2018/19 SCRIPT-IN-HAND SERIES
Free readings of plays-in-progress
DONNA
Wednesday, October 24, 7pm
by Jenifer Nii
read by Colleen Baum, Dee-Dee Darby-Duffin,
April Fossen, Yolanda Stange
directed by Alexandra Harbold
Click here for free-but-required tickets
A re-imagining of DON QUIXOTE: modern-day women find and face their own windmills – which, it turns out, warrant more than tilting.
From the author of WALLACE (co-written with Debora Threedy, 2010), THE SCARLET LETTER (2012), SUFFRAGE (2013), RUFF! (2015), KINGDOM OF HEAVEN (2016) and THE WEIRD PLAY (2018).
SHORT PLAYS FROM THE
THEATRE ARTISTS OF COLOR WRITING WORKSHOP
Edward Lewis Theatre Festival
City Library (Main Branch)
Sunday, February 10, time & plays TBA
directed by Jerry Rapier
Click here for free-but-required tickets
BALTHAZAR
Wednesday, April 3, 7pm
by Debora Threedy
read by Kirt Bateman, Nicki Nixon
stage managed by Cate Heiner
Click here for free-but-required tickets
What if Portia’s appearance in court dressed as a man in Shakespeare’s THE MERCHANT OF VENICE was not the first time she’d cross-dressed? An exploration of gender, gender rebels and the nature of desire.
From the author of THE END OF THE HORIZON (2008), WALLACE (co-written with Jenifer Nii, 2010), THE THIRD CROSSING (2012) and ONE BIG UNION (2016).
Series sponsored by Lee & Audrey Hollaar
Series stage managed by Catherine Heiner
Click here for free-but-required tickets
Click here for the full history of the Script-In-Hand Series (2004-present)
From the Artistic Director
We feel a responsibilty as a company to reflect the community in which we live. And yet I’ve been asking myself: with all that is happening, does attending the theatre even matter?
read moreJenifer Nii on her play-in-progress DONNA, opening the 2018/19 Script-In-Hand Series
And there, off in the grey-matter distance, a little whisper. Something about that goofy Don Quixote…
read moreAnnouncing the 2018/19 Script-In-Hand Series
As the only professional theatre company in the United States producing full seasons of new work by local playwrights, we invite you to join us for three public readings of plays-in-progress.
read moreAnnouncing 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.
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