Hunger Artists Theatre Company
The Hunger Artists Theatre Company is an alternative theatre company located in a business park in Fullerton, California. They are known for presenting challenging, thought-provoking plays musicals, world premiere pieces, and re-imaginings of classic plays.
The Hunger Artists Theatre Company founded in 1996 by a group of longtime friends is the first Orange County-based alternative theater to grow out of Orange Coast College's Repertory Theater.
Named after a short story by Franz Kafka, the company received its start with a Halloween show titled Madame Guignol's Macabre Theatre. The show became a Halloween tradition and was presented each Halloween for ten years before retiring in 2005.
Since then, the Hunger Artists have received numerous acclaim and awards for contemporary plays such as "Bash: Latter-Day Plays", "4.48 Psychosis" and "The Gog/Magog Project", world premieres such as "The Land Southward", "The Flying Spaghetti Monster Holiday Pageant" and "The Pledge Drive: Ruminations On The Hunger Artist", world premiere adaptations of literary works such as "The Metamorphosis", "Little Women" and "Rudyard Kipling's Jungle Book", reworkings of classic plays such as "White Trash Private Lives", "Re: Woyzeck" and an all-male "The Importance of Being Earnest", musicals such as "Sweeney Todd", "Assassins" and "Hedwig and the Angry Inch", one-act festivals such as Beyond Convention, 24 Hour Theater and Last Chance Fest, and original late-night entertainment such as the Orange County Underground Burlesque Society and Muddville.
Read more about Hunger Artists Theatre Company: Production History
Famous quotes containing the words hunger, artists, theatre and/or company:
“From the gut comes the strut, and where hunger reigns, strength abstains.”
—François Rabelais (1494–1553)
“Women and egoistic artists entertain a feeling towards science that is something composed of envy and sentimentality.”
—Friedrich Nietzsche (1844–1900)
“A good drama critic is one who perceives what is happening in the theatre of his time. A great drama critic also perceives what is not happening.”
—Kenneth Tynan (1927–1980)
“The delicious faces of children, the beauty of school-girls, “the sweet seriousness of sixteen,” the lofty air of well-born, well-bred boys, the passionate histories in the looks and manners of youth and early manhood, and the varied power in all that well-known company that escort us through life,—we know how these forms thrill, paralyze, provoke, inspire, and enlarge us.”
—Ralph Waldo Emerson (1803–1882)