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Archive for the ‘2018 Season’ Category

Headwaters New Play Festival 2018

Sun. Sep. 30

2018 FESTIVAL SELECTIONS

Sanctuary, North by R.W. Schneider
Jordan, Montana, population 600. It’s the early spring of 1981 and the mostly unpaved streets of the town have thawed into mud and slush. Hell Creek Bar is one of two in the settlement. Inside there’s lots of dark wood, a pool table and a jukebox. A coin phone is affixed to the wall; the names of beers glow in neon. The youngest son of a very famous and very masculine writer grows up brilliant but bi-polar and often inhabiting a female alternate persona. He’s acquired a wife, five children and a medical degree, but for much of his life he’s pursued the provisional: projects invented during fits of manic energy only to be abandoned weeks or months later. Now he’s moved to a remote hamlet near the Canadian border where he’s the only doctor for a hundred miles around. This is the place he’s chosen to make his stand: permanence, mental stability and masculinity — or die.

 

Hazardous Materials by Beth Kander
The play takes place in one Chicago apartment, in two different eras. In 2015, new co-workers Hal and Cassie are investigating the residence where an elderly Jane Doe just died; in 1955, two strangers, Esther and Lynley, become tentative friends. In alternating scenes, two stories unfold within the same walls: As Hal and Cassie pick through the physical wreckage of a stranger’s life while dealing with their own emotional detritus, Lynley and Ester attempt to connect across very different worlds. With each object or truth unearthed or ignored in each era, one small apartment unfurls as home to timeless human longing.

 

The Wizard of Oz

Wed. Jan. 31

by L. Frank Baum
Music and Score of the MGM film by Harold Arlen and E.Y. Harburg
Background Music by Herbert Stothart
directed by Emily Van Fleet

We’re off to see the Wizard! Experience this time-honored story as Dorothy travels from the plains of Kansas to the magical world of Oz. Adapted from the classic 1939 film by MGM, The Wizard of Oz takes our young heroine on a fantastical journey of adventure and adversity. Complete with a scarecrow, a tin man, a not-so-fearless lion, a wicked witch, and a little dog, too. So grab your friends and your ruby slippers and get ready to be blown away.

Venue: Main Stage
Genre: Musical. Family. Fantasy.
Rating: G 


ABOUT THE SHOW 

Creative Team
Director – Emily Van Fleet
Music Director – Ian LeRoy
Choreographer – Bethany Eilean Talley
Scenic Design – Robert Mark Morgan
Costume Design (humans & puppets) – Asa Benally
Lighting Design – Matthew Schlief
Sound Design – Dustin Lacy
Puppet Design & Fabrication – WYNOT Productions

Management Team
Stage Manager –  Devon Muko*
Asst. Stage Manager – Nia Sciarretta*
Asst. Stage Manager – Lisa Tinker
Asst. Stage Manager – Michael George
Dance Captain – Scott Kuiper*

Cast
Dorothy Gale – Yael Chanukov
Aunt Em/Glinda – Caitlin Wise*
Uncle Henry/Emerald City Guard – Zayaz Da Camara
Hunk/Scarecrow – Regina Fernandez
Hickory/Tinman – Claudio Venancio
Zeke/Cowardly Lion – Antony Terrell
Miss Gulch/Wicked Witch – Anne Faith Butler*
Prof. Marvel/Wizard – Christy Brandt*
Ensemble – Rachel Maria, Ines Scott Kuiper*, Heidi Carann Snider, Kietraille Sutton

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Director’s Note: Emily Van Fleet
I don’t need to tell you that The Wizard of Oz is a timeless classic. The story of Dorothy and her unruly canine has been retold and reimagined for over 100 years, from the original novel by L. Frank Baum published in 1900, to the 1939 MGM film, and spin-off stories like the 1978 film The Wiz, and the recent novel-turned-hit-Broadway-musical, Wicked. But what makes it timeless and why keep telling this story?

