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Acting authorities: The top 10 performances of 2011 | Theater | Creative Loafing Tampa

2011-12-30T09:23:00.000-05:00

Acting authorities: The top 10 performances of 2011 | Theater | Creative Loafing Tampa

The 39 Steps, and an end of the year ask

2011-12-21T13:02:00.002-05:00

We're so excited to see sales going so well for The 39 Steps, which opens on Jan. 12. We're almost 60% to our goal with weeks left to go. Shows are already selling out, and we've already held the show over through Feb. 5. We must close on that date, so make sure you get your tickets in advance for what is shaping up to be a gut-busting way to start off 2012. Katrina Stevenson has directed (and costumed) some of the areas best comedies over the years - from all of the (abridged) shows to Rosencrantz and Guildenstern to What the Butler Saw. This time she's joined by the all-star cast of Matt Lunsford, Amy Gray, Brian Shea and Spencer Meyers. Resident designer Brian Smallheer offers sets and lights for scenes that cover everything from train chases to plane crashes. Complete information on the show at our website, JobsiteTheater.org.

With the end of the year upon us, we have a lot to be thankful for. For instance, in 2011 we've been able to triple our contributed income. This has not only allowed us to continue to work towards paying our artists a living wage, but has also allowed us to bring our paid administrative staff up to three. Just recently we have been able to carve out salaries for both our Technical Director and Online Producer. These folks have essentially been doing this work on a voluntary basis up to this point. I myself worked in this manner for close to ten year in my position of Producing Artistic Director.

There's always a snag though, right? We planned for 2012 based on an anticipated budget. Things sometimes change with the funds organizations have to distribute in the form of grants, which we have recently experienced. The initial budget we projected for 2012 is one that we believe in, and we're hoping to not have to alter it. In order to do that though, we have an immediate fundraising goal of $5,000. If we're able to raise that by Jan. 1, we're confident that we can move forward with our initial plan without compromise.

We've worked relentlessly for over a decade now to make sure that we are viable year in and year out, that our work is sustainable, and that our tickets remain affordable for a general public. We've been able to do this through the generosity of people like you, our audience. You are truly the foundation of Jobsite, and we hope that you might consider making a contribution today to our end of year goal so that we can continue to offer an artistic home in Tampa and an accessible, affordable, quality theater experience.

There are a few ways you can help.

Online: go to JobsiteTheater.org and click the "Give Directly through PayPal" button on the bottom right of the page. It's safe, easy to use and free.

Mail: checks may be sent payable to Jobsite Theater to P.O. Box 7975, Tampa, FL, 33673-7975.

$1 or $1,000 - every gift is meaningful. Because we hire exclusively local talent, the money you contribute stays in our local economy, making us all stronger. When an artist is paid a living wage, they can spend their time on one job - making great art - instead of shoehorning in as many part time gigs as they need to cover their living expenses. It's also fully tax-deductible to the extent provided by law.

The other way that you can help is by becoming a season ticket holder. Season ticket holders not only help us fill seats, but provide important word-of-mouth support as the run progresses, increasing our chances of adding more shows - which brings us right back to allowing us to take better care of our artists. A season ticket for the remaining four shows in our 2011-12 lineup is on sale for $78.40 per person, a savings of 20% off our already low prices. Call 813.229.7827 between noon and 8pm to order. We have a flexible exchange policy, offer additional tickets at a discount, and you get in free to staged readings and other cool late night offerings.

Thanks again for your support. We don't exist without it.

I hope to see you all at The 39 Steps!

Jobsite Rocks! VIII is 12/9 at New World!

2011-11-28T10:51:00.002-05:00

Greets friends!

We're two weeks away from wrapping up another year at our annual Jobsite Rocks! event. Sort of a combination fundraiser/wrap party/holiday celebration, Jobsite Rocks! has been our signature annual event for eight years now. We truly hope you can join us for what's always a great time. This year's event is Friday, December 9, at New World Brewery in Ybor City. Doors are at 8, the show starts at 9 and features 8 Kinds of Thunder (formerly Nessie), Poetry 'n Lotion, and The Vodkanauts.

In addition to this great line-up of bands, we'll be doing raffles all night with some great prizes donated from local businesses like the Don Cesar and The Refinery. It's a minimum donation at the door of $8 to get in, with raffle tickets starting at $2 each. New World and Jobsite are teaming up this year on a toy drive for Metropolitan Ministries. If you bring a new, unwrapped toy with you to the event, New World will give you a draft beer on the house! Sweet!

If you can't make it out to the event, we hope you keep us in your thoughts with any end of the year donations you may be making. All gifts made to Jobsite are fully tax-deductible to the extent provided by law. If you've enjoyed our work this year, if you've been lucky enough to come to see a show for free, if you believe that theater should be kept affordable for everyone, if you'd like to see us continue to up our production values and provide our artists a living wage -- we urge you to consider making a donation to Jobsite. Every dollar counts, there is no such thing as a "small gift." You may give directly through our website, JobsiteTheater.org (where you may also find more on giving), or mail a check to P.O. Box 7975, Tampa, FL, 33673-7975.

It would probably be a lot more fun, for you and for us, to see you person though, so we hope you consider making it out on the 9th. It's going to be a good night. We look forward to sharing it with you.

Best Regards,
David M. Jenkins
Producing Artistic Director
Jobsite Theater

What's that all about? Shrew edition

2011-07-26T16:18:00.004-04:00

A few have been curious about some of the choices made in our production of The Taming of the Shrew, and after talking to a few folks I thought it might actually make for an interesting blog post to talk about a few of these things.

Perhaps it helps contextualize our approach, or explain what we were after. This is not at all to say that the choices were meant to inspire a cogent, solid recognition of what it was all about. Quite the contrary, actually. The intent was specifically for these choices to provoke thought and questions, create tensions and ambiguity, allow spaces for discourse, and to privilege the body and action - all of which can be lost in approaching Shakespeare.

Why the bare room?
The theater for Shrew has been stripped down of all of the curtains that typically separate front of house from our very tiny backstage area. We have also chose to not have a backdrop, only archways that give a skeletal frame of one on the back line of the set. Combined with the lack of curtains, this means that the audience can plainly see everything that happens backstage - actors preparing, dressing, getting ready for an entrance and so on. We also chose not to face the front of the elevated platforms with soft or hard materials, giving yet another glimpse atypical (deconstructed, to be more to the point) of what people expect from theater.

