Orson’s Shadow

CREDITS

November 8 - December 1, 2024
Written by Austin Pendleton | Directed by Austin Pendleton & David Schweizer | Originally Conceived by Judith Auberjonois

In 1960, Orson Welles directed Laurence Olivier and Joan Plowright in Eugene Ionesco’s RHINOCEROS. See the sparks fly as egos clash, secrets revealed, and legends collide. Austin Pendleton’s acclaimed play returns to New York City to celebrate its 25th year in a revised version directed by the author. 

CAST: Brad Fryman, Patrick Hamilton, Luke Hofmaier, Cady McClain, Natalie Menna, and Ryan Tramont

PRODUCTION:
Co-Directors: Austin Pendleton and David Schweizer
Stage Manager: Bill Carlton
Lighting Design: Alexander Bartenieff
Sound Design/Composer: Nick Moore
Costume Design: Billy Little

Presented in the Johnson Theater at THEATER FOR THE NEW CITY


MARCH 14-31, 2024
Written and Directed by Austin Pendleton | Originally Conceived by Judith Auberjonois

CAST:  Brad Fryman, Patrick Hamilton, Luke Hofmaier, Natalie Menna, Kim Taff, Ryan Tramont

PRODUCTION:
Stage Manager: Jose Ruiz
Company Manager/ Assistant Director: Mark Karafin
Lighting Design: Alexander Bartenieff
Sound Design: Nick Moore
Costume Design: Billy Little

THEATER FOR THE NEW CITY, and Executive Director Crystal Field, in association with Oberon Theatre Ensemble & Strindberg Rep

READ MORE ABOUT THE PLAY ON TIMEOUT.COM NEW YORK

ABOUT THE PLAY

“Orson’s Shadow,” based on true events, takes place on the stage of the Gaiety Theatre in Dublin and later on the stage of the Royal Court Theatre. In his declining years, Orson Welles is directing a production of Eugène Ionesco’s “Rhinoceros,” starring Laurence Olivier and Joan Plowright. Olivier is fresh from his triumphant theatrical portrayal of vaudevillian Archie Rice in John Osborne’s “The Entertainer” and is about to reprise the role in its film adaptation. He and Plowright are in the early stages of a romantic liaison and his tumultuous marriage to Vivien Leigh is all but ended. The noted critic Kenneth Tynan becomes entangled in the conflicts between Welles, Olivier, and Leigh, adding tension and complexity to their relationships and influencing their decisions and perceptions. The play debates the merits of stage versus screen, the internal struggle that theatrical performers endure when contemplating a leap to films, and the ways the studio system frustrated the careers of individual artists. It is also a study of theatrical egos, each of the protagonists living more on the stage than in real life, each one feeling insecure while jockeying for power.