theater annually produces a subscription series that mixes classics, works from Broadway, and musicals. PPT has a rich production history. Pittsburgh Public Theater has been in continuous operation since 1975, first on Pittsburgh's North Side and since 1999 in the O'Reilly Theater, in the heart of Downtown's Cultural District.
After Wilson had a series of plays produced on Broadway, Eddie Gilbert, artistic director of the Pittsburgh Public Theater, read the 1979 script and asked to produce it. In response, Wilson returned to Pittsburgh in 1996 re-writing it extensively for what is referred to as its professional premiere, which was directed by Marion McClinton.
It is the first Broadway theatre to bear the name of an African-American. [40] The theatre has run many shows, including Jersey Boys, Groundhog Day, and Mean Girls. [41] In 2007, the August Wilson Monologue Competition was founded by Kenny Leon and Todd Kreidler. High school students, supported by professional actors, mentors, local drama ...
Fences is a 1985 play by the American playwright August Wilson.Set in the 1950s, it is the sixth in Wilson's ten-part "Pittsburgh Cycle".Like all of the "Pittsburgh" plays, Fences explores the evolving African-American experience and examines race relations, among other themes.
Pittsburgh Civic Light Opera (Pittsburgh CLO) is a nonprofit professional theater company based in the Cultural District of Downtown Pittsburgh, Pennsylvania, USA. Despite its name, the organization presents musical theatre classics rather than opera. Its productions draw more than 200,000 patrons each year and its annual budget is nearly $10 ...
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The Piano Lesson is a 1987 play by American playwright August Wilson.It is the fourth play in Wilson's The Pittsburgh Cycle.Wilson began writing this play by playing with the various answers regarding the possibility of "acquir[ing] a sense of self-worth by denying one's past". [1]
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