These choices were all rooted in Bertolt Brecht's notion of epic theater (later what he called dialectical theater). A type of performance that Brecht described as one where one may keep their hat on and smoke a cigar - in other words a thinking person's theater. By stripping away artifice and illusion, Brecht believed you could make more of a true impact with your work above simply manipulating people's minds and emotions. This was in reaction to Brecht's contemporaries like Stanislavski, who stressed naturalism. Theater often also privileges spectacle (think of all the big budget musicals and shows that rely on so much visual gimmickry), which Brecht looked to work counter to. Brecht believed all of these elements of the theater in his day just encouraged sheer escapism. I tend to agree, and think we're still in some ways trapped in that mode.

It was also in small part a matter of practicality as we wanted to place audience on three sides of the set (what we refer to in the biz as 3/4 thrust), and by ditching backstage space and curtains we had more room to get the set and seating in. We also thought it might just be an interesting arrangement for the audience to see what it's like back there, and believed that after a few minutes people who adjust and "tune out" a majority of the backstage business.

This also became my solution to the problem of how to clearly delineate the action of Shrew as a play within a play. The original script for Shrew has an induction, where a drunk has a trick played on him and is presented with this play - The Taming of the Shrew - as a parable of sorts. Most people cut the induction, but then you lose that aspect of the show. Between our staging and the silliness that mounts in Act V with even the projections making commentary about the actual actors in the show, not their characters, helps us position this clearly.

So, is the choice potentially distracting? Of course, and that's sort of the intent. It most likely only even stands out to us because we are generally taught that we are not supposed/allowed to see backstage.

I do not believe that this style works for all plays, and those who have been seeing our shows for a while know that Shawn Paonessa and I used this approach for Embedded. The politics of that play and nature of our production lent themselves to that sort of staging, and I believe the gender politics in Shrew do the same.

The style of performance

We also chose to use the style known as commedia dell'arte for character inspiration. The commedia was an extremely broad, bawdy, physical performance style that has influenced more of what goes into modern physical comedy than it gets credit for. The style of Shrew just on the page is clearly influenced by the characters and storylines of this form. Here as some examples of who was based on whom:

Grumio = Arlechino (think Bugs Bunny style clown)

Curtis = Zanni (think big dumb oaf, pal to the main clown)

Gremio = Il Pantalone (the lecherous rich old man)

Hortensio = Il Dottore (foppish smarty pants, often a rival of the Pantalone for the love of a young lady)

Bianca and Lucentio = The Inamorata (the young lovers)

Baptista actually came from a French melodrama stock known as the Good Father.

Each of these stock characters have a physical frame, a way of holding themselves, that audiences instantly recognized. We can still see traces of this with braggart characters with their chest all puffed out, legs wide apart seemingly kicking enemies out of their way as they walk or in the old man, spine crumpled over shuffling along with his cane. This was (and is) theatrical shorthand. One look and you knew who they were. The style also prized physicality over other elements of production. Often these performances took place outdoors among crowds, or in places where the audience and performers didn't necessarily speak the same language. This over the top physical style allowed audiences to follow along even if they couldn't hear or speak the language.

Shakespeare can be considered almost a foreign language. Even with all the references in the script that were cut in fear a modern audience had no chance of getting them (not to mention to help us get the length down) - we were aware that not every word was going to land or resonate with every audience member no matter how hard we tried. Not all of our audience members are Shakespearean scholars, nor do they have infinite patience, so once again the choice was made to prize this physical style in an effort to help our audiences follow along while still stressing the importance of clarity to the actors.

At their cores Kate and Petruchio were inspired by stocks, though not played physically to the extremity that the other actors were - and those inspirations came in the way of Il Capitano and Columbine. Kate and Petruchio were by design to be less and less of a stock character as the play progresses. These kindred spirits are just not really as much a part of the world they inhabit and have found comfort in one another.

These stocks were in some cases played to an absurd extreme, to a grotesque extent. This once again goes back to my desire for an epic, or dialectic, performance. Let's take this ancient text and play the material to an extreme, while showing our main couple more modern, reasonable, as equals. Instead of Kate and Petrchio being these outlandish extremes, those around them seem to make them look almost normal in comparison.

These are not all things that can be explained in a program note or during a curtain speech - nor do they even want to be approached that way. If we made you think at all - be it about this particular text or our modern world - I think we did our jobs. Sometimes the lingering question in an audience member's mind after a performance is the desired effect.

It is always difficult to do something old a new way. I gave up on trying to make everyone happy all the time long ago. I believe in the power of live performance, of the possibilities in seeing what new messages may lurk in old works or at the very least showing old things in new ways. As artists we cannot shun innovation, experimentation and risk-taking for the sure or safe thing. I am grateful to have such gifted and dedicated artists around me willing to go for a ride like this.

We are also really fortunate to have such a great community that supports our work, that appreciates our philosophy and our efforts. You certainly do make it easier for us be able to do our thing.

And we can't thank you enough for that.

First part of DJ's Shrew paper

2011-07-05T16:34:00.003-04:00

Here is the first part of the paper I wrote on my plans for this production of The Taming of the Shrew for my Sexuality and Communication PhD seminar at USF. If anyone is genuinely interested in reading more, let me know and I will be happy to keep posting it up here in pieces, or just email you a pdf of the whole thing. This paper is still in-process. After the production closes I intend on taking another pass at it, adding sections for "results" and final reflections, and then it will be sent off for publication consideration.

Introduction

I believe it is important to take on serious subjects through humor while not diminishing the importance of what’s at stake. Comedy is perhaps the most powerful form of performance in regard to its efficiency at gaining cultural access to otherwise impenetrable topics, as may be evidenced in the copious amounts of satire and humor today in just about every medium of our popular culture. This summer I will direct a production of Shakespeare’s contested comedy The Taming of the Shrew, and it is imperative to me that this production avoid reinforcing old ideologies and that it instead serve as a site for dialogue (between artists, among an audience, between artists and audience) and to offer representations of equality within male-female relationships. For this to occur successfully it will be critical that I remain reflexively aware of my own male privilege during the process, to allow myself to work not only “vulnerably” (Behar 1996) but “in anguish.” (Bar-On 1991) I will strive to work in an egalitarian, collaborative capacity and actively look for the spaces in the margins, in silences, and in the ambiguous to tell a story that is relevant, progressive and entertaining.

This paper charts a course of action for an interpretation of The Taming of the Shrew, often considered to be a misogynistic play that reifies patriarchal gender norms, that disrupts and subverts norms of male-female relationships. My intention is that by play’s end we find ourselves in a position of mutuality, particularly in the relationship between Kate and Petruchio. This proposed transformation will be accomplished through edits, staging, the collaborative process, and through community engagement.

