As a general rule. Closer to law. The first commandment in our town reads: Poor Boys don’t talk to Rich Girls.
About the play Summer in a small town. Beautiful Annabel strikes up a tentative friendship with Steeds, a poor orphan. A carnival sweeps through, featuring the mysterious illusionist, Bill the Magnificent. Plans are hatched, promises are broken, and innocent mistakes produce tragic consequences. Poor Boys’ Chorus uses rhythm, light and magic to tell a story that is poignant, timeless and uniquely theatrical.
There will be a total of eight performances across two weekends.
November 7-8, 12-15 at 7:30pm November 9 & 16 at 2:00pm
About the Playwright Brian Kettler is a third-year M.F.A. candidate in Playwriting at UT-Austin. He is a graduate of Kenyon College and the National Theater Institute. He was the recipient of the 2012 Oregon Literary Fellowship in Drama. His full-length plays include School Suspension, Personal and Poor Boys’ Chorus.His short play, Clown Room, was featured in the 2014 Theater Masters National M.F.A. Playwrights Festival, with production in Aspen and New York City.
About the Director Natalie Novacek tells raw and daring stories with effortless staging through contemporary, language-driven scripts. She is the artistic director of Loudmouth Collective, known in her hometown of Minneapolis, MN for tackling challenging solo performance and engaging small-ensemble theatrical events. Natalie was a Kennedy Center American College Theater Festival National Selection Team Directing Fellow. She is an associate member of the Stage Directors and Choreographers Society.
Production Team Brian Kettler - Playwright Natalie Novacek - Director Rachel Atkinson - Lighting Design Jessica Forte - Assistant Stage Manager Joseph Heike - Stage Manager Teena Sauvola - Scenic Design Kelsey Vidic - Costume Design
Ticket Information Find the online ticket reservation form here. Admission is free; Seating is Limited.
Parking Information The University requires all faculty, staff, students, and visitors to pay for parking on campus. Please be aware when you come to a performance that UT parking has changed and new signage has been posted in regards to the changes. All parking on campus – both ADA and non-ADA requires a permit or payment of fees – this does include theADA on Robert Dedman Drive. Patrons to the Texas Performing Arts complex are encouraged to park in university parking garages or LBJ surface lots. A discounted parking rate of $3 can be purchased on-line at:https://utcofaparking.clickandpark.com/venue. The discounted parking is only available online until 10pm, the day prior to an event. Please read signs carefully.
$12 Event Parking is also available for purchase in person on the day of your event at the entrances to the surrounding surface lots and garages.
Ensure that you select “Department of Theatre and Dance” as your venue to find links to parking.
“I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.” #OscarWilde Learn more about our programming and how to get involved at Jointhedrama.org #theatrequotes #uttad #dance
UTNT (UT New Theatre) presented by The University of Texas at Austin Department of Theatre and Dance is a yearly showcase of plays by third year M.F.A. playwrights. The fundamental principle of UTNT is to give new plays a full and vigorous rehearsal period that encourages collaboration among their artists and accommodates all necessary experimentation and revision. Design elements are intentionally kept simple—often a gesture toward design rather than full blown theatrical complements—in order to keep the actors and text predominant and streamlining the revision process.
“Tomorrow’s plays are at UTNT today,” says co-curator and Professor Steven Dietz. “UTNT is known as the launching pad to award winning and widely produced new work for the American stage.” Since its inception in 2007, UTNT has presented 14 world premieres, many of which have gone on to subsequent professional productions. UTNT plays were awarded the Yale Drama Series Award, the Keene Prize for Literature, the National New Play Network’s Smith Prize for Best Political Play, and the Kennedy Center’s Paula Vogel Award in Playwriting, among others.
Martín Zimmerman’s White Tie Ball went on to numerous readings around the country, was awarded National New Play Network’s Smith Prize for political theater, and garnered the playwright the Djerassi Playwriting Fellowship at the University of Wisconsin–Madison. The play opened at the Borderlands Theater in Tucson, Arizona, where the play is set. “In many ways, [UTNT] marked a turning point in my career as a writer,” said Zimmerman. “Hearing my text in the mouths of such smart actors night after night allowed me to hear my writing in a way I hadn’t before.”
“It was an invaluable learning experience for me,” says Erin Phillips, whose play The Tides of Aberdeen was included in the 2010 season. “I wish that every production of mine could be as creatively rewarding as UTNT.”
“The great strength of UTNT was that it left me alone - and empowered me to build the team that was right for my project,” says Frances Ya-Chu Cowhig on the experience with her playLidless. “I was given the gift of autonomy and creative freedom, which allowed me to test what I had written and take it to the next level." Lidless went on to receive the Yale Drama Series Award, David Calicchio New Emerging American Playwright Prize, Scotsman Fringe First Award, and Keene Prize for Literature.
About the Play Shakespeare’s celebrated pastoral comedy, written in the late 1500s/early 1600s, is the story of Rosalind, daughter of Duke Ferdinand, who has been forced into exile by the usurping Duke Frederick. When Rosalind is banished from the court, she, in the company of her cousin Celia and Touchstone the fool, travel into the forest in search of her father. Taking the disguise of a boy, Rosalind wanders into a gauntlet of heartsick lovers, bizarre encounters and passionate longing in this hilarious examination of the human condition.
An Undergraduate Acting Workshop Production March 3-7 at 7:30pm March 8 at 2:00pm
Admission is FREE; Seating is limited. Guests are invited to arrive 30 minutes in advance of curtain to request a seat. The line for admission will not be available until 7:00pm (for March 3-7 performances) and 2:00pm (for March 8 performance).
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Enter a Woman, Pretty Enough, March 27-April 3, 2015
A premiere of a new play by Diana Lynn Small Directed by Jess Hutchinson
About the play Cora is a twelve year-old girl on an exciting field trip to visit a historic gold rush town in northern California. But when her best friend she’s expecting to see never appears, Cora finds herself in a totally new frontier: rough, wicked, and bizarre. Partnered with the dark adventures of Judah, a virtuous gold miner in 1849, Enter a Woman, Pretty Enough performs the wild west’s past, present and future. Bar fights, camp fires, taffy, and booze make up this history of man’s ruthless, wild appetite for expansion even well after all the gold’s been seized and the girls long gone.
March 27, 28, 29, April 2, 3 at 7:30pm March 28, 29 at 2:00pm
Alumnus Luke Leonard Brings the Field to the Stage in "Bum Phillips All-American Opera"
Alumnus Luke Leonard (M.F.A. Directing ‘10) has brought the history of O.A. “Bum” Philips, coach of the Houston Oilers from 1975-1980 and father of former Dallas Cowboy’s coach Wade Phillips, to life in a stunning new work of theatre that premiered earlier this year.
Professor Kirk Lynn, co-founder of the Rude Mechanicals and area head of playwriting at the Department of Theatre and Dance, acts as the librettist for the opera.
The resulting collaboration with Professor Lynn, Austin composer Peter Stopschinski, and producers at Monk Parrots in association with La MaMa, has been a collision of worlds that don’t often meet. The accessibility that has arisen from Bum Phillips All-American Opera brings classical, country, gospel, rock, and the National Football League together through art to remind us of the passions that drive us and the ever-evolving definitions of creativity.
NFL Films Presents recently featured the opera in episode #7: How Did We End Up Here? See the full feature here.