• A Novelist Supports Emerging Writers, Including Playwrights

    by 
     | Apr 12, 2021
    Pacific Playwrights Festival

    In 1999, best-selling novelist Elizabeth George wanted to do something to help writers at the start of their careers—so she created the Elizabeth George Foundation. The nonprofit provides grants to writers across genres to support them in the creation of their new works. ​Over the last 20 years, the foundation has partnered with SCR to commission works from nearly 60 emerging playwrights. Among the recipients have been some of the American theatre’s most celebrated writers including Julia Cho, Noah Haidle, Quiara Alegría Hudes and Rajiv Joseph.

    SCR is thrilled to announce the recipients of the Elizabeth George commissions for 2020 and 2021: Spenser Davis and Charly Evon Simpson (2020) and Aurora de Asua, Benjamin Benne and Bleu Beckford-Burrell (2021). Continue reading below about each of them.

    In 2020, playwright Shayan Lotfi also received an Elizabeth George Commission. In May 2021, his play Park-e Laleh will have a digital, staged reading as part of the Pacific Playwrights Festival.

    2020 Elizabeth George Commissions

    Davis,-Spencer​Spencer Davis

    Spencer Davis is a Chicago-based​, Arkansas-born writer-director. He’s a longtime member of Broken Nose Theatre, an ensemble member of The Factory, and current Michael Maggio Directing Fellow at The Goodman Theatre. His play Plainclothes won the 2019 M. Elizabeth Osborn New Play Award and was a finalist for the Harold & Mimi Steinberg/ATCA New Play Award. Last year, his critically acclaimed virtual play The Spin was called “my favorite online production since theat​res began shuttering last March” (Stage & Cinema). His short plays have been produced around the world and have been published by Smith & Kraus. As a director, he has been nominated three times for the Joseph Jefferson Best Director Award, winning once. His production of At the Table was named “One of the Best of the Year” by Chicago Tribune’s Chris Jones and “One of the 25 Best Shows of the Decade” by Storefront Rebellion. He’s a series writer and director of “Squid,” a short-form comedy series now available on Amazon Prime. He’s proud to be represented by Luke Virkstis at William Morris Endeavor.

    Shayan-Lotfi-Headshot-to-SCR​Shayan Lotfi

    Shayan Lotfi has written a few plays and thankfully still wants to write. He’s been fortunate enough that some really cool institutions—like South Coast Repertory, The Lark, Roundabout, and Boston Court—have helped develop his work, and that some really cool residencies—like SPACE at Ryder Farm and the Millay Colony—have fed and housed him as he tried desperately to be productive. When he’s not writing, he works as an urban policy consultant, splitting his time between New York and Los Angeles.

    Simpson,-Charly​Charly Evon Simpson

    Charly Evon Simpson is a playwright, TV writer and teacher based in Brooklyn. Her plays include Behind the Sheet, Jump, form of a girl unknown, it’s not a trip it’s a journey, and more. Her work has been seen and/or developed with Ensemble Studio Theatre, The Lark, P73, The Eugene O’Neill Theater Center, PlayMakers Repertory Company, Chautauqua Theater Company, Salt Lake Acting Company and others. She is a recipient of the Vineyard Theatre’s Paula Vogel Playwriting Award and the Dramatists Guild’s Lanford Wilson Award. This fall, she will begin her seven​-year residency with New Dramatists. She currently has theatre commissions with MTC/Sloan, Williamstown Theatre Festival, Cleveland Play House and PlayMakers Repertory Company. She’s also currently working on TV shows for HBO and teaching playwriting at State University of New York at Purchase. Simpson has a BA from Brown University, a an MA in women's studies from University of Oxford, New College, and her MFA in playwriting from Hunter College.

