Tucson Welcomes a New Theatre!

Editor’s Note: This is the eighth in a series of interviews with creative decision makers and artistic directors at all of Tucson’s theatres as we look forward to the 2019-2020 season.

Filling a gap in the Tucson theatre community: Southern Arizona Performing Arts Company opens this August!

by Leigh Moyer

SAPAC logo+wordmark

Tucson has theaters that focus on classic works, theaters that focus on contemporary works, theaters that focus on family-friendly, alternative, and new works. And while many of these theaters feature musical theatre productions during their season, Tucson has had few theaters dedicated just to presenting a full season of quality musicals. Until now.

I sat down with the founders of Southern Arizona Performing Arts Company (SAPAC) Kelli Workman, Artistic Director, and Danielle Wright, Production Manager, to talk about musical theatre and starting a new company in Tucson.

“We’re looking to fill the gap between professional and amateur theatre in the community. The long-term goal is to be an equity theatre. We want to give the talent in Tucson the experience of working on high level productions,” said Workman. “We want to add to the effort in bringing quality musical theatre to Tucson. We have a wish list of epic proportions that we want to bring to this community.” 

Each season they plan to bring a classic musical, a contemporary musical, and a concert style musical. Once they are more established, they want to workshop new musicals as well. “We want to do musicals people know but with a fresh concept so that people see something new, see a production in a new way,” explained Wright.

For their inaugural season, SAPAC is bringing stories of origins. [title of show] is about writing a show, the creating – the origin – of a musical. Hot Mikado is an updated adaptation of the piece by the pioneers of musical theatre: Gilbert and Sullivan; it is an opportunity to look at the roots of musical theatre and how artists are fostering growth in the medium. And then, 1776 is about the origins of our country. “For 1776,  we are focusing on nontraditional casting to showcase the breadth and  diversity of experiences in our country,” Wright said. “We’re planning to have a female director to insure a different voice comes through what is usually a very male-centered narrative. ”

Attention to diversity is important to SAPAC. The founding team, Workman, Wright, and Executive Director Dennis Tamblyn, are all white. They are interested in casting against tradition to see more women and people of color on stage and behind the scenes. They are also looking to select shows that show different people and different stories. And, when they work with an older piece, making sure that it meets 2019 expectations. Wright admitted they are still learning how to produce theatre responsibly and justly. “When doing classic musicals there were different social justice standards when they were written. We have to ask ourselves why something is important to the show but also what challenges  need to be considered; what interpretation of the material might encourage a conversation with our audience.”

Each production gives Tucsonans the chance to see and hear the stories of others. “Theatre fosters empathy,” Wright said. “At a Broadway League conference, Lin Manuel Miranda talked about how theater is one of the last things that eliminates the viewer’s power to create their own reality. Audience members with different ideologies all sit in one room and view the same thing. He said, ‘You ask the audience to live outside of themselves. You’re asking the audience to identify with people they might not normally ordinarily identify with.’ Storytelling helps individuals to learn about people who aren’t like them and knowing someone is loving someone.”

“I get really passionate about Broadway shows I love. This season each show is an important part of the season. We not only selected the shows specifically, but the venue that supported the show best,” Workman said. “We are very attached to each show.” From traditional proscenium theater space like that offered by the intimate Cabaret Theater at the Temple of Music and Art to the Demeester Outdoor Performance Center at Reid Park, each show is homed in the best location to help tell the story.

The full season is listed online and below. Tickets are $25.00, with discounts for seniors, students, teachers, and members of the military. Or as a season ticket subscriber see all four shows for the price of three. Tickets can be purchased online, by email at boxoffice@sapactucson.org or by phone at (520) 261-9309.

SAPAC 2019-2020 Season

Southern Arizona Performing Arts Company 2019-2020 Season:

Gutenberg! The Musical! by Anthony King and Scott Brown
August 15 – 25, 2019
Back by popular demand after being nominated for a MAC Award in 2018, this production of the hit two-man musical spoof is a special add-on event to our regular full season of musical productions. Two desperate (and bravely untalented) songwriters perform a backers’ audition for their new musical about Gutenberg, the inventor of the printing press. With an unending supply of enthusiasm, Bud Davenport and Doug Simon (portrayed by real-life brothers Carson and Tyler Wright) sing all the songs and play all the parts in their hilarious historical epic. Called “A smashing success” by the New York Times, Gutenberg! The Musical! went on to receive Lucille Lortel Award and Outer Critics Circle Award nominations for Outstanding Musical.

[title of show] by Jeff Bowen and Hunter Bell
September 13 – 22, 2019
Writing a musical is hard! Just ask Jeff and Hunter, two struggling writers, scrambling to write a musical to submit to a theatre festival. With the deadline looming, and with nothing to lose, the pair enlists the help of their friends Susan and Heidi (with Larry on the piano), and decide to try and create something exciting and new. What you get is four friends writing a musical about four friends writing a musical: meta-theatre at its most hilarious! This Tony-nominated musical is sure to leave you laughing!

Hot Mikado, adapted and arranged by David H. Bell and Rob Bowman
January 17 – 26, 2020
This hilarious and ‘HOT’ updating of Gilbert and Sullivan’s comic masterpiece weaves a sharp witted, fun-filled tale where – despite life or death stakes – characters still find time to tap their toes and croon their troubles away. Set in a fictionalized Japan, at a time when outlandish laws harshly sentence people for almost any indiscretion, it is the language of jazz, gospel, and the blues that is spoken most fluently. Hot Mikado thrills by combining traditional Japanese storytelling with the big band sights and sounds of popular American song and dance.

1776 by Peter Stone and Sherman Edwards
April 24 – 25, 2020
Long before Hamilton, there was three-time Tony Award-winning 1776 – the original American Revolution Musical! It’s a long, hot summer in Philadelphia, and the Continental Congress is at each other’s throats. The nation is on the brink of revolution – if only our founding fathers can agree to sign the declaration. American history blazes to vivid life in this extraordinary musical, revealing the humor and humanity behind these national icons. With a limited 2-performance run, you won’t want to miss our modern re-shaping (including nontraditional casting) of this hit show!

See Yourself Onstage This Season at Arizona Theatre Company

Editor’s Note: This is the seventh in a series of interviews with creative decision makers and artistic directors at all of Tucson’s theatres as we look forward to the 2019-2020 season.

Arizona Theatre Company welcomes back Sean Daniels, once a season subscriber, now the Artistic Director.

by Leigh Moyer

ATC LogoFor Arizona Theatre Company’s (ATC) new Artistic Director, Sean Daniels, this is a homecoming. His love of theatre began as a child watching a “life changing production of Our Town” at ATC. After talking with Sean over lunch at a local downtown eatery, that seems almost too perfect. Our Town addresses a lot– growing up, learning who you are, and finding community, all things clearly important to Daniels, especially in theatre. 

