Sotto Voce • Review

Excerpts from a review by Mark Dunn; please read the full review at Talkin’ Broadway!

Teatro Paraguas has the privilege of being the first community theater in the country to stage Pulitzer Prize-winning playwright Nilo Cruz’s 2014 drama Sotto Voce. Clearly mindful of this responsibility, the theater delivers a hauntingly mesmerizing memory play that speaks to the power of imagination in service to recollection of the past—even a past filled with deep pain.

The play has been described as a metaphysical love story, the couple's relationship as a platonic love affair. But, however characterized, it is the uniting of Bemadette and Saquiel’s souls through memory that makes the play sing.

Through the course of this wonderful Teatro Paraguas production of Sotto Voce, Bemadette Kahn endeavors to make her memories behave, as Saquiel strives to understand them. Together they explore both past and present in the kind of imaginative way that theater does best. And happily, at Teatro Paraguas, these characters have a lot of very talented people helping them do this.

Sotto Voce
Teatro Paraguas
3205 Calle Marie B
Santa Fe, NM
Tickets and information at or 505.424.1601.

Please also see the Calendar here at

Theater Grottesco receives touring grant for PIE


Seventh year of grantmaking brings support to date over $5.37 million

(Boston, MA) The New England Foundation for the Arts announces $630,000 in six new grants during the seventh year of the National Theater Project. NTP supports the development and touring of new theater works.

The National Theater Project (NTP) promotes the development and touring of artist-led, ensemble, and devised theater works. Modeled on NEFA’s National Dance Project, NTP functions as a full system of support for devised theater, which in addition to funding animates an informed, interactive network of producing theaters, presenters, and ensembles.  

Since the first round of NTP grants in 2010, NEFA has infused over $5 million into the field through the program. To date, 57 new theater works have been supported; touring of those works has reached 42 different states across the U.S. NTP projects have toured to large and small arts presenters, military bases, universities, regional theaters, and festivals. Leadership support for NEFA’s National Theater Project is generously provided by the Andrew W. Mellon Foundation.  

“We are proud to support this group of visionary artists, and appreciate our long partnership with the Andrew W. Mellon Foundation, which enables NEFA to support both artistic creation and the touring of new work in communities across the United States,” said NEFA executive director Cathy Edwards.

Grants for this round ranged from $90,000-$125,000. In addition to the Creation and Touring grant, each recipient will also receive $10,000 towards capacity building for touring the project. The six grant recipients are:

  • Cornerstone Theater Company, Los Angeles, CA, for Urban Rez
  • Kaneza Schaal, Brooklyn, NY, for JACK&JILL
  • Manual Cinema, Chicago, IL, for The End of TV
  • Phantom Limb Company, New York, NY, for FALLING OUT
  • Rebecca Mwase & Ron Ragin, New Orleans, LA, for Vessels
  • Theater Grottesco, Santa Fe, NM, for PIE

In addition, NTP will award Finalist Development grants totaling $30,000 to assist in further development of four applicant projects.

“I am so excited about this cohort of grantees whose projects address issues of identity, incarceration, gentrification, climate change, and racism,” said Quita Sullivan, program director for theater at NEFA. “The breadth and depth of these projects is breathtaking!”

Organizations interested in presenting any of these works – or works from previous grant rounds – may apply for an NTP Presentation Grant after contacting its tour coordinator; learn about all the projects with NTP touring support available on a searchable directory on NTP also provides travel support for arts presenters interested in seeing projects. Contact program director Quita Sullivan at or 617.951.0010 x531 to learn more.

About NEFA
The New England Foundation for the Arts invests in the arts to enrich communities in New England and beyond. NEFA accomplishes this by granting funds to artists and cultural organizations; connecting them to each other and their audiences; and analyzing their economic contributions. NEFA serves as a regional partner for the National Endowment for the Arts, New England’s state arts agencies, and private foundations. Learn more at


CONTACT: Ann Wicks | 617.951.0010 x534 

The Normal Heart

I saw the preview performance of The Normal Heart by Larry Kramer at Santa Fe Playhouse, which runs until June 25. Duchess Dale directed a superb cast. This is a difficult play about a serious subject, but that should not stop you from seeing it. I remember this time in our history. I lost many friends to the AIDS epidemic. I know people who are still living with the disease. I didn’t know, however, the politics behind AIDS, which is the theme of The Normal Heart. I did know that in 1981 there was no information for doctors, no articles, no money being raised. I didn’t realize what weasels our political leaders, medical establishment,and media were or how frightened the gay community was, not just about the disease, but about the prospect that it could lose everything it had been able to gain.

This disease is not like polio or smallpox. It has not been conquered. There is no vaccine. People are still dying or living physically compromised lives. This play may help you understand why. Good for Santa Fe Playhouse for producing The Normal Heart.

The main thing I didn’t know or even think about was why it took so many years to get the word out. The artistic community was losing huge numbers of people—and not a word, not a pink ribbon, not a march, nothing. It is fascinating to know why. The young man playing the Larry Kramer role is totally wonderful. I hope you will go and tell friends. 

I can’t see it again because it is simply too painful to remember it all and to know that our politicians have not only remained the same—they are worse. I am too old to bear this.

—Rhea Maxwell


The Glass Menagerie • Review

Mark Dunn provides a review of the New Mexico Actors Lab production of The Glass Menagerie by Tennessee Williams.

Taking on the iconic American play The Glass Menagerie, which has, since its Chicago premiere in 1944, challenged the best of our stage actors and directors, is no easy task. Perhaps the biggest shoes to fill in all of American theater are those of Laurette Taylor, whose Broadway performance as Amanda Wingfield, mother to Tom and Laura, has been counted, by stage veterans lucky enough to have seen her in the mid-1940s, as the gold standard for stage performance.

Into those shoes steps Suzanne Lederer, whose work in the New Mexico Actors Lab production of this classic Tennessee Williams play at Teatro Paraguas is easily comparable to any of the the other actresses who have essayed this difficult role. . . .

So many of the older plays in our American canon have grown moldy with the years. Yet much of Mr. Williams’ work continues to resonate and even grow more relevant with time. It is a testament to all the talent that went into this fine, professional production that The Glass Menagerie, a play that continues to speak to us, has found in this intimate and lovingly rendered Santa Fe revival a voice that touches the heart and continues to whisper to us long after its candles have been blown out.

For the full review, please see Talkin’ Broadway.

Time Stands Still • Adobe Rose • review

Wally Gordon provides a review of Time Stands Still, a play by Donald Margulies at the Adobe Rose:

A complementary conundrum [of the journalist] is whether to engage with those