Dead Mans Cell Phone
March 1 – 10
Dead man’s Cell Phone
by Sarah Ruhl
An incessantly ringing cell phone in a quiet café. A stranger at the next table who has had enough. And a dead man—with a lot of loose ends. So begins Dead Man’s Cell Phone, a wildly imaginative new comedy by playwright Sarah Ruhl, recipient of a MacArthur “Genius” Grant and Pulitzer Prize finalist for her play The Clean House. A work about how we memorialize the dead—and how that remembering changes us—it is the odyssey of a woman forced to confront her own assumptions about morality, redemption, and the need to connect in a technologically obsessed world.
Directed by Patrick Larmer
Fridays, Saturdays 8pm; Sundays, 5pm; Thursday, 4pm
Performance Lab D-10, Palomar College, San Marcos campus
$12 General, $10 Seniors and Staff, $8 Students
March 8th, 6-6:50pm Room D-5
Cellular Communication, Talking in the 21st Century: how the cell phone has effected our ability to think and to communicate.
Panelists: Chris Sinnott (faculty, Theatre & moderator), Pat Larmer (faculty, Theatre & director), TBA (faculty, CSIS), TBA (faculty, Child Development)
Critical Thinking Under Attack
Paragon Springs Interview of Steven Deitz and William Brown courtesy of www.timelinetheatre.com TimeLine’s Artistic Director PJ Powers [PP] chatted recently with playwright Steven Dietz [SD] and director William Brown [WB] about TimeLine’s production of PARAGON SPRINGS. [PP] Steven, what inspired you to do an adaptation of Ibsen’s AN ENEMY OF THE PEOPLE? [SD] I was approached by the Milwaukee Rep. about the adaptation. [Milwaukee Rep Artistic Director] Joe Hanreddy felt it was a timely play and could be given a new, American slant. I agreed and jumped in. PP] Bill, what first interested you about this play, and why is it a relevant story to be telling now? [WB] AN ENEMY OF THE PEOPLE is about tough moral decisions a community has to make – the way a crowd is influenced, the way democracy is shanghaied, the way the media can manipulate a story for popular reasons, the fact that hard choices that a community has to make necessitates sacrifice and you can’t pretend otherwise…and how comfortable it is to go along…how satisfying that is. These are all issues that have currency today. Steven’s play is rooted in Ibsen’s story and with his style of storytelling, yet this adaptation has a distinct American tone. [PP] Tell me about the choice of setting the play in the Midwest in the 1920s. [SD]It’s just such a rich and vibrant time – in terms of politics, business, music, exploration. A time when the modern America was being born, and thus a time of great and startling conflict. Plus, even though I spent a great deal of my early career in the Midwest, I had not written about that part of the world as much as I’d like. PARAGON SPRINGS was a chance to do that. [PP] Bill? [WB] First of all, I had yet to find a truly satisfying adaptation of AN ENEMY OF THE PEOPLE. It seems to me that one of the things that comes up with Ibsen all the time is that it’s really easy for an audience to sit back and say, “Oh that’s the way things were in the 19th century in Scandinavia. It’s easy to distance yourself and not see yourself in the play. I always think, “What’s the point? That doesn’t really affect us.” This play is a disturbing play and a dangerous play. It articulates ideas that are messy and not easy to come to terms with. What I love about this version is that the town is very familiar to us. It’s Wisconsin – our own backyard. Instead of it happening in some foreign venue, it’s something we know – our friends and neighbors. It makes me laugh that I’m doing this right after directing OUR TOWN [at Writers’ Theatre]. It introduces us to some really terrific people, in a really chummy community, but it goes to the underbelly of it. The 1920s were something of a boom time. It’s certainly the beginning of modern America right after WWI. It’s got one foot in OUR TOWN and one foot in a more modern small town. [PP] The play deals with a changing era of media with the invention of radio. How does the power of the media affect the story? [SD] There is no longer...
Our theme for 2012-13 is “The Right To Think?! Science, Politics and Public Perception.” Our four theatre productions investigate different aspects of the current American discourse on the relationship between truth and ideology. In each play, knowledge provided by science creates personal and social crisis over questions of ethics, morality , politics, economics and the public good. These American landscapes include the issues of industrial waste and pollution, media manipulation in the interest of economics, the uninformed electorate, abortion and poverty, human communication in the age of technology, and academic freedom and the teaching of evolution. In connection to the productions we are offering a series of Coffee Talks with distinguished panelists and public dialogue over the topics raised by the plays. Make sure to follow this website to get all the...
May-Day-Half-Page-Titanic – right click and save as to download the pdf version of the flyers in english and spanish ...
Director’s Notes for Last Summer At Bluefish Cove
This is an example of an extra credit assignment from Bill Jahnel in the Economics, History and Political Science Department
How do you define marriage? What makes it sacred? If marriage = a loving couple committing to each other for the rest of their lives, who else should be part of the equation? Some people believe a marriage is only valid if done in church by a priest, while others are content to be legally married in a courthouse. Some couples want to have a ceremony to involve all the people they love as witnesses of the solidifying of their union. Some couples already feel committed to their bond but want the law to acknowledge their bond for tax, insurance, and other legal purposes such as having the rights of a family member in emergency matters surrounding their beloveds. What does marriage mean to you, and what could possibly threaten that...
Is Homosexuality a Lifestyle Choice?