And that means representing the community on stage.

“I’m interested in what the conversation is with the community. American Mariachi is the best selling play in Arizona Theatre Company’s history. And so you have to ask what is that about? Was it just the timing? Was it what the play is about? Or is it that a community is finally seeing themselves on stage where they hadn’t before. I’m more interested in what are the next set of plays that help to unlock those questions,” Daniels said, referencing the 2018-2019 season production of American Mariachi. “It is so powerful to see your story on stage. Clearly it resonated with this community. So how to figure that piece of the puzzle out, for me, that is my job. Invite them in, perhaps in an easy way, in Lowell, with the company I was with before ATC, that was putting on a production by a playwright from the greater community, but then working to do other things the community might be interested in. But you have to genuinely reflect them on stage. You can’t just say, ‘Now here’s a ticket coupon and come see a show where no one looks like you.’”

The 2018-2019 season production of American Mariachi. Photo by Tim Fuller, courtesy of Arizona Theatre Company.

The 2018-2019 season production of American Mariachi. Photo by Tim Fuller, courtesy of Arizona Theatre Company.

This season Daniels and his predecessor David Ivers selected six shows that reflect the local community and the issues the greater American culture is facing. And they aren’t pulling any punches. This season addresses gender and racial discrimination, challenges stereotypes of masculinity and femininity, asks us to look at white privilege, and then there are the Nazis. “We have an opportunity to have six curated evenings with people. What’s the conversation that we want to have with them over time?”

While a lot of the content ATC is bringing to the stage this year covers big, heavy topics, topics that are all too familiar in 2019, these are plays that tell stories about people and what it means to live during challenging times. There may be heartbreak and struggle, but there is joy and laughter. It is important to tell stories like this not because we need the lesson, although maybe we do, but because we need to see that things get better and we keep living.

“And,” Daniels added, referencing one of the shows he selected for this season, Women in Jeopardy!, “Looking at the season, I realized we didn’t have the show that you just scream in laughter from beginning to end. And that has a value in a season. You don’t want six of those. But there is nothing wrong with being entertained by theatre.”

Daniels will be considering diversity and representation in the casting process too, You have to think about your own biases that you bring. Could anyone play this role? Do I want the best actor? Do I believe that white actors are the only actors who can play all types of roles and actors of color are the only ones that can play those types of roles? Then find the best actors to pull it off. If you start with that you don’t end up with all white casts.”

Having a season that ranges from “Master Harold”…And The Boys, a show that looks at privilege in apartheid South Africa to The Legend of Georgia McBride, a musical about a drag queen, to classics like Cabaret, this season has a lot to offer. 

“That’s the point of being a season subscriber. You get to watch shows you wouldn’t have picked. In an era of Netflix and Amazon the algorithm has you figured out. It knows that based on your buying pattern, you would like this media, this item. And you’re always like, ‘You don’t know me!’ But then you look and you’re like, ‘Yeah, I probably would like this…’ There is nothing wrong with that, but the thing I hear from subscribers is they come to shows they wouldn’t have otherwise watched and ended up liking it. If you pick only what you know, you are only going to get that.”

There is more to diverse theatre than breaking free of an algorithm. “Sometimes I chose something thing because it allows a group of people who don’t look like you to finally see themselves on stage and be invited in. As an audience member maybe this play isn’t your favorite but that’s okay because you believe in this theatre and you want it to be around in 40 years and introducing a new audience to the theatre is important.” And for someone who, some years ago, realized theatre was his dream at an ATC production, fostering the continued success of the theatre and encouraging new audiences to check out the theatre is a key driver. 

But if you can’t catch the whole season? Daniels recommends that you don’t miss the first two shows: The Royale and Silent Sky. The first tells the story of the first time black and white boxers were allowed to box against each other during Jim Crow. The second looks at women in science, following the story of Henrietta Leavitt, a brilliant astronomer who made most of her discoveries (including where we are in the universe) without access to telescopes because of gender discrimination. It would be naive to say things haven’t improved in the hundred plus years since either event, but it would also be naive to say these problems have disappeared.

But it isn’t just that these are societal problems we have to face together that make Daniels recommend them but because the playwrights, Marco Ramirez and Lauren Gunderson, respectively, are interested in working here, in joining the community and learning from the Arizona audiences who will be experiencing their work. That is something special.

As a closing thought, Daniels reiterated, “I just think it is a real goal of ours to try to be more locally based. I am really focused on how this community owns us.”

Arizona Theatre Company’s 2019-2020 Season:

ATC 19/20 Season

The Royale by Macro Ramirez, directed by Michael John Garcés
9/07/19 – 9/28/19
A power-packed boxing drama. Winner of two Obie Awards, an Outer Critics Circle Award, a Drama Desk Award, and multiple other awards and sold out houses in London, New York and LA. The Royale is not your usual sports play. First of all, it is not really about life in the ring. Second, not a single punch will be thrown, at least not with fists. The play is a deeply theatrical and emotionally moving piece about the life of the outsider in American culture. Set in 1910, deep in the midst of Jim Crow, it explores one man’s struggle while reflecting a much broader one. It is also a play about a brother and his sister – his sister, who as he climbs for glory and respect, remains his greatest adversary and strongest motivation.

Silent Sky by Lauren Gunderson, directed by Casey Stangl
10/22/19 – 11/09/19
A celebration of discovery, originality, and curiosity. For the last three seasons, playwright Lauren Gunderson has proudly sat on the list of most produced playwrights in the country. Arizona Theatre Company proudly brings this brilliant and prolific author’s work to the professional stage in Arizona for the first time. Based on the true story of 19th-century astronomer Henrietta Leavitt, astonishing discoveries await as she maps distant stars in galaxies beyond our own. But this brilliant, headstrong pioneer must struggle for recognition in the man’s world of turn-of-the-century astronomy. During this time of immense scientific discoveries, women’s ideas were dismissed until men claimed credit for them. Like the recent film Hidden Figures, Silent Sky shines a bright light on women whose achievements have been too long overlooked by the telescope of history. In this exquisite blend of science, history, family ties, and fragile love, a passionate young woman must map her own passage through a society determined to keep a woman in her place.

