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Join us for our 17-18 repertory season. From season passes to single tickets and groups sales, we’re excited to see you this season! Children and teens ages 3-18 have the year-round opportunity to unleash their creativity, learn stagecraft and perform on stage while making lifelong friends at one of the country’s most respected repertory theatres. Learn about the myriad of ways in which ANW supports and promotes the love of classical theatre to the teachers and students in our community!
Plan your route to the theatre, and learn about the amenities we offer inside. If you are inspired by the work on stage, and believe in the power of classic theatre to transform communities, act now and consider making a tax-deductible donation to A Noise Within. One of the nation’s premier classical repertory companies. The Eisner Foundation Box Office 626.
The Box Office is open Tuesday through Saturday 2pm to 6pm, and for 2 hours prior to each performance. On the Tragedies of Shakspere Considered with Reference to Their Fitness for Stage Representation. English Essays: Sidney to Macaulay. Abbey, I was struck with the affected attitude of a figure, which I do not remember to have seen before, and which upon examination proved to be a whole-length of the celebrated Mr. Though I would not go so far with some good Catholics abroad as to shut players altogether out of consecrated ground, yet I own I was not a little scandalized at the introduction of theatrical airs and gestures into a place set apart to remind us of the saddest realities. And earth irradiate with a beam divine. But such is the instantaneous nature of the impressions which we take in at the eye and ear at a playhouse, compared with the slow apprehension oftentimes of the understanding in reading, that we are apt not only to sink the play-writer in the consideration which we pay to the actor, but even to identify in our minds in a perverse manner, the actor with the character which he represents.
It is difficult for a frequent play-goer to disembarrass the idea of Hamlet from the person and voice of Mr. We speak of Lady Macbeth, while we are in reality thinking of Mrs. Never let me be so ungrateful as to forget the very high degree of satisfaction which I received some years back from seeing for the first time a tragedy of Shakespeare performed, in which these two great performers sustained the principal parts. It seemed to embody and realize conceptions which had hitherto assumed no distinct shape. But dearly do we pay all our life afterwards for this juvenile pleasure, this sense of distinctness.