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by Morris Panych

October 29 - November 17, 2013

In this dark comedy, a lifelong cynic hurries to the bedside of his dying aunt, only to find she keeps on living. As weeks turn into months, the pair develop a cautious understanding even as the nephew becomes ridiculously desperate for change. Peppered with wry humor, this offbeat fable of family and loneliness twists and turns to its surprising conclusion.

Estimated Run Time: 2 hours including a 15 minute intermission

Tickets pricing: Previews $35; Weekdays $40; Weekends $45
Discounts are available for Seniors, Students and Groups.

Advertised prices include a $3/ticket fee, when purchased by internet, phone or in person.


October 29, 2013 at 7:30 PM | Parking & Directions
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Biddeford Journal Tribune

Review by Greg Morell

Death and dying do not seem to be rich subjects for comedy and chicanery, however a very clever script and some miraculous acting plumbs the depths of gallows humor and makes a trip to Portland Stage for their current production of Vigil a delightfully rewarding experience.

The magic of this production can be summed up in two words--Dustin Tucker. Here is a young actor transfixing audiences with an amazing arsenal of talent and charm. I have witnessed Tucker's unique abilities in a variety of roles at Portland Stage and the Theater in Monmouth as a Shakespearian anti-hero, a troubled Tennessee Williams' protagonist and his acclaimed comic portrayal of Crumpet the Elf in the David Sedaris one man narrative holiday send up The Santaland Dairies. (Each Christmas Season Dustin Tucker dons the pointed shoes and bells and has become a sold out Portland Stage holiday tradition)

Tucker is brilliant actor and has the unique ability to instinctively translate his character's mood and emotion with expressive gusto, effusive gesture and spirited vocalization. He is a whirlwind of magnetic theatrical energy.

In Vigil he plays the part of Kemp, a self-loathing misanthrope who has taken on the task of caring for his aging Auntie in the last stage of her life as she nears her final days. The almost mute Auntie is merely a sounding board for Kemp's brutal quips, deadly jokes, and long winded detailed diatribes on all the rotten minutia of his unhappy life.

Kemp is a mean spirited gold digger of a rascal frustrated by the interminable amount of time is it taking for the old Auntie to give up the ghost make that final step into the great beyond. Kemp plots and schemes with poisoned butterscotch, electrocution and a Rube Goldberg suicide machine–all to no avail as he becomes victim of his own devices and is just not able to see his dastardly deeds to their evil end.

Kemp is the kind of character that we love to hate. A complicated and conflicted character plagued with a variety of ills, he is also capable of playing the clown. At one point in the script he dons a pink toweled turban, a frumpy house dress and lavender cardigan sweater along with puffy white terry slippers and gray sweat socks held up by a ridiculous set of leather garters.

Canadian playwright Morris Panych has constructed a lively and demented pastiche of a play and Dustin Tucker has nailed it.

The set is a very simple affair of a single flat wall with an entry door and a window through which we watch the seasons change. The rest of the set is a bare stage with the exception of an antique Bed, head board and foot locker. However the production crew has cleverly devised a silent scenic device that mysteriously moves the bed around in the blackouts between the numerous scenes and vignettes that pepper the two acts in a twisted logic of time.

This multi-layered structure of scenes is the genius of the script and the effect of the mysterious moving bed along with the variety of sound transitions between scenes of singing birds, spring rain, stormy thunder, vacuum cleaners, hand saws, police sirens, children playing and Sinatra ballads aptly illustrate the author's literary intentions.

Portland Stage has put a very unique signature on this piece of quirky dramatic storytelling.

Broadway World

November 4
by Carla Maria Verdino-Süllwold

BWW Reviews: VIGIL Challenges Portland Stage Audience

The Portland Stage production of Canadian playwright Morris Panych's black comedy, Vigil, is a provocative and challenging mounting of an often off-putting play. That the company once again has the courage to undertake a work that has had mixed success in the U.S. and clearly pushes the limits of dark, macabre humor is a testament to the Maine stage's commitment to innovation and integrity.

That said, the afternoon in the theatre is not an easy one, even for an experienced reviewer like myself. But then, of course, Panych does not intend it to be. His play, which tells the story of Kemp, a young man who receives a summons to attend the bedside of his dying Aunt, only to find that she is not yet ready to make that journey. In the months that Kemp and Grace share her tiny, bleak apartment, they come to confront the terrifying and messy process of dying, the agony of loneliness, the scars of Kemp's childhood, and the ultimate meaning of caring and compassion.

