William Esper Studio














Spotlight On

Julie Budd


Frantic Assembly

Mark Taper Forum at LA’s Centre Theatre Group 50th Anniversary

MCC Theatre

St. Ann’s Warehouse in Brooklyn

The Everyman Theatre

Boston Playwrights’ Theatre

1st Stage Theater

59 E 59 Theater

Young Vic of London

Theatre Huntsville

Dance Place in Washington, D.C.

Alabama School of Fine Arts 50th Year Celebration

Rennie Harris at Baltimore Center Stage

Ronald Rand’s new book “CREATE! How Extraordinary People Live to Create and Create to Live”

What is FAFA? The Florence Academy of Fine Arts in Alabama

Rose Bruford College of Theatre and Performance – London’s International Drama School

Alabama Music Hall Of Fame

Historic Zodiac Playhouse — The “Z” in Florence, Alabama

Shoals Symphony Orchestra at UNA

“Grand Ball in the Belle Epoch” – Edwardian Period Style Salon


The Everyman Theatre

“Noises Off”

Everyman Theatre is a professional theater that has survived the ups and downs of the city of Baltimore and thrives, as it celebrates the actor. With a resident company of artists, it is dedicated to engaging the audience through a shared experience between actor and audience seeking connection and emotional truth in performance.  Each season of plays is carefully curated to foster a diverse range of human experiences found in a mix of dramas and comedies selected from timeless classics to world premieres of plays.

“The Roommate”

Everyman Theatre is located downtown — in a specially designated area that is seeing great revitalization and is called the Bromo Tower Arts and Entertainment district. Established in 2012 to realize the area’s potential as a thriving downtown arts neighborhood, the theater produces a six-play mainstage season featuring both classics and new, burgeoning contemporary plays. For the 2017-18 season, the shows include: David Henry Hwang’s “M. Butterfly,” “Intimate Apparel” by Lynn Nottage, “The Revolutionists” by Lauren Gunderson, “Long Day’s Journey Into Night,” Julia Cho’s “Aubergine” and “The Book of Joseph” by Karen Hartman.

“Death of a Salesman”

When we met with Founding Artistic Director Vincent Lancisi, he told us: “Everyman wants to provide top-notch theater that is affordable and accessible to everyone, to put on productions that tell a great story and i ask of the play “Does it touch me, does it make me laugh or cry and will the audience care?” The theater is named after the famous play, “Everyman” with the idea that the theater is not just for the elite. 

“Great Expectations”

Lancisi continued telling us: “Everyman doesn’t “compete” against other theaters in the city, but rather the theater feeds off every theater and the theater community is all our colleagues and the resident company makes Everyman unique. I just have to get people through the door and they become hooked. The most challenging aspect of my job as Artistic Director is to produce a quality production and to keep the costs down.  The single most expensive cost is the actors salaries because costs go up every year. My vision for the future is to have two or three performance spaces with plays going at the same time so that his actors and actresses are fully employed year round and can practice their craft.”

“The Dresser”

The history of the Everyman Theatre goes back more than twenty-five years. Everyman’s first production, “The Runner Stumbles” was produced in the winter of 1990 at Saint John’s Church. For the next four years, Everyman could only afford to produce one production per year at various locations. The 1994-95 season marked a series of firsts for Everyman. It was the first year at 1727 North Charles Street, which would be Everyman's home for eighteen years. It also marked the first multi-production line-up — starting with Sam Shepard’s “Buried Child.” Throughout the late 1990s and early 2000’s, subscription numbers grew and a string of acclaimed productions, including “Amadeus” and “Proof,” proved that Everyman was a mainstay in the Baltimore theatre scene. In January 2013, Everyman celebrated the Grand Opening of its new permanent home on Fayette Street with the record-breaking production of “August: Osage County.”


Twelve actors and actresses make up the Resident Company and they take part in additional programming including the new Salon Series of play readings which provides a unique and up-close experience with the art of theatre. Over five-thousand subscribers are joined by thousands of other patrons each year, totaling an average of 45,000 tickets sold annually.

Everyman Theatre’s education programs serve both the schools and the community with acting classes on a variety of subjects. Something unique is the theatre’s playtime experience called “Creative Mates: Treasure Island” for children ages 3-5. In addition, there is a Teen Performance Studio and an Actors Lab class series for Adults. Everyman Theatre’s signature education program is its’ high school matinee program, providing Baltimore City students from five select schools a repeat exposure experience, including pre-and-post-show in-class visits and transportation to and from the theatre completely free of charge.  Everyman Theatre 315 Fayette Street, Baltimore, MD 21201, (410) 752-2208, www.everymantheatre.org


"It is a law of life that man cannot live for himself alone. Extreme individualism is insanity. The world's problems are also our personal problems. Health is achieved through maintaining our personal truth in a balanced relation of love to the rest of the world. No expression is more emblematic of this relation than the creative act which we call art. No art by its very constitution typifies the social nature of that creative act more than the theatre. The theatre, to be fully understood and appreciated, must be seen as a manifestation of this process of interchange between society and the individual. It must be judged as a continuous development of groups of individuals within society, a development which becomes richer, acquires greater force and value as it grows with the society in which it originates. Only in this way can the theatre nourish us.  - Harold Clurman

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