Is anyone actually going to the theater anymore, or are we all just waiting for the streaming adaptation? The sheer volume of productions currently vying for an audience in New Orleans – eight shows in production with more opening this week – suggests a surprising resilience, even as the industry grapples with shifting attention spans and the convenience of home entertainment. But the real story here isn't just that there’s a lot to see; it’s about what these choices reveal about our cultural priorities, and who gets to tell the stories we consume.
The Tennessee Williams Theatre Co., for example, is diving into “Small Craft Warnings,” a lesser-known work by the city’s favorite playwright, opening Friday at Loyola University’s Lower Depths Theatre. Celebrating its 10th season, the company is deliberately choosing to spotlight a play that doesn’t rely on the familiar tropes of Williams’ more famous works. As founder Nick Shackleford puts it, “There’s no Blanche DuBois in sight — just our friends, neighbors, favorite bartender… and maybe a little bit of ourselves.” This isn’t about chasing name recognition; it’s about excavating the nuances within a celebrated canon, offering a different lens through which to view Williams’ exploration of human fragility. The choice feels particularly pointed as the annual Tennessee Williams and New Orleans Literary Festival approaches (March 25-29), a moment when the city’s literary identity is front and center.
This article draws on reporting from NOLA.com.
Meanwhile, across town at BB’s Stage Door Canteen at The National WWII Museum, Heather Massie is presenting “Hedy! The Life & Inventions of Hedy Lamarr.” This one-woman show isn’t just a biographical sketch of a glamorous Hollywood star; it’s a reclamation of a scientific legacy. Lamarr, a refugee from Nazi Germany, wasn’t just a beautiful face; she co-invented a frequency-hopping spread spectrum technology during WWII that laid the groundwork for modern Wi-Fi, Bluetooth, and GPS. The fact that her contributions were largely overlooked for decades speaks volumes about the systemic biases within STEM fields and the historical erasure of women’s achievements. Massie’s performance, embodying 36 different characters, is a potent reminder that innovation often comes from unexpected places.
The tension between established narratives and marginalized voices continues at Tulane University with Amiri Baraka’s “Dutchman.” First produced in 1964, the play tackles issues of race, identity, and societal expectations through a charged dialogue on a New York subway. Director Dr. John “Ray” Proctor frames the production as a deliberate intervention, arguing that it “demands that audiences reconsider the relationship between the academic and the space within that canon from which Blackness — and otherness — is far too often excluded.” This isn’t simply a revival; it’s a challenge to the traditional literary canon, a call for greater diversity and inclusivity in the stories we tell and the voices we amplify. The question Proctor poses – has anything changed in the 60 years since the play’s premiere? – is a particularly uncomfortable one, forcing audiences to confront the persistence of racial inequalities.
Even seemingly lighter fare, like the 30 by Ninety Theatre’s production of “The Nerd,” reveals a subtle commentary on societal expectations. The premise – a man haunted by a debt to a socially awkward acquaintance – is a comedic exploration of obligation and the discomfort of navigating social boundaries. The fact that the production is also a family affair, directed by Nino and Laurie Bonura Sr. and starring their son Nino Jr., adds another layer of intimacy and underscores the enduring power of community theater.
The flurry of activity isn’t limited to these productions. From “Frozen” at the Jefferson Performing Arts Center to “Raisin in the Sun” at Slidell Little Theatre, and “Catch Me If You Can” at the Evangeline Theater, the sheer breadth of offerings demonstrates a vibrant, if fragmented, local theater scene. But here’s what to watch for: the success of these productions won’t be measured solely in ticket sales. It will be determined by whether they can attract new audiences – people who haven’t traditionally engaged with live theater – and whether they can foster a more inclusive and representative artistic landscape. If the current momentum continues, we’ll see a shift from simply preserving the past to actively reimagining it, and a greater emphasis on stories that reflect the diverse experiences of the community. If not, the flying feline analogy will hold true – a lot of effort, a lot of expense, and ultimately, a quiet landing.
