(performing at the Jo Long Theatre at the Little Carver Civic Center, 226 N. Hackberry St., San Antonio - click for map)
presents details of the 2013-2014 theatre season:
We Are Who We Were: The Migration Project
The project is an examination and celebration of the great migration of the twentieth century on the present day and its impact through the eyes of contemporary playwrights. Last season it was “A Raisin in the Sun”, this year will feature 3 Main Stage productions that highlight the experience that changed the shape of American culture and history including leadership, family, religion and gender politics/ responsibility.
Season 13 FREE Audition Workshop & Season Auditions
September 6-7, 2013
Free Audition workshop training to prepare & encourage and performers for season auditions.
Season 13 Fundraiser
Get dressed up, come have some fun, &help support our season efforts! More details coming!
December 12-15, 2013
A retelling of the Christmas story with a predominately black cast, with narrative, dance, gospel songs and folk spirituals, a unique creation of this prolific poet and playwright.
The Mountaintop * ~ Katori Hall
January 17-February 9, 2014 (no show Jan 18 & Feb 3)
A gripping reimagination of events the night before the assassination of the civil rights leader Dr. Martin Luther King, Jr. On April 3, 1968, after delivering one of his most memorable speeches, an exhausted Dr. King retires to his room at the Lorraine Motel while a storm rages outside. When a mysterious stranger arrives with some surprising news, King is forced to confront his destiny and his legacy to his people.
Crumbs From The Table Of Joy ~ Lynn Nottage
March 28-April 13, 2014
A Black, recent widower and his daughters move to Brooklyn for a better life. Not knowing how to parent, he turns to others for answers, namely his sister-in-law who stands for everything he dislikes. As the racial and social issues of the late 1950s escalate, personal issues between the two explode, prompting him to walk out. A few days later, he returns, with a new wife—a white, German immigrant, and life in the household gets heated.
Theme: “Family Matters”
May 9 & 10, 2014
An evening of original one-act plays and monologues presented by some of the city’s finest!
May 23, 2014
Theatre Summer Camp for Kids *
June 9-27, 2014
Greatness happens with vision, belief, motivation and support. The CCCC and TRG share a common vision to empower young lives to reach the unthinkable! This latest installment will have two camps to facilitate youth from ages 6-18, beginner to advanced!
Season Tickets available soon!
*In partnership with The Carver Community Cultural Center
*All events at The Carver Community Cultural Center unless noted
More exciting events on the way! Join our email list to stay posted
210.364.9501 • POB 12381• San Antonio, TX 78212
(All titles and dates subject to change)
(Click to return to the AustinLiveTheatre front page)
Crew Call for the 2013-14 Palace Season
We're looking for a bunch of awesome Ninjas to help crew the Palace shows this next season. We wanted to get the dates out there so everyone could plan ahead on which shows they'd like to work on. They're all going to be fun. Being a part of our ninja team is a blast. We hope you'll come join us. We backstage ninjas, Audio ninjas, Fly ninja, spot light wielding ninjas, Light board running Ninjas, and costume quick change specialist ninjas. The dates are listed below. Just let us know what shows you'd be interested in helping crew for by sending an email to
, and we'll sign you up to reserve your spot.
Click to view complete list of all eight shows, tech dates, performances, stage managers and assistant stage managers
Introducing the 2013/2014 Subscription Series at the University of Texas, Austin
(click show titles for additional information at UT Performing Arts)
Dial "M" for Murder
by Frederick Knott
B. Iden Payne Theatre October 4 - 13, 2013
"...Original and remarkably good theatre - quiet in style but tingling in excitement underneath." - The New York Times
Set in 1950s London. Tony Wendice concocts a plot to murder his wealthy wife Margot. When the scheme goes awry, he devises a sinister backup plan to get her out of the picture for good. Knott's classic tale, made famous by Alfred Hitchcock's hit film, continues to be one of the most popular thrillers for stage and screen.