Cabaret, based on the book by Joe Masteroff, Music by John Kander, lyrics by Fred Ebb, directored by Sara Bruner
11/30/19 – 12/29/19
Wilkommen! Bienvenue! Welcome! Cliff Bradshaw, an American author working on a novel in Berlin, encounters Sally Bowles, a talented cabaret performer, at the seedy Kit Kat Klub where she sings. When she is fired by the club’s owner, also her jealous boyfriend, she moves in with Cliff and the two fall in love. As the Nazis begin taking control of the German government, the atmosphere of the Kit Kat Klub and the lives of Cliff and Sally begin to change dramatically. For all the exuberant song and dance, the most powerful aspect of Cabaret remains the political wallop that it delivers. The horror gains momentum around them, as too many characters stay locked in denial or self interest. At its core, Cabaret is a devastating critique of apathy, and a clever and terrifying look at totalitarianism. Cabaret’s powerful story remains remarkably timely nearly 80 years after Isherwood’s original stories were published, which is why the piece continues to resonate with audiences more than 50 years after it debuted.

“Master Harold”…And The Boys by Athol Fugard, directed by Kent Gash
1/18/20 – 2/08/20
A semi-autobiographical masterwork. Of all Athol Fugard’s plays, none is more personal or shatteringly honest than “Master Harold”…And The Boys; because it relates a boyhood incident which involved himself and which haunted him for years until he tried to atone by writing this play. It may take place in South Africa during the early years of apartheid, but its depiction of the ways in which people are capable of hurting even those they love transcends the political landscape of bigotry and oppression that inspired it. The play recounts the long, rainy afternoon that Hally (“Master Harold”) spends with Sam and Willie, two middle-aged African servants of his parents’ household who have cared for seventeen-year-old Hally his whole life. This particular afternoon turns into a profound and life-changing experience for all involved. A stunning masterpiece, one of the most powerful coming-of-age plays ever written, and still timely, still compelling, still profoundly moving.

The Legend of Georgia McBride by Mathew Lopez, directed by Meredith McDonough
3/07/20 – 3/28/20
A big-hearted, FIERCE, music-filled comedy. A theatrical cornucopia of camp, country music, drag, domestic dilemmas, and larger-than-life divas awaits you! Casey is an Elvis impersonator with everything going for him, including a flashy sequin jumpsuit. But just like that he loses his gig, rent is overdue, and his wife announces a baby on the way. So when Elvis leaves the building and a drag show moves in, “The King” transforms into an all-out queen with the help of some new friends who become the second family Casey never saw coming. With snappy zingers and dance-worthy numbers, this wildly entertaining story will challenge your assumptions with extraordinary humor and depth. A valentine to the drag queens who helped mentor the playwright through his own coming out as gay while growing up in Florida, ATC is thrilled to bring you this light and fizzy comedy that’s as sweet as it is hilarious.

Women in Jeopardy! by Wendy MacLeod, directed by Sean Daniels
4/18/20 – 5/09/20
A riotous comedy! Screw the mid-life crisis; let’s solve some crimes! Middle-aged mom Liz has a new man. And let’s face it… he’s just plain creepy. When a mysterious disappearance sets the community on edge, Liz’s best friends leap to the rescue as the zany caper flings them from the ‘burbs’ to the wilds of Utah; because there’s no danger great enough to stop women from solving crimes if they want to! A riotous comedy about trading in wine glasses for spy glasses when the mid-life crisis just isn’t your speed.

The Profoundness of the Ordinary

by Annie Sadovsky Koepf

Summer in Tucson and many are trying to escape, just as many try to escape their daily lives when they go to the theatre. The play Middletown, written by playwright Will Eno, tells us to embrace these moments and see the profound beauty and awe that mark them. The entire performance of this production impressed me. The Rogue’s reputation for excellence is more than well deserved!

Middletown is a comedic drama that follows some very ordinary characters in a very ordinary town. The cop in the first scene, played by Aaron Shand, speaks to the audience and tells us, “Things are fairly predictable. People come, people go. Crying, by the way, in both directions.” These simple thoughts really speak to the plot. Various characters come and go, and intertwine with each other, and with us, the audience, to push us to examine those moments between our initial and final tears on this planet. We are left to question our own existence as we follow the lives of the citizens of Middletown. As the theme for the Rogue’s season is obsession, the audience becomes obsessed, as do the characters, with the existential questions that haunt all of us.

Bryn Booth, Holly Griffith, Kathryn Kellner Brown, Ryan Parker Knox and Hunter Hnat in Middletown. Photo by Tim Fuller, courtesy of The Rogue Theatre.

Bryn Booth, Holly Griffith, Kathryn Kellner Brown, Ryan Parker Knox and Hunter Hnat in Middletown. Photo by Tim Fuller, courtesy of The Rogue Theatre.

Many actors take on various roles, effortlessly switching back and forth. The characters are so different and so believable that you forget that minutes ago that actor was portraying someone else. Kathryn Kellner Brown played the librarian and the female doctor. Her portrayal of the librarian had the entire audience in hysterics, and her compassion and caring was evident as the doctor. As I too am a female actor of “ a certain age,” I am happy to see other older women be represented in theatre. 

In the script, playwright Will Eno asks the actors to speak in everyday pacing, even though much of the dialogue is philosophical and poetic. That was done masterfully by all. Director Christopher Johnson not only thoughtfully cast the show, but ensured the interactions with the characters showed true emotion and vulnerability, which lead to the authenticity of their performances.

Eno does not want the fourth wall to exist in his plays. He names the audience in the list of characters. He invites us to have a participatory experience rather than a simply observational one. The actors speak directly to the audience and even come into the audience. The theater was set up in a transverse arrangement which facilitated this. Not only did you observe the actors, but the audience sitting across from you. Simple sets which were changed by the characters themselves focused all of the attention on the actors’ words and actions. 

The costumes, designed by Cynthia Meier, were believable, simple, and appropriate to echo the ordinary theme of the play. Lighting, designed by Josh Hemmo, was used judiciously to focus attention on a particular part of the stage, as well to indicate changes in the time of day. Music Director, Charles Zoll, did a masterful job of seamlessly integrating the music into the play. Primarily jazz, the music served as delicious background, but did come to the forefront with the one scene where dance was introduced. The jazz reinforced the emotional intensity of each scene, be it happiness, sadness, or joy

The dance performance by the mechanic, played by Hunter Hnat, was simultaneously mesmerizing and disconcerting. The script outlines that he is dressed as a Chakmawg Indian and that the dance is in the tradition of the Apache or the Sioux. Hnat’s character, the mechanic, brings in a headdress and then performs an interpretive dance, with seemingly no reference to Native American dances. At the finish, the nurse instructs him to speak in a stereotypical broken speech pattern, that has often been used to portray Native Americans as they speak English, when he goes in to perform the dance for some children. I have no idea why Mr. Eno placed this scene in the play and why he used such jarring speech. The play was first performed in 2005 when one would hope that the issues regarding non-stereotypical portrayals of ethnic groups would be addressed. I applaud The Rogue, but the disconnect between the thoughtful, beautiful dance and the seemingly insensitive dialogue in this scene was jarring to me.

