Join the fun at IT'S A WONDERFUL LIFE, A LIVE RADIO PLAY at ISU CPA Dec 2 to 9

If you've already chosen what you're doing December 1, you may want to consider December 2. That's the day Illinois State University's School of Theatre and Dance offers a rarity -- not just a show with a holiday theme, but a show with performances in December. Since ISU's academic calendar doesn't usually go very far into December, they don't usually schedule performances then, either. But this year...

This year, ISU professor Connie de Veer is directing It's a Wonderful Life, a Live Radio Play, a stage adaptation by Joe Landry from the famous Frank Capra movie that shows all the action as if it were happening in a radio studio in the 1940s. Most of us weren't around to see how radio put on its plays back then, but if you attended A Prairie Home Companion or watched Remember WENN or the radio play episode of Frasier, you've seen actors dropping pages of their scripts in front of standing microphones, switching from one character to the next while the sound effects operator rattles sheets of tin and pops balloons to sound like gunshots.

To see the chaos of a what purports to be a live broadcast adds a fun dimension to the sweet, heartwarming story of George Bailey, the regular guy in Bedford Falls who thinks his life isn't worth anything until an angel intercedes and shows him otherwise on Christmas Eve.

For the ISU production, the cast includes William Olsen as George Bailey; Sarah Seidler as his wife, Mary; Jack VanBoven as angel Clarence as well as Uncle Billy; Breeann Dawson as Violet and little Zuzu; Mark de Veer as mean Old Man Potter along with Gower and Joseph; Marixa Ford as Mrs. Hatch, the stage manager, the Foley artist and the pianist; Everson Pierce as Pete, Burt, Ernie and Sam W.; Jacob Artner as the announcer, Mr. Welch, Martini, Tommy and Harry; Gina Sanfilippo as Ruth and Matilda, and Becky Murphy as Janie, Sadie Vance and Rose Bailey.

According to Connie de Veer in an interview with ISU News, these ten actors will "play all the roles, do all the sound effects, and even present a preshow with holiday songs and an audience sing-along!"

It's a Wonderful Life, a Live Radio Play opens Friday at the ISU Center for the Performing Arts with a performance at 7:30 pm, followed by 7:30 performances on December 3, 6, 7, 8 and 9, and 2 pm matinees on Saturday the 3rd and Sunday the 4th. The December 9th evening performance includes special alumni events including a preshow reception, Christmas Carols, a performance by the ISU madrigals and even an appearance by Reggie Redbird. If you're an alum and you want to participate, you are asked to purchase your tickets before Friday, either by calling Alumni Relations at 309-438-2586 or checking out this link.

For all other performances, tickets are available in person at the Center for the Performing Arts box office between the hours of 11 am and 5 pm Monday through Friday, by calling the box hours during those hours at 309-438-2535, or online through Ticketmaster.com.

ISU's Fall Season Begins Friday September 30th with WAIORA by Hone Kouka

The name Hone Kouka may be unfamiliar to American audiences, but his success as a playwright, actor, director and screenwriter has brought him a great deal of attention in his native New Zealand.

Kouka won an Order of Merit "for services to contemporary Māori theatre" in 2009, and his play, Waiora, which was commissioned for the New Zealand International Festival of the Arts in 1996, has been performed widely there, as well as internationally. Its central messages of family, displacement and a search for something that feels like home have struck a chord around the world.

When Waiora was brought back to the Court Theatre in Christchurch, New Zealand, this year, reviewer Charlie Gates said, "Waiora may be a play about the very specific struggles of a Māori family moving to the South Island, but it is so finely observed that it speaks to universal human feelings of belonging, yearning, crushed dreams and the importance of being true to your own heritage."

Waiora comes to Illinois State University this weekend, in a production directed by Kim Pereira, with a cast led by Thomas Russell as Hone, the father of the Māori family that moves from the North Island in New Zealand to a more urban life in the South. Brandi Jones plays mother Wai, Emilia Dvorak is older daughter Amiria, who embraces the city and its possibilities, Hannah Spohnholtz is younger daughter Rongo, the one in the family having the hardest time giving up on what they left behind, and Alex Levy takes on the role of Boyboy, the youngest child, who is like his father in many ways, but doesn't have an easy time following his lead.