Drawing inspiration from the theatre of the absurd, Panych tells his story with a searing macabre wit, often so alienating that it makes one cringe at the same time one cannot suppress a chuckle. Moreover, he increases the intensity of the drama by reducing it to two characters in a sparse setting, and then trumping that by making Grace's role virtually mute. Her silence, while it is fraught with all kinds of subtle existential questions and which references iconic characters such as Beckett's Lucky (Waiting for Godot) or Brecht's Kattrin (Mother Courage), nonetheless serves to delineate Kemp's character in sharper relief. And therein, lies another problem with the drama. As a protagonist, Kemp is largely unlikeable and unsympathetic; thus the catharsis that could mitigate pain of this theatrical experience is deeply diminished.

Faced with this unrelenting task, Portland stage director Ron Botting does an admirable job of pacing the play, orchestrating the piercing one-liners, and creating the overall atmosphere of terminal isolation, and he rightly eschews any sentimentality that would obviate Panych's intent. Perhaps it is too much to ask of Botting and his protagonist, Dustin Tucker, to have searched for some means of humanizing Kemp - perhaps some earlier hints of vulnerability and instability in the young man's armor of maladroit misanthropy.

Tucker has the unenviable task of delivering what is essentially a two-hour soliloquy - part harangue, part gut-wrenching confession, and he proves himself up to the virtuosic demands of the part. The actor manages both the brutal cynicism of the character as well as the moments of introspection convincingly, though one might wish for a greater variety in vocal delivery and a greater sense of danger in his mercurial mood swings. This is, after all, not only a character who embodies cruelty and callousness of the absurd, but also within a fragile, devastated, gender-confused wreck of a young man, who elicits from the dying Grace the sparks of tenderness.

As Grace, Julie Nelson speaks but a handful of lines, yet she is required to be a full partner in this silent dialogue - a task she accomplishes skillfully. In a small house like Portland Stage, her economical facial expressions and gestures capture the old woman's inner life and win us to her side.

Anita Stewart, once again, creates a meager and gloomy ambiance that aptly conjures up the loneliness of the dying experience. The set ,which consists only of a bed and trunk rotated into different positions, as well as a single window through which the outside world passes, serves to amplify the claustrophobia of the drama. The one tree whose leaves change from fall to winter to spring and back to fall again, as snow and rain drift down, lyrically suggests the passage of time.

Lighting Designer Stephen Jones completes the effect with his subdued palette, and Ben Ferber's sound design effectively contrasts the outside world of the living with the sepulchral quiet of the dying. Susan Thomas' s simple, unobtrusive costumes complete the estimable production values.

Portland Stage's commitment to contemporary plays is to be applauded, as well as the company's willingness to stretch the comfortable limits of audience expectation. Theatre has always been more than just entertainment; at its best it has sought to be hold a glass to human experience and raise larger questions. Vigil certainly does this, and while we may not like what we see and hear, it is certainly worth looking and listening!

November 3 

The many faces of Portland actor Dustin Tucker
The transplanted Texan, who has just begun one of the busiest stretches of his career in Maine, talks about life off stage.

By Bob Keyes bkeyes@pressherald.com
Staff Writer

Dustin Tucker's anonymity is an anomaly.

He has one of the most-recognized faces in Portland. He's on stage as much as anyone, and as adroit as he is with his words and timing, Tucker's ability to contort, bend and manipulate his eyes, eyebrows and other facial features makes his the most memorable mug in theater in Portland.

For the last few weeks, Tucker has been able to walk around his adopted hometown without recognition.

For his current show at Portland Stage Company, "Vigil," Tucker has dyed his hair and eyebrows from dirty blond to a copper-brown, changing his look from a cosmopolitan 34-year-old to an stuffy, older banker-type.

Walking downtown or working out at the gym, he's been going about his business with unusual stealthiness.

"Nobody knows who I am, which is kind of cool," Tucker observed during a walk with his dog Minnie through Evergreen Cemetery. "But I forget that it's there. I say hi to people and they think I'm weird."

Tucker, a transplanted Texan who has made his home in Portland for five years, has just begun one of the busiest stretches of his professional life in Maine. He stars in "Vigil," a dark comedy by Canadian playwright Morris Panych. It's about a cynical, dislikeable cuss who rushes to the bedside of a dying aunt, who doesn't die nearly fast enough for her nephew's liking or convenience.