Middletown was a delightful treat for me. I left with a renewed feeling of hope and appreciation for the simple everyday pleasures of ordinary life. All of us appreciate the feeling of awe that we have in new or peak experiences, but I now want to pay attention to those middle of the road, everyday wonders.

Middletown is playing at The Rogue Thursday through Saturday at 7:30pm and Saturday and Sunday at 2:00pm through July 21st. Tickets are $38, with student tickets available for $15, if available, 15 minutes before curtain. For tickets contact the box office at (520) 551-2053 or via TheRogueTheatre.org. A discussion with the director and cast follows all performances.

Bringing Literature to Life On Stage at The Rogue Theatre

Editor’s Note: This is the sixth in a series of interviews with creative decision makers and artistic directors at all of Tucson’s theatres as we look forward to the 2019-2020 season.

Touring the golden cage with The Rogue Theatre’s Joe McGrath and Cynthia Meier.

by Leigh Moyer

Rogue logo“What we’ve managed to do is build a golden cage for ourselves,” said Joe McGrath, Artistic Director of The Rogue Theatre, with a chuckle. “Our audience wants us to do the plays that we want to do. So we have to keep doing the plays we want to do– not the plays that we think will sell, or that we think people want to see.”

Cynthia Meier, The Rogue’s Managing and Associate Artistic Director, added, “And they really are plays that we want to see and that we want to work on. We keep this ongoing, long list of plays and we’ll look at it throughout the year and say, you know, it’s about time we did Brecht. Or, it’s about time we did this play. And these are plays that we want to see and spend time with.”

This season is focused on stories about obsession; it will have shows that make you think, make you laugh, make you cry, and — if they do their job right — make you reconsider how you look at a piece of literature or a cultural phenomenon.

The Rogue is generally known for doing classic pieces. For example, they do a Shakespeare play every season. “It’s a touchstone for us. Our mission is doing challenging pieces of great literature in an ensemble way; Shakespeare is the epitome of that,” Meier explained. They usually do an adaptation of a novel as well, often adapted for the stage by Meier. They do plays that make you think and plays that make you feel deeply and… plays where usually at least one character dies. 

I teased McGrath and Meier about that. Meier laughed and commented that she should have done research on how many characters had died on their stage when she looked at the diversity of casting and the playwrights.

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Joe McGrath and Cynthia Meier. Photo courtesy of The Rogue Theatre.

McGrath pointed out that while it is a funny unifying theme linking The Rogue’s plays, “Death is something that makes us human and unless we’re conscious of mortality and unless we bring it up, we’re not really dealing with what is important and even what is beautiful. The brevity of life is what makes beauty. There is no precious moment without the passage. So I want to stand up for death as being a good thing. So let’s hear it for death.”

Looking at this season and the major moments that the array of plays will present, it seemed to me Moby Dick was going to be the most challenging. I had one big question. There have been gods, snakes, dogs, and a bear on the Rogue stage, but all those things are smaller or more manageable. I wanted to know how exactly they were going to present the great white whale Moby Dick. That whale. Their answer: they don’t know yet. They have ideas, but how it will actually come together is still somewhat of a puzzle. 

“The interesting thing about this enterprise is making sure that we’re doing live theatre, not doing plays that are live television,” McGrath said. “That’s one of the reasons we like to go more theatrical. It’s all in the language. Film and television don’t like to just dwell on the language without visuals.” 

Maybe that is the answer. Moby Dick is a book, adapted for the stage in this instance by Meier and Holly Griffith. While theatre is a visual medium, for McGrath and Meier it is equally as much about language. “We usually do an adaptation because we believe that great literature deserves to be heard and seen, not just silently read,” Meier said.

Aaron Shand, Holly Griffith and Hunter Hnat in the 2018-2019 season production of The Secret in the Wings. Photo by Tim Fuller, courtesy of the Rogue Theatre.

Aaron Shand, Holly Griffith and Hunter Hnat in the 2018-2019 season production of The Secret in the Wings. Photo by Tim Fuller, courtesy of the Rogue Theatre.

McGrath jumped in to add, “And the interesting thing about great literature is that it is only great literature because of the words, because of the language. We think of Moby Dick as having whales and boats and the sea but it only lives because of the way it was conjured in language.”

He mused on how the audience feels and about The Rogue offers: “I’m guessing that a good percentage of audience members who stay after the show for the post show discussion just want us to tell them what to think. But that’s the nature of the plays we do; they don’t tell you what to think, they leave you grappling.”

The whole season is listed online and below, including a summer production. Come to see how they get a whale in a theatre, but come more to see how you relate to the whale; what your obsessions are and how they have shaped you. Season tickets start at $195.00 and single tickets can be purchased during the run of the show for $42.00 (preview performances are $32.00) with $15.00 student rush tickets available fifteen minutes before the show (depending on availability). Tickets for the summer performance of Middletown are $38.00.

The Rogue Theatre’s 2019-2020 Season:

Middletown by Will Eno (Summer Production)
July 11 – 21, 2019
Metaphysical musings on life and death bubble up from the “common folk” on the streets of contemporary Middletown, USA. Comic and prosaic lives show cracks of poetic existential despair. Directed by Christopher Johnson.

Long Day’s Journey into Night by Eugene O’Neill
September 12 – 29, 2019
A masterful image of a day in the Tyrone household, struggling with alcoholism, morphine addiction, and regret, as they reflect on love, dreams, and roads not taken. One of the most lauded of American plays, this deeply personal play received both the Tony Award for Best Play and a Pulitzer Prize. Directed by Cynthia Meier.

Blithe Spirit by Noël Coward
November 7 – 24, 2019
The novelist Charles Condomine invites the spiritualist Madame Arcati to hold a séance in his home. Arcati inadvertently summons the ghost of Charles’ first wife, Elvira, who Charles can see, but his present wife, Ruth, can’t. A jealous ghost, Elvira tries to upset the marriage. Directed by Joseph McGrath.

Moby Dick by Herman Melville, adapted by Cynthia Meier and Holly Griffith
January 9 – 26, 2020
The obsessed Captain Ahab assembles a whaling crew to pursue the albino sperm whale, Moby Dick, that took his leg in a prior voyage. Regarded by many as the great American novel, Moby Dick is Homeric, biblical, and Shakespearean in its breadth of expression. Directed by Cynthia Meier.