On the South Island, Hone and his family are confronted by two "Paheka," which means they are not Māori, but white people of European descent. For ISU, Mac Byrd plays Steve, the owner of the local mill, who thinks Hone should dance to his tune if he wants to make it, and Emma Harmon plays schoolteacher Louise, who considers herself an outsider like her new pupils.

William Brown, Anastasia Ferguson, Anthony Harden, Cayla Jones and Chloe Szot form the Tīpuna, a group that is akin to ancestors or voices from the past, calling Rongo back to the old ways. (And that's Ferguson you see on the ISU Waiora poster above._

Waiora is certainly not a play you will have other opportunities to see locally, but its "fish out of water" characters, each reacting to change in a different way, should speak to anyone who has moved from a small town to a big one, migrated from one country and one culture to another, or struggled with assimilation as a way to move up society's ladder. 

For more of a context for the play, I recommend this ten-minute video piece, which includes interviews with playwright as well as the director and several cast members from the first production of the play at the New Zealand International Festival of the Arts in 1996.

Waiora opens at 7:30 pm on September 30 at Illinois State University's Center for the Performing Arts, with performances continuing through October 9. Tickets range from $12 to $17 and they are available in person at the CPA Box Office, which is open from 11 am to 5 pm Monday through Friday, or by phone at 309-438-2535. If you prefer to do your ticket-buying through Ticketmaster, that's a choice, too.

Phil Shaw's Memorial Tribute in Three Acts at ISU's CPA August 24

Phil Shaw, 1948-2014

It's an understatement to say that Philip Shaw was a major force in Bloomington-Normal theater.

As an actor, singer, director, playwright, composer, collaborator, mentor, colleague and friend, Phil played a huge role in many lives and many productions, adding an amazing amount of creative energy and too many memories to count to the local theater scene.

Phil Shaw in Send the Light

That's one of the reasons it will take three acts to stage a tribute to Phil, who passed away last February at the age of 65. As an Illinois State University student and alum, he was on and around their stages constantly. As one of the founders of Heartland Theatre, he launched an artistic home for countless local actors and directors. As one of the creative forces behind Send the Light, the documentary style musical drama about bringing electricity to rural communities, Phil illuminated the material with his joy and larger-than-life contributions. As an advisory board member and supporter of New Route Theatre, Phil once again generously shared his talents and his vision to make theater more accessible and more inclusive in Bloomington-Normal.

Given all of that (and countless more performances, directing gigs and contributions to theater around these towns), it makes perfect sense that Phil's family and friends would put on a show to pay tribute. What they've organized is a three-act memorial performance, including photos and presentations. No specific word has come out on what will be included, although Sally Sparks Hoffman Gowdy has talked about "breathtaking rehearsals" that include talented people like Jeni Bratcher-Crafton, Barb Lemmon, Rhys Lovell, Mario Mancinelli, Michael James McNeil, Kyle O'Daniel, Jennifer Rusk, David Shields, and Leslie and Rachel Sompong. It isn't at all surprising that a lot of people want to share their memories of Phil in the way he would've loved most -- on stage.

This Tribute in Three Acts tribute will take place at ISU's Center for the Performing Arts on Sunday, August 24, beginning at 1 pm.

Opening Friday: ISU's DANCING AT LUGHNASA

Sisters are always popping up on the page and on the stage, from Shakespeare's Weird Sisters in Macbeth to Goneril, Regan and Cordelia in King Lear, Chekhov's Three Sisters, the March girls in Little Women, the Southern Gothic Magrath sisters in Beth Henley's Crimes of the Heart, Wendy Wasserstein's New York Jewish Sisters Rosensweig, and last summer's Fail sisters at the Illinois Shakespeare Festival, who found their place in Chicago in the 1920s.

Brian Friel's Dancing at Lughnasa has five sisters, not three, and they're in Ireland, not Russia. Still, it's hard not to see the similarities between Friel's women and Chekhov's. The eldest works too hard and is a schoolteacher and one of the others is smitten with an impossible love. Both sets of women are stuck somewhere provincial and suffocating, somewhere they don't want to be, and money and gender pay big parts in who can do what and go where. Each family also has a brother, and he brings complications that only make their lives more difficult. And yet... Chekhov's women are so very Russian. And Friel's are so very tied to Ireland.

