2017/18 SCRIPT-IN-HAND SERIES
Free readings of plays-in-progress
SHORT PLAYS FROM THEATRE ARTISTS OF COLOR WRITING WORKSHOP
DRIVER’S LICENSE PLEASE by Olivia Custodio, YOU KNOW? by Bijan Hosseini, ROAR by Darryl Stamp
featuring Latoya Cameron, Dee-Dee Darby-Duffin, Bryan Kido, Lonzo Liggins, Carlos Nobleza Posas
directed by Bobby Cody, Jennifer A. Kokai, Morag Shepherd
stage managed by Caroline Cain
Wednesday, April 11, 7pm
We hosted a gathering of Theatre Artists of Color in June of 2017. The desire to tell stories authentically came up multiple times throughout the gathering. So we organized a writing workshop with Utah’s most produced playwright, Julie Jensen, held in November and December of 2017. Julie taught the basics of the craft; the writers wrote; we’ve selected three of those pieces for this evening of short plays.
This event is at capacity but there are always no-shows for free events. We strongly encourage you to come to the theatre 15 minutes before show time and wait for open seats. There is no late seating so at show time all open seats become available to those waiting.
MOUNTAIN LAW
by Melissa Leilani Larson
featuring Calbert Beck, Matthew Sincell & Emilie Starr
stage managed by Joe Killian
directed by Morag Shepherd
Wednesday, March 7, 7pm
In the fall of 1850, Tamson English has been alone with three young children on the Western frontier for more than a year. Isolated from civilization, abandoned by her husband, haunted by her past, Tamson’s mind begins to fracture… Until an old friend appears at her door. From the author of PILOT PROGRAM (2015) and THE EDIBLE COMPLEX (2016).
THE PRIESTHOOD
by Carleton Bluford
featuring Tyson Baker, Joe Crnich, Lonzo Liggins, Gray McKenzie & Matthew Sincell
stage managed by Emilio Casillas
directed by Alicia Washington
Wednesday, November 15, 7pm
How do we choose to find ourselves? The LDS Church’s 1978 decision to ordain black men to the priesthood sends two young friends on a surprising and unexpected journey of personal revelation. From the author of MAMA (2015).
Series sponsored by Lee & Audrey Hollaar.
Click here for tickets (free but required).
Click here for the full history of the Script-In-Hand Series (2004-present).
Announcing the 2017/18 Script-In-Hand Series!
THE PRIESTHOOD by Carleton Bluford
MOUNTAIN LAW by Melissa Leilani Larson
Pieces from the THEATRE ARTISTS OF COLOR WRITING WORKSHOP
Why (in)divisible?
All performances of (in)divisible through June 18 (presented as part of our Script-In-Hand Series) are technically at capacity, but you can still see the show. Free + summer = a certain number of no-shows! Click here for details, waitlist and walk-up info. Below each of the 17 actors share their thoughts on what drew them to participate in (in)divisible. Everything in (in)divisible is rooted in real-life experience and the parameters are pretty strict: no mentioning of Trump or Clinton, or even allusions to them – when those names surface in conversation, listening seems to cease. And listening is the goal. The lack of respect for those with whom we differ is at the root of the quagmire we find ourselves in as a country. Identifying people by labels creates polarity. And the more polarized we become, the less chance there is for real communication and real change. We’re not asking people to agree; we’re asking people to listen to those whom they may normally write off as “the other.” The greatest challenge of (in)divisible has been for each playwright to write their own point of view. The opposite point of view was much easier: it could be looked at objectively as a piece of theatre, as a character to treat as truthfully as possible. But when faced with representing their own point of view, each playwright felt immense pressure to avoid being preachy or didactic. The result is pretty magical: each playwright examined their own biases and fears and is boldly and frankly sharing what they found. Grasping for a wisp of magic, in a thundercloud … – Joe Debevc While growing up Japanese American in Utah,... read more(in)divisible is coming June 8-18 and it’s free!
(in)divisible is our response to the response to the election. But it’s not about Trump. Or Clinton. Or Sanders. Or Obama. Or any other political figure. As the project took shape, we followed two ground rules: (1) none of the above could be mentioned or even alluded to because when they are mentioned, listening ceases; and (2) everything had to be rooted in real-life experience. (in)divisible is about our country. (in)divisible is about its citizens. (in)divisible is about us. Twelve local playwrights have each created two five-minute pieces: one liberal and one conservative. Scroll down to see who they are and their thoughts on the pieces they’ve created – stories from some people you’ll agree with, some people you’ll disagree with, all who just happen to be just like you. (in(divisible is a reminder of what it means to listen. Click here to reserve your free tickets and see who’s in the cast. We ask that in lieu of a ticket purchase you make a contribution to The Children’s Center at the theatre. Click here to reserve your free tickets... read moreShauna Brock on Building Families
Tell your stories. Tell them as often as you need to. Because they are the foundation of your families.
read moreRob Tennant on his play QUARTER HORSE
A world in which we have run out of oil and are forced to ride bicycles everywhere isn’t necessarily a dystopia for me. To each their own.
read moreJenny Kokai on her play THE ART OF FLOATING
So some parts of this play are very true, some parts are very false, and some parts lie somewhere in between. Most of the things I won’t confess to, but here are a couple. The first is that I think everybody is still trying to figure stuff out, whether you’re 75 or 21. We think we’re supposed to get old and wise but I don’t think that ever happens.
read moreMatthew Ivan Bennett on his play WHAT WE HAD TO
See, the Stasi thrived through a network of paid or blackmailed informants. “They” were largely made up of regular men and women. “They” were not always in uniforms. “They” were your brothers, mothers, co-workers, college professors, and favorite uncles. “They” were like you, and “They” were not necessarily after an obvious out-group. And, as I explore in my play, “They” might have been as afraid of their bosses as anyone else.
read moreAnnouncing the 2016/17 Season
Subscriptions are $53 and include ONE BIG UNION by Debora Threedy, VIRTUE by Tim Slover and NOT ONE DROP by Morag Shepherd. THE EDIBLE COMPLEX by Melissa Leilani Larson is available as an add-on for $6.
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