This preview has been provided by Burning Coal Theatre Company.

Burning Coal Theatre Company is proud to announce that British singer/songwriter Callaghan will open its 2012 MusiCoal Summer Music Series on Wednesday, April 18th at 7 pm at the Murphey School, located at 224 Polk Street in Raleigh.  Tickets are $10 and are available by calling 919-834-4001 or at the door (if the show is not sold out).

In the Summer of 2010 Callaghan packed up her life in London and moved to Atlanta to record with Grammy nominee Shawn Mullins. Mullins had heard her music online. After being knocked out by her voice and songs, he agreed to produce her debut album.

Her music blends the sounds of Folk, Americana and Pop. Her rich and haunting vocals are regularly compared to Sarah McLachlan and Emmy Lou Harris.

In the UK she was a regular at London’s top singer-songwriter venues, The National Theatre and the Ivy Club. Since making her home in the USA, she has played shows and festivals in 21 states, opened Shawn Mullins’ US tour, secured TV and Radio appearances and been in the studio recording her debut album, Life in Full Color.  Her website is:

Raleigh singer-songwriter Bruce Benedict will open the concert at 7 pm.  Bruce fronts the IndyRock band Ebeneezer & the Hymnasters and has recently written the score for Burning Coal’s production of Jude the Obscure, Parts 1 & 2.

For further details, please call 919-834-4001 or visit

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Burning Coal Theatre Company is Raleigh’s small, professional theatre.  Burning Coal is an incorporated, non-profit [501 (c) (3)] organization. Burning Coal’s mission is to produce literate, visceral, affecting theatre that is experienced, not simply seen. Burning Coal produces explosive reexaminations of overlooked classic and modern plays, as well as new plays, whose themes and issues are of immediate concern to our audience, using the best local, national and international artists available. We work toward a theatre of high-energy performances and minimalist production values. The emphasis is on literate works that are felt and experienced viscerally, unlike more traditional linear plays, at which audiences are most often asked to observe without participating. Race and gender non-specific casting is an integral component of our perspective, as well as an international viewpoint.