Live Girls! theater is kicking off its 10th anniversary season with the 10th volume of Quickies our annual short play event! Featuring 7 new short plays from all over the country and the UK, Quickies Volume 10 has something for everyone!
Quickies Volume 10 runs April 10th to May 2nd Friday 8pm and Sat 4pm/8pm.
Special PWYC industry nights Monday April 20th, 27th at 8pm
All shows at Live Girls! theater in Ballard 2220 NW Market, Lower Level.
Visit www.livegirlstheater.org for info.
Tickets $15 General * $12 Student/Senior * Under 18 $5 with ID
Saturday 4pm Happy Hour Shows $7, and $1 PBR!
GALA OPENING April 10th, tickets $18, CHAMPAGNE TOAST INCLUDED
Advance tickets at- http://www.brownpapertickets.com/producer/1792
1-800-838-3006
Quickies is Live Girls! trademark event and longest running program. Volume 10 will feature seven exciting new plays from all over the country and the U.K. as well as a two new commissioned pieces from local playwrights and Quickies veterans, Erin Stewart and Darian Lindle. From sweet, quirky comedies like Rachel Barnett’s For a Button, to Celene Ramadan’s reverse duel play Duellette, Quickies 10 truly has something for everyone. As always, Quickies will include up and coming local directors and actors as well as tons of gratuitous entertainment in between the plays. It all adds up to a fantastic, not to be missed event.
The volume 10 line up-
Duellette By Celene Ramadan / Directed by Raymond Williams
The Education of Macoloco by Jen Silverman / Directed by K. Brian Neel
Form vs Content by S.P. Miskowski / Directed by Nikki Przasnyski
For A Button by Rachel Barnett / Directed by Chrystian Shepperd
Alone Not Lonely by Darian Lindle / Directed by Erin Kraft
Cold Soup by Christin Siems / Directed by Nik Perleros
Changing by Erin Stewart / Directed by Meghan Arnette
Quickies also features 15 exciting local actors including- Megan Ahiers, Trick Danneker, Heather Gautschi, Shawnmarie Stanton, Jason Harber, Matt Middleton, Colleen Robertson, James Frounfelter, Rachel Jackson, Chris Bell, Hillary Dixler, Lindsey Newman, Heather M. Bottomley, Kelley Faulkner, and John Smythe.
The production team includes- Jessamyn Bateman-Iino (Stage Manager), Heather Mayhew (Asst. Stage Manager), Eric Mata (Lighting Design), Jessica Strauss (Costume Design) Jen Cabarrus (Props), Michele Hallman (Costume Assistant)
Showing posts with label production. Show all posts
Showing posts with label production. Show all posts
Saturday, April 11, 2009
Wednesday, January 7, 2009
The 20th Century, Friday & Saturday @ 8 pm
JANUARY 9 & 10 @ 8:00pm
the
NORTHWEST PLAYWRIGHTS ALLIANCE
presents
THE 20th CENTURY
by
11 original theatrical vignettes by Northwest playwrights:
Scot Augustson, Lenore Bensinger, Nadine Caracciolo, Lee
Strucker, Steven Deitz, Ki Gottberg, Thomas J. Fields-Meyer,
Rick Rankin, Bryan Willis, Y York, Bill Downs, Dan Erickson.
(originally conceived and curated by Dan Fields)
SHOEBOX PERFORMANCE SPACE
1404 18th Avenue
Seattle 98122
TIKS: $15.
thru ww.brownpapertickets.com
or cash at the door
Info. call 425 - 417 - 1964
Short plays by 12 piquant Northwest playwrights that capture the events,
issues, and personalities of the most bizarre, dense, evolved, and involved
century in the history of the world.
The two performances at the Shoebox Performance Space commence the
NW Playwrights Alliance 20th CENTURY production tour that will take the
company to New York City and the United Kingdom later this spring.
Directed by Amalia Larson
Stage Manager - Kati Dawson
featuring
Alex Hodgins
Ashley Johnson
Evan Kubena
James Tweedale
Sarah Waisman
Jessica Young
NORTHWEST PLAYWRIGHTS ALLIANCE provides a home for regional writers to
test their work via our free monthly reading series at Seattle Rep, an anthology of
short plays, international tours, over-night festivals, professional workshops,
and festivals of fully produced plays
the
NORTHWEST PLAYWRIGHTS ALLIANCE
presents
THE 20th CENTURY
by
11 original theatrical vignettes by Northwest playwrights:
Scot Augustson, Lenore Bensinger, Nadine Caracciolo, Lee
Strucker, Steven Deitz, Ki Gottberg, Thomas J. Fields-Meyer,
Rick Rankin, Bryan Willis, Y York, Bill Downs, Dan Erickson.
(originally conceived and curated by Dan Fields)
SHOEBOX PERFORMANCE SPACE
1404 18th Avenue
Seattle 98122
TIKS: $15.
thru ww.brownpapertickets.com
or cash at the door
Info. call 425 - 417 - 1964
Short plays by 12 piquant Northwest playwrights that capture the events,
issues, and personalities of the most bizarre, dense, evolved, and involved
century in the history of the world.
