Tickets purchased separately would be $130 for adults and $105 for students/seniors, so in purchasing a season ticket, you’re basically getting one show for free! If you’d like to join us for the opening night of any performance, which includes post-show refreshments, there is an additional charge of $10 per show (or get all five for $40).
A Human Being Died That Night
by Nicholas Wright
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 a true story.
by Nick Payne
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.
by David Ives
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.
The Last Five Years
by Jason Robert Brown
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. A testament to the show’s longevity, and spurred by the show’s regional popularity, The Last Five Years enjoyed an Off-Broadway revival at Second Stage in 2013. A film adaptation was released in 2014, starring Anna Kendrick and Jeremy Jordan.
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.
by Marsha Norman
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.
ArtsActive Series Presents: Columbinus
by PJ Paparelli and Stephen Karam
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. 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. 100% of proceeds from Columbinus will benefit The Trevor Project.