The Beauty Queen of Leenane by Martin McDonagh
February 27 – March 15, 2020
In a rural Irish cottage of the aging Mag and her spinster daughter Maureen, their comic and appalling lives are brought to a head as a romance develops for Maureen that Mag resents. Directed by Christopher Johnson.

Twelfth Night by William Shakespeare
April 23 – May 10, 2020
The shipwrecked Viola dresses as a boy for protection and is employed by Duke Orsino to woo Olivia for him. Olivia falls in love with Viola-in-disguise and Viola herself falls in love with Orsino. Meanwhile, the pranksters of Olivia’s household dupe the puritan Malvolio into falling in love with Olivia. Directed by Joseph McGrath.

The John and Joyce Ambruster Play-Reading Series:

Enemy of the People by Henrik Ibsen
October 6, 2019, 2:00 pm
The story of a man who dares to speak an unpalatable truth and the devastating consequences.

Madagascar by J. T. Rogers
December 1, 2019, 2:00 pm
At three different periods in time, three Americans find themselves in a hotel room overlooking the Spanish Steps in Rome confronting the haunting mystery that connects them.

Molly Sweeney by Brian Friel
February 2, 2020, 2:00pm
Told in a riveting series of monologues, a blind woman living in Donegal, Ireland undergoes a revolutionary operation to restore her sight.

The House of Bernarda Alba by Federico Garcia Lorca
March 22, 2020, 2:00pm
Following the funeral of Bernarda Alba’s second husband, the tyrannical matriarch announces to her five daughters that their period of mourning will last eight years.

Editor’s Note: This is the forth in a series of interviews with creative decision makers and artistic directors at all of Tucson’s theatres as we look forward to the 2019-2020 season. 

Theatre is a Community Service

Editor’s Note: This is the fifth in a series of interviews with creative decision makers and artistic directors at all of Tucson’s theatres as we look forward to the 2019-2020 season.

Sabian Trout, artistic director at Live Theatre Workshop, on the importance of live theatre to the health of the community.

by Leigh Moyer

Live Theatre Workshop“Do plays in the service of the community. Doing a play for yourself is going to kill your theatre and the worst thing you can do as an artistic director is to kill a theatre. There are so few left.” Sabian Trout, artistic director of Live Theatre Workshop’s Mainstage series, is not messing around when it comes to her community. Theatre is critical to a healthy community and she works to make sure that Tucson has live theatre year round. 

At the time of writing, LTW’s 2019-2020 season has already kicked off with Things Being What They Are and will continue through the summer into the more typical theatre season, and wrapping up as it warms up again. Then the next “season” starts the cycle all over, ensuring quality theatre all year. Trout is straightforward about working to bring the best shows to Tucson audiences: “I’m just applying for the best plays for our community.” Of course, selecting nine shows isn’t simple. Trout explained, “It’s a big puzzle every year based on feedback from the audience, what the space can accommodate, the talent available, if we can get the rights to produce the play, and a dozen or more factors. There are thousands and thousands of plays to choose from. It’s such a complicated thing, it is like its own living animal.”

Audiences can expect a little of everything this season, and should expect LTW’s offerings to expand their experience of life and lives that are different, but not so different, than their own. The season starts with a production exploring the bond between an unlikely duo and wraps with a play navigating the political and social ramifications of same sex marrage in a conservative southern home. In between, season ticket holders can expect mystery, love, heartbreak and revenge, humor, complicated relationships, tricks, first-time homebuyers and even a look at being an out-of-work actor. The plays are all tied together by experience, things we’ve all felt or fought in some way.

Shanna Brock and Stephen Frankenfeld in Stage Kiss. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

Shanna Brock as She and Stephen Frankenfeld as He in the 2018-2019 season production of Stage Kiss. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

“When I took over 13 years ago, it was clean, just stuff that wasn’t topical and didn’t represent our greater community,” Trout said.My favorite socially relevant plays are comedies. There are so many topical or socially relevant plays that are draining. That isn’t necessary to have an illuminating experience. A humorous take on challenging topics often changes your heart and mind more than angst-ridden plays.” 

According to Trout, Radiant Vermin and The Cake are probably the most socially relevant productions for LTW this season. Radiant Vermin is a comedy about the housing crisis, how difficult it is to buy a home, and what individuals are willing to do to get their dream place. The Cake follows a baker, thrilled to bake a wedding cake for her niece until she learns the niece has a bride rather than a groom. Humanizing the headlines, The Cake explores political and emotional viewpoints, cultural expectations, and how complex baking a cake can be.

Trout is excited about Heisenberg as both the artistic director, and this particular play’s director. “I don’t usually keep darlings to myself. I try to match plays to the directing talent, but this season, I chose a play that I’m elated about,” Trout admitted. “It’s a special play, newer, quirky, theatrical, I’m madly in love with this play, and I had to keep it for myself. It’s a love story about an extremely unlikely relationship.”

Heisenberg

Image courtesy of Live Theatre Workshop.

Still, she maintained that Tucson audiences should catch every show this season. The greatest compliment Trout can get is when an audience member tells her after a show that they weren’t sure about a show, based on the title or even the description, but after seeing it, are thrilled they gave it a shot because they loved it. Descriptions of each play are online and reproduced below. But maybe trust that Trout tamed the animal that is putting together a season and become a season ticket holder and catch them all. You might see something you never would have guessed you’d love.

Live Theatre Workshop’s Mainstage Series 2019 – 2020 Season:

Things Being What They Are by Wendy MacLeod
June 20 – July 20, 2019
As up-and-coming Bill readies a new condo for himself and his soon-to-arrive wife, he gets an unexpected visit from Jack, who at first appears to be a nightmare neighbor. What follows is a sharp comedy about the lives we dream of having versus the lives we end up living.
“Despite (or maybe it’s because of) its origin in a female mind, this funny, charming, and rather moving play probes the vulnerabilities of middle-class maleness with…good humor, affection and incisive accuracy.” ~ Chicago Tribune

Show People by Paul Weitz
July 25 – August 24, 2019
Jerry and Marnie are Broadway actors who haven’t worked in years. At Jerry’s insistence, they take on a wildly unorthodox job for a rich, young New York banker in Show People, a crazy comedy about the darker aspects of the need to be theatrical.
“A smashing light comedy…delightful and witty.” ~ NY Observer
“A real laugh-out-loud comedy…guaranteed to make audiences laugh themselves silly.” ~ Journal News

