Tomorrow night we kick off a new week of work.
We have eight amazing actor/director teams who have been working hard these last three weeks to put together these new play readings. Altogether, this reading has brought together about 40 South Carolina theatre artists. Our directors come from Wofford and USC Upstate as well as the theatre community in Greenville and Spartanburg, and they have, in turn, brought their communities in to collaborate with them.
Our plays, like our artists, cover a lot of ground, tales of love, grief, murder, fairytales, marriage, superheroes, dreams, horror, insanity, anger, new life, religion, neighbors, and more. I think everyone who comes to this festival will be awestruck by the imagination and humanity of these wonderful plays.
What’s made it all possible is everyone’s commitment to the Spartanburg theatre community: from HUB-BUB and the Spartanburg Little Theatre, our sponsoring organizations, to our directors, who balanced not only their own lives but the lives of their actors, to our amazing production manager, Meggie Watson, who will be graduating college and house managing our opening reading on the same day.
That’s inspiring commitment. I am so honored to have had the chance to be a small part of each of bringing these plays to life.
Don’t miss it.
A photo from Genesis rehearsal – tomorrow night at 7:30pm!
One week from today, Brenda Withers’ awesome and funny play THE DING DONGS,or, What is the Penalty in Portugal? will be happening at the Black Box Theatre. We checked in with our recently graduated director, Dr. George Pate, formerly of the Spartanburg Youth Theatre, for some of his thoughts on this excellent work.
If you want to see more, make sure to reserve your seats for Thursday, May 22nd at 7:30pm!
“When I first started reading The Ding Dongs, I was a bit unsure what to make of it. It was instantly funny, weird, and charming, but I worried that it might not go beyond wacky characters in a wacky premise. Those fears were completely unfounded. The thing I admire most about this play is the way it manages to make a radical shift in tone without changing its style at all. Natalie and Joe’s cheerfulness never fades but transforms from silliness to pure menace solely through the careful addition of new information. And that’s one of the scariest things imaginable, isn’t it? Not the drooling monster emerging from the darkness, but the smiling neighbor capable of the same levels of violence. Not that Natalie and Joe are monsters, not by a long shot. And I think that’s the final triumph of this piece. It gives us a set of truly terrifying characters who we cannot, finally, fully hate or demonize. They are simultaneously victims and agents of a systemic cruelty that neither they nor Redelmo can escape. They are as compelled by this dangerous ideology as they are complicit with it.”