The two performances at the Shoebox Performance Space commence the
NW Playwrights Alliance 20th CENTURY production tour that will take the
company to New York City and the United Kingdom later this spring.
Directed by Amalia Larson
Stage Manager - Kati Dawson
featuring
Alex Hodgins
Ashley Johnson
Evan Kubena
James Tweedale
Sarah Waisman
Jessica Young
NORTHWEST PLAYWRIGHTS ALLIANCE provides a home for regional writers to
test their work via our free monthly reading series at Seattle Rep, an anthology of
short plays, international tours, over-night festivals, professional workshops,
and festivals of fully produced plays
Wednesday, October 8, 2008
ACT ONE: SIX SUNDAYS at ACT
ACT ONE: Six Sundays
An Actors' Equity Association
Members' Project Code presentation
Four one-act plays by Seattle playwrights & DG Members
PC Panic (world premiere) by Charles Waxberg, directed by Paul O'Connell
Duty, Honor, Profit (world premiere) by Dave Tucker, directed by Charles Waxberg
Canyon's Edge (new revision) by Babs Lindsay. directed by Charles Waxberg
Ibsen's Note (world premiere) by Charles Waxberg, directed by Paul O'Connell
Sundays October 5-November 9, 2008 at 2:00 pm
ACT - A Contemporary Theatre
Buster's Special Event's Room
Kreielsheimer Place, 700 Union Street
Seattle, WA 98101
Admission Pay-what-you-can
Reservations 206-332-7908
Visit http://www.theatre912.com for added evening performances
Featuring
PC Panic
Aaron Heinzen, Laura Kenny*, Christine Mosere*, Thomas Ohrstrom
Duty, Honor, Profit
Kitty Barkley, Dan Borgen, Colleen Carey, Ryan Fields, Ray Irvin, Lee Morris, Michael Oaks
Canyon's Edge
Ruth McRee*, Kate Szyperski*, Steve Treacy*
Ibsen's Note
Terry Edward Moore*, Rachel Pate*, Macall Gordon
*member Actors' Equity Association
Eclectic Theater Presents "THE LITTLE DEATH" by Guild member Rosemary Poole-Carter
The Little Death
Eclectic Theater Company will present the West Coast Premiere of Author/Playwright Rosemary Poole-Carter's The Little Death to kick off their 2008-2009 Season.
The Little Death is a dark Southern gothic drama set in 1880's New Orleans. Playing October 10-November 1 at Odd Duck Studio, 1214 10th Ave. Seattle at 7:30pm Thursday-Saturday and at 2pm on Sundays. There is a Saturday matinee on November 1 at 2pm. Directed by L. Nicol Cabe and featuring Lorrie Fargo, Rik Deskin, Jeremy Thompson and Chiara Motley.
For more info and for tickets go to www.eclectictheatercompany.org.
Rosemary Poole-Carter will be in town for the Opening Weekend and will be signing her latest novel, WOMEN OF MAGDELENE at Seattle Mystery Bookshop, 117 Cherry Street, Seattle,on Saturday, October 11 at Noon. Actor Rik Deskin will be along to present a dramatic reading from the novel. Later that day at 2pm, Mrs. Carter will be at Ballard Library, 5614 22th Avenue NW, Seattle to discuss her novel and present a scene from The Little Death with some of the cast. On Sunday, October 12, after the Sunday Matinee of The Little Death, ETC will present a post-show discussion with the playwright, director and cast.
Eclectic Theater Company was founded in 2000. Dedicated to presenting an eclectic mix of original, contemporary and classic works for the stage and independent screen, ETC strives to produce professional, high-quality theatre in Seattle and the region.
Wednesday, September 24, 2008
THE WAR PARTY Opens at Seattle Public Theatre
Before you go out to Vote in November, go out and see this exciting world premiere of Seattle playwright Vince Delaney (Kuwait and The Robeson Tapes) and directed by Rita Giomi. It opens Friday night September 26th and runs until October 19th.
On the night of her failed reelection bid, an ambitious female senator is confronted by a shrewd young aide. Right in time to coincide with the countdown to the national election, Vince Delaney (Writer 1272, Kuwait) offers SPT the West Coast Premiere of his biting political drama. Do we ask women who run for office to be something more than human?
Also, there will be special panels/talk-backs immediately following the Sunday matinee performances on September 28th and October 5th with Vince Delaney with Seattle City Councilmember Sally Clark and University of Washington (UW) professor Dr. Lance Bennett.
For more info and to buy tickets,, check out Seattle Public Theater website .
On the night of her failed reelection bid, an ambitious female senator is confronted by a shrewd young aide. Right in time to coincide with the countdown to the national election, Vince Delaney (Writer 1272, Kuwait) offers SPT the West Coast Premiere of his biting political drama. Do we ask women who run for office to be something more than human?
Also, there will be special panels/talk-backs immediately following the Sunday matinee performances on September 28th and October 5th with Vince Delaney with Seattle City Councilmember Sally Clark and University of Washington (UW) professor Dr. Lance Bennett.
For more info and to buy tickets,, check out Seattle Public Theater website .