Heisenberg by Simon Stephens
August 29 – September 28, 2019
Amidst the bustle of a crowded London train station, Georgie spots Alex, a much older man, and plants a kiss on the back of his neck. This electric encounter thrusts these two strangers into a fascinating and life-changing game. Heisenberg brings to blazing, theatrical life the uncertain and often comical sparring match that is human connection.
“On its surface, a satisfyingly life-affirming mating dance between two people who are so utterly dissimilar that of course they are made for each other. But if you choose to tune into the quieter frequencies… a probing work that considers the multiplicity of alternatives that could shape our lives at every moment.” ~ NY Times

Accomplice by Rupert Holmes
October 10 – November 16, 2019
Winner of the Mystery Writers of America’s coveted “Edgar” award (the “Oscar” of crime and suspense) The New York Times called Accomplice “a deliciously witty cocktail of a whodunit with a maniacally seamless plot where skullduggery emerges the winner!” This theatrical roller coaster will trigger screams of laughter even as audiences vow to keep its secrets hush-hush. “The best fooler since Sleuth and twice as clever!” said the L.A.Times, while L.A. Theatre & Entertainment Review proclaimed it “the comedy thriller of all comedy thrillers!”

Tilly the Trickster by Molly Shannon
November 29 – December 29, 2019
Molly Shannon has created numerous unforgettable characters on Saturday Night Live and in movies such as Superstar and Never Been Kissed and now introduces young readers to her latest hilarious creation, the musical Tilly the Trickster. Tilly is a mischievous girl who loves nothing more than causing a little trouble. From leaking cups to toothpaste-flavored cookies, Tilly has a trick for everyone: her mom, dad, brother, classmates, and even her teacher. But when the tables are turned and her family does some scheming of its own, will Tilly decide to change her trickster ways?

The Norwegians by C. Denby Swanson
January 9 – February 15, 2020
A “killer” dark comedy about two scorned women and the very nice gangsters they hire to whack their ex-boyfriends. Fast-paced funny dialogue combines the spirit of Fargo with Saturday Night Live in this unexpected, entertaining, quirky comedy.
“C. Denby Swanson’s extremely odd and delightful comedy, is something of a guilty pleasure.” – The New York Times

Radiant Vermin by Philip Ridley
February 20 – March 28, 2020
When a young couple is offered an ideal house by a mysterious stranger, it prompts the question: How far would any of us go to get our dream home? A fast-paced, pitch-black comedy, Radiant Vermin is a provocative satire about consumerism, gentrification, and inequality.
“A blithely told fable for the age of unaffordable housing. Like a Brothers Grimm story, it is executed with its own consistent fantasy logic, deployed to remind us of the dangers of getting what we wish for…it makes for nasty and energetic fun…” – The New York Times

Ripcord by David Lindsay-Abaire
April 2 – May 9, 2020
David Lindsay-Abaire’s ripping Ripcord is a deeply satisfying and entertaining story of two women thrown together by a comic cosmic force possessed of a wicked sense of humor. A sunny room on an upper floor is prime real estate in the Bristol Place Senior Living Facility, so when the cantankerous Abby is forced to share her quarters with new-arrival Marilyn, she has no choice but to get rid of the infuriatingly chipper woman by any means necessary.
“…sweet-and-sour Ripcord is great fun…larded with moments of surprise, both wacky and more substantial. When the play gets serious, it’s genuinely moving.” ~ Time Out NY
“A show to treasure.” ~ Deadline.com 

The Cake by Bekah Brunstetter
May 14 – June 13, 2020
When Della, a North Carolina baker, is asked to bake a wedding cake for her best friend’s daughter, she is overjoyed. But that joy is short-lived when she learns that the intended is another bride, and realizes she is faced with an agonizing choice between faith and family. Struggling to reconcile her deeply-held belief in “traditional marriage” and the love she has for the young woman she helped raise, Della finds herself in strange new territory.
“Brilliant… Powerful and meaningful… great writing… abundant wit and humor” ~ LA Post-Examiner

Make Time to Laugh with Family Theatre

Editor’s Note: This is the forth in a series of interviews with creative decision makers and artistic directors at all of Tucson’s theatres as we look forward to the 2019-2020 season.

Talking the serious business of making time to be silly, plus bringing live theatre to Tucson’s children with Live Theatre Workshop Family Theatre artistic director Amanda Gremel.

by Leigh Moyer

Live Theatre WorkshopIn the theatre business, you hear a lot about doing it for the love of art or as a passion project. For Amanda Gremel, the Live Theatre Workshop Family Theatre  is certainly a passion project, but isn’t just a love for the craft; rather, it’s a calling and an obligation to future generations that she is only too happy to fulfill. Gremel’s life is steeped in Live Theatre Workshop. As a teen, she discovered her love of acting in their educational programs. As an adult, she pays it forward as a teacher in the same educational programs where she got her start, acts regularly, and is the artistic director for the Family Theatre.

While theatre for all ages is often shorter and lighter than productions rated for adults, it is no less important. “So many times, adults underestimate the power of kids to show us the way,” Gremel explained. “Sometimes we have to stop and take a moment and look at it through their eyes to be reminded that we can problem solve our way, can feel what we do, and it’s okay. Adults get wrapped up in our lives and forget that it’s okay to take that time to laugh.”

“I come to the family shows and I can’t tell you how funny they are.” Deborah Daun, the theatre’s marketing and public relations representative chimed in. “Not only are these shows really hilarious and the playwrights, mostly local playwrights, are really good, but there is incredible quality represented in these shows.”

Beyond being entertaining, the Family Theatre reminds children that they can face big problems, even monstrous ones like in the season opener Tabitha Turnpike Has a MONSTERous Problem, and with trust, determination, and, often, imagination, they can solve those problems. It might seem like a simple lesson, but it is one worth learning at every age, especially when you feel small in the face of problems that seem too large to tackle.

Overcoming life’s challenges with humor isn’t the only important work the Family Theatre productions do. Gremel works hard to expand not only what wonderful worlds children can imagine on stage, but who portrays the characters on stage.

Leda Robinson as RAPunzel and Evander Alan Gains as the Prince. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

Leda Robinson as RAPunzel and Evander Alan Gains as the Prince. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

“One of my favorite shows, and audiences loved it, too, was RAPunzel. I loved the script, loved the songs, being able to tour it in schools was great, and the diversity we had was great. We had an African-American Rapunzel and we don’t get to see that very often, right? For young people, and particularly the students in the Title 1 schools we tour in, to be able to see someone that looks like them on stage, in the lead role and singing their hearts out — that is what we are doing this for,” Gremel said of a 2018-2019 hip-hop musical adaptation of the fairytale Rapunzel. “In our world right now, it is so important to showcase that it is okay to be you, regardless of what you look like or who you identify as. The more I can bend the outdated norms, the more I want to. I want these kids to be like, oh, I am going to be this because there shouldn’t be boundaries. It is our job to show that story.”

