Community Calendar

Every Saturday is Orange Out Saturday

Fans are encouraged to wear their best orange O's gear. Enjoy live music at the Coors Light Stage at Legends Park, orange-themed food and beverages, and more!

And to cap it off, the return of the iconic all-orange uniforms will be featured on select Saturday home games.

THE THANKSGIVING PLAY

BY LARISSA FASTHORSE
DIRECTED BY SUZANNE BEAL

NOVEMBER 7 – DECEMBER 7

Preview November 6
ASL Interpreted Performance November 14

Good intentions collide with absurd assumptions in this biting satire, as a troupe of performatively “woke” thespians scrambles to create a pageant that somehow manages to celebrate both Turkey Day and Native American Heritage Month without any cultural stumbles.

After unexpected roof repairs delayed our original opening in September, Church Hill Theatre is delighted to offer its production of Agatha Christie’s Murder on the Orient Express from October 17 to November 2. The stage play is an adaptation by the hilarious American playwright Ken Ludwig, who was asked to take on the project by the Christie estate. Director Kat Melton will propel her cast on a vintage steam locomotive through the snowy alps. Her use of sound, lights and projections will have you on the edge of your seat as Hercule Poirot uses his “little grey cells” to solve yet another mysterious death!

Even if you have read the book a dozen times, the plot remains a real tease, as almost every passenger has a reason to murder the odious American businessman, Samuel Ratchett. Hercule Poirot’s interviews soon uncover connections to a past kidnapping case and other secrets. Passengers include titled Europeans, several Americans, and many with hidden identities. Melton has made room for several smaller parts that enrich the plot and the production. These other passengers, the ensemble, help move along the action—and the scenery. The clues mount up, but is anyone telling the truth? Bien sure, Poirot will of course prevail!

The strong production team is especially proud of the set and effects that really bring a steam locomotive and luxury passenger cars onto the stage. Almost all of our original cast members adjusted their schedules to catch this train but a few understudy substitutions of equally talented actors have been required. The entire cast and crew know this could be your “favorite-ever” show.

It runs from October 17 to November 2, with shows at 7:30 on Fridays and Saturdays and at 2 pm on Sundays. Tickets are available now online at churchhillltheatre.org or by calling the box office at 410-556-6003. If you had tickets for the original September show, you should already have been contacted by the box office to arrange new dates. If there is any confusion, please call the box office.

Church Hill Theatre would like to express its grateful thanks to all of the friends and patrons who supported us during the whole repair process. Your kind words and financial generosity have been heartwarming. THE SHOW WILL GO ON!!!

After unexpected roof repairs delayed our original opening in September, Church Hill Theatre is delighted to offer its production of Agatha Christie’s Murder on the Orient Express from October 17 to November 2. The stage play is an adaptation by the hilarious American playwright Ken Ludwig, who was asked to take on the project by the Christie estate. Director Kat Melton will propel her cast on a vintage steam locomotive through the snowy alps. Her use of sound, lights and projections will have you on the edge of your seat as Hercule Poirot uses his “little grey cells” to solve yet another mysterious death!

Even if you have read the book a dozen times, the plot remains a real tease, as almost every passenger has a reason to murder the odious American businessman, Samuel Ratchett. Hercule Poirot’s interviews soon uncover connections to a past kidnapping case and other secrets. Passengers include titled Europeans, several Americans, and many with hidden identities. Melton has made room for several smaller parts that enrich the plot and the production. These other passengers, the ensemble, help move along the action—and the scenery. The clues mount up, but is anyone telling the truth? Bien sure, Poirot will of course prevail!

The strong production team is especially proud of the set and effects that really bring a steam locomotive and luxury passenger cars onto the stage. Almost all of our original cast members adjusted their schedules to catch this train but a few understudy substitutions of equally talented actors have been required. The entire cast and crew know this could be your “favorite-ever” show.

It runs from October 17 to November 2, with shows at 7:30 on Fridays and Saturdays and at 2 pm on Sundays. Tickets are available now online at churchhillltheatre.org or by calling the box office at 410-556-6003. If you had tickets for the original September show, you should already have been contacted by the box office to arrange new dates. If there is any confusion, please call the box office.

Church Hill Theatre would like to express its grateful thanks to all of the friends and patrons who supported us during the whole repair process. Your kind words and financial generosity have been heartwarming. THE SHOW WILL GO ON!!!

