JANUARY 27-FEBRUARY 12, 2017
MUSTARD SEED THEATER
BY ROHINA MALIK
Fresh from its sold-out world premiere in Chicago, Yasmina’s Necklace is an unlikely romance between Yasmina, a recent immigrant from Iraq and Abdul Samee, who wants to change his name to Sam and turn his back on his Iraqi and Puerto Rican heritage. St. Louis audiences may remember Rohina Malik from her one-woman show Unveiled which was performed at the Edison Theatre in 2015.
There are almost 60 million refugees and internally displaced people, who were forced to leave their homes because of violence. That’s one in every 122 people worldwide. The number of refugees and internally displaced people has reached its highest point since World War II.
I write plays because I’m deeply concerned about the world we live in. With all our technological advances, we still live in a world where there is too much violence and dehumanization. I spent some time talking to Chicago based Iraqi refugees. It was during those conversations that I felt a strong need to write a play that examines the human cost of war.
My friend saw a woman in a grocery store, a cashier, wearing a necklace, the pendent was in the shape of Iraq, and inscribed on the pendent was “IRAQ.” This was at a time when our country was deep into the war with Iraq, and when I would ask refugees where they are from, if we were outside, they would whisper “Iraq.” And yet, here was this woman, with her necklace, and that’s how Yasmina was born.
Around this time I was thinking of writing about my best friend, she’s a Latina Muslim, wears the veil and is married to an Arab. My friend and her husband are a very funny couple, they don’t have kids, and I began to wonder who, if they had a son in this post 9/11 world, would he be? I asked this question at a time when many Muslim men, due to anti-Muslim bias, were changing their names, and that’s how Sam was born.
Then I wondered, what if Sam meets Yasmina…
Welcome to Yasmina’s Necklace.
THE MADRES by Stephanie Alison Waker
“Taut and psychologically nuanced, this political drama is set during Argentina’s “Dirty War,” as three generations of women in a single family face state terrorism and the complicity of The Church when the pregnant, married daughter is “disappeared.” THE MADRES conveys human rights stakes through vivid characters (men as well as women), wit, and expertly-crafted dramatic tension between what is said and unsaid, seen and unseen.”
- Maya Roth, Director of Theater & Performance Studies at Georgetown University
"More than ever, at this particular time in the history of the United States, the Mothers of the Plaza De Mayo can teach us how to fight tyranny, can teach us the power of activism. And, as a Latin woman, the fact that they are Latina is not only important but empowering to someone like me right now as I try to understand what is happening in my country and how to make my voice be heard. The Mothers of the Plaza De Mayo did this long before us. We must follow their lead. "
-Arianna Ortiz, Actor
After the 1976 coup in Argentina, Jorge Luis Borges famously praised the military Junta saying, “Now we are being governed by gentlemen.” By 1983, the Junta had disappeared an estimated 30,000 Argentines. Once you begin to research the period of history from 1976-1983 in Argentina known as “La Guerra Sucia” or “The Dirty War,” you can’t stop. It was a period where you couldn’t speak your mind without the threat of being disappeared. It was a time when people with “subversive” ideas - such as lower bus fares, helping the poor, fair wages - would be kidnapped, tortured and held in clandestine military concentration camps. It was a time when every Wednesday “subversives” were taken up into a plane, drugged and then dropped into the Atlantic.
Protests were made illegal. A culture of silence prevailed. Those who spoke out, disappeared. The rest, just continued with their lives. The mothers of the disappeared, however, could not just be silent. They marched. Every Thursday, they gathered at the Plaza de Mayo in front of the Casa Rosada and marched for their disappeared children. They marched for their return. And when they weren’t returned, they marched for their grandchildren who they never got to meet. Some of these women were disappeared as well. But they didn’t stop. “Las Locas,” as the dictatorship called them, did not stop.
The parallels between what happened in Argentina during that time and what is happening in our country today are too prescient to ignore. The Junta called it the “National Reorganization Process” or “El Proceso” for short. In the words of General Videla, they were out to “profoundly transform the conscience of Argentina” and considered a terrorist “not only someone who plants bombs, but a person whose ideas are contrary to our Western, Christian civilization." They went after union leaders, student council members, priests who ministered to the poor, journalists who dared to write unfavorably about “the process” and anyone who spoke out with a different point of view. They turned neighbor on neighbor in an attempt to “unite” Argentina. It is estimated that 30,000 Argentines were disappeared during the Junta’s reign from 1976 - 1983.
Many of the women who marched had never been politically active previously, but when their children were snatched while walking to class or sleeping in their own bed, they became activists. They marched first for themselves, then for each other and today so that it never happens again. We must listen to their story. They know the danger in mistaking the devil for a gentleman.