“Part of the Live Theatre Workshop mission, and we’re very community oriented, is to create the next generation of theatre people,” Daun added. “We have shows for youth, but also education programs both in and out of school. It is a very organic way that LTW cultivates young people. We’re working with teachers and working with young people to come and audition, to be the next generation of actors and audiences.”

To do that, Live Theatre Workshop provides a number of educational opportunities from summer camps to acting classes. One of the programs that Gremel enjoys most is taking two shows from the season, one in the fall semester and one in the spring semester, and touring them in schools. The tours bring shows to children who might not otherwise have access to live theatre.

It isn’t easy to make all this happen. Running two seasons concurrently (Live Theatre Workshop also hosts a full mainstage season as well) isn’t always a fairytale come true. Productions, not to mention classes and other programs, share the same space. That can add up to some logistical challenges. “We have to get very creative in our Family Theatre shows. We only have one stage. Our shows are running at the same time. Our pieces and back drops need to be able to be hung in front of and hide the mainstage show, and often overlap multiple mainstage shows. We have to adjust to accommodate them to make one show work on a new set– in the middle of the run. So we come in early to make it work,” Gremel said. “Tucson has such great talent and passion. There is such passion that the young kids of Tucson are getting the same quality as in the mainstage shows.”

With the new season starting this Sunday, June 30th, who should be getting tickets for Live Theatre Workshop Family shows? Performances are open to everyone. “Audiences range from kids as small as breastfeeding babies, as young as six months old to people in their eighties or nineties,” Gremel answered, “Mainstage season ticket holders enjoy our Family Theatre shows, with or without children, right alongside enchanted kids.” The whole season is online and outlined below. You can become a season ticket holder now and ensure that you and your kids (or your inner child) get five Sundays of theatre.

And which show should you definitely see? Gremel laughed, “I hate to cop out but you are going to get and feel something different from each show. One might make you laugh and let you be silly with the actors on stage, one might let you feel something you forgot how to feel, especially as an adult. One might bring back memories. One might tell an old story in a completely new way, like this season’s adaptation of Pinocchio, done in the commedia dell’arte style using shadow puppets and mask work. They are all so different.”

2019-20 FAMILY SERIES Season

Live Theatre Workshop Family’s 2019-2020 Season:

Tabitha Turnpike Has a MONSTERous Problem
An original musical story by Richard Gremel and music by David Ragland
June 30 – August 11, 2019 (no show July 21), Sunday afternoons at 12:30 PM
Tabitha Turnpike is a little girl with a big imagination. But when her imagination gets her in trouble with her mom and dad, they insist that she quit being creative and grow up. Only problem is, Tabitha discovers a monster living under her bed and she can’t tell her mom and dad about it, because they will think she’s using her imagination again. Her monster has problems of his own. So the two team up and travel to Underthebedland to use their creativity and prove that all of us, monsters and humans, are great despite of our differences.

Pinocchio: The Legend of the Wooden Boy
An original musical adaptation by Tyler West and music by Michael Martinez
September 8 – October 20, 2019 (no show September 29), Sunday afternoons at 12:30 PM
This is a new adaptation based on the beloved characters from Carlo Collodi’s “Pinocchio: The Adventures of a Marionette.” Watch as three players set up their stage and tell the legend of the wooden puppet who came to life. With the help of masks, costumes, and shadow puppetry they will portray over a dozen of characters; like Geppetto, Pinocchio, The Cricket, The Fox, The Cat, The Blue Fairy, and many more!

Molly Shannon’s Tilly the Trickster
Adapted by Jeremy Dobrish, music and lyrics by Drew Fornarola, orchestrations by David Abbinanti
November 29 – December 28, 2019
Friday and Saturday nights at 7 PM, Saturday and Sunday afternoons at 3 PM
Tilly is a mischievous girl who loves nothing more than causing a little trouble. From leaking cups to toothpaste-flavored cookies, Tilly has a trick for everyone: her mom, dad, brother, classmates, and even her teacher. But when the tables are turned and her family does some scheming of its own, will Tilly decide to change her trickster ways? Molly Shannon has created numerous unforgettable characters on Saturday Night Live and in movies such as SUPERSTAR and NEVER BEEN KISSED and now introduces young readers to her latest hilarious creation, TILLY THE TRICKSTER, the musical! Fun for all ages, this is a show you and your family won’t want to miss. Starring Samantha Cormier as Tilly!

Mona Lisa on the Loose
An original musical story by Gretchen Wirges with music by David Ragland
January 26 – March 8, 2020 (no show February 16), Sunday afternoons at 12:30 PM
The Mona Lisa has hung on the walls of an art museum for over 100 years. But what visitors don’t know is that when the lights go out, the paintings come to life! On this day, she overhears the museum officials saying she is no longer drawing people in, and make plans to move her somewhere else. Come join us for a secret view into the mysterious life of the Mona Lisa and other paintings after hours as she plots a way to save her spot on the walls of the Louvre!

The Old Ball Game
An original musical story by Kristian Kissel with music by Michael Martinez
April 19 – May 31, 2020 (no show May 10), Sunday afternoons at 12:30 PM
Forrest Foster LOVES baseball. He comes by it honestly – his Dad played, his Grandfather played, his Great-Grandfather played, his… well, you get the idea. The only problem is that Forrest can’t seem to get into the game yet. But when his little league team’s star player gets injured, his coach just might have to look to the end of the bench and give Forrest his chance. He’s spent countless hours studying the game, its history, its players, and his own opponents. Now he’ll need to take everything he’s learned and put it to use to try to lift his team to victory – all for the love of the old ball game!

Parity or Better, but Usually Better

Editor’s Note: This is the second in a series of interviews with creative decision makers and artistic directors at all of Tucson’s theatres as we look forward to the 2019-2020 season. 

Coffee, representation on the stage, and really good plays with Something Something Theatre Company’s founding artistic director Joan O’Dwyer and founding director Whitney Morton Woodcock.

by Leigh Moyer

Something Something LogoSomething Something Theatre brands itself as theatre by women for everyone. Their mission is “Parity or better,” founding Director Whitney Morton Woodcock explained over coffee. “So fifty percent or better, but we usually have more than fifty percent of our season written by female playwrights.”

