Friday, March 26, 2010

Announcing the 2010-2011 Season: Staged Readings Series

Civic Theatre of Greater Lafayette will produce five staged readings at the historic Monon Depot Theatre in downtown Lafayette during the 2010-2011 season. All staged readings are Pay What You Can events.

The Diaries of Adam and Eve, adapted by David Birney from "Adam's Diary" and "Diary for Eve" by Mark Twain
  • * September 14, 2010
  • * Originally broadcast on American Playhouse, this delightful adaptation is set in a Victorian garden and is structured as a series of diary entries by Adam and Eve. At first, Adam is puzzled by the new arrival in the garden and he is suspicious of her disturbing appetite for fruit. Eve, believing herself to be some sort of experiment, is curious about another experiment in the garden, perhaps some sort of reptile or possibly architecture. Eve gives names to everything, much to Adam's annoyance. He tries to ignore her, so she seeks companionship among the animals, particularly with a certain snake.

How I Learned to Drive by Paula Vogel

  • * November 9, 2010
  • * A wildly funny, surprising and devastating tale of survival as seen through the lens of a troubling relationship between a young girl and an older man. How I Learned to Drive is the story of a woman who learns the rules of the road and life from behind the wheel.

As Bees in Honey Drown by Douglas Carter Beane

  • * February 1, 2011
  • * Evan Wyler has just finished a photo session with his shirt off. No, he's not a supermodel; he's a twenty-something New York writer savoring the success of his debut novel. Defined by the media as the "hot-young" thing-of-the-moment, Evan captures the attention of Alexa Vere de Vere, a black-clad woman of mystery who's made the world of celebrity her home. In fact, it's her religion. Maybe she's a record producer, maybe she's a film agent; what is clear is that she wants Evan to write the screenplay of her life story. Just spend time with me, she says, and you'll learn all you need to know. To Evan, who is gay, it's like an invitation into the world of Auntie Mame, Sally Bowles and Holly Golightly all rolled into one. But once Evan fools himself into believing he loves Alexa, she vanishes, leaving him to foot the bill for all the dinners and Armani suits they've gone through. Trying to find Alexa, Evan discovers a chain of people who have fallen under her spell and acted as her meal ticket. For Alexa has no money, no job, no life of her own – only the one she's created for herself. As Alexa puts it: "You're not the person you were born – who wonderful is?"

World Premiere of Original Scripts, to be determined

  • * March 15, 2011
  • * In the four years the Staged Reading Series has been part of Civic Theatre of Greater Lafayette, at least one has been an original script written by a local playwright. In the 2007-2008 season, two original one-act plays were part of the season: Pia Zadora Sings Gershwin by Deborah Gray and A Very Bad Day for Brandon Butterworth by Scott Haan. In the 2008-2009 season, Steve Gooch's original full-length play In the Weeds had its world premiere at Civic Theatre of Greater Lafayette. The 2009-2010 season's original script was TILT by Laurie Russell. The world premiere original script for 2010-2011 will be determined late in 2010.

Three Tall Women by Edward Albee

  • * May 17, 2011
  • * In Act One, a young lawyer, "C," has been sent to the home of a client, a 92-year-old woman, "A," to sort out her finances. "A," frail and perhaps a bit senile, resists and is of no help to "C." Along with "B," the old woman's matronly paid companion/caretaker, "C" tries to convince "A" that she must concentrate on the matters at hand. In "A's" beautifully appointed bedroom, she prods, discusses and bickers with "B" and "C," her captives. "A's" long life is laid out for display, no holds barred. She cascades from regal and charming to vicious and wretched as she wonders about and remembers her life. Finally, when recounting her most painful memory, she suffers a stroke. In Act Two, "A's" comatose body lies in bed as "B" and "C" observe no changes in her condition. In a startling coup-de-theatre, "A" enters, very much alive and quite lucid. The three women are now the stages of "A's" life: the imperious old woman, the regal matron and the young woman of twenty-six. Her life, memories and reminiscences – pondered in the first act – are now unceremoniously examined, questioned, accepted or not, but, at last, understood.

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