Tucker has nearly all the lines in the two-person show, which is up at Portland Stage through Nov. 17. After a brief respite, he reprises "The Santaland Diaries," David Sedaris's one-man show featuring another cynical cuss. It's on stage in the Studio Theater at Portland Stage from Dec. 3-22.

"It's a busy stretch," Tucker concedes. "But I'll be OK."

Lord knows, he's done it before. Tucker is nothing if not busy. He's made it his goal to work as an actor since he left his home in Amarillo, Texas, as a teenager to study theater at Interlochen Center for the Arts in Michigan, a fine-arts boarding school for high-schoolers.

After graduating from high school, he moved to New York when he was 18, and lived there 11 years before relocating to Maine, He worked regularly in Maine before moving here.

He got his start in Maine at the Theater at Monmouth, and auditioned three or four times for roles at Portland Stage before finally landing a job in the theater's then-annual production of "A Christmas Carol." After acting in that show two years, he got his break when Portland Stage artistic director Anita Stewart cast him in "Fully Committed," a one-man show in which he appeared as nearly 40 characters.

It was a breakthrough role. It allowed him to prove himself as a comic actor with great range and dexterity. That was January 2008. He moved to Portland that same year.

"I liked working here so much, I decided I should live here," said Tucker, who resides a short walk from the theater. "Portland is a beautiful town, and I have a great circle of friends here. It's almost impossible to make a living as a stage actor these days, but I can do that here. Portland is affordable, and I am happy here."


He travels across the country to earn his living. In 2014, he has nine months of work booked already, including two months each at the Lake Tahoe and Idaho Shakespeare festivals. "That's a good year," he said confidently. "I didn't work like that when I was in New York."

It's in Portland where Tucker has shown his greatest range. He's been pegged as comic actor, for good reason. Shows like "Vigil" and "The Santaland Diaries" give Tucker a platform for his brand of humor, which involves timing, physical presence and vocal control, said Ron Botting, who directs Tucker in "Vigil" and has worked with him many times over the years as both a director and actor.

"I think his greatest skill is his ability to inhabit the physical sense of a character," said Botting.

In "Vigil," Tucker plays a guy named Kemp, who works as a banker and lives an unremarkable life. He's downtrodden, physically bereft, and not very kind.

"Kemp is just so cynical, and that is not at all what you get from Dusty. Like all of us, he has his dark moments. But that's not what you see of him. He does his best to take care of other people. As an actor, finding that place - learning to inhabit your character - is the great challenge. Dusty does it as well as anyone I've worked with."

Tucker's desire to act stems from his early years in Texas. His mother, Gaynor Tucker, remembers her son asking for help building sets for plays and puppet shows in their basement in elementary school. When he was 8, Tucker and his mom were driving through Amarillo when he saw a sign announcing auditions for the play "Auntie Mame."

"I'd like to try that," he told his mom. She stopped the car, and they inquired at the theater. Tucker landed a small role, beginning his theatrical journey.

Although she was surprised by her son's desire, Tucker's mom said she realized pretty quickly that acting fell naturally to him. "I realized he could probably do this when he was standing backstage between his scenes and he was saying the words to everybody else's lines - at 8 years old, which is pretty incredible," Gaynor Tucker said.

At 14, he went off to Interlochen, It was difficult for his mom and dad when Tucker left Texas for Michigan at such a young age. But they knew they had to let him go to pursue his dream. He quickly outgrew community theater back home, Gaynor Tucker said.

"We just felt it was the right thing to do for Dusty. We were both very supportive of him, and would do anything for him. He was so committed to theater, I thought it was a waste of time for him not to go somewhere to practice what he wanted to do. When he went to Interlochen, he got on that plane and never looked back," she said.


An only child, Tucker had a hard time as a kid. He was an "odd duck," he said, and didn't fit the mold. He didn't play sports, didn't do all the things that other kids did. He was bullied and teased for choosing theater over football. He cited the support of his parents and the interest of a director or two for getting him through his early-teen years in Texas. "I am so fortunate that my parents are who they are," he said.