To answer, let’s explore why we tell fairy tales at all and what keeps them relevant over time. Fairy tales serve two major functions: escape and moral instruction. They take us away from our humdrum existence, transporting us to another place and time, showing us what the world could be. Since the mid-1950s, when this story became mainstream, American society has arguably been experiencing an identity crisis, one that continues to intensify. People were trading rural life for urban industry, separating individuals from communities. More recent technological advances have only intensified this sense of isolation, pulling us further away from true connection and common understanding.

This story is loved so fiercely because people of all ages can identify with its characters. As a youngster, I identified with Dorothy, never being understood or acknowledged properly by adults (heck, sometimes I still feel that way). Perhaps in 15 years, I’ll identify more with the curmudgeonly Ms. Gulch, who can’t get any peace because that pesky dog keeps rummaging through her garden (oh who am I kidding, that’s me now too!). Personally, I have felt empathy for every one of these brainless, bumbling, heartless, scaredy-cats. Because they are all me. They are all us. And we can always learn from them.

This story’s relevance comes from our yearning for “home,” whether it’s a literal house, family and friends who care for us, a country we’re proud to belong to, or inner purpose and enlightenment. As a member of today’s audience —right here, right now,  sipping wine or popping candy—we have the opportunity to experience it for the first time because we share a common perspective based on what we know has happened today in Creede: the weather is nice, the kids are having a blast at day camps, the rodeo is in full swing, and we need to pick up hot dog buns for the 4th of July. Likewise, we have a shared perspective based on what we know is happening in the world: the fight for equality, polarization in politics, economic anxiety, safety at home and abroad. It gets heavy. But thankfully, Dorothy and friends have it figured out! The moral they show us is simple yet difficult to enact, but it is as important now as it’s ever been. We are better as individuals when we stick together, and true empowerment is achieved by building others up, not tearing them down. Family, love, a sense of belonging: they’re what’s really important. We can find the connection we seek. It’s all around us – and not just over the rainbow.

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The Wizard Of Oz is presented by arrangement with Tams-Witmark Music Library, Inc. 560 Lexington Avenue, New York, New York 10022
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Guadalupe in the Guest Room

Mon. Jan. 22

by Tony Meneses
directed by Sara Guerrero

Guadalupe has lost a daughter, Steve has lost a wife, and neither of them can find enough common ground to talk about it. Coupled with the fact that neither of them can speak the other’s language, they find a new way to connect: through an unlikely love of Telenovela–the wildly popular Latin American soap opera. How can such different people come together and take a step toward healing? Guadalupe offers a profound look into the complexities of language, grief, loneliness, love, laughter, and new beginnings.

Venue: The Ruth
Genre: Drama
Rating: R for some strong language, adult content

ABOUT THE SHOW 

Creative Team
Director – Sara Guerrero
Scenic Design – Uldarico Sarmiento
Asst. Scenic Design – Natalia Avila
Costume Design – Celia Kasberg
Lighting Design – Mandi Wood
Sound Design – Becca Pearce

Management Team
Stage Manager – Devon Muko*
Asst. Stage Manager – Michael George

Cast
Guadalupe – Stephanie Diaz*
Steve – Dustin Bronson*
Raquel – Regina Fernandez
Roberto – Miguel Nuñez*

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Director’s Note: Sara Guerrero
I’m delighted to be well received here at Creede Repertory and pleased to welcome you all to the production of GITGR. A play that invites us into the lives of a small family mourning the loss of a loving daughter and wife, Claudia. One person, two worlds. Two worlds that connect a grieving mother and a son-in-law. In their own way, the two attempt to move forward despite bearing their grief separately. The distance between them staggers their ability to heal, communicate, accept, set aside grievances, face fears, and mourn together. Will the love they had for Claudia be enough to bring them together and to accept her passing? And, how?