This mindset started with their first season – not as a fluke, but also not exactly on purpose – driven instead by feminism and the realization that there was a lot of good work that was too often overlooked. It started when three fierce women, Joan O’Dwyer, Whitney Morton Woodcock, and Esther Almazán, saw a gap in the Tucson theatre community that became their niche. “There are just so many plays written by women, and women are really finding their voice right now. And they’re young women and they’re brilliant,” Joan O’Dwyer gushed, “And they’re not just writing about homely things, they’re writing about war and injustices to women and women in different countries and their experiences which nobody has ever heard before and I just love that.”

I have to say, I agree with her. But that doesn’t make doing theatre by women easy. While it was a woman who was the most-produced playwright in the United States in the 2017-2018 season and second most-produced in 2018-2019, this is a distinctly modern phenomenon. (That playwright is Lauren Gunderson, playwright of Something Something’s first production of the season, The Revolutionists.) Historical restrictions limited women’s opportunities to write and kept women’s work from the stage for a long time, which means staging women’s plays now is often a choice to focus on contemporary work rather than well-known classics. It doesn’t faze the women of Something Something, but producing a significant amount of new or unknown writers is a risk. Women may be finding their voice now and using it to tell amazing stories, but we have ground to make up.

But boy, are we. O’Dwyer and Morton Woodcock are faced with the best kind of problem when selecting plays: there are almost too many great plays by women. Selecting the next (and next, and next) season is a process of narrowing down the choices, and then amending that list as new plays are written and produced. And if they do a play by someone of the male persuasion? “Well,” Joan quipped, “if the play is written by a man, it has to be a really good play. They have to work five times as hard if they want to get in– for half as much pay!”

Oh, how the tables have turned. And while it is important to the Something Something artistic team to have representation, like all theatres, the point isn’t that the play was written by a woman, but rather that the play is meaningful, inspiring, challenging, or simply entertaining. (The point, I would add, is that women playwrights are writing great theatre prolifically, not in isolated cases of genius.)

Morton Woodcock explains, “It is more about the story and how we think the audience will feel. What it comes down to is that it is a good story and there are good roles. And liking the characters. Like in The Aliens, those guys are so… they’re so incompetent sometimes, but they’re also so funny. They are likable.”

“They’re sexist,” O’Dwyer interrupted.

This didn’t slow Morton Woodcock down for a beat, “But likable.” And so goes theatre. So goes storytelling. You don’t always want to be friends with the characters in a good show. She continued, “We pick plays about humans, humans who should be represented on the stage, but also humans who are flawed. We choose scripts that address those flaws, call out the bad behavior, but sometimes you just have to let the characters be the characters. I wouldn’t do a play that portrayed someone who was really horrible in a positive light and of course we aren’t going to do plays that endorse problematic people.”

“You have to feel empathy for these people,” O’Dwyer added. “But it is going to have to be handled delicately.” That is, after all, what good theatre is: showing people new perspectives and challenging them to reflect and take new perspectives out of the theater and into the real world. A lot of characters are morally gray.

While some plays this season present characters that force the audience to consider a new view point, others take on issues that are often overlooked or downplayed in a male dominated culture, like the decision to become a mother, go back to work, breastfeed in public, or seek help for postpartum depression. Cry It Out focuses on women connected by the experience of new motherhood and the challenges that come with it, something that struck close to home for Morton Woodcock as a new mother. She is also the director of Cry It Out and can relate to the women. “It isn’t sexy or fun to discuss,” she admitted, “Like, maternity leave, ohhh. But it has to be discussed. They talk in the play about how people judge the choices you make, about deciding to have a baby at all. Everyone, other moms included, has an opinion and everyone feels like they are right and if you do it differently, you are a monster. I cried when I read the script.”

I asked both if they had a show they were most excited about. Without hesitation O’Dwyer answered, “I’m really excited about Cry It Out. It has something we don’t often see on stage: new mothers and they are all different.” Cry It Out goes beyond the stereotypes of never getting enough sleep or complaining about changing diapers.

Woodcock Morton also has a favorite: “The one I think is important for people to see it Martie’s play Transformations. This topic, the concept of transgender and gender fluidity, is something that has been growing in the public eye in terms of celebrities and media and people talking about it more but a lot of people still don’t understand. Martie is not giving a lecture or sharing what can be googled; she is sharing people. She is funny and it is well written and she gives each character she plays their own persona that you can relate to. I’m not sure that people realize that representation matters. The types of stories you see, the types of characters you see, impacts your world view. We consume stories to explain our lives, or who we are, but it also normalizes new or different perspectives.”

The 2019-2020 season, Something Something’s fifth, brings five plays, all written by women, to the stage. And Joan has a point, they aren’t just writing about homely things, they are writing about revolution, being human, pride and pain, motherhood, and even boys being boys.

This season is a lot about people you think you know, but are presented in a different way that makes you question yourself and those notions. Confront what you think you know at Something Something Theatre. The season is listed online and below. You can become a season ticket holder now and catch all five performances for $75.00 or purchase single tickets for $25.00 each by calling their box office at (520) 468-6111.

Something Something 2019-2020

Something Something Theatre’s 2019 – 2020 Season:

The Revolutionists by Lauren Gunderson
September 12 – 29, 2019
Set during the height of the French Revolution, four women – a playwright, an assassin, a spy and an empress – bond to tell the story of their turbulent times for future generations. It’s a comedy. Guillotines may be involved. 

TransFormations by Martie van der Voort
October 31 – November 17, 2019
Local actor and playwright van der Voort performs all twelve transgender characters, their close relatives and significant others at a group therapy session. TransFormations’ has been performed to acclaim in Tucson and in cities around the nation, but this will be its first full run!

Apples in Winter by Jennifer Fawcett
November 27 – December 15, 2019
We are with a woman baking a small pie in a kitchen not her own. The room is bare, institutional. There are no chairs, and a knife is attached to the work table with a wire.  This is the story of a mother’s deepest love and most grievous pain.

Cry It Out by Molly Smith Metzler
February 13 – March 1, 2020
Metzler’s sympathetic yet brutally honest play brings characters to the stage not normally seen. Three women, diverse in all ways… except hat they have all recently given birth and are coping with everything that comes with being the main caretaker. Funny and uniquely insightful, written by a young mother.

The Aliens by Annie Baker
March 26 – April 12, 2020
Something Something Theatre produced Body Awareness, another of Baker’s ‘Shirley, Vermont plays’ in our second season. Dramatists Play Service describes The Aliens so darn well that we’re simply forced to run their synopsis here: “Two angry young men sit behind a Vermont coffee shop and discuss music and Bukowski. When a lonely high-school student arrives on the scene, they decide to teach him everything they know. A play with music.” – Dramatists Play Service