    2021 Elizabeth George Commissions

    de-Asua,-Aurora​Aurora de Asua

    Aurora de Asua is a California​-born playwright and actor based in Chicago. Her plays have been workshopped at Chicago theatres such as Victory Gardens Theater, ​Sideshow Theatre Company, Rivendell Theater, Greenhouse Theater Center and The Story Theatre. As an actor, she has worked with The Goodman, Court Theatre, Northlight Theatre, Remy Bumppo Theatre Company, The Hypocrites and Victory Gardens, among others. She has a BA in theatre from Northwestern University. auroradeasua.com

    Beckford-Burrell,-Bleu​Bleu Beckford-Burrell

    Bleu Beckford-Burrell is a first-generation Jamaican-American actor/playwright. Born and raised in New York City, she works for non-profit organizations where she teaches acting to teens, as well as writes and directs plays. Her plays include P.S.365 (2019 O’Neill Finalist) showcased at EST (Youngblood Workshop Series) and The National Black Theatre (Keep the Soul Alive reading series). Her play Lyons Pride (2020 Burman New Play Award ​finalist, 2019 The Kilroy’s Honorable Mention, and Yale Drama Series Award runner-up, 2018 BAPF, Princess Grace Award ​finalist) was showcased at Playwrights Realm (Ink’d Festival of New Plays) and EST (Bloodwork Reading Series). Her play La Race (2020 Normal Ave ​finalist and Theatre503 International Playwright Award, O’Neill, Bay Area Playwright Foundation semi-finalist) is currently being showcased at Faultline Theatre (Irons in the Fire, upcoming) and Page 73 (Virtual Residency). She is a Page 73 Fellow (2021), The Playwrights Realm Fellow (2018), Playwrights' Center New Voices Fellowship (2018, ​finalist), NYTW/2050 Fellowship (2019, ​finalist) as well as an I73 playwright (2020), Colt Coeur resident (2021), PWC Core Writer (2020, ​finalist), WP Lab (2020, ​finalist)​ and Working Farm (2019, ​semi-​finalist). She received the 2020 Playwrights Horizons, Jody Falco & Jeffrey Steinman Commission for Emerging Playwrights. MFA Rutgers University BleuBeckford.com 

    Benne,-Benjamin​Benjamin Benne

    Benjamin Benne was born and raised in Los Angeles County and completed a BA in ​theatre ​arts at Cal State Fullerton. Benne has lived in the Pacific Northwest, Midwest, and currently resides on the East Coast, where he is a Yale School of Drama MFA ​candidate in ​playwriting. ​His plays, including at the very bottom of a body of water, Alma and In His Hands, have been seen and developed coast to coast—and a few points in between—including The Old Globe​, Boston Court Pasadena, Teatro Milagro , Seattle Repertory Theatre, Theatre Battery, Denver Center for the Performing Arts , Texas Tech University, The Playwrights’ Center, Pillsbury House Theatre, American Blues Theater, Two River Theater, The Eugene O’Neill Theater Center, The Playwrights Realm , The Lark, and Roundabout Theatre Company. He is a recipient of Portland Stage’s 2020 Clauder Competition Gold Prize, Arizona Theatre Company’s 2019 National Latinx Playwriting Award, American Blues Theater’s 2019 Blue Ink Playwriting Award, the Kennedy Center’s American College Theater Festival's 2019 Latinx Playwriting Award and a 2017 Robert Chesley/Victor Bumbalo Playwriting Award. He is a Playwrights’ Center Affiliated Writer and member of Primary Stages’ Dorothy Strelsin New American Writers Group. benjaminbenne.com

    Learn more about the 2021 Pacific Playwrights Festival.

  • The Story Behind the Photo: "Vietgone"

    by 
    Tania Thompson
     | Apr 09, 2021
    Vietgone
    Samantha Quan, Raymond Lee, Paco Tolson, Maureen Sebastian and Jon Hoche in Vietgone by Qui Nguyen (world premiere, 2015). Photo by Debora Robinson.

    About ​​​Vietgone

    An all-American love story about two very new Americans. It’s 1975, and Saigon has fallen. He lost his wife. She lost her fiancé. But now in a new land, they just might find each other. Using his uniquely infectious style The New York Times calls “culturally savvy comedy”—and skipping back and forth from the dramatic evacuation of Saigon to the here and now—playwright Qui Nguyen gets up close and personal to tell the story that led to the creation of…Qui Nguyen

    Three of the four South Coast Repertory productions actor Raymond Lee appeared in have been world premieres—Vietgone by Qui Nguyen (2015), Office Hour by Julia Cho (2016) and Cambodian Rock Band by Lauren Yee (2018).

    Vietgone was the first in a series by playwright Nguyen to tell the story of his family’s escape from Vietnam in the mid-1970s. The play is set in both Vietnam and a U.S. relocation center in Arkansas, where his parents met and courted. Lee portrayed the playwright’s father, Quang. In this Q&A, he talks about why he picked the photo (above) as the point of no return for audiences.