By Timberlake Wertenbaker
Oscar G. Brockett Theatre
October 18 - 27, 2013
"...a backstage play with a social conscience, demonstrating the redemptive power of theater and of education." - The New York Times
Adapted from Thomas Keneally's novel The Playmaker, Wertenbaker introduces the audience to an 18th century Australian penal colony. Amid the brutal conditions of the settlement, a Royal Marine lieutenant works with the convicts to present a comedic stage play.
By Sarah Ruhl
Oscar G. Brockett Theatre
February 14 - 23, 2014
"Ruhl's zany probe of the razor-thin line between life and death delivers a fresh and humorous look at the times we live in." - Variety
When a woman answers the cell phone of a recently deceased café patron, she holds on to the device to keep the man alive in a strange yet significant way.
Artistic Directors David Justin and Holly Williams
B. Iden Payne Theatre
March 6 - 9, 2014
"Dance Repertory Theatre...guided its audiences to heaven." - The Austin Chronicle
A showcase of unique and compelling dance works created by nationally renowned choreographers, including a leader of American avant-garde dance, Merce Cunningham.
Music and Lyrics by Lin-Manuel Miranda
Book by Quiara Alegría Hudes
B. Iden Payne Theatre
April 9-19, 2014
"An exuberant, animated shrine to the importance of family ties and being faithful to where you come from." - Ben Brantley of The New York Times
Winner of four 2008 Tony Awards including Best Musical, In the Heights is the captivating journey into New York’s vibrant Washington Heights community. With an invigorating score of Latin pop and hip hop, combined with dynamic dance, this joy-filled story is about finding your place in the world.
Following is the sixteenth chapter of Lars Gustafsson's novel The Dean, translated by Michael Meigs.
Chapter 16: Is This Really A Good World?
“If you sit down, for example, and watch nature programs on television,” said the Dean, “and you’re endowed with normal intellectual capacity, you’ll find yourself with a lot to think about. You can see as clear as day what it’s all about. This cannot be a sympathetic or benevolent world by any stretch of the imagination! We can see that Nature is almost unremittingly evil. It is an incomprehensible, ingenious machine designed to cause pain and to keep on doing that.
“What are those nature programs all about? Small helpless animals hunted down and killed. By larger and stronger, quicker and more cunning animals. They’re hunted down and killed but not spared from suffering, crippling anxiety, even humiliation.
“And the strange thing is that these are presented as educational, more or less instructive programs for the general public. You can almost hear a breathless, apologetic eagerness in the voices of those nature lovers when they try to explain to us how ingenious and charming it is when a wasp lays its eggs in the completely crippled, helpless body of a butterfly pupa. You have the impression that they actually want us to be enchanted by all that! The precision with which those vicious little machines, little more than computer programs, stab their egg tubes into right point in the poor body of the host animal, the predator’s hunting methods and the shrike, a butcher bird, with its cruel attacks on field mice. The ant lion’s trap that doesn’t give its victim a chance, the spider’s ingenious web. Why should we be enchanted with those?
“Can you imagine a crueler way than evolution for developing life on a planet? A more painful, more brutal, more indifferent one?
“Why do people try to hide all that? This world is no warm and cuddly creation. And the only consolation for mankind is that we – at best – can see that’s the way things are.”
That was a theme to which he often returned.
“There is a split between mankind and nature. Yes, and I wouldn’t be in the least surprised if it extended across the whole universe.
“In such circumstances, what is our duty?
“To be unnatural. Naturally! To take on nature wherever it goes, to challenge it, question it, correct it. The first human beings who realized that they didn’t have to put up with all of the plants that happened to be growing in a place, who saw that they could cultivate some of them and pull out the rest, could be considered of greater moral stature than anyone who ever came after them. Theirs was the first step toward artificial control. And the more we use manmade methods to control that evil nature, to turn its own resources against it, the more we are serving divine ends.
“What could those ends be? Maybe for this creation, all of it, to disappear. In a moral sense, wouldn’t that be a much more satisfactory condition?”