Interlochen changed him. There, he found other kids just like him. He learned to opened up among his peers, and his creativity blossomed. "The teachers there would look you in the eye and were interested in what you what you did, what you had to say and what you were thinking," he said.In addition to finding himself on stage, Tucker had another revelation at Interlochen. He realized he was gay. He probably knew as much in Texas, but it took him awhile to come to terms with it. In Texas, he attended an Episcopal school "and it just wasn't talked about."

He did not tell his parents until he moved to New York, but they already knew. "How could they not know," Tucker asked. "I was scared to tell them, but I don't know why. It was a total non-issue."

It's a non-issue in Portland, too. The community has been welcoming, and he appreciates living in a place where he can be himself and concentrate on his work without worrying about being accepted or judged.

Tucker is single. His work keeps him on the road, which makes it hard to have a relationship. Actors are famously self-centered, too, he noted. That's not a great trait when it comes to long-term commitment, he laughed. "People call me a non-person during the rehearsal and performance process. I don't talk a lot. I don't go out."

Instead, he has a dog. Minnie is a mini-pincher mix, and he takes her on the road with him as much as he can.

When he is not working, Tucker attends plays. A few weeks ago, before he delved deep into the rehearsal process for "Vigil," he attended four plays in one week. He loves the city's restaurants, and counts among his favorites Nosh, Boda, Flatbread Company and Marcy's.

Another dedicated interest is his fitness. He quit drinking three years ago when he realized that alcohol was affecting his life, his relationships and his sanity. "But it did not affect my work. I never, ever got drunk before a performance," he said.

He enrolled at a recovery center and came out a better, stronger man. "It was the best decision I ever made," he said. "It was time."

He quit drinking and threw himself into the gym. He works out at the Bay Club at One City Center, and prides himself not only on how he looks, but how he feels. He has abundant energy and is able to put more of himself into his work.

His personal trainer, Dan Tanquay, noted Tucker's commitment. "He's in excellent shape now. His cardiovascular is excellent. He has a good strong muscular base. He's very fit," Tanquay said.

"Dustin has incredible desire and passion for whatever he does. He was one of those guys, he came in and didn't have any basic foundation. We started from the ground up. He wasn't overweight, but he did not have much of a base at all. We'd work out two or three days a week, and he'd just keep getting better and better."

Tucker feels grateful for the opportunities he has had in Portland. Being an actor is the only thing he's ever wanted to do.

"I get to make people feel and look inside themselves. I can make people laugh. I can make people cry. But I can make them think - and that's what's happening in the world right now, the possibility to think on your own. It's an honor to be a part of that process.

Theater Review: Dark humor enlivens end-of-life ‘Vigil'
The Portland Stage production treats a heartbreaking situation with wit.

By April Boyle

In the end, it doesn't matter who you are, or where you're from. We all have a date with the Grim Reaper. "Vigil," by Morris Panych, takes a humorously dark look not only at death and dying, but at how we live.

The notion of family has changed dramatically over the years. In today's society, most Americans spend more time with their "work family" than their real family. It's commonplace to ship off the dying and the old to hospitals, or nursing homes, where many languish alone until their deaths.

For those like "Vigil's" Kemp, the neglect begins much sooner.

Panych wrote "Vigil" after overhearing a nurse inform her dying patient why none of her family could be there with her. The heartbreaking emotion of that event echoes throughout the play, but "Vigil" also contains a healthy dose of levity.

Portland Stage's production, directed by Ron Botting, stars Dustin Tucker as Kemp and Julie Nelson as Grace.

It's a minimalist production, with a one-room set. Despite being scaled-down, Anita Stewart's set, like the play itself, has depth, and is very expressive.

Rain and snow fall outside the bedroom window, and the leaves on the tree reflect the changing of the seasons. Inside the room, a rotating bed marks the passage of time, like hands ticking on a clock.

There is a lot of time lapse to mark in "Vigil." When Kemp receives a letter from his estranged aunt indicating she is dying, he quits his job and rushes to be with her in her final hours. As her only living relative, he feels it is his obligation.

He arrives in the middle of the night to find Grace in bed and begins what he expects to be a brief death vigil. But hours turn in days, weeks, months and a year.

All the while, Kemp callously plans Grace's funeral arrangements, and even entertainingly toys with ideas for hastening her demise.

Like the vigil, the role of Kemp is a marathon part. The first act of the two-act play is an hour long.

Both characters are on stage for most of the duration, but Grace utters only two words during the first act, requiring Kemp to fill the silence with an ongoing monologue that is both amusing and revealing.