    What moment does this depict?

    This is at the very top of the show, before all of the rapping, fighting, helicopters and love making. Qui Nguyen (the playwright),​ portrayed by Paco Tolson, sets the stage and lays down the rules of the world in which this play exists. I love this moment because 1) we’re all on stage at the same time, rare for this play as someone was usually quick-changing in the back, and 2) the audience has no idea what they’re in for as we address them face on.

    How did you work with the director to make this moment happen?

    It was very important to start the show off on the right foot. In my case, I was directed to say my first lines to the audience with as much conviction and belief as possible, which was “Sup Bitches?, and then my next line was, "Any of you..."Any of you fly ladies wanna get up on my Quang wang?”!

    What’s the power about this moment?

    Qui (Nguyen, playwright) and May (Adrales, director) made sure to use this opportunity to disarm and ready the audience for the possibility ​that anything ​could happen. This prelude almost worked as a disclaimer to say, if you’re offended by this language and behavior now, you’re likely not ready for your history to be rewritten either. Qui and May knew that once the audience's guards were down, their hearts would be left vulnerable to let in this re-envisioning story of the Vietnamese people during the Vietnam War.

    Anything else you’d like to say about the photo or the production?

    Vietgone was an unforgettable experience because it marked many firsts for me. It was my first time working with Qui and May—relationships that are continuing to deepen. My first time getting to be a lead, no less a romantic lead. My first Pacific Playwrights Festival and my first time in a main stage production at SCR—another creative relationship that I’ve come to value immensely. The cast—Maureen Sebastian, Paco Tolson, Jon Hoche and Samantha Quan—literally had to hold my hand through some of these firsts and, for that, I am forever indebted and grateful​.

  • Making Theatre in the Time of COVID

    by 
    Tania Thompson, with photos by Leanne Covis
     | Apr 09, 2021

    Nothing compares to the feeling of being back.

    Red Riding Hood Rehearsal
    ​Director Shannon Flynn, stage manager Kathryn Davies and actors Nell Geisslinger and Larry Bates in rehearsal for Red Riding Hood.

    In March, after a yearlong hiatus, South Coast Repertory returned to producing theatre—creating and filming the Theatre for Young Audiences Family show, Red Riding Hood, streaming April 21-June 13. SCR followed Actors’ Equity Association guidelines, which included COVID testing, mandatory masks and other protocols. The skilled artisans in SCR’s Production Department also worked under strict protocols to safely create the environment for the play.

    “I feel so privileged to have been part of SCR’s first production back from the pandemic, to have been in the test group for these protocols, and count myself as part of the team that demonstrated they can work,” says actor Nell Geisslinger, who is making her SCR debut in Red Riding Hood. “This production feels like concrete proof that the theatre community will bounce back with more creativity and passion than ever before. That brings a lot of joy.”

    To learn more about the challenge of making theatre, we talked to a number of those involved with the creation of Red Riding Hood.

    Red Riding Hood Costumes
    ​Fabric and Trim choices for Red Riding Hood's costumes

    In the Shops

    Costumes cannot be shared under the health and safety protocols, which was a challenge because the actors switch characters quickly between​ Red Riding Hood, Grand-Mama, the Wolf and the Woodsman—each actor portraying each character, but not at the same time. Costume designer Amy Hutto’s solution called for each to have their own nightgown, red hooded cape, wolf gloves and close-fitting jerkin or vest.

    Fittings were done remotely with the actors trying on costumes in their dressing rooms then showing them to the Costume Shop staff over FaceTime or Zoom. Costume pieces had to sit untouched for 24 hours before being delivered to actors Larry Bates and Nell Geisslinger. Once the actor had tried on the piece, notes were taken remotely and the costume piece sat, untouched, for another 24 hours before alterations could safely be made by stitchers in the shop.

    “We became very flexible with the changes,” says Ramzi Jneid, design assistant in the Costume Shop.

    Red Riding Hood Actors
    Actors Larry Bates and Nell Geisslinger in rehearsal.

    In Rehearsal and During Filming

    Each day began with COVID testing, outside on Ela’s Terrace at SCR before everyone directly working on the production gathered, socially distanced, in the Nicholas Studio for rehearsals. Six days a week, for three weeks, the actors worked with Flynn and her team to rehearse and fine-tune this play that would be filmed. Everyone in the room was distanced and masked.