# # #
I can’t reproduce all of those monologues by the Dean. There were so many and they were so astonishing. Some of them seemed reasonable to me and others unreasonable. But they enticed me onto a path – on which, I’m afraid, I still find myself.
Later there came a time when he began giving me assignments.
Click 'Read more' to continue Chapter 16
Listings just mentioned via Twitter. Click job title to go to the Zach Theatre website for full description and qualifications required.
Employment & Internships
ZACH is currently accepting applications for positions in the following Departments:
by Dr. David Glen Robinson
Capital T Theatre’s production of The Motherfucker with the Hat (TMFWTH) by Stephen Adly Guirgis fairly screamed “exploitation!” in its promise -- or rather, warning -- of foul language and nudity. As usual , the reality escaped the hype in unpredictable ways. TMFWTH was a far more serious play than its unfortunate title suggested.
The story of TMFWTH was fairly direct. Jackie (J. Ben Wolfe) comes home to the apartment he shared with his love, Veronica (Indigo Rael), after having found a job, difficult to do as a recent parolee from prison upstate. Before Jackie and Veronica begin their weekend-long celebration, Jackie finds another man’s hat in the apartment, and it hadn't been there that morning when he left. The recriminations are lengthy and end with Jackie leaving.
The story looked like a tale of revenge at that point, but in fact it changed quickly into a larger tale of the struggle for life in the worst of circumstances , amidst a shifting mosaic of sobriety and addiction. It could have become a sex farce, but the sexual situations were anything but farcical. The other on-stage characters were Ralph (Aaron Alexander), Victoria (Antoinette Robinson) and Cousin Julio (Rommel Sulit).
As is often the case in Austin theatre, the nudity in the show was all male. Bulky, covering underwear on women does not count. But contrary to expectation, the brief show of bare skin was anything but gratuitous; instead, the revelation (ha!) sharply pivoted the plot.
The foul language in the play merely reflected the street patois of Latino and other ethnic sections of New York City, and playwright Stephen Adly Giurgis revealed a keen ear for spoken language. The script, however, taught no lessons beyond this one. The semantic potential of cursing in literary forms can go much further than this, however. The uses of billingsgate in drama were explored and workshopped in editions of Breaking String Theatre's New Russian Drama Festival last year and earlier this year. There, it was made clear that cursing can open deeper levels in the minds and personalities of characters. Not so here.
by Michael Meigs
Let's get right down to that title. The expletive noun is one of the most offensive combinations in the English language, and many of us get a sharp visceral twinge seeing it used in the title of Guirgis's play. The noun and variants of its subsidiary combinant verb are also among the most common oral expressions in the English language, especially in American parlance.
Words are powerful, especially when they evoke taboos. Publications and individuals may try to exorcise personal responsibility for using them -- or even knowing them -- by altering them into recognizable euphemisms. MoFo, used in a recent Tweet by an admired young Austin director, probably percolated up from American ghettos of poverty. Fug was foisted upon Norman Mailer's 1949 The Naked and the Dead by editors at Andre Deutsch's Allen Wingate press. The doughty men and women of the television series Battlestar Galactica were allowed to say frack. One happy chant of a star marching band of a high school in coastal Virginia has long been "We don't drink! Nor smoke! Norfolk! Norfolk!"
Playwright Guirgis, a successful playwright and screenwriter, probably intended to provoke with that title, one that still can't be mentioned in broadcasts without a beep or printed in most general-circulation publications without a couple of asterisks applied like pasties on a pole dancer's most prominent delights.
But this story takes place entirely within the hard pressed underclass of an outlying borough of New York City. The characters struggle with alcoholism, drugs, crime and one another, and the expletives and taboo speech authenticate the milieu for us. If you're bothered by the title on the poster, give this one a miss, because that's the language used throughout the play by the protagonist and others. Their coarse speech assumes a music and rhythm of its own; one becomes inured to the literal meaning of the obscenities. Guirgis conveys intensely complex meanings and feelings in that impoverished speech.