Recently, my family and I experienced the loss of my beloved grandfather. It brought us physically together and emotionally pulled us apart. Everyone grieving but mostly alone. Through the time planning his services we made ordinary everyday discoveries that broke our barriers. Like the simple act of drinking coffee and eating pan dulce (sweet bread) together, something grandpa always loved and how he started his day. Uncovering his favorite album leading us all to sing and dance until the wee hours. And, the stories, the endless stories he once told and lived that we laughed and shared. In those ordinary everyday moments, we came alive and together.

Maybe grandpa, in his quiet way, urged us to be there for one another. And through loving him we shared our love for one another. Maybe, in our play, something in the “ordinary everyday” that is Claudia will help bring these two worlds together.

I dedicate this to the memory of my loving grandparents: Juanita Robles (oak), our tree of strength and wisdom and Cruz Sarmiento (tree branches), our branches of courage and love.

“There is no death, daughter. People die only when we forget them,” my mother explained shortly before she left me. “If you can remember me, I will be with you always.” Isabel Allende

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Guadalupe in the Guest Room is presented by special arrangement with Dramatist Play Service, Inc., New York.

Guadalupe in the Guest Room was originally produced by Two River Theater Company. John Dias, Artistic Director; Michael Harst, Managing Director.

*Member of Actors’ Equity Association the Union of Professional Actors and Stage Managers in the United States.

Barefoot in the Park

Mon. Jan. 22

by Neil Simon
directed by Michael Perlman

Corie is a romantic free spirit. Paul is a conservative young lawyer. This classic romantic comedy follows these six-day-old newlyweds as their dream marriage and five-story walk-up apartment fall apart in front of their very eyes. This hilarious and profoundly touching 1963 play by Tony and Pulitzer Prize winner Neil Simon explores universal questions about love, compatibility and relationships. Sometimes unpacking the emotional baggage is the biggest move of all.

Venue: The Ruth
Genre: Romantic Comedy
Rating: PG for mild language


ABOUT THE SHOW 

“With Neil Simon, you can sort of walk out of the theater and hum the jokes, like humming the tunes from a musical.” — David Ives, Playwright

Creative Team
Director – Michael Perlman+
Scenic Design – Tristan Jeffers
Costume Design – Asa Benally
Lighting Design – Mandi Wood
Sound Design – Elisheba Ittoop

Management Team
Stage Manager – Nia Sciarretta*
Asst. Stage Manager – Alex Skaar

Cast
Corie Bratter – Caitlin Wise*
Paul Bratter – Dustin Bronson*
Corie’s Mother, Mrs. Banks – Christy Brandt*
Victor Velasco – Logan Ernstthal*
Telephone Repairman – Antony Terrell

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Director’s Note: Michael Perlman 
Welcome to 1963. A time in our history when everything seemed to be in flux: the younger generation was proudly standing up for its values, the role of women’s voices in our society was moving closer to the center, and America was about to be confronted with its most turbulent time in many years. In other words, a time of transition.  In many ways,  Barefoot in the Park can seem to be a step behind the revolution that was occurring surrounding its debut on Broadway. The truth is, however, that transition is at the heart of what Barefoot is about. Each of our characters is undergoing a shift from one phase in life to the next and discovering that it is much more difficult than they ever expected it to be. Whether it’s getting married, becoming an empty-nester or accepting the fact that as time marches on, the effects of age catch up with us, Neil Simon captures something essential about the human experience in these characters’ experiences. As we know, the only constant in life is change.  Well, and maybe the everlasting joy and catharsis great writers like Neil Simon can give to those of us lucky to be in a room with his characters.

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Barefoot in the Park is presented by special arrangement by Samuel French, Inc.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
+ Member of the Stage Directors and Choreographers Society

9 to 5

Mon. Jan. 22

Music and Lyrics by Dolly Parton
Book by Patricia Resnick
Based on the 20th Century Fox Picture
directed by Amanda Berg Wilson

A toe-tapping smash musical with music and lyrics by the one and only Dolly Parton. What happens when three female co-workers are pushed to the limit by their sexist, lying, conniving boss and decide to take matters into their own–very capable–hands? Based on the groundbreaking and popular 1980 film, this hilarious and timely story about friendship and revenge will leave you feeling triumphant and your heart singing. Cause when the going gets tough, What Would Dolly Do? Write a hit musical, darlin’!