    Bringing a new play to life is a complicated process of creativity, practicality, intuition, elbow grease and team work. From her home in Texas, playwright Allison Gregory virtually sat in the California rehearsal room each day via Zoom, listen, watch the intimate dynamics between the characters and track the story.

    “Plus, I was able to have crucial discussions with the actors and director in real time when necessary,” Gregory says, crediting director Shannon Flynn with establishing a fun and collaborative environment. “She immediately put me at ease and made everyone feel confidant and excited about this project.

    One of the adjustments for Flynn, an Emmy Award-winner, was looking at the play with an eye toward filming it.

    “When you design for the theatre, you know that the audience will see the whole stage,” she says. “For Red Riding Hood, the design team and I had to think about what we’d be able to see through the camera lens. During technical rehearsals, just before we filmed on the Segerstrom Stage, I stood at every point where the camera would be, to make sure that we had the best angles.” 

    “So many things are hard-wired into a stage manager’s DNA,” says Kathryn Davies, who has stage-managed not only at SCR, but globally for theatre, opera and film festivals. “It was challenging to not just lean over and whisper something to the director of production assistant. We’re so used to being quiet while actors rehearse and try not to draw attention to ourselves. Wearing masks and being physically distanced led to us text each other and use chat apps.”

    Normal parts of the rehearsal the stage management team include working with props and costumes and giving actors “prompts”—or reminders of script lines.

    “Giving an actor a line from behind a KN95 mask was difficult,” Davies says.” “It was so muffled that we would repeat words or lines a few times in order to be understood. The actors were great about it and we had quite a few laughs!”

    The theatre’s health and safety protocol, developed with advice from the University of California, Irvine, saw the addition of an infection control specialist to the Red Riding Hood team. She focused on cleaning, advised everyone of best practices and kept protocols top of mind, the cast and others could focus on the work they needed to do.

    “Everyone in the rehearsal room was on the same page and game to accept the challenges to create some fun theatre—and assume that everyone is smiling under that mask!” says Larry Bates, an SCR veteran of both Theatre for Young Audiences Family shows and mainstage productions. “I did miss the fun moments though that usually occur outside of rehearsal like grabbing a bite, grabbing a drink, having conversations and getting to know each other outside of the production.”

    Bates and Geisslinger rehearsed with only being able to see each other’s eyes over the mask.

    “When we finally got to take the masks off for filming—wow!” says Geisslinger. “We immediately started finding new things, getting more specific and detailed, and just having fun on the next level. Being able to see him was a joy. I’ll never forget that and will never take it for granted.”

    Red Riding Hood Rehearsal
    ​Director Shannon Flynn, stage manager Kathryn Davies and actors Nell Geisslinger and Larry Bates in rehearsing Red Riding Hood in the Nicholas Studio.

    Perspectives and Looking Ahead

    With filming completed for Red Riding Hood, the cast​ and creative team are eager for what’s next.

    For Bates, being a part of Red Riding Hood brought a measure of healing. “It has been a hard year for so many, especially in our industry,” he says. “To be able to come to a rehearsal hall, collaborate and play—in in person—with this team was the definition of joy.”

    Jneid says nothing compares to the feeling of being back in the theatre: “To be back with creatives, happy and hungry for the chance to be doing something together again, was a rush; as was seeing coworkers stitch great pieces that translated beautifully on stage and screen.”

    Davies found the experience to be a joy from start to finish, and says, “Everyone was so happy to be back doing what we love. I’ll take all the health and safety protocols you can throw at me in order to be back at work!”

    Gregory looked back at lessons learned and ahead: “My hope is that, going forward, I will retain some of the useful habits I’ve developed during this extraordinary period,” Gregory says. “Slowing down, being more thoughtful, more appreciative, nurturing specific goals rather than racing around like a banshee, savoring the people and places that bring me creative sustenance and

    Learn more about Red Riding Hood.

  • The Many Ways Red Riding Hood’s Story Has Been Told

    by 
    Tania Thompson
     | Apr 02, 2021
    Le Petit Chperon
    Le ​Petit ​Chaperon ​Rouge lithograph by Achille Devéria (1830).