Greater than just this case study, I argue that not enough work is generated from the position of theorist-practitioner engaged professionally with artists and a community. Scholarship in this area tends to come from many disciplinary positions, and yet I have not located serious scholarship that bridges these gaps and works from a first-person, how-to position. I believe that scholarship would be greatly enriched if we had more studies that move from theoretical and conceptual beginnings through a final analysis of impact on the community that performance is capable of. I hope that this study proves valuable for those in a similar position and is the beginning of a new way of approaching performance scholarship.

History and Background

What follows in this section is a basic plot synopsis, what influenced Shrew’s plot, how it in turn influenced later work, as well a few notes regarding Shakespeare’s comedies as related to this project.

The main plot of Shrew centers on a brash bachelor arriving in Padua to "wive it wealthily" (I.ii.72) (Shakespeare 1972) who quickly meets his match in a feisty firebrand whom he attempts to “tame” for profit. Shrew was not only wildly popular in its day, but has since inspired stage variations such as The Taming of a Shrew, The Tamer Tamed, A Woman Killed With Kindness, and Kate and Petruchio. (Belsey 1985; Evans 1985; Thompson 2001; Werner 2001) It has also inspired modern adaptations for stage and screen including the Cole Porter musical Kiss Me, Kate, the high school-based film adaptation 10 Things I Hate About You, and the award-winning adaptation from an episode of the 1980s TV series Moonlighting. The origin of the story can be traced from Suppositi by Ludovico Ariosto back through various commedia dell’arte scenari from the 1500s all the way back to the ancient plays of Plautus and Terrence, where Shakespeare often turned for inspiration.

Shakespeare is arguably the most influential and produced playwright in the world, and his comedies as a block remain the most popular of his work. Marianne Novy suggests in Love's Argument that Shakespeare’s comedies symbolically resolve the conflicts between patriarchy and mutuality as well as emotion and control. In the case of Shrew the patriarchy and control is clear in Baptista’s insistence that his younger daughter Bianca not marry until the indomitable Kate has taken a husband, in the lack of agency Kate has in regards to an arranged marriage, and finally how she is treated by Petruchio (while simultaneously abandoned by her father) after it. Novy suggests that issues of patriarchy are typically resolvable in any of Shakespeare’s comedies, even the problematic ones, where it is always possible to come to an ending that stresses mutuality. However, when only using the text for Shrew it appears to be the exception to this claim. (Novy 1984)

From a certain feminist perspective, Shakespeare’s comedies never have "happy endings" in that they re-affirm traditional gender roles. These scripts in performance may however be used to momentarily unfix those same systems and examine the gaps and contradictions which may potentially create new meanings. (Belsey 1985) Lorraine Helms claims the comedies are the best site for subversion in Shakespeare due to portions of text that can serve to privilege a gendered character in our current world where that same opportunity did not likely exist in another era. (Helms 1990; Helms 1994) With Shakespeare’s comedies being so open-door in nature, they may serve as a strong site for a sort of Derridean deconstruction that can appear on one hand a harmless celebration of the play, but may also serve as a subversive political reaction. (Evans 1985)

Shrew’s play-within-a-play performance style is heavily rooted in the Italian tradition of commedia dell’arte - a broad, often bawdy physical style that was a popular form of entertainment across Europe in the 1500s. We may easily draw the parallels between Shakespeare’s characters and the commedia stocks that would have been familiar to an Elizabethan audience. Petruchio mirrors the braggart Capitano, his friend Hortensio is in the style the pedant Dottore, young lovers Bianca and Lucentio represent the Innamorata, Gremio the lecherous old Pantalone.

Kate does not not initially appear to us as faithful a stock as the others, but is still identifiable in the servant stock Soubrette. Soubrette is described as “fresh and frisky,” enjoying gameplay and having “free” morals, an incredible wit and who often functions as a counterpoint to the servant clown Arrlechino. Soubrette is always smarter than those around her and is typically responsible for saving the day in a given scenari, even if she isn’t credited for it. (Ducharte 1966)

My point here is to show that the “battle” between Kate and Petruchio was one that the Elizabethan audience “knew” culturally through the stocks employed. These archetypes are still recognizable and used today, turn on any sitcom and we will find them, a testament to their strength. We may even argue that the character stock that comes closest to what we find in the character of Kate suggests that she was intended to be much more than just a powerless object for us to laugh through her domestication.

What follows is a review of the present literature on the play which covers the inherent ideology, the issue of meaning-making in Shakespeare, and subverting Shakespearean text.

The pantaloon pump

2011-06-30T12:50:00.003-04:00

I can take it as well as the next guy, so here's a video Amy Gray caught of me handing out "direction" to our Gremio, edited and set to music.

My wife can attest, I have no shame:

Amy Gray Photoblog 2

2011-06-30T12:13:00.002-04:00

More photos sent to me by cast-member Amy Gray! :)

You may click any of the images to go to Flickr, where you may see full-size photos. Check these out, then grab your tickets to see us at The Taming of the Shrew over opening weekend. Tickets are really going fast, we're expecting opening Friday and Saturday nights to both be sold out soon!

Kate's playlist

2011-06-29T10:13:00.001-04:00

Katrina Stevenson, who plays Kate in our production of The Taming of the Shrew, shared with me her inspirado songs for rehearsal. Check 'em out!

Saving Jane - Girl Next Door

Interview with Will Mackenzie

2011-06-23T15:34:00.003-04:00

Amy Gray --who plays Biondello, Curtis and the Widow in our version of Shrew -- put me in contact with Will Mackenzie a few weeks back. Will is an old friend of Amy's and a prolific director of stage and screen.

The connection is that I was discussing the Shrew Moonlighting episode (Atomic Shakespeare, season 3), when she let me know she actually new the guy who directed it. I fanboyed out a little, and asked if she might put me in touch. She did, and Will and I managed to exchange some emails before he packed up for his summer vacation.

I led with a story about how I was 12 when I saw the episode. It was maybe the first time I ever thought Shakespeare was or could be cool. It's also a year before I started tinkering seriously with the thought of acting, and two years before I would transfer to a performing arts school.

Here's some of what he had to say:

DJ: I see that Moonlighting writers Osborn and Reno (along with, of course, "Budd" Shakespeare) are credited with writing that episode. I'm curious though if you remember any sort of on-set improvising by the actors or at your coaching? Some of those bits seem so off the cuff, so in the moment that it begs the question.