Tuesday, April 29, 2008
A Letter to Someone Who Thinks Making Script Changes Without Permission is Okay
Dear Someone Who Thinks Making Script Changes Without Permission is Okay,
In regards to your email that "it's okay to make changes in a script as long as you don't get caught". Or as you said, "Do it a Re-bar where they can't get you."
To make changes in a script without the playwright's permission is not just unethical and immoral but it is also ILLEGAL.
Period.
It's part of the contract that producers sign when they pay for the rights.
This is not quibbling over semantics or points of view. And while many out there bend and/or break the rules, it does not justify the action.
For instance, there are also many theater companies who don't even bother to pay royalties and/or even ask permission to perform the play. Is that permissible, as well? As long as they don't get caught?
By the way, doing a new play without telling the playwright or licensing company is also illegal and unethical, as well.
Should plays be cut? Probably. Anything "can" be cut, and might be better served for it. But that decision is always the writer's, not some director or producer who is leasing the rights.
That's not to say the production team couldn't have asked for permission to make changes--that happens all the time. And licensing companies and/or the playwright can be pretty accommodating to production needs. (We're not all protective Samuel Beckett tyrants.)
And I know you know there's a difference between Shakespeare that's beyond just the legal aspect of he's dead and his work is in the public domain. Any smart and professional director knows that the playwright is not some control mad tyrant but a valuable resource and respected collaborator. I know many a respected director of classics who would kill for the chance to whisper to Shakespeare in a rehearsal room, "But what the hell is he talking about with this whole 'To be or not to be speech...'"
Playwrights don't write their plays for money. Any money we get is nice but when we do receive any royalties its a pretty paltry sum. If we want money we have to cross over to write TV/film where production companies own the copyright and can change whatever they want. We write for theater because it is more poetic, immediate, more demanding, and ultimately more collaborative than other mediums. So please let's not take artistic participation and control away or you'll find more playwrights jumping ship to other mediums where they can actually feed their kids when others bastardize their work.
My question to you is why do you think it is acceptable for companies to treat another artist with such disrespect for their work? Why would you take away not only their legal right, but also cut them out of the artistic conversation? It's possible that suggesting a cut to a playwright might make them realize that the play is better for it and the change becomes a permanent aspect of the script. In that sense, you might be helping the playwright by asking for permission to make cuts.
So, again, I ask, why wouldn't you want work with the playwright?
Because making selfish choices under the wire hoping not to get caught is making selfish theater. And last I checked, theater was about community and collaboration.
But most importantly, it's the difference between professionals and amateurs. It is not about control. It's not about payment. It is about respect for the work and your fellow artists.
Regards,
A playwright
In regards to your email that "it's okay to make changes in a script as long as you don't get caught". Or as you said, "Do it a Re-bar where they can't get you."
To make changes in a script without the playwright's permission is not just unethical and immoral but it is also ILLEGAL.
Period.
It's part of the contract that producers sign when they pay for the rights.
This is not quibbling over semantics or points of view. And while many out there bend and/or break the rules, it does not justify the action.
For instance, there are also many theater companies who don't even bother to pay royalties and/or even ask permission to perform the play. Is that permissible, as well? As long as they don't get caught?
By the way, doing a new play without telling the playwright or licensing company is also illegal and unethical, as well.
Should plays be cut? Probably. Anything "can" be cut, and might be better served for it. But that decision is always the writer's, not some director or producer who is leasing the rights.
That's not to say the production team couldn't have asked for permission to make changes--that happens all the time. And licensing companies and/or the playwright can be pretty accommodating to production needs. (We're not all protective Samuel Beckett tyrants.)
And I know you know there's a difference between Shakespeare that's beyond just the legal aspect of he's dead and his work is in the public domain. Any smart and professional director knows that the playwright is not some control mad tyrant but a valuable resource and respected collaborator. I know many a respected director of classics who would kill for the chance to whisper to Shakespeare in a rehearsal room, "But what the hell is he talking about with this whole 'To be or not to be speech...'"
Playwrights don't write their plays for money. Any money we get is nice but when we do receive any royalties its a pretty paltry sum. If we want money we have to cross over to write TV/film where production companies own the copyright and can change whatever they want. We write for theater because it is more poetic, immediate, more demanding, and ultimately more collaborative than other mediums. So please let's not take artistic participation and control away or you'll find more playwrights jumping ship to other mediums where they can actually feed their kids when others bastardize their work.
My question to you is why do you think it is acceptable for companies to treat another artist with such disrespect for their work? Why would you take away not only their legal right, but also cut them out of the artistic conversation? It's possible that suggesting a cut to a playwright might make them realize that the play is better for it and the change becomes a permanent aspect of the script. In that sense, you might be helping the playwright by asking for permission to make cuts.
So, again, I ask, why wouldn't you want work with the playwright?
Because making selfish choices under the wire hoping not to get caught is making selfish theater. And last I checked, theater was about community and collaboration.
But most importantly, it's the difference between professionals and amateurs. It is not about control. It's not about payment. It is about respect for the work and your fellow artists.
Regards,
A playwright
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