Knights in shining armor. White horses. Fair maidens. All the magnificent trappings of a bygone era come to life at Medieval Times, where ironclad knights clash for the title of King's Champion in front of a wide-eyed audience that peppers the battlefield with cheers and jeers between bites of a four-course dinner. Each two-hour tournament channels the pageantry and spectacle of 11th-century Spain, pitting six competitors against each other inside a spacious, sand-filled arena for the honor of earning the title of champion and the favor of the royal court. A spirited musical score infuses epic onslaughts with an extra dose of tension as adversaries joust atop stallions, deflect ferocious blows, and slice through suits forged of authentic junk mail. To further immerse guests in the fairy tale, Medieval Times encourages each guest to declare their allegiance by cheering loudly for the knight in their corner.
Like royal guests centuries ago, spectators bask in the revelry while feasting upon a finger-friendly bill of fare without the aid of utensils or the "choo-choo" sounds of parents. The four-course feast includes a tomato-bisque soup starter, oven-roasted chicken with a garlic-bread side, single spare rib, and an herb-basted potato. Servers periodically fill patrons? goblets with soda or water, which adults can supplement with purchases from a full-service bar. Meals conclude with the castle's sweet pastry dessert.
The enthusiastic instructors at That's Dancing Ballroom & Dancesport Center guide students of all levels through an eclectic schedule of group and private classes. Fledgling hoofers shimmy to hip-shaking rhythms during the beginner rumba class, and the intro and advanced waltz classes beckon both novice and veteran dancers to glide across the ballroom floors while holding tightly to partners or imaginary friends. Build skills in the intermediate fox trot class or undulate midsections during belly-dancing sessions. Teachers dole out one-on-one instruction during half-hour private lessons, helping dancers to conquer difficult steps or instilling the ability to simultaneously dance the charleston while preparing a five-course meal at home.
The thespians and theater crew at Fells Point Corner Theatre have enchanted audiences with nonprofit productions of new and rarely seen plays for 25 years. Upcoming attractions include Edward Albee’s Three Tall Women, the 1994 Pulitzer Prize winner about three differently aged women who reflect on their lives with acerbic wit while scaling skyscrapers; and The Little Dog Laughed, a look at gossip and celebrity in the 21st century. Colorful characters populate Circle Mirror Transformation, a comedy detailing a motley crew’s attempt at bonding during a six-week acting class; Eugene O’Neill’s iconic play The Iceman Cometh explores universal social questions in the back room of a 1912 skid-row saloon. Though seating at the 85-seat Fells Point Corner Theatre is subject to availability, the small size of the theater allows for good sight lines from all seats.
In keeping with Everyman's tradition of ending a season with a contemporary play that deals with modern issues, David Harrower's Blackbird is a drama that premiered in 2005 and in 2007 won Britain's highest award for a new play, the Laurence Olivier Award for Best New Play. Derek Goldman directs Everyman's production, starring resident company-member Megan Anderson and David Parkes, in his first Everyman performance. The 90-minute play shows the gripping encounter between an older Ray and younger Luna, and the effects of their taboo relationship as it unfolds at Ray's office. There is no intermission.
Glass Mind Theatre's cast and crew turns the fairy tale of Cinderella on its head with their latest production, Adapting Cinderella, which interweaves elements from the story's countless retellings in films and books to create a unique plotline that questions what constitutes an ideal Prince Charming. With the same enthusiasm for thought-provoking live production that earned the company honors of Best New Theater from City Paper in 2010, Artistic director Andrew Peters guides an ensemble cast as it flutters and fights in sync with Sarah Ford Gorman's choreography and Quinn S.'s original music.