WM: As far as I remember, there was really no adlibbing or improv on the set because of the rhyme. We did lots of improv in the staging, though. Bruce was always great at coming up with bits and I was given a lot of free reign for staging, although so much was in the original script. This was, in fact, one of the few Moonlighting episodes that Glenn (Caron) didn't rewrite at the last minute, because he was so afraid of screwing up the rhymes. And the actors had to really work to learn the lines and get the meter.

DJ: What's your fondest backstage memory or story from working on that episode?

WM: My fondest memory backstage was staging that "Good Lovin'" because Bruce loved it. He played harmonica and had a band at that time. Those days in the church were probably our most fun on the set.

DJ: How often do people still bring up this episode to you (like I did when I told you the story when I was 12)? Do many random strangers, like myself, get in touch with you to thank you for the impact it made on them or ask you questions about the making of episode?

WM: People haven't mentioned the episode in quite a while. I think because Moonlighting isn't in reruns or syndication. At the time and for about five years later, I got many requests from schools to use it. I remember we all signed releases for it to go to high schools and colleges.

DJ: Sidebar -- In addition to the story I already told you about how it impacted me when I was 12, my mother HATED Moonlighting, so that episode had me hooked from the beginning with the setup between mother and son. ...

WM: I liked your story about you and your mom being similar to the opening. I think it helped set the tongue in cheek stage.

DJ: The ending is obviously far different in context than Shakespeare's, but it works (ed: I asked this question because a few of my cuts for our production change some of the context as well). Do you recall any critical reaction to the way the story was "altered"?

WM: I think the ending was done because of the relationship on Moonlighting. Maddie really was the ball breaker and he was in love with her. He would say it was the sun, if she told him. It brought us back to the real TV characters. I don't remember any serious objections. The show was joyously received. We were lucky because it was about the most expensive hour of TV for that time.

DJ: Thinking on it, you all may have presciently invented the genre mash-up we're now seeing with so much fan-fiction on the internet and books like Pride and Prejudice and Zombies with your fusing the stories of Moonlighting and Shrew. :)

WM: We thought at the time: "this is either going be really terrific or a DISASTER! I always think we dodged a bullet! The success of Ron and Jeff's script was that fabulous fusion of Shakespearean patter with Moonlighting patter with a bit of inside Hollywood patter. The cast all jumped on board, luckily.

DJ: Do you have a moment on-screen from that episode that you are most proud of? Something that you worked hard for, or that just came together perfect?

WM: As I said, I think the Young Rascals version of "Good Lovin'" done with a Shakespearean quartet, Bruce so involved and us all singing and jiving in this church was the best! We had SO little rehearsal. Bruce and Cybill had never done Shakespeare before. I watch it now and remember how rushed it all was, but they were very excited to do something so different.

DJ: Do you have any opinions as to why we cling to this type of narrative? It really is a cultural archetype at this point: Kate and Petruchio, David and Maddie, George and Martha, Mulder and Scully - just curious if you have any thoughts as to why we might cling to those figures, or what function they might serve culturally.

WM: I think it all must go back to the battle of the sexes. We're all still fascinated with a good tale about the warring couple either that finally love again or, depending on the playwright, destroy each other. Not sure of the cultural significance, but it's all about one upsmanship!

Thanks so much for your time, Will!

Friday Shrew Photoblog!

2011-06-10T13:44:00.000-04:00

Perhaps I take too many pictures during rehearsal?

Blocking...

Eating....

Rehearsing....

Getting ready to take promo pictures....

Rehearsals are never dull!

Final performance of reasons to be pretty!

2011-06-05T10:32:00.003-04:00

Today, 4pm, we conclude our run of reasons to be pretty.

This has been a true joy to work on, to watch and to bring to the area. If you haven't made it out yet, today is the last day.

"Dayton Sinkia gives a near-perfect performance, one so definitive that I can't imagine [Greg] played by any other actor ... Kari Goetz as Steph is also superb, passionately upset by Greg's remarks and very funny as she tries gamely to restore her lost dignity.... See it with someone you find gorgeous." – Creative Loafing

"Jobsite brought Neil Labute's Tony nominated play to life in a palpable and refreshingly forward thinking manner I've come to expect. Jobsite's wonderfully gifted cast shines once again in this alarmingly relevant production.... I thoroughly enjoyed reasons to be pretty." –OnstageTampa

"Jobsite's reasons to be pretty has plenty of rewards. Few playwrights have LaBute's gift for dialogue, and the writing in the play's most memorable scenes are indeed masterful." – St. Petersburg Times

"The acting was superb and the fight scenes beautifully choreographed..." – Found Randomly

Shrew Photoblog!

2011-06-03T10:39:00.000-04:00

I was asked to post to this lovely photoblog of Shrew. I'm very excited to be a part of this production and to see where it goes. -Spencer Meyers, Hortensio.

From my first blocking rehearsal...

Playing around with apps...

Shrew Photoblog

2011-06-02T15:29:00.002-04:00

These are all from our very own Amy Gray, who plays Biondello, Curtis and the Widow.

Getting To Know Baptista

2011-06-01T09:07:00.004-04:00

David suggested during our first rehearsal the other night that if we were motivated to write anything about our experiences putting Shrew on stage that we could send it to him to be posted on the Jobsite blog. I'm one of those annoying people who tend to spew tons of information about their lives online, so I figured I'd take advantage of his offer and jot down some of my thoughts as we get started on this process.

Without delving too deeply into my own personal closet of psychological issues, I often find myself feeling slightly out-of-place among the talented people I've had the pleasure of sharing the stage with in my years as part of the Jobsite ensemble. Part of this is due to the fact that I haven't had much in the way of formal theater training outside of high school. I took some classes at the Polk Community College, but that was the extent of it. This tends to make me sometimes feel like I'm the rube that just happens to keep getting work professionally. You'd think that after 10 years as a member of the theater community here in Tampa I'd have gotten over that. You'd be wrong.

Welcome to the funky place that is my brain.

Our first rehearsal for this show was a prime example of that. Several of my fellow cast members mentioned during a round table discussion that this was their first professional Shakespearean production. I pointed out that this was my first Shakespearean production EVER.

An exciting and nerve-wracking situation to be in, to say the least.

I wasn't originally slated to play Baptista. David initially offered me the role of Hortensio, but due to some unfortunate casting difficulties he asked me if I would be willing to switch. I wasn't particularly married to playing Hortensio so I didn't have a problem in swapping to make things easier for the company. I must admit that there is a small part of me that hopes Mark Leib repeats the criticism he made of my casting in Maxwell and points out that there's no way I could be Katrina's father, but beyond my angst over not wanting to look “old” I'm fine with the change.