Venue: Main Stage Theatre
Genre: Musical. Comedy.
Rating: PG-13 for mild language, fantasy violence, comedic drug use


ABOUT THE SHOW 

Creative Team
Director – Amanda Berg Wilson
Music Director – Ian LeRoy
Choreographer – Maddy Apple
Scenic Design – Robert Mark Morgan
Costume Design  – Tatyana de Pavloff
Lighting Design – Matthew Schlief
Sound Design – Dustin Lacy

Management Team
Stage Manager – Nia Sciarretta*
Asst. Stage Manager – Devon Muko*
Asst. Stage Manager – Alex Skaar
Asst. Stage Manager – Michael George
Dance Captain – Emily Van Fleet*

Cast
Violet Newstead – Kate Berry*
Doralee Rhodes – Emily Van Fleet*
Judy Bernly – Regina Fernandez
Franklin Hart, Jr. – Zayaz Da Camara
Roz Keith – Anne Faith Butler*
Joe/Others – Scott Kuiper*
Dwayne/Others – Antony Terrell
Josh/Others – Claudio Venancio
Maria/Others – Rachel Maria Ines
Dick/Tinsworthy/Others – Logan Ernstthal*
Secretary/Others –  Yael Chanukov
Secretary/Others – Heidi Carann Snider

Band
Conductor/Keys – Ian LeRoy
Guitar – McKinley Foster
Bass – Krista Kopper
Drums – Vita E. Cleveland

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Director’s Note: Amanda Berg Wilson
9 to 5 is the 2009 musical adaptation of the 1980 movie that is the 20th top grossing comedy film of all time. It launched Dolly Parton to multi-hyphenate stardom, has an 82% approval rating on Rotten Tomatoes, and the American Film Institute lists it as one of the top 100 funniest movies ever. Needless to say, the movie is beloved.

The musical 9 to 5, presented here to you in what we’ve crafted to be a great romp of a production, preserves what is so essential about the movie. Like its cinematic predecessor, it is the story of three low-status working ladies whose degradation at the hands of their “smarmy, pompous, his own biggest fan” predator of a boss drives them first to fantasize, then to actualize, a comeuppance.

As a director, I love that the musical keeps the story in 1979, instead of updating it for today. It has allowed the designers and me a delicious deep-dive into a particular and brief cultural moment–the no-longer-70’s, not-quite-80’s feel of 1979. Disco was on its way out, as was any possibility that the Equal Rights Amendment would be ratified by two-thirds of the states and made a part of our constitution. Reaganism was on its way in, and the second wave of feminism had crashed, with the third wave not to arrive until a decade later. Women were integrated into the workplace, but rarely with any leverage or power. 1979 is one of those strange in-between time periods in American history, and its transitional quality lends our musical such specificity and delightful nostalgia.

But while this story is firmly planted in 1979, it is right on time for now. A way to lean-in to our current #metoo moment without having to feel so damn despairing about the whole mess. A reminder that we’ve come a long way, baby, but still have far to go.

9 to 5 celebrates the joy to be found when we can finally and definitively call out the “sexist, egotistical, lying, hypocritical, bigots” among us, and actually kick the sonofaguns out.

And ultimately, it’s for all of us, male or female, who have been kept down by the old systems, and are itching for the new systems to be born, who are ready for “a better day.”