Tucker is well cast as Kemp. He impressively delivers fast-paced rants without missing a beat, and punctuates his character's droll quips with a diverting array of full-body comedic antics.

He has a knack for showcasing absurdity in serious situations, which garnered him his share of laughs Friday.

But under the laughs, Tucker slyly revealed his character's underlying pain and ultimate transformation in Act Two.

Given Grace's limited dialogue, Nelson must communicate through facial expressions and body language for the bulk of her performance.

She succeeds in speaking volumes with wry expressions, raised eyebrows, rolling eyes and shrugging shoulders. Countless emotions flash across her face, inciting both laughs and sympathy.

"Vigil" is packed with witty dialogue and fun plot surprises.

In the London West End program for "Vigil," Panych dedicated the play "to all who have died and all who've not yet got around to it."

The play delivers a twofold satirical and touching look at life and death while reminding the audience of the importance of compassion for all.








Morris Panych (b. 1952) is a Canadian playwright, director, and performer who has been a prominent voice in Canada's new play development landscape since the 1990s. His work frequently includes existential themes and a theater of the absurd style and sensibility, using physical and verbal comedy to pose questions about serious issues in a less-than-serious manner.



Julie Nelson (Grace) has acted Off Broadway and in regional theater, recently as Lady Catherine de Bourgh in Pride and Prejudice at Playmakers Repertory Company in Chapel Hill, NC; with Tim Crouch in An Oak Tree, and as the voice of Lynette in Monk Parrotts' Here I Go at 59E59. A founding member of Shakespeare & Company, she worked extensively as an actor in main stage productions of A Midsummer Night's Dream, As You Like It, Romeo and Juliet, Twelfth Night, and The Winter's Tale as well as Edith Wharton's House of Mirth and Steven Dietz's Private Eyes. Her training there in theatrical clown with teacher, Merry Conway, has been a mainstay in her work as an actor and teacher, and prompted her to further study with Philippe Gaulier, Bill Irwin and Jacques Lecoq, among others. Ms. Nelson has also worked as a professional dialect coach for several seasons at Capital Repertory Theater and Merrimack Repertory Theater as well as at Stage West and the Orchestra of Indian Hill. She is a member of the faculty in the Department of Theater at the University of Massachusetts, Amherst, and has been a guest instructor at the National Arts Center in San Salvador, El Salvador, the MFA Acting Program at the New School, the Berkshire Theatre Festival, Actors Theatre of Louisville, and St. Stephen's School in Austin, Texas.

Dustin Tucker (Kemp) Portland Stage: Fully Committed, Greater Tuna, The Santaland Diaries, The 39 Steps, Bach at Leipzig, Peer Gynt, Fred in A Christmas Carol and the world premiere of James Glossman's Trouble is my Business.  Broadway: The Rainmaker (Roundabout)Off-Broadway: Adam Rapp's NY premiere of Stone Cold Dead Serious, SoHo Rep, Culture Project, HERE, MET, and Primary Stages.  Regional theater: Lake Tahoe Shakespeare Festival: Quince in A Midsummer Night's Dream. Festival Stage of Winston-Salem: Peachy in The Last Night of Ballyhoo.  Sierra Repertory Theatre: Robert in Boeing-Boeing, Runnicles in No Sex Please, We're British and Actor 1 in Around the World in 80 Days.  Williamstown Theater Festival: The Rainmaker, ‘Tis Pity She's a Whore, Parker and 9 seasons with the Theater at Monmouth: Tom in Glass Menagerie, Hotspur in Henry IV: Part 1, Valere in La Bête, Lady Enid, et al in The Mystery of Irma Vep.  Dustin is an Affiliate Artist with Portland Stage Company and a proud member of Actors' Equity Association. Much love and thanks to Anita Stewart, Ron Botting, the incredible Julie Nelson, and Sally Wood, the best friend a guy could have. For my "family".  www.dustintucker.com