I don't want Baptista to just be a horrible father. I think that's an “easy” way to play the character. Baptista could be played as yet another chauvinistic man in Katharina's life. A thoughtless father who doesn't give a damn about his older daughter and only wants to marry her off so that he no longer has to worry about her. Someone who believes his daughter is as horrible as everyone else does and is happy to see her broken at the end of the show. As someone who IS a Father this is an unappealing choice that I think would ultimately play stereotypical and boring.

In my mind, Baptista treated Katharina like the son he never had. I believe that the source of much of her rebellion is rooted in the fact that her Father didn't put the restrictions of “proper” and “lady-like” behavior on her until it was far too late. I think he feels a great deal of guilt over that fact - That he failed Katharina and put her at a disadvantage when it comes to finding a husband. I think this is one of the reasons why he tolerates her actions. Secretly, however, I believe that Baptista is proud of the way that she is. I think this is particularly evident during the dinner scene at the end of the play, when he is convinced that Petruchio will not win the bet. At the current time, I see that last scene as something sad for Baptista. Like Petruchio, I think the Baptista recognizes what a huge loss it is to see Kate changed so drastically.

Kate gets some of her fire from her Father. Even though you don't see it much in the context of the play, there are moments when it has the potential to show through. There is one moment in particular where she is pushing him (by continuing to abuse Bianca after he has attempted to break up the fight) and he turns on her. There are some interesting things that can be explored in that moment, depending on what Katrina has in her head at the time. It could be a place where she shows remorse over making her father sad. Conversely, I could play it as a moment of genuine anger and the audience can see where she inherited some of her fire from.

Something else I've noticed – Kate has a lot in common with the Disney Princesses we've been raised with. What is it about story tellers who seem to operate under the belief that women who aren't raised with a Mother are the only ones who have the ability to be rebellious and/or independent? Is there something about having a Mom that stamps out any fire in young women?? I'm assuming that Kate's Mom is not around, anyway, as she isn't mentioned at all in the show.

There are two reasons why Baptista treats Bianca differently. The first, and most obvious, is that she is the youngest. Stereotypes tend to be based in some sort of reality, and the fact is that in most households I am aware of the youngest children get the most attention (I'm especially aware of this from BEING that spoiled younger child). Bianca also reminds Baptista of his (deceased? missing? traveling the universe in a TARDIS?) wife, and while I by no means think there is any kind of incestuous love there (there's room enough for that in other Shakespearean plays) I do believe there is a level of affection toward Bianca that would not be there if his wife was around.

That's pretty much the sum of my thoughts at the moment. I'm getting together with David to discuss things further tomorrow night, so perhaps I'll have more to share after that. We've only had a few rehearsals so far, but I'm really excited to put this all together and see where I eventually end up with the character.

Introducing the Shrew Project

2011-05-30T11:16:00.004-04:00

So we've not been so great at blogging for a while. Actually *I* have not been so great at blogging for a while. Friend and cohort Shawn Paonessa astutely observed that there was a distinct dropoff in blog posts once I started my PhD program. It's a pretty simple cause and effect relationship here. I'm reading and writing enough and this blog falls to the bottom of the pile pretty easily.

We have some ideas for that, which I won't get into now, but expect that we'll be changing this blog up in big ways later this year. The first change is what we're going to do with The Taming of the Shrew. Not only have I lived with this show for well over a year in the cutting of it (I essentially killed off a lot of the Shakespearean repetitiveness and removed more minor characters so that we could get the cast down to 9 and the whole piece down to a zippy straight 90 minutes), but I also used the show for a paper for one of my classes in the spring. In short I laid forth a plan as to how to take a feminist approach to this contested script that would stress the necessity of mutuality and equality in our relationships. I argue the urgency of the theorist-practitioner as they are too often regarded as separate things. I contend that we can take on serious things like gender roles/norms through comedy for serious ends via the grotesque, irony, ambiguity, maintaining tensions and even silences.

If anyone is really that interested, I have a full 25 or so page paper that goes into all of this in detail. I'd be happy to let you read it. I provided to the cast as dramaturgy and for them to get a feel for where I am going with this.

One aspect of my approach is also stressing the collaborative spirit in what we do, in equality at every level, and the importance of documenting this work from as many sides as possible. Hopefully in the end we can compile all of this business and see what we have. I may also incorporate a lot of this in the lobby/preshow experience - blogs from the cast and crew, candid photos snapped in rehearsal, sketches and so on.

The cast is already enjoying this. I saw lots of cameras in use at Sunday's rehearsal when actors were off stage. My first "official" contribution is from our Stage Manager, Krystalle Voecks, who snapped this while we were all on break Saturday. This is Katrina Stevenson, our Kate, looking like a bad girl. I particularly like the NO sign over her head. Great composition on this shot for a candid, and I'm always a fan of Hipstamatic shots. :)

So, watch this space, I already have other things in the pipeline to post later.

In the meantime, if you're a reader and have specific requests of "backstage" type things or aspects of the process you'd like to know about, leave us a comment! We'll do our best in taking suggestions. :)

Only 8 more chances to see pretty!

2011-05-22T13:19:00.002-04:00

Neil Labute's award-winning love story about the impossibility of love MUST CLOSE on Sun., June 5. There are only 8 more opportunities to see this raw, engaging, funny and brutally honest play from the author of The Shape of Things, Fat Pig, Bash and This is How it Goes.

DID YOU KNOW: Neil Labute was also the screenwriter for The Wicker Man, Nurse Betty and Your Friends and Neighbors?

"Dayton Sinkia gives a near-perfect performance, one so definitive that I can't imagine [Greg] played by any other actor ... Kari Goetz as Steph is also superb, passionately upset by Greg's remarks and very funny as she tries gamely to restore her lost dignity.... See it with someone you find gorgeous." – Creative Loafing

"Jobsite brought Neil Labute's Tony nominated play to life in a palpable and refreshingly forward thinking manner I've come to expect. Jobsite's wonderfully gifted cast shines once again in this alarmingly relevant production.... I thoroughly enjoyed reasons to be pretty." – OnstageTampa

"Jobsite's reasons to be pretty has plenty of rewards. Few playwrights have LaBute's gift for dialogue, and the writing in the play's most memorable scenes are indeed masterful." – St. Petersburg Times

I am personally attracted to this play because of how Labute not only captures the spirit of blue-collar 20/30-somethings, but the honesty in his portrayal of how complicated even the smallest of romantic fights can get. I know these people, I've been these people. Critics in Tampa have been split here, and I don't mind addressing that honestly. On one hand some did not appreciate the profanity or characters as written, but others have praised the production for those very same things. Maybe it's generational, maybe it's a class thing.