    The tale of Little Red Riding Hood has been told widely. ​​Seventeenth-century writer Charles Perrault is credited with writing it; some sources say that Perrault adapted it from a medieval story.  Playwright Allison Gregory has added a modern twist in her theatre for young audiences play, Red Riding Hoodand SCR’s digital production will be available to watch from April 21 through June 13—professionally filmed and streamed to the comfort and safety of your home. It’s perfect for ages four and above.

    The cautionary tale of the young woman and the wolf has inspired numerous adaptations—books, poetry, films, TV series, anime and more. Here are some of the different ways--and media used--that Red's story has been told.

    Literature

    • “Le Petit Chaperon Rouge” (“Little Red Riding Hood”) by Charles Perrault. He included this story in the 1697 book “Tales and Stories of the Past with Morals: Tales of Mother Goose.” This Red Riding Hood had a more sinister tinge to it, as a cautionary tale—there’s no happy ending here—that children should not listen to strangers.
    • Little Red Riding Hood
      ​​An engraving from the Cyclopedia of Wit and Humor. (1858).
    • “Little Red Riding Hood” by James N. Barker. Published in 1827, this 1,000-word story was later reprinted in an 1858 volume called the “Cyclopedia of Wit and Humor”.
    • “Kinder – und Hausmarchen” (“Children’s and Household Tales”) by the Brothers Grimm. Inspired by Perrault’s story, the ending has changed so that the wolf is defeated in the end. After several editions and updates, the best-known version of their story appeared in the 1857 edition.
    • “The True History of Little Goldenhood” by Charles Marelle, published in 1888, includes a name for the girl: Blanchette. Not to be outdone, in 1890 Andrew Lang’s “The Red Fairy Book” corrects the story of Little Goldenhood by stating that golden hood and cape she wears are enchanted and saves her from the wolf.
    • “The Tale of Jemima Puddle-Duck” by Beatrix Potter. The story parallel’s “Red Riding Hood” with the duck, the fox and the dog likened to Red, the wolf and the woodcutter.
    • “Tenura” by Gabriela Mistral. This 1924 book by the Chilean Nobel Prize-winning poet included a short poem about Red Riding Hood.
    • "Transformations” by Anne Sexton. This 1971 collection re-envisions 16 of the Brothers Grimm fairy tales.
    • “The Doll’s House” by Neil Gaiman (part of “The Sandman” comics, 1995).
    • “Number the Stars” by Lois Lowery (1989). Set in 1943, the protagonist runs through the woods, hiding from the Nazis, and tells herself the story of Red Riding Hood to help stay calm.
    • “Scarlet” by Marissa Meyer (part of “The Lunar Chronicles). This 2007 loose adaptation of the story follows a girl named Scarlet who tries to find her missing grandmother with the help of a mysterious street fighter called Wolf.

    Film & Television

    • Le Petit Charon rouge by Georges Méliès (1901 silent film), with comedy and a happy ending
    • Little Red Riding Hood (1922, Laugh-O-Gram Cartoons). An early animated film created by Walt Disney.
    • BunnyRed
      ​​Title card for the 1944 cartoon.
    • Little Red Riding Rabbit (1944, Bugs Bunny cartoon)
    • La caperucita roja (1960, Spanish drama-fantasy)
    • “Faerie Tale Theatre” (TV series, 1983, Mary Steenburgen featured as Red Riding Hood)
    • “Grimm’s Fairy Tale Classics” (1987, anime)
    • The 10th Kingdom (2000, adventure-family)
    • Red Riding Hood (2003, horror-thriller)
    • Rotkäppchen (2005, German family-fantasy)
    • The Brothers Grimm (2005, action-adventure, comedy)
    • Red: Werewolf Hunter (2010, fantasy-horror)
    • “Once Upon a Time” (TV series​; episode, Red Handed, 2012)
    • Red Riding Hood (2011, fantasy-horror, mystery)
    • Into the Woods (2014, based upon the Stephen Sondheim-James Lapine musical)

    Learn more about Red Riding Hood by Allison Gregory and purchase tickets to watch the digital stream of this play.

  • 2021 Pacific Playwrights Festival Celebrates New Plays & a Musical

    by 
    Kat Alvarez & Tania Thompson
     | Apr 02, 2021
    Andy Knight
    Andy Knight

    Andy Knight, co-director of the Pacific Playwrights Festival, can describe South Coast Repertory’s renowned new-play showcase in five words: “A celebration of new plays.” For the 2021 digital festival—with five new works streaming in April, May and June—no two plays are alike: there’s a folk horror play, a family road trip story, a drama about starting over somewhere new, an intimate two-person play and a brand-new musical. Knight says there's a good chance that at least one of the plays may surprise you and you just may fall in love with one or more. In this Q&A, Knight talks about how PPF comes together and what to look for.