Plus Lughnasa is a memory play, as our narrator, a man named Michael, steps back into the childhood he remembers, with his image of his mother and her sisters what we see on stage. There's another factor that sets the Mundy sisters apart, too, in the poverty that pervades their humble abode. Money may be a problem for the Prozorovs, but it's a grinding reality for Kate, Maggie, Rose, Agnes and Christina Mundy. But what makes Lughnasa stand apart is neither the memory play issue or the financial distress they're in. Instead, it's the sense of joy in the midst of that poverty, of dancing even when the soles of your shoes are wearing very thin.

Dancing at Lughnasa began its life in Ireland, as you might expect, in a very well-regarded production at Dublin's Abbey Theatre in 1990. Much of the Irish cast traveled with the play to London and then New York, including Brid Brennan, who won a Tony Awards for her portrayal of Agnes. That production also took home Tonys for the play itself and for director Patrick Mason.

The Cusack sisters (Sorcha, Niamh and Sinéad -- who've also done Three Sisters, by the way) appeared in a 2009 London revival, while Meryl Streep joined Brid Brennan for the 1998 film version.

Lori Adams directs Dancing at Lughnasa for Illinois State University's Center for the Performing Arts in performances from November 1 to 9. Robert Johnson will play Michael, the narrator who steps back into his youth, with Faith Servant and Natalie Blackman as Agnes and Rose, and Ronald Roman as Gerry, the dashing Welshman who comes back into Christina's life at all the wrong times. Johnson, Servant, Blackman and Roman are all part of ISU's new class of MFA actors. Fiona Stephens will play Kate, the oldest and most responsible sister, while Jaimie Taylor takes on Maggie, the one who likes to laugh. Rounding out the Mundy family, Elsa Torner will play Christina, Michael's mother, and Arif Yampolsky will play Father Jack, the brother who went to Africa as a priest but came back very much changed..You can see all the details here including how to get tickets.

Who'll Be DANCING AT LUGHNASA for ISU

Lori Adams

Fresh off her off-Broadway triumph with Deanna Jent's Falling, director Lori Adams returns to the Illinois State University Center for the Performing Arts at the helm of the lovely and lyrical Dancing at Lughnasa. This memory play, written by Brian Friel,  is set in his native Ireland, and its original production took place at the famed Abbey Theatre in Dublin in 1990.

Friel is sometimes called the Irish Chekhov, and Dancing at Lughnasa bears that out in some respects. Instead of Chekhov's Three Sisters, Friel focuses on five sisters, the Mundys, who live together in a small cottage outside the fictional town of Ballybeg in County Donegal. We see Kate, Maggie, Agnes, Rose and Christina Mundy from the point of view of Michael, Christina's son, as he shares his memories of his mother and her sisters in August, 1936. Their lives are complicated not just by the murky romantic possibilities of that moment in their lives, but also by their difficult financial situation, and the return of their brother -- much changed and very unwell -- after 25 years of mission work as a priest in Uganda.

Dancing at Lughnasa is poignant, sweet and sad, as we learn about the sisters' dreams and disappointments, and how Friel's stand-in, Michael, was affected by it all. The play has been honored with numerous awards, including the 1991 Olivier Award in London and the 1992 Tony Award for Best Play for its Broadway production. You can see the Broadway poster at right.

The 1998 film version, featuring Meryl Streep as oldest sister Kate, also made an impression, winning an Irish Film and Television Award for Brid Brennan, who played Agnes. Brennan had previously won the Tony for the same role in the Broadway production.

Lori Adams has cast MFA actor Robert Johnson as Michael, our narrator who steps back into his youth, with fellow graduate actors Faith Servant and Natalie Blackman as Agnes and Rose, and Ronald Roman as Gerry, Michael's father and the man who rides back into Christina's life with a flourish. Fiona Stephens and Jaimie Taylor will play Kate and Maggie, the taskmaster and the joker in the family, respectively, while Elsa Torner will take on Christina, Michael's mother.

Performances of Dancing at Lughnasa are scheduled for November 1 to 9 at the ISU Center for the Performing Arts. You can click that link under the title to see the Department of Theatre and Dance's entire 2013-14 slate of productions as well as ticket information.

Who's Got the Bitch of Living in ISU's SPRING AWAKENING

The musical Spring Awakening, the first show on Illinois State University's fall schedule, has been cast. Spring Awakening is a gritty, grim, yet intensely alive sort of musical, with Duncan Sheik's pulsing alt-rock music fueling the teen angst in Steven Sater's book and lyrics. Together, they tell the story of just how dangerous it is to keep kids in the dark about their own bodies and sexual urges. Spring Awakening the musical is based on an 1891 play by German playwright Frank Wedekind, and that play was performed at ISU as part of the 2007-08 season under the title Spring's Awakening.

