Creative License Returns to Cohoes Music Hall for 2022-23 Season

The Creative License Theater Collective will embark on its second season as the resident non-musical theater company at the historic Cohoes Music Hall, coming off their critically-acclaimed inaugural year. Continuing their mission of bringing thought provoking contemporary takes through atypical scripts, with a focus on exceptional performances and compelling, accessible stories, the collective is bringing two regional premieres to the music hall. 

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Show art from the Collective’s most recent production of “God of Carnage.”

The Flick By Annie Baker; Directed by Aaron Hobritter

November 18 -27, 2022 at Cohoes Music Hall

2014 Pulitzer Prize for Drama. In a run-down movie theater in central Massachusetts, three underpaid employees mop the floors and attend to one of the last 35mm film projectors in the state. Their tiny battles and not-so-tiny heartbreaks play out in the empty aisles, becoming more gripping than the lackluster, second-run movies on screen. With keen insight and a finely-tuned comic eye, The Flick is a hilarious and heart-rending cry for authenticity in a fast-changing world.

Afterlife: a Ghost Story By Steve Yockey; Directed by Aaron Holbritter and Casey Polomaine

May 19 – June 4, 2023 at Cohoes Music Hall

A ghost story in the most literal sense. In the wake of an unfathomable loss, Connor and Danielle prepare their beachfront home for an impending storm. But when the storm rolls in faster than expected, it may be too late for them to escape the haunting world of unsent letters, unexpected snow, unfinished sand castles, unrelenting birds, and an unforgettable tragedy that threatens to swallow the pair forever.

“Both of these shows, while very different, are exactly the types of shows Creative License set out to produce,“ says Casey Polomaine, Creative License co-founder and co-director of Afterlife. “One is a well known Pulitzer prize winner with sharp, funny dialogue and a sardonic world view, while the other is a little known, genre-bending treatise on the nature of tragedy, but both stories rely most heavily on the actor’s performance and the written word to convey their stories. That’s our wheelhouse.”

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