As Marty Clear said in the St. Pete Times (and which I agree with), it all "depends on why you go to the theater." If you're not offended by four-letter words, and like your theater more genuine than Hollywood, if you are a fan of excellent acting and a great story - reasons to be pretty is not to be missed. Jobsite from the beginning has been all about pushing boundaries, working off the beaten path and providing quality theater that is relevant to an audience largely overlooked today.

I urge you to take a look at our website, read over the feedback we're getting from audiences, watch our teaser video, and if it looks like it is up your alley, buy a ticket. You won't be disappointed. I am incredibly proud of this show, and if you look our stuff over to make an informed decision that this show appeals to you and you don't like it, we will refund your money. I believe in the high quality of this work that much.

If you've already been out to see us - thank you. If you enjoyed the show, I hope you might forward this message on to a friend that you think would also enjoy the show. We would also love if you wrote into us to tell us what you thought. Keep in mind that season ticket holders can always buy additional tickets to any performance at 10% off if you'd like to hook a friend up - another great benefit of subscribing.

Hope to see you soon at the theater!

Best,
-dj

reasons to be pretty opens in 1 week!

2011-05-05T15:33:00.002-04:00

Top: Chris Jackson (Kent): Bottom: Dayton Sinkia (Greg), Kari Goetz (Steph) and Grace Santos (Carly). Photo courtesy Dave Pritchard at Pritchard Photography.

Check out the full details over at JobsiteTheater.org! I hope to get a video teaser trailer up by the weekend. Opening Saturday night is almost gone, so don't wait to get your tickets.

Our 11-12 season!

2011-04-06T11:04:00.001-04:00

Jobsite Theater, the award-winning professional theater company in residence at the Straz Center, is proud to announce their 2011–12 season, marking their 14^th season of bringing quality innovative theater to Tampa Bay. Just last year Jobsite saw brisk growth in season ticket and individual ticket sales, private donations and foundation support. 2011 also saw Jobsite's Off-Broadway debut at HERE Arts Center with the new musical Pericles: Prince of Tires. Meanwwhile, Jobsite has continued to develop their Job-side Productions and Staged Readings, offering artists of all disciplines a work space to hone their crafts and let their voices be heard. Most recently, USF MFA candidate Ellen Mueller presented her Book of Enid to a crowd enthralled by her multimedia presentation featuring original artwork, writing, performance and video,

The 2011-12 season is highly representative of Jobsite's past, reflective of the company's strengths today and teases towards where the company wants to be in the future.

In a continuing effort to attract new audiences as well as encourage continued patronage in a down economy, Jobsite moves into their fifth straight season without a price increase. With a top individual ticket cost of $24.50, Jobsite easily ranks as one of the most affordable professional theater experiences in the region. “We hear over and over again that we are the best value in the region from fans who pay almost twice as much for tickets in the area. Regular folks can't afford that, and we feel like we've tried to be sensitive to that in our pricing” says Producing Artistic Director David M. Jenkins. All productions will run at 8p Thursdays through Saturdays and 4p on Sundays with all tickets priced at $24.50. A season ticket to all six plays will go on sale May 9 at 30% off the regular price – that’s $102.90 per season ticket plus a $10 handling fee per order (whether you purchase one season ticket or 100). This offer will be valid through Sunday, August 7. As of August 8, the season ticket discount changes to 20%, or $117.60 per season ticket plus a $10 handling fee per order. In an effort to be more green, renewals for existing subscriptions will be e-mailed on or around May 1. Any account without a valid email will have a hard mailing sent. If you are not a current season ticket holder, you can get on the list to receive email notification when season tickets are available by emailing tickets@jobsitetheater.org.

WHY SUBSCRIBE?

Season tickets allow patrons to guarantee their seats to shows that consistently sell out in advance. No worries!
Take advantage of a schedule-friendly exchange policy tailored to suit a busy lifestyle.
Purchase extra tickets for friends or family at 10% off.
Get free or greatly discounted admission to readings, side projects and other special events.
Feel good knowing you're giving Jobsite much-needed financial stability – enabling them to spend more time making art and less time worrying about how they will get people to see it.

Jobsite’s 2011 – 2012 Mainstage Season

Sponsored by The Gobioff Foundation, Scherer Staffing, Creative Loafing and Discount Printing and Graphics

Commemorating the passing of 10 years since 9/11

The Guys

By Anne Nelson

“Stark and simple, potent and poignant, brimming with edgy humanity. It’s a generous, sad, touching play

about the braveries of grief.” – New York Post

Directed by Shawn Paonessa

Sept. 8–25, 2011

1995 OBIE Award winner

Quills

by Doug Wright

“part theater of the ridiculous, part comedy of manners and part Grand Guignol, successfully blends intentional archness, grotesque exaggeration and bold humor to create a theatrical experience of real wit" – New York Times

Directed by David M. Jenkins

Oct. 19 – Nov. 6, 2011

WINNER of two Tony Awards and two Drama Desk Awards in 2008 as well as the 2007 Olivier Award

The 39 Steps

by Patrick Barlow, based on the 1935 film by Alfred Hitchcock

“Theater at its finest … Absurdly enjoyable! This gleefully theatrical riff on Hitchcock's film is fast and frothy, performed by a cast of four that seems like a cast of thousands.” – Ben Brantley, New York Times

Directed by Katrina Stevenson

Jan. 11–29, 2012

Hot Nights for the War Wives of Ithaka

by Christopher Buehlman

Aphrodite, goddess of love, and Pan, god of shagging everything, have come to wreak havoc on the

island of Ithaka. Fill your wine glass, nail down your goats, and prepare to laugh really hard.

Directed by Chris Holcom

March 7–25, 2012

America’s most controversial topic is tackled in a provocative new tale of sex, guilt and bold accusations

RACE

by David Mamet

”There is intrigue within intrigue, showing how personal prejudice and individual missteps govern the course

of things … adroitly mixes comic darts with tragic arrows.” – Bloomberg News

Directed by David M. Jenkins

May 9–27, 2012

Closetland

by Radha Baradwaj, based on her 1991 screenplay

In an unnamed country, in an unspecified time, a man purporting to represent the government

interrogates a suspected subversive female author of children’s fiction.