People talk like that. Not just those in the underclass, of course -- those words are probably applied with a shade more imagination in many a locker room across the country, and I recall the slight uneasiness I experienced when I heard my grown children regularly using the "f-word" (yet another euphemism) without a trace of self-consciousness.
Mark Pickell's Capital T company and their sponsor, Ken Webster's Hyde Park Theatre, have a sharply defined taste for the type of theatre commonly termed edgy or dark. For lack of a better classification, many a reviewer would probably say they're dealing in black humor. These are stories with cynical twists, peopled with characters that are sharply drawn and often obsessive. We thank God that we don't have their flaws.
From the College of Fine Arts, University of Texas at Austin:
Drama for Schools Professor Honored
The Regents’ Outstanding Teaching Award is the Board of Regents’ highest honor. This year, Drama and Theatre for Youth Assistant Professor Katie Dawson was selected as a 2013 Outstanding Teaching Award recipient. She was reviewed on a range of criteria including classroom expertise, curricula quality and student learning outcomes and awarded the honor for demonstrating extraordinary classroom performance and innovation in undergraduate instruction.
Join our Playhouse San Antonio team!
Box Office Attendant/House Manager: The Playhouse San Antonio is seeking 2 friendly, outgoing individuals to join our Front of House team as Box Office Attendants and House Managers. Candidates will have customer service experience, a professional demeanor (both in person and on the phone), and excellent organizational skills as well as a keen attention to detail and a passion for making every patron’s experience pleasant, convenient, and efficient.
Experience & Requirements
- Computer proficiency required including an intimate working knowledge of all applications in the Microsoft Office Suite
- Background in theatre or performing arts highly preferred but not required
- Box office experience including box office software experience preferred but not required
- Must be able to maintain a professional demeanor in a fast-paced work environment
- Must be able to communicate effectively with patrons and colleagues in order to answer patron questions, problem solve, and continue to create a pleasant environment.
- Experience completing financial transactions and inventory tracking highly preferred.
- Hours vary with performance schedule. Evenings and weekends required.
Apply today! Email your résumé with cover letter to Box Office Manager Shannon Bishop at
. No phone calls, please.
Designers: Set, Lighting, and Costume Designers are needed for shows in the The Playhouse Russell Hill Rogers and Cellar Theaters for shows this season and next. Designers are contracted on a show-by-show basis. Please submit resume and photographic samples of your work or drawings to
or mail to The Playhouse San Antonio, P.O. Box 12356, San Antonio, TX 78212. No phone calls please.
Music Directors: Music Directors are needed at The Playhouse for upcoming and future shows. Music directors are contracted for each individual show. Please submit a resume to
or mail to The Playhouse San Antonio, P.O. Box 12356, San Antonio, TX 78212. No phone calls please.
800 West Ashby | P.O. Box 12356 San Antonio, TX 78212 | Office: 210-733-7258 | Fax: 210-734-2651 | Box Office: 210-733-7258
IF MUSIC BE THE FOOD OF LOVE, PLAY ON, Austin Troubadours at Unitarian Univeralist Church, September 6, 2013
Video Scrapbook: University Theatre Guild, University of Texas, 2012-2013
Zeus in Therapy by Douglass Stott Parker, Tutto Theatre at the Rollins Theatre, Long Center, August 16 - 25, 2013
Austin's B. Iden Payne Awards Committee Invites Applicants by August 20
Bottle Alley Theatre Company Seeking Stage Mangers for Second Season
Performance Photos for Monty Python's Spamalot at the Woodlawn Theatre, San Antonio
Photoshoot: The Motherfucker with the Hat by Stephen Adly Guirgis, Capital T Theatre, August 8 - 31, 2013
Auditions in San Antonio for Guys and Dolls, Playhouse San Antonio, September 7 and 8, 2013
Video Promo: Nunsense by Dan Grogan, Gaslight Baker Theatre, Lockhart, August 23 - September 14, 2013
2013-2014 Austin Playhouse Season
Page 21 of 91