OUR 2017-18 SEASON
welcome to our 2017-18 SEASON.
When it comes to planning our season, we don’t think of it so much as selecting plays as curating conversations. Priority One is always to produce excellent art that moves and entertains. But in these times of anti-intellectualism and ideological echo chambers, we also want to create the spark and space for people to come together and engage with ideas and with one another—a sort of “theatrical civic square,” where all are welcome to come consider the pressing issues of our time, and the timeless question of what it means to be human. Our current season provides just such a space.
We kick off with The World of Extreme Happiness by Frances Ya-Chu Cowhig. The conversations at the heart of Cowhig’s searing drama center around women’s agency (or lack thereof), as well as the brutalities of classism and its impact on workers in the fields, factories, and boardrooms alike, all around the world. How, the play asks, can one achieve extreme happiness in a world filled with injustice?
In December, we’ll revisit the special snowglobe that is Christmastown, by local favorite Wayne Rawley. Rawley’s script has become a contemporary Christmas classic in Seattle. Christmastown gives fresh take on the meaning of Christmas; in a world of much darkness, this noir tale brings the light.
Vanishing Point, by the team of Rob Hartmann and Liv Cummins, brings music back into the bathhouse. It's an intriguing story of three women who disappeared when they were at the top of professions. It raises the issue of why society “disappears” women of power, and investigates the costs of following one’s passion
Next is the sometimes dark, sometimes funny, always incredibly human Ironbound, by Martyna Majok. This story about the disappearing working class and the silencing of women, raises incisive questions about how hard people should have to fight just to survive, and whether or not is possible to determine one’s worth in a world that doesn’t value you.
Finally, closing out our 2017/2018 season is Hand to God, by Robert Askins. This darkly comic story puts religion on the hot seat at the hands of a foul-mouthed puppet. Do you see religion as oppressive, or is faith an avenue to hope? What do we reach for when grief threatens to drown us?
Each play in our season tells the story of people at turning points in their lives. All include work from writers with varied voices, told by a diverse group of artists. All provide rich grist for conversation.
Join us. We want to talk with you.