This time out, director Matthew Scott Campbell will be working with Colin Lawrence and Gloria Petrelli as Melchior and Wendla, the confused pair of teenagers trying to navigate a sexually repressive society, and Carlos Kmet as Moritz, Melchior's best friend, who is withering under the pressures of puberty and adolescence.

Those roles were filled by Jonathan Groff, Lea Michele and John Gallagher, Jr., in the original Broadway production that won eight Tony Awards, including Best Musical, Best Featured Actor (for Gallagher), Best Book, Best Score, Best Direction, Best Orchestrations, Best Choreography and Best Lighting Design. The show's steam-punk-meets-rock-and-roll spirit made it a sensation, putting Groff, Michele and Gallagher on the road to stardom. You can get a hint of that rebellious look and energy in the photo below from the Broadway production. Duncan Sheik's unrelenting beat and Sater's twisted, profane lyrics, showcased in knickers, skinny ties, strange hairdos and black socks against a bare-bones set, gave Wedekind's old story a real kick.

For ISU, the Spring Awakening cast will include Joey Banks, Christine Duris, Nina Ganet, Josh Gouskos, Bethany Hart, Ali Lockenvitz, Anne Olson, Gabriella Rivera, Mitchell Schaeflein, Nico Tangorra, Colin Trevino-Odell, and Abby Vombrack, in performances September 27 to October 5 in the Illinois State University Center for the Performing Arts.

Click here for ticket information. Tickets for Spring Awakening are already available at Ticketmaster, and you will be able to get info and tickets for all the fall shows through the CPA box office after August 26.

Special Reading of EDWARD III Monday at ISU Center for the Performing Arts

As part of an array of special events coming from the Illinois Shakespeare Festival as they gear up to their summer schedule, you have a chance to see a staged reading by the Shakespeare Project of Chicago at 5 pm on Monday April 22 at the Illinois State University Center for the Performing Arts. The Shakespeare Project, including ISU alum Brynne Barnard, will perform the play Edward III,  with ISF Artistic Director Kevin Rich reading the title role of King Edward.

Tickets are $10 for the show itself, or $25 if you also want to attend the reception afterwards. They are available at the Center for the Performing Arts box office.

So who was Edward III and why would Shakespeare (and/or Thomas Kyd) have written a play about him?

Well, he was an English king and the son of Edward II. You may've heard of Edward II, who was fairly notorious for bestowing lavish favors on his intimate friends, like Piers Gaveston and Hugh Despenser, and then getting ousted and offed by his wife and her pal, Roger Mortimer. Edward II may've been strangled or suffocated, although the rumors were far more scandalous than that. Psst... Death by red-hot poker in an unfortunate place. That's probably not true, but it's made him far more famous all these centuries later than his son, Edward III, who is probably best-known for starting the Hundred Years War. Oh, and being king during the Black Death.

The play Edward III that may or may not have been written by Shakespeare and/or Thomas Kyd is definitely Elizabethan in origin. It involves this Edward, who was on the throne between 1327 and 1377, somewhere in the middle of his reign, when his son, Edward the Black Prince, was old enough to be a fighting man himself.

The Shakespeare Project says of the play: "Through this political history play we see Britain’s justification for the Hundred Years’ War, and follow the autocratic Edward III as he defends England against the Scottish king while moving to claim the French throne. As he seeks to possess and conquer first a woman and then a country, oaths and honor are brought into question on both sides."

Whether Shakespeare wrote any or all of Edward III, it's certainly an intriguing piece. You can judge for yourself on Monday at 5 in the ISU Center for the Performing Arts.

THE ADDING MACHINE Opens Tomorrow at ISU

Elmer Rice's The Adding Machine has long been cited as a fine example of American expressionism. That means the tone is a bit surreal and strange, with a dark, nightmarish story and characters like Mr. Zero, the antihero hero, who personifies man's inhumanity during the Machine Age more than a real person.

Rice was a major player in American theatre in the early part of the 20th century, even though he wrote only two well-known plays, The Adding Machine and Street Scene, both of which made it to Broadway. Street Scene was made into a 1931 movie starring Sylvia Sidney. The Adding Machine also got a movie, but not till 1969. In that one, Milo O'Shea and Phyllis Diller (!) played Mr. and Mrs. Zero.