-Stephanie Alison Walker, Playwright, THE MADRES
History repeats itself. Women take to the streets. They march. They fight. They stand up for justice and against tyranny. THE MADRES by Stephanie Alison Walker must be done now.
Three incredible new works that challenge the world we live in today will be presented at Local Lab 2017, Boulder's nationally-respected new play festival. Presented over 3 days at Dairy Arts Center, the weekend also includes 2 parties, a panel with the 3 playwrights presenting new work, and the world premiere of a new devised piece of theater called, "Pain Management."
FLIGHT: torn like a rose, libretto by Ruth Margraff is presented by Peggy Choy Dance in association with Kumble Theater for the Performing Arts, on January 27th and 28th, 2017, in Brooklyn, New York
The premiere of FLIGHT: torn like a rose is presented by Peggy Choy Dance in association with Kumble Theater for the Performing Arts, on January 27th and 28th, 2017, in Brooklyn, New York.
The performance is co-sponsored by Caribbean Cultural Center African Diaspora Institute, and made possible by generous funding from the University of Wisconsin-Madison Graduate School, Caribbean Cultural Center African Diaspora Institute, and Urban Land Interests.
Produced, directed and choreographed by Peggy Myo-Young Choy
Scenario by Peggy Myo-Young Choy and Ruth Margraff
Libretto by Ruth Margraff
Music by Graham Haynes, in collaboration with Haleh Abghari, with Mathias Kunzli
Dancer-Collaborators: Ze Motion, Ai Ikeda, Lacouir Yancey, Briana Butler Victoria Vikström
Costumes by Andrew Jordan with assistance by Asa Thompson
Video Collage by Andrew Jordan and Grant Worth
Lighting Design by Chris Hudacs
Make-up and Hair by Emanuel Garcia
L.A. Theatre Works presents
SEVEN by Paula Cizmar, Catherine Filloux, Gail Kriegel, Carol K. Mack, Ruth Margraff, Anna Deavere Smith and Susan Yankowitz
7 women give voice to the voiceless. A collaboration between 7 playwrights and 7 female activists from around the globe tells the inspiring stories of overcoming adversity to effect real change and improve the lives of women. Part theatre, part documentary, SEVEN is an affirmation of the boundless power of hope and determination.
Thursday, January 26, 2017
Friday, January 27, 2017
Saturday, January 28, 2017
Sunday, January 29, 2017
James Bridges Theater
235 Charles E Young Dr.
Los Angeles, CA 90095
Stephanie Alison Walker is one of the 7 finalists named for 2016 Primus Prize, $10k for emerging woman playwright.
The Francesca Primus Prize is an annual $10,000 award honoring outstanding contributions to the American theater by an emerging female playwright, one who has not yet achieved national prominence.
Chicago D(ART), or Deaf ART, is proud to announce the launch of its inaugural season with David Rush’s Police Deaf Near Far. Loosely based on actual events – Police Deaf Near Far follows the parallel stories of a young Deaf rights activist and two police officers as their worlds tragically collide. Police Deaf Near Far is directed by Chicago D(ART)’s Executive Director, Richard Costes and runs from July 25, 2017 through August 9, 2017. This production will be hosted by Steep Theatre Company at their Edgewater theatre located at 1115 W. Berwyn Ave in Chicago. D(ART)’s vision is to be recognized as a home for art and culture for Deaf artists in the city. They will create quality works in a wide variety of mediums that reflect the underserved d/Deaf and Hard of Hearing communities in Chicago.
David Rush has had productions of his plays at Mark Taper Forum, Manhattan Theatre Club, Playwrights’ Horizons, Stage Left Theater, Chicago Dramatists, Organic Theater, Center Stage, Raven Theatre and others. In addition to Prairie Lights, his credits include Cuttings (at Chicago’s Stage Left Theater), Police Deaf Near Far (Stage Left, awarded a Jeff Award for Best New Work), The Prophet of Bishop Hill, (Chicago Dramatists, nominated for a Jeff Award and winner of an After Dark Award) and Dapples and Grays (Stage Left, winner of an After Dark Award). His Civil War drama, Leander Stillwell, was given a Jeff Award-winning production by Stage Left Theater; its production in Los Angeles was voted one of the Los Angeles Times’ 10 Best of the Year, and the script received a Drama-Logue Award for Excellence in Writing. Rush has also written for television, serving as story editor for Chicago’s Magic Door, for which he won two Emmy awards for writing. He has won three Illinois Arts Council Artists grants, is a member of Stage Left Theater ensemble and a resident writer emeritus at Chicago Dramatists. He has been a professional dramatist/educator for more than 20 years and currently heads the playwriting program at Southern Illinois University Carbondale. In that capacity, he was named Playwriting Teacher of the Year (2002) and Outstanding Artist (2004). His textbook, A Student Guide to Play Analysis, is published by SIU Press.
