The plays listed here comprised the major shows in the Stage Left 2013-2014 Season. There were fully produced plays as well as experimental theater events and productions by other theater companies who rented our space. We hope you were able to attend these shows and that you found things to pique your interest and keep you coming back to Stage Left Theater.
By David Hare
Directed by Robert Nelson
Read by John Orr, Paul F. Ruch, Marek Nelson, Dale White, Vicki McBride, Robert Nelson, Mike Noel, MaryJo Rudolf, Judy Albrecht, Allen Eickemeyer, Michele Lamb, Roseanne Lasater, Robert Pillsbury, Kim Roberts and Bill Sawatzki
2013 is the tenth anniversary of the 2003 invasion of Iraq.
To mark this anniversary, Stage Left presents a staged reading of David Hare’s “STUFF HAPPENS”.
Using direct quotes meticulously culled from interviews and public appearances, combined with the playwright’s nuanced re-imagining of what went on behind closed doors, Hare has fashioned a historical narrative and human drama that presents the build-up to the Iraqi conflict in all of its haphazard notoriety.
Ingmar Bergman’s adaptation of Ibsen’s “A Dolls House”
Translated by Frederick J. Marker and Lise-Lone Marker
Directed by Wes Deitrick
Starring Jason Young, Nicole Petrilli, Kristin McKernan, Marek Nelson and Nick Wittman
A Doll’s House is a three-act play in prose by Henrik Ibsen. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month. The play is significant for its critical attitude toward 19th century marriage norms. It aroused great controversy at the time, as it concludes with the protagonist, Nora, leaving her husband and children because she wants to discover herself. Ibsen was inspired by the belief that “a woman cannot be herself in modern society,” since it is “an exclusively male society, with laws made by men and with prosecutors and judges who assess feminine conduct from a masculine standpoint.”
Nora is a boldly transformed theatrical paraphrase and a penetrating clarification of A Doll’s House. Bergman lays bare the inner essence of Ibsen’s modern tragedy. The title of this version clearly reveals its focus. Its undivided concern is with Nora’s existential struggle to free herself, by breaking out of the stifling atmosphere of a moribund world of masks and roles in which she finds herself a prisoner.
Let Me Down Easy
By Anna Deavere Smith
Directed by Matt Day
Read by David McCallum, Betty Hubbard, Dennis Pham, Roseanne Lasater, Michele Lamb, Richard Lasater, Ron Ford, Judith Albrecht, Anastasia Price, Isa Bella Colella, Robert Nelson, Mary Jo Rudolf and Bob Gariepy
In Let Me Down Easy, Anna Deavere Smith brings us voices whose unique perspectives and personal experiences of facing illness and navigating our health-care system ring too true to be denied. The 20 characters she uncannily channels range from regularly banged up rodeo star Brent Williams, to cycling champion and cancer survivor Lance Armstrong, to outspoken former Texas governor Ann Richards, who eventually succumbed to that disease, along with Vagina Monologues creator Eve Ensler and risk-taking choreographer Elizabeth Streb, among others. Smith takes you on a journey of insight, empathy, and understanding through a remarkable night of thought-provoking theater you’ll long remember. The New York Times describes it as “a vivid compendium of life experienced at its extremes, drawn equally from the suffering and the ministering sides of the story,” filled with “details that add to the verisimilitude of the testimony.”
(Presented as a staged reading)
I Read About My Death In Vogue Magazine
By Lydia Sargent
Directed by Matt Day
Starring Jaclyn Archer, Sara Nicholls, Esa Lariviere, Moira Moore and Phletha Wynn
Vogue Magazine is a feminist satire telling of the events leading up to that fateful day when 1960s’ feminists read about the death of feminism in various mainstream women’s magazines, and elsewhere. The Boston Phoenix called it a ”rich and funny wake and sing for the post-feminist age.”
The play is a tongue-in-cheek response to the attempt by mainstream cultural outlets to redefine the women’s movement and feminism , celebrate the mainstream version, and then declare feminism dead and done with — at least once a year since 1975.