The plot is pretty simple, in an expressionistic and surprising sort of way. Mr. Zero is a nothing, a nobody, as you might guess from the name, and he works (and has worked for the last 25 years) as a bookkeeper at the same company. But progress marches on, and the day comes when the boss tells Mr. Zero he's been replaced by an adding machine. His job -- annoying and monotonous as it is -- is the only thing he has, and he strikes out when he's fired, killing his boss. That results in a murder trial and execution, after which Mr. Zero gets sent to the Elysian Fields. Happily ever after in the afterlife? Nope. He's still just a cog in a huge machine, doomed to continue to repeat his mistakes.

Companion pieces for The Adding Machine might be Fritz Lang's Metropolis, an example of German expressionism with a similar critique of industrialization at the expense of the worker, or Charlie Chaplin's Modern Times, which gives the Man vs. Machine issue a comic twist and a sweet, appealing hero, or Stairs to the Roof, a Tennessee Williams play inspired by The Adding Machine.

Third-year MFA director Jeremy Garrett has put his stamp on Illinois State University's Adding Machine, with David Fisch as Mr. Zero and Caitlin Boho as his nagging missus. Others in the cast include Storm Angone, Pat Boylan, Trace Gamache, Lizzy Haberstroh, Matt Helms, Dominique Jackson, Drew Mills, Kent Nusbaum, Jenny Oziemkowski, Jason Raymer, Allison Sokolowski, Kelly Steik, Kaitlyn Wehr and Arif Yampolsky. Jake Wasson is the scenic designer, with Olivia Crosby as costume designer and Deborah Smrz as lighting designer.
The play opens tomorrow night in the ISU Center for the Performing Arts, with performances at 7:30 pm through April 13, and one Sunday matinee on April 7 at 2 pm.

Click here or here for ticket information.

Casting Announced for OKLAHOMA at ISU

With auditions for next semester's productions still on-going, Illinois State University's Department of Theatre and Dance has finished casting for its version of the classic Rodgers and Hammerstein musical Oklahoma!  ISU's production of Oklahoma! will brings all its cowboys and farmers to the Center for the Performing Arts in performances from February 22 to March 2, 2013.

Richard Corley, who directed last semester's Anon(ymous), takes the reins of Oklahoma! with Robbie Holden as Curly, the cowboy with the lovely locks who likes to sing about the bright golden haze on the meadow and those fetching surreys with the fringe on top. Laurey, the object of Curly's affections, will be played by Christie Duffer, while Lauren Sheffey will portray Laurey's Aunt Eller, and Ross Kugman will take on bad guy Judd Fry.

In terms of the subplot/second love triangle, Lauren Pfeiffer, who appeared in Mother Courage earlier this year and the Electra that went to Chicago, will play Ado Annie, the girl who cain't say no, with John Ramseyer as Will Parker, her cowboy beau, and Nico Tangorra, fresh off Noises Off, as peddler Ali Hakim, the other man in Ado Annie's life.

Tickets for ISU's Oklahoma! are already available, and it's probably not a bad idea to get them now if you're interested. It promises to be a hot item since ISU doesn't often choose this kind of material.

Is NOISES OFF the Funniest Play Ever? Judge for Yourself at ISU's CPA

Noises Off, the only play I know that is both an on-stage and off-stage farce, is coming to Illinois State University's Center for the Performing Arts, opening November 2 with a 7:30 pm performance.

I'm not sure -- it's hard to quantify this sort of thing -- but Noises Off may be the funniest play I've ever seen. Because it's about theatre and the crazy interaction between and among theatre people, you may think it's too big an in-joke for the general public. But the first time I saw it, back in the 80s at what was then called the St. Paul Actors Theatre, I went with a bunch of lawyers, and they were all laughing so hard I thought we might need assistance getting out of there.

It's hilarious for the audience, but a pretty tough job for the people that work on it, since the timing of the jokes -- both the physical and verbal hijinks -- has to be perfect, and all the things that go wrong while this hapless company is supposedly performing the farce-within-the-farce, Nothing On, are a sticky wicket to get right. You know the cliche -- dying is easy, but comedy is hard. Noises Off is really, really funny, making it really, really hard. 