THE ROCKY HORROR SHOW

MUSIC, LYRICS & BOOK BY RICHARD O’BRIEN

OCTOBER 31 – NOVEMBER 8

This sexy cult classic will make you shiver with antici…pation. It’s time to break out your fishnets and join MET for some campy humorous fun! Squeaky clean couple Brad and Janet have some car trouble and are forced to seek refuge in the gothic castle of the mad scientist Dr. Frank-N-Furter. Upon their arrival, Frank-N-Furter and his kooky staff of Transylvanians open up the couple’s minds in ways they never imagined.

Throughout his 30+ year career, Dan Tyminski has left his mark in every corner of modern music. His voice famously accompanies George Clooney’s performance of the Stanley Brothers’ classic song, “I Am A Man of Constant Sorrow,” in the film, Oh Brother, Where Art Thou? and his vocal collaboration with Swedish DJ Avicii on the song “Hey Brother” was a global smash, having been streamed more than a billion times to date. His diverse solo projects and years of work with Alison Krauss and Union Station have yielded troves of award-winning music.

In recent years, Tyminski’s live shows with the Dan Tyminski Band have become bluegrass fan favorites and are regularly on the must-see lists among music fans of any genre.

With his newest album release – the Grammy-nominated 2024 concert album Dan Tyminski: Live From The Ryman – he captures the magic of those live shows, while also proving that he still has the same passion for live music as he did when he was growing up.

Back for its second year, Abbott and the Big Ten Conference are hosting the We Give Blood Drive competition to entice students, alumni, fans, and community members to rally around their Big Ten school to donate blood, save lives, and address the country's ongoing critical blood shortage.

From August 27 to December 5, anyone eligible to donate blood can do so anywhere, anytime in the U.S. to count for their school. The school with the most donations at the end of the competition will receive $1 million to advance student or community health.

New this year, everyone who donates or attempts to donate blood throughout the competition will receive an exclusive, limited-edition, Homefield-designed T-shirt specific to their school. To receive the shirt:

1. Show up to donate
2. Submit your donation (or attempt to donate) at BigTen.Org/Abbott or by texting DONATE to 222688 (ABBOTT).
3. Click the link sent to your email
4. Use your redemption code
5. Your shirt will be shipped to the address of your choice. 

Last year, the University of Nebraska won, and is using the funds to advance student health on campus. The University of Maryland is competing this year and will host several blood drives on campus and in the surrounding area throughout the competition. To find a blood drive near you, please visit: https://bigten.org/abbott/maryland

This focus exhibition of 10 works explores the relationship between burning fossil fuels—namely, coal—and the emergence of European modernism. Drawing on research conducted by climate scientists and art historians, the exhibition presents a range of paintings and works on paper by Henri Matisse, Claude Monet, James McNeill Whistler, and others to explore the ways that their artistic practices and style emerged, in part, in response to widespread pollution in London and Paris.
Presented as part of the Turn Again to the Earth environmental initiative.

More than 50 works on paper investigate how artists working in Europe and French-occupied northern Africa watched and participated as nature became a resource for people to hoard or share.

Drawn from the BMA’s George A. Lucas Collection, this exhibition of 19th-century art foregrounds the many ways that human relationships, including imperialism and capitalism, affect the environment. Deconstructing Nature is organized thematically, focusing on five environments and the ways artists explored them in their work: The Desert, The Forest, The Field, The City, and The Studio.

Born and raised in Baltimore, George A. Lucas (1824–1909) spent most of his adult life immersed in the Parisian art world and amassed a personal collection of nearly 20,000 works of art. In 1996, the BMA, with funds from the State of Maryland and the generosity of numerous individuals in the community, purchased the George A. Lucas Collection, which had been on extended loan to the Museum for more than 60 years.

In this focus exhibition of approximately 20 photographs, prints, drawings, and textiles, the natural environment is a source of creative inspiration worth celebrating and protecting.

Works by artists such as Winslow Homer, Richard Misrach, Charles Sheeler, and Kiki Smith, among many others, depict the elements of air, water, earth, and fire and address broader themes of ecological awareness and preservation. These themes range from how artists have used visual language to convey the act of locating oneself in nature; works that depict natural forms through the physical integration of environmental components; and artists’ commentary on sites of environmental disaster, the sociopolitical ramifications of human impact, and the potential of symbiotic healing for this planet and its occupants.