Professional theatre in Allen Park

We strive to bring stories to life through art and imagination.

Learn more about us

Opportunities for teens

We are committed to bringing professional opportunities to students at least once per season.
Learn more

New works development

Through the Detroit New Works Festival
Get audition information

ArtsActive

We produce one play per season to donate all profits to a related cause
Learn more

Challenge ideas. Inspire Creativity. Find the inestimable beauty of life through art.

Next in our season…

A hilarious series of 6 one act plays that include everything from philosophizing monkeys to a composer having an existential life crisis filled with song, to a Russian revolutionary with an axe in his head. One acts included are: Sure Thing, Words, Words, Words, The Universal Language, Philip Glass Buys a Loaf of Bread, The Philadelphia, and Variations on the Death of Trotsky.

July 14, 15, 16, 21, 22, 2017; All shows at 8pm except Sunday matinee at 3pm.

Outvisible General Auditions

Will be held Friday, May 19 from 7-10PM and Saturday, May 20 from 10AM-2PM.

The first round of callbacks for individual shows will take place during the week of May 22 with final callbacks (if necessary) in mid to late June.

Audition appointment information

aea-logo

We are very proud to say that as our 2017-18 season, Outvisible will be downriver’s first Equity theatre!

Detroit New Works Festival Winner!

Congratulations to Jeff Stolzer of New York City for being the winner of the first Detroit New Works Festival!

Learn more

Announcing the 2017-18 season…

Eugene de Kock was a paid white political assassin nick-named “Prime Evil” for his crimes against anti-apartheid activists. While serving his two life sentences, black psychologist Pumla Gobodo-Madikizela went to interview him hoping to seek humanity and forgiveness within the government-sanctioned monster. The thought-provoking interogation moves from clinical to intimate in a cell where fear and compassion coexist. Based on true events.

September 29-October 15, 2017

This spellbinding, romantic journey begins with a simple encounter between a man and a woman. But what happens next defies the boundaries of the world we think we know—delving into the infinite possibilities of their relationship and raising questions about the difference between choice and destiny.

December 1-17, 2017

Ruth and Jack, both in their mid-thirties, believe themselves perfectly suited to each other. But when Ruth suddenly mentions marriage, a subtle but ominous change is felt in their relationship. As it happens, Ruth is Jewish, Jack is a lapsed Catholic who scorns religion; she is career oriented and bent on success; he is a poorly paid teacher who is happy to settle for what he has; she fears her stern parents would never accept her marrying a non-Jewish man; he has already been through one failed marriage and is wary of repeating his mistake. And while the mood at first is light-hearted and filled with brightly humorous lines, it is also punctuated by the random ringing of an unseen phone—at which times the protagonists quickly vary the mood and express their secret feelings and recriminations in brief, often caustic, monologues. Later, no holds are barred, and the irreconcilable differences that were largely sublimated in the beginning now burst forth in full fury, leading to a monumental explosion and, apparently, Ruth and Jack’s acceptance of the sobering truth that there is more that divides than unites them.

February 2-18, 2018

Jason Robert Brown’s Drama Desk winner, The Last Five Years, has been translated into a handful of languages and was named one of TIME Magazine‘s ten best shows of 2001. An emotionally powerful and intimate musical about two New Yorkers in their twenties who fall in and out of love over the course of five years, the show’s unconventional structure consists of Cathy, the woman, telling her story backwards while Jamie, the man, tells his story chronologically; the two characters only meet once, at their wedding in the middle of the show.

March 30-April 15, 2018

columbinus, a play sparked by the April 1999 massacre at Columbine High School in Littleton, Colo., is a meeting of fact and fiction that illuminates the realities of adolescent culture by exploring the events surrounding the shootings. The play weaves together excerpts from discussions with parents, survivors and community leaders in Littleton as well as police evidence to bring to light the dark recesses of American adolescence. When columbinus premiered in 2005 at the Round House Theatre, Peter Marks of the Washington Post called it, “An ambitious examination of the suburbanization of evil,” and the play went on to receive five Helen Hayes Award nominations including the Charles MacArthur Award for Outstanding New Play. Following the off-Broadway opening at New York Theatre Workshop one year later, Variety proclaimed: “This one comes straight from the gut—a wrenching return to the 1999 massacre at Columbine High School in which 12 students and a teacher were killed when two senior classmates went on a shooting rampage. The United States Theatre Project’s smart and sensitive treatment of the event, which traumatized a suburban Colorado community and shocked the entire country, stirs up thought and feeling in this clean ensemble production, drawn from interviews, public records and the private diaries of the shooters.” All proceeds benefit:

the-trevor-project-logo

June 22-23, 2018

The scene is the living room/kitchen of a small house on an isolated country road, which is shared by Jessie and her mother. Jessie’s father is dead; her loveless marriage ended in divorce; her absent son is a petty thief and ne’er-do-well; her last job didn’t work out and, in general, her life is stale and unprofitable. As the play begins Jessie asks for her father’s service revolver and calmly announces that she intends to kill herself. At first her mother refuses to take her seriously, but as Jessie sets about tidying the house and making lists of things to be looked after, her sense of desperate helplessness begins to build. In the end, with the inexorability of genuine tragedy, she can only stand by, stunned and unbelieving, as Jessie quietly closes and locks her bedroom door and ends her profound unhappiness in one fatal, stunning and deeply disturbing moment—a moment never to be forgotten by those who have witnessed, and come to understand, her plight.

July 2018