Directed by Gavin Hawk

July 11–29, 2012

Plus, Jobsite is offering the following special Job-side Productions as optional add-ons to the package:

Christmas Carol: A New Rock Musical

Music and concept by Joe Popp, book and direction by Kari Goetz

The man who brought the music to Maxwell and Pericles adapts Charles Dicken's A Christmas Carol

into a new rock musical. The cast includes several Jobsite veterans in updated incarnations of Scrooge,

Marley, Cratchit plus of course all the ghosts and promises to be a rocking addition to your holiday plans.

One week only: Dec. 14–18, 2011

Chapel Perilous

A new play by Artistic Associate Christen Petitt

Fraternal twins Mae and Jake own a dodgy beach bar and massage parlor. When they learn a hurricane is on the way, they do what comes naturally – throw a party and sing some karaoke. However, the forces of chaos, destruction, unrequited love, and poisonous hotdogs threaten to destroy everything.

Late nights July 19–29, 2012

Happy Holidays, and Thanks for 2010!

2010-12-13T13:11:00.004-05:00

We just want to say thanks once again for making 2010 tops in our record books. In 2009 we topped donations by 60% from the year before. In 2010 we topped our 2009 figure by an additional 50%. It's consistently unbelievable that we have these record years and manage to come back a year later and do even better. 2010 was also once again our highest grossing calendar year to date, selling more tickets than ever before.

We added performances to every single production in 2010 with the exception of boom!, which wasn't because of sales but due to actor availability.

More tickets sold, more performances and more good people who give because they believe in the value of what we offer this region means we're better able to handle the ebb and flow of producing, that we're able to continue to raise our production values and that we're better able to pay our incredible artists. We're also able to do this with respect to your wallets in not raising the cost of our tickets. Jobsite has kept ticket costs frozen for 5 straight years. We've also actually lowered the cost of our student, senior citizen and military rush tickets. With a standard top ticket price of $24.50, we're among the more affordable options for professional theater in the region.

We couldn't do any of this without your support. Not just your financial support, but via the Facebook posts you pass on to friends, your tweets about the show you just saw, the bar chat with your friends about the killer Jobsite show you saw last weekend. For us, we're happy to have you as a season ticket holder or as someone who waits until the last second trying to find the best possible deal - at least you're coming. We appreciate that, truly. We also think that 2010 was a high artistic success, why else would you be coming, right? What the Butler Saw, boom!, Pericles v.2, Dead Man's Cell Phone, Dog Sees God, Einstein's Dreams, Mindgame - not to mention countless staged readings, side projects, special events and co-productions - all rocked local audiences and critics. We hope to be able to say that 2011 was even better.

Speaking of which, The Odd Couple is on sale now and selling at a record pace. We're not surprised by that, even if you might be surprised that we're doing a Neil Simon comedy. Take a look at the photos that Brian Smallheer took of Paul Potenza and Shawn Paonessa. They actually deserve the credit here - it was their idea to bring this show to the Jobsite stage. Personally speaking I can't wait to see how they, director Chris Holcom, and the rest of that brilliant cast come together to offer their take on the 1965 Tony Award winner for Best Play.

Get these tickets fast though. They are truly selling at a faster pace than anything in recent history. If you'd like to still make a tax-deductible gift to Jobsite in 2010, you still have a few weeks. Thank you for 2010. Truly. We're extremely thankful for the support of this region and look forward to making 2011 once again our best year yet.

Most Sincerely,

David M. Jenkins Producing

Artistic Director

Jobsite Theater

Jobsite Rocks! is THIS SATURDAY!

2010-12-01T11:12:00.001-05:00

We're already here at the end of another year. It's seems almost impossible to believe, right? We're also once again bragging on our best season to date in terms of overall attendance, box office grosses, and now we can claim so far to date an almost 50% increase in 2010 donations over what came in during 2009. We truly have a lot to be thankful for.

Jobsite Rocks! has become our signature fundraiser/wrap party, held annually at New World Brewery in Ybor City. The night features great music and great raffle prizes all in New World's lush beer garden atmosphere. The weather looks like it's going to be perfect, and we have three great bands in store along with killer prizes.

This year's lineup features Pale Orchestra (a Morphine tribute fronted by Poetry N' Lotion's John Nowicki), ex-Famous Monsters of Filmland (Nessie's Scott Harrell) and of course the band that has played every single Jobsite Rocks! event - The Vodkanauts, once again bringing their kickin' lounge-surf-rock stylings to get your body moving.

Raffle prizes include the traditional gift baskets from The Hub, Tampa Theater, the Buccaneers, plus gift certificates (Skipper's, Publix, Living Harmony Healing Center) as well as unique items like a wine tasting for 12, a private dinner at The Refinery (CL's 2010 pick for Best Chef), a Rock N' Body Pole Party, Belleair Country Club packages, a stay at the Don Cesar, tickets to area events and much, much more.

Doors start at 8pm and the show starts at 9. The suggested donation at the door is $8, but we encourage you to give more if you're able. Raffle tickets are $2 each, six for $10 or 13 for $20.

If you can't make it out on Saturday night you can still make a difference by either mailing your donation to P. O. Box 7975, Tampa, FL, 33673-7975 or by visiting us at JobsiteTheater.org and making a donation directly through our website. Every single dollar matters, we urge you to take a moment now to make a contribution if you think you'll be unable to attend the event.

Your donations not only ensure that we can continue our work, but also that we can continue to improve what we pay our artists and the level of our production values. Contributions allow us to continue the freeze we've had on the price our tickets for five years now, making our tickets among the least expensive for a professional theater in the region. Jobsite still operates without government assistance or any other form of private bankroll (which we certainly wouldn't sneeze at). We are here only because of your generosity and your belief in and our work.

Hope to see you this Saturday night. Please introduce yourself to us. We'd love to have the chance to meet you and say thanks for all that do for us.

Jobsite is thankful for YOU

2010-11-23T11:16:00.002-05:00

As we inch closer to the eatingest of holidays, we wanted to take a moment to tell you all thanks for all that you do for us.

Thanks first and foremost thanks for coming out and seeing shows. We don't discriminate if you pay full price, buy season tickets, wait for student rush or come on a comp ticket that a friend gives you. Butts in seats is the whole reason we are here. Without an audience, we'd just be rehearsing. THANK YOU for making 2010 our best-attended and highest-grossing year, a thing it feels like we're saying every year - which we're totally ok with. :)

Thanks also for helping us out by passing us on to your friends through your conversations, emails, social networking sites and so on.