    You’re co-director of PPF, along with Associate Artistic Director John Glore. What does this shared role entail?

    We spearhead all aspects of the festival, from curating the plays to producing the readings themselves. This includes gathering plays to consider, reading the many, many, many plays we receive, sharing some of the most exciting plays with our colleagues to hear what they think of them and then—with Artistic Director David Ivers—selecting the five plays to feature in the festival. From there, a lot of planning and organizing happens over the course of four months as we prepare to present the staged readings to our audiences. The preparations we do are about making sure that the festival artists have everything they need to do their jobs—and that they have a good time doing their work—as well as making sure that audiences have a good time watching the readings. It’s all about the details—both big and small. But John and I definitely don’t do this alone. Everyone at SCR plays a crucial role in bringing PPF to fruition.

    How do you select the plays?

    We receive a lot of script submissions each year for PPF—around 230 plays. In addition, we often consider plays from our pool of commissions, these are plays that we’ve hired a playwright to write specifically with SCR in mind. Choosing the five festival plays is definitely the hard part because we really do receive so many wonderful plays; sometimes it feels almost impossible to narrow it down to such a small number, but it’s about finding the right plays for each year’s PPF. We get there with a lot of thought, by asking lots of questions and through many long discussions. It’s also important for us to think about the experience of the audience. Many audience members see all the readings, and we want to make that sure they’re seeing a variety of stories told in a variety of styles.

    What’s the best part of the festival for you?

    I think what I love most about PPF is the first day of rehearsal. There’s such an overwhelming sense of possibility when a creative team gathers for the first time. And the great thing about PPF is, with five different projects, I get to experience this feeling five times!

    What’s different about PPF in 2021?

    Traditionally, PPF usually includes full productions of two new plays, in addition to five staged readings. But in this pandemic year, we’re focus​ed solely on the staged readings. Second, since it’s still not safe to gather in large groups indoors, we’re filming the readings and streaming them ​for audiences to enjoy at home. While there’s nothing quite like being together in the theat​re together, we’re doing everything we can to make sure these filmed versions retain the excitement of a live theatrical experience. And here’s an upside for audiences: Each reading streams for a week and can be viewed anytime within that period. So if you want to watch the play at 7 p.m. or 7a.m. or even 2 a.m., you can!

    What’s the biggest challenge to overcome for PPF?

    Oh, it’s always time—there’s just not enough of it, and getting ready for the a normal-year festival weekend is always a mad rush. Of course, this year is a little bit different: there’s not a PPF “weekend” since we’re streaming the readings individually in April, May and June. But producing filmed, staged readings during a pandemic brings about a whole new set of challenges. There are far different logistics to consider—like keeping everyone involved with the festival healthy and safe and adapting from a format that works best for an in-person audience to a digital in-home experience. The only way to overcome these new challenges is to work through them. That is, stay diligent, thoughtful and flexible.

    What do you look for in a play?

    I don’t look for any one thing in a play. If I go into my read of a play looking for specific things, I’ll miss something—or everything. Instead, I try to stay open and assess a play on its own terms. After I’m done reading a play, it’s important for me to take the time to reflect and consider some overarching questions, such as,  “What is the story this play is telling and how is it telling it?” Once I’ve established that, I can start considering how successfully it’s doing those things but, again, it’s important that I don’t do this with haste and jump to conclusions. I need to consider my own biases along the way and make sure I challenge my own interpretation. Assessing a play isn’t any easy process…and it shouldn’t be.

    What should someone new to staged readings and PPF know?

    No matter their interest in or experience with theatre, I would encourage people to watch PPF because it’s likely you’ll find a play you connect with. We’ve got a great a lineup this year and no two plays are alike. I’d also say be ready to use your imagination. Staged readings are about hearing a play out loud and are pretty simple from a visual standpoint. They don’t use all the technical elements and staging of a full production. But, if you’re open to imagining what it’d look like along the way, a reading can be just as thrilling!

    Learn more & purchase PPF tickets.