Ron Botting (Director) Affiliate Artist for Portland Stage. As a director for Portland Stage: The Whale by Shelly Berc, Longfellow: A Life in Words by Daniel Noel, The Real McGonagal by Willie Holtzman, and last season's Wittenberg by David Davalos. As an actor Ron for Portland Stage : '96-'97 Scapin, '97-'98 Romeo & Juliet, '98-'99 Manifest, '98-'00 Travels With My Aunt, 00-'01 The Complete Works of William Shakespeare (Abridged), '01-'02 Betrayal, '02-'03 True West, '03-'04 Comedy of Errors and Lend Me A Tenor,  '05-'06 Syncopation, '07-'08 Much Ado About Nothing, '09-'10 Bach At Leipzig, '11-'12 Trouble is My Business, and '12-'13 The Sisters Rosensweig.  Special thanks to JBott, CCBott and AStew

Anita Stewart (Set Designer) has worked as a set and costume designer at leading theatres across the country, including: the Guthrie, Seattle Rep, Canadian Opera Company, Minnesota Opera, A.R.T., Steppenwolf, Hartford Stage, Dallas Theater Center, Long Wharf Theatre, New York Theater Workshop, Boise Contemporary Theater, New Jersey Shakespeare and Portland Stage Company. Anita's desire to play a meaningful role as an artist in a specific community brought her to Portland Stage Company in Maine as Artistic Director, a company for which she had previously done significant freelance design.

Susan Thomas (Costume Designer) is now on her eighth season as the Costume Shop Manager at Portland Stage. Some of Susan's design credits at Portland Stage are The Snow Queen and The Santaland Diaries which are running this season.  Design work in previous seasons includes: A Christmas Carol, 2Pianos 4HandsMary's Wedding, Fully Committed, The Real McGonagall, and Longfellow: A Life in Words.  Susan has worked in the costume shops of a variety of regional theatres including: Theatre Department at USM, Maine State Music Theater Costume Rentals, Geva Theater Center, Shakespeare & Company, The Theater at Monmouth, Fenix Theatre Company, The Opera House at Boothbay Harbor, and Port Opera. Enjoy the show!

Stephen Jones (Lighting Designer) Regional design credits include: Portland Stage, Sacramento Ballet, Lake Tahoe Shakespeare Festival, Alley theatre, B Street Theatre, Capital Stage Theatre Company, Sting and Honey, Sacramento Theatre Company, and Foothill Theatre Company. He also works as a theatre consultant, specializing in the renovation of historic performance spaces and houses of worship. Stephen did graduate work in theatre design at the University of Houston. He is an Assistant Professor teaching theatrical design and collaboration in the drama department at Vassar College.

Ben Ferber (Sound Designer) is a director, playwright, and sound designer. Previous sound design credits include Boeing-BoeingAlmost LoveFreud's Last Session, and A Walk in the Woods at Cape May Stage, Love Kills at The Lark, several plays for PowerOut Productions in Portland, and over 30 plays at Oberlin College. He is a former Portland Stage Company Directing & Dramaturgy Intern! In that position, in addition to co-writing PlayNotes, he ran sound for The Snow Queen and Heroes. He audio edited five seasons of his and Donald McEwan's radio drama, Twyzzlers for Everyone Forever presents: Death Spares Not the Tiger, an epic radio drama on WOBC 91.5, and the duo are currently working on an audio-centric web series titled we are the machine lords. He has worked in administrative positions at Cape May Stage and Manhattan Theatre Club, and he was the playwright of horn&ivory's For the Lulz this past February.

Shane Van Vliet (Stage Manager) is thrilled to be in her sixth season at Portland Stage. Some of her other credits include stage managing with; The Berkshire Theater Group, The Theater at Monmouth, Port Opera, national and international tours with Jean Ann Ryan Productions, Norwegian Cruise Lines, Two Beans Productions, Theaterworks and The Radio City Rockettes. She has also worked on numerous productions in New York with Phoenix Theatre Ensemble, Turtleshell Productions, T. Shcreiber Studios and The New York Fringe Festival as well as The Washington D.C. Fringe Festival.



Ma Rainey's Black Bottom
by August Wilson
SEP 24 - OCT 20, 2013

by Morris Panych
OCT 29 - NOV 17, 2013

Santaland Diaries
by David Sedaris
Dec 3 - DEC 22, 2013
In the Studio Theater

A Christmas Carol
by Hans Christian Andersen
NOV 29 - DEC 22, 2013

Trouble Is My Business

by Joseph Vass
JAN 21 - FEB 16, 2014

by Tom Coash

FEB 25 - MAR 16, 2014

by Nina Raine
MAR 25 - APR 13, 2014

The Savannah Disputation
by Evan Smith
APR 22 - MAY 18, 2014