Thank you for giving to Jobsite. It may have just been $1 at the table in front of the theater or the purchase of Pericles merchandise or a $500 donation to our Kickstarter project for Mindgame, but you helped us raise a record total of donations again in 2010. It is allowing us to keep our ticket prices low while increasing our production values and payment to our artists.

We are also deeply thankful for our talented, relentless ensemble of artists who make Jobsite mighty. In 2010 they have amazed us with six great mainstage shows, a remount of Pericles that afforded us our first official Off-Broadway run, countless side projects and staged readings, not to mention their acts as ambassadors for us around the area. Tampa Bay is lucky to have so many with so much talent and dedication.

There is still time to give to Jobsite in 2010. You may stop by the Jobsite Rocks VII fundraiser at New World Brewery on Sat., Dec. 4. We've got three great bands and a ton of great raffle prizes in store. If you can't make that, checks may be made payable to Jobsite Theater and mailed to P.O. Box 7975 Tampa, FL, 33673-7975, or donations may be made directly through jobsitetheater.org. Every cent matters. Truly.

You may also still purchase a mini season ticket package for the four remaining shows on our 10-11 schedule. They are just $78.40 per person (20% off) and may be ordered by calling 813.229.7827. We're anticipating a sold-out run for The Odd Couple, a show that's already filling up fast and that's almost three months away. Take advantage!

All of us at Jobsite have a lot to be thankful for this year. We hope that you have the time to reflect on the things that you're thankful for, too. Why not let those people know how much they mean to you? 2010 has proven several times over how precious our time can be. Make it count.

Tampa Bay loves Mindgame!

2010-10-28T12:37:00.000-04:00

Happy Hallowe'en everyone!

Last week we opened Mindgame, based on Anthony Horowitz's international best-seller, to packed houses that loved every second of it. The critics all agree that Mindgame is "fun and absorbing" "relentlessly clever and witty" and "full of surprises and reversals." We're back on stage tonight! See you there?

This inky-black comedic psychological thriller is simply perfect for the season, but don't just take our word for it:

"...a satisfying complement to collectors of the macabre ... a pot-boiling mystery that threatens life, limb and mental health ... fun and absorbing.... It coupled the tongue-in-cheek wit of Young Frankenstein (watch those props closely) with the deadly calm insanity of The Silence of the Lambs."– The Tampa Tribune

"Wonderfully enjoyable... relentlessly clever and witty.... Horowitz's dialogue is sharp, Evans is amusingly unrestrained and Brian Shea, as Farquhar, gives one of the most impressive comic performances you're likely to see on local stages this year. Longtime local actor Elizabeth Fendrick is subtly hilarious as the nurse.... And a wonderful set by Brian Smallheer make Mindgame terrifically entertaining." – St. Petersburg Times

"Mindgame is a Jobsite treat.... Full of surprises and reversals.... a fast-moving, fascinating and often funny brain teaser with a serious subtext. It keeps us guessing from first moment to last, and nevertheless has much to say. I very much enjoyed it — you will, too." – Creative Loafing

"Wonderfully scripted and superbly directed, Mindgame takes us on a journey that only great storytelling can do.... With scenes of characters in straight jackets, scalpels coming eerily close to actors and clever set changes, Jobsite Theater pulls out all the stops...." – OnstageTampa

Excellence is on display here in every regard, thanks in part to those who backed us on our Kickstarter project allowing us to help pay for some of the extensive production costs on this show. Thanks to all who gave!

Saturday night (10/30) looks like it will sell out in advance so advance purchases are highly recommended. Keep in mind also that when ticket inventory allows, we offer $10 rush tickets for students, senior citizens and those with military ID as of half-hour to curtain with cash and ID at the Straz Center ticket window.

Hope to see you soon at the theater, we are having a great time and we know that you will, too.

MINDGAME has great opening night, gets held over!

2010-10-22T11:53:00.005-04:00

MINDGAME has enjoyed packed, lively houses for both preview and opening night. Audiences seem to love the show, and sales have been stellar, so we've already held the show over through Nov. 14. Take advantage.

As of the writing of this blog, there are only 4 tickets left each for the shows tonight (10/22) and tomorrow (10/23). There is slightly better availability for Sunday (10/24). Particularly for this weekend, we strongly encourage you to purchase in advance. We can guarantee no tickets will be left tonight or tomorrow prior to the show, and we hate to see people being turned away.

Fret not though, there are plenty of chances to come out and see us. This is one of the most expensive and involved undertakings we have ever taken on, and it's simply awesome to watch it all come together as it has and see it play in front of appreciative audiences.

Early word is that many are already talking about coming back to see the show more than once! We love that!

And we'd love to see you soon at the theater. We're really having a great time. Brian Shea, Jason Vaughan Evans and Elizabeth Fendrick are slaying audiences onstage while the work of Brian Smallheer, Katrina Stevenson, Christen Petitt, Krystalle Voecks, Summer Bohnenkamp and Bob Westphal is killing it with their off-stage contributions. What a team effort!

Mindgame opens next week!

2010-10-15T10:38:00.000-04:00

Einstein's Dreams - a hit, held over!

2010-09-28T10:28:00.002-04:00

We're stoked to be extending our first production of the 2010–11 season, the adaptation of Alan Lightman's international best-selling book Einstein's Dreams. Critics and audiences love this non-traditional, gorgeous piece of ensemble theater:

"It's a pleasure to witness ... it delights and stimulates and broadens the imagination. Any production that can bring us such wild fantasies with so much grace is abundantly worth seeing." –Creative Loafing
"Directed by Kari Goetz, this ensemble piece was thought provoking and visually surreal ... Goetz, along with Katrina Stevenson's flowing choreography and costume design, presented these Dalí-esque metaphors to great effect ... [a] fascinating play." – Tampa Tribune
"... the play runs like precision clockwork ... If you like Italo Calvino or Luis Borges or if you like to have your usual sensibilities stretched out a little, go to see this show. We don't get enough experimental theater in this area. Definitely see it for yourself." – Sally Bosco
"Wow, Einstein's Dreams was amazing, innovative, fascinating theater. Thanks for taking chances and for introducing some great new actors." – Susan Oliver

The production, originally slated to close on Sun., Oct. 3 will now close Sun., Oct. 10. Additional performances have been scheduled Oct. 8 and 9 at 8p and Sun., Oct. 10 at 4p. Tickets to these additional performances are on sale now.

We hope to see you at theater very soon!