The New Jersey Repertory Company presents
A World Premiere
By Robert Caisley
May 4 – June 4
Charlie Vaughn, an idealistic young director comes to a small conservative college campus to stage a production of Romeo & Juliet. When he announces his decision to cast a fourteen year-old boy in the role of Juliet, as was the Elizabethan custom, he challenges the "old school" sensibilities of the campus community and invites the wrath of a young black actress who feels her time is due. As a result, Charlie turns to his new colleague – a thirty-year veteran of the drama department – for advice on how to handle the student's challenge to his authority.
FROM NEWCITY STAGE:
The last year has been an eye-opening one for many of us. Events transpired on the local and national level that were often dispiriting and frequently horrifying. Yet throughout the year, the arts community responded in a manner that was as edifying as it was unprecedented: An outpouring of support for diversity, celebrations of inclusion and the formation of an organized resistance to bigotry and intolerance. While many of these acts occurred on stage, many more happened out of the spotlight, in standing-room-only townhalls, cramped meeting rooms and unglamorous offices. In these spaces, plans were made, coalitions were formed and actions were taken by the artists and activists who help make our city a sanctuary of justice to those maligned by mongers of hate. And so it is with great pleasure and even greater honor that we introduce these doers of deeds and makers of change: The 2017 Players. (Kevin Greene)
Photo by Joe Mazza / Brave Lux
Kristiana Rae Colón
Poet, playwright, activist
Kristiana Rae Colón is ambitious and the work she’s done this past year shows it. In the theater, “Octagon,” the slam poetry-play hybrid, and “good friday,” one of Oracle Productions’ final public access shows, were both enormous successes. In the field of activism, she helped coordinate Freedom Square, a community center organized by the LetUsBreathe Collective. With her work twining politics of transformative justice and grassroots activism as well as her inimitable theatrical voice, Colón is well on her way to altering the landscape of what we imagine society can be.
We are thrilled to welcome Jami Brandli to our client roster at The Robert A. Freedman Dramatic Agency
JAMI BRANDLI’s plays include Technicolor Life, BLISS (or Emily Post is Dead!), S.O.E., M-Theory, ¡SOLDADERA!, Sisters Three and A Merry Little Christmas; her short works are published with TCG and Smith & Kraus. Her work has been produced and developed at New Dramatists, HotCity Theatre, WordBRIDGE, Ashland New Plays Festival, The Lark, New York Theatre Workshop, Great Plains Theatre Conference, The Aurora Theatre Company, The Antaeus Company, Launch Pad, Milwaukee Rep, Rogue Machine Theatre, among other venues. She received the John Gassner Memorial Playwriting Award, the Holland New Voices Award and The Aurora Theatre Company's 2014 Global Age Project (GAP) Prize. Technicolor Life recently received its world premiere at Rep Stage as part of Washington DC’s 2015 Women’s Voices Theatre Festival. BLISS (or Emily Post is Dead!) was named in The Kilroy’s THE LIST, which highlights the 46 most recommended new female-authored plays for 2014. A Finalist for the 2016 PEN Literary Award in Drama, Playwrights’ Center Core Writer Fellowship, Princess Grace Award, O'Neill National Playwrights Conference and the Disney ABC TV Fellowship, she was also nominated for the 2013 Susan Smith Blackburn Award. A proud member of the Playwrights Union, the Antaeus Playwrights Lab, and The Dramatist Guild, Jami teaches dramatic writing at Lesley University's low-residency MFA program.
THE YARD in Artistic Alliance with VICTORY GARDENS THEATER COMPANY
Savory Shorts; Palatable Playwrights
January 12 – 14, 2017
Richard Christiansen Theater
All proceeds go to helping support the second season of The Yard and its mission of young people making theatre.
Featuring Short Plays By:
Kristiana Rae Colon
Kristiana Rae Colón's COVENANT takes place on inauguration eve, with four Black teen femmes gathering on a bridge to cast a ritual of protection when an erstwhile hiker ally stumbles upon their ceremony.
The World Premiere of Johnny 10 Beers' Daughter by Dana Lynn Formby presented by Something Marvelous
The World Premiere of Johnny 10 Beers' Daughter
Robert A. Freedman Dramatic Agency, Inc.
Representing writers since 1928.