Originally produced on Broadway by Robert Greenblatt, April 2009.
9 to 5, The Musical is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Miss Holmes

Mon. Jan. 22

by Christopher M. Walsh
based on characters by Arthur Conan Doyle
directed by Jessica Jackson

An anonymous note, a fearful wife, and a pair of curious shoes? Sounds like a perfect case Holmes and Watson. Ah but there’s a twist: Miss Sherlock Holmes and Dr. Dorothy Watson sleuth their way through the twists and turns of this classic mystery. The Chicago Tribune calls it “a cunning and highly enjoyable gender-bent take on Sir Arthur Conan Doyle’s maddeningly brilliant detective.” If you fancied Around the World in 80 Days, you’ll love the lightning-quick pace and skillful character swaps of Miss Holmes. The game’s afoot!

Venue: Main Stage
Genre: Detective, Mystery, Suspense
Rating: PG for some suspense

ABOUT THE SHOW 

Creative Team
Director – Jessica Jackson
Scenic/Lighting Design – Matthew Schlief
Costume Design – Tatyana De Pavloff
Sound Design – Becca Pearce
Fight Choreographer – John DiAntonio
Asst. Director – Dustin Bronson

Management Team
Stage Manager – Devon Muko*
Asst. Stage Manager – Alex Skaar

Cast
Sherlock Holmes – Kate Berry*
Dorothy Watson – Caitlin Wise*
Lizzie Chapman/Peggy/Martha – Heather Michele Lawler*
Elizabeth Garrett Anderson/Mrs. Hudson/Eudora Featherstone – Stephanie Diaz*
Thomas Chapman/ Superintendent/Orderly – Scott Kuiper*
Mycroft Holmes/ Vagrant/Edwin Greener – Dustin Bronson*
Geoffrey Lestrade/Orderly – Logan Ernstthal*
Michael Stamford/Reginald/Orderly – Zayaz De Camara

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Director’s Note: Jessica Jackson
Were women to “unsex” themselves by claiming equality with men, they would become the most hateful, heathen, and disgusting of beings and would surely perish without male protection. – Queen Victoria in a private letter to Sir Theodore Martin, 1870.

I think he will probably come round in time, I mean to renew the subject pretty often. –  Dr. Elizabeth Garrett Anderson upon her father’s objection to her pursuit of medicine, 1860. She became Britain’s first female licensed physician.

I adore a juicy mystery. Keep me on the edge of my seat. Keep me guessing. Keep me one step behind the mind of the brilliant detective. In Miss Holmes, Christopher Walsh gives us two incredible mysteries: 1. Who is behind the mysterious letters and murders? 2. What if Sherlock Holmes and Doctor Watson were women?

Walsh wrote a play that turned on one simple alteration to literary history and its oceans of luminous male masterminds. Into that ocean he dropped a female Sherlock Holmes and Dr. Watson. The females of 19th century literature are almost entirely supporting characters: virtuous wives, sisters who die of wasting diseases, and plucky virgins who become virtuous wives (or die of wasting diseases). Walsh’s play is entertaining, nostalgic, and gives Sherlock Holmes fans everything we love about his mysteries – while making the daring choice to place England’s greatest mind in the head of a woman.

Sir Arthur Conan Doyle wrote during a century that defined literature for the English-speaking world. This period gave us Dickens, the Brontes, Thackeray, Trollope, Collins, Eliot, Stevenson, Hardy, Wilde, both James’, Byron, Keats, the Shelleys, Kipling. During this same century, and arguably for every century prior, the acceptable range of women’s behavior and morality was perilously narrow. A woman’s destiny was to devote themselves to the domestic sphere and play supporting roles in the  adventures of husbands, brothers, fathers. Consequently, female characters played supporting roles in most of literature.

There are more female protagonists in today’s culture, but we haven’t gained as many as you’d think: In the top 100 grossing films of 2017, females comprised 24% of sole protagonists,  37% of major characters, and 34% of all speaking characters. My wish is that bookish nerd-girls like me see themselves reflected in the smart, brave, resilient characters named Holmes and Watson. You aren’t supporting characters in someone else’s story. You are the protagonist. Get out there. Catch the killer.

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Produced in special arrangement with Dramatic Publishing, Woodstock, Illinois.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.