On the surface, Noises Off is about a British theatre company taking their terrible sex comedy, Nothing On, on the road. The leading lady is Dottie Otley, who once had some fame on TV, but has faded a bit. Her boyfriend, Garry Lejeune, is also in the company, along with Freddie and Belinda, a pair of middle-aged actors, Selsdon Mowbray, an older actor who has seen better days, and Brooke, a blonde bimbo who is only there because she's involved with the director, Lloyd Dallas. The crew off two includes overworked Tim, who hasn't slept in ages and keeps trying to fix things as they go wrong, and Poppy, who is also "dating" Lloyd, creating all kinds of complications as he tries to juggle his various romantic and theatrical obligations. You can see some of the gags in Noises Off represented on ISU's poster, above, with sardines, a fire ax and a series of flowers among them.

The first act shows us a very messy rehearsal of Nothing On, followed by the backstage goings-on during a performance a bit down the road in Act II, and the front of the set again in Act III, after everything has blown up completely. 

Michael Frayn's script is genius, no two ways about it. There was a movie version in 1992, but it's not nearly as good, mostly because Noises Off is tied so closely to what you can do on stage.

For ISU, Christopher Dea directs an updated version of the script, with a cast that includes Ashlyn Hughes as Dottie, Kyle McClevey as Lloyd, Nico Tangorra as Garry, Kelsey Bunner as Brooke, Lizzy Haberstroh as Poppy, Matt Hallahan as Freddie, Hannah Brown as Belinda, Nicholas Spindler as Tim, and Joseph Faifer as Selsdon.

Click here for more information on ISU's production of Noises Off including how to get tickets. Performances run November 2-3 and 7-10 at 7:30 pm, with a Sunday matinee on November 4 scheduled for 2 pm.

ANON(YMOUS) Stirs the Melting Pot in ISU's CPA

Naomi Iizuka's writing is beautiful. As she uses poetic language and striking images to convey big ideas, she also captures something very human in her work. That's clear in Anon(ymous), now playing in Illinois State University's Center for the Performing Arts in a production directed by MFA directorial candidate Richard Corley.

The human element is provided not only by Iizuka's main character, the boy called Anonymous, here portrayed with heart and weary vulnerability by Owais Ahmed, but in the other voices and faces who step forward to remind us that America's melting pot is composed of individuals, of people who remember beautiful and wonderful things about their homelands, people who lose their souls if they melt into nameless, faceless, interchangeable parts of the American landscape.

The words and the images of this ISU production underline that message, that it's just fine to celebrate what makes you different as well as what makes you the same, and Corley's actors, especially Ahmed as Anon, and Caitlin Boho, Gabriela Fernandez, Martin Hanna, Kent Nusbaum, Omar Shammaa and Taylor Wisham in the ensemble, embrace the material with warmth and commitment to individual characters.

The CPA is a large space for a show like this, but John Stark's set design, with towering panels of sheet metal, provides good atmosphere and tension. There are some striking images here, especially when staging, performances, and scenic and lighting effects all come together, as in the sweatshop scenes with the women in the background moving like automatons, clothing strung over their heads, and when Anon and his friend Pascal take a train ride into the night. The way Corley has staged the end, when Anon finds his version of home, also creates a nice moment.

Mark Spain's costumes and some complicated pieces, like a giant metal bird and a huge butterfly, contribute to the experience, as does Mark Maruschak's atmospheric lighting design.

If I have a complaint, it's that the pace was a bit sluggish on opening night. I clocked Anon(ymous) at 1:15 when I saw it last; this time it was 1:40. Faster playing time and cue pick-ups would've kept the drama clicking along and better involved us in Anon's odyssey across America.

ANON(YMOUS)
By Naomi Iizuka

Illinois State University
Center for the Performing Arts

Director: Richard Corley
Scenic Designer: John C. Stark
Costume Designer: Mark Spain
Hair and Makeup Designer: Kristen Kucek
Lighting Designer: Mark Maruschak
Voice and Dialect Directors: Connie de Veer and Heidi Harris
Fight Director: Paul Dennhardt
Stage Manager: Nicole Pressner

Cast: Owais Ahmed, Caitlin Boho, Chloe Ewer, Gabriela Fernandez, Martin Hanna, Anthony Leyva, Kent Nusbaum, Omar Shammaa, Hisako Sugeta, Jaimie Taylor, Erica Trumpet, Taylor Wisham.

Remaining Performances: October 3, 4, 5 and 6 at at 7:30 pm

Running time: 1:40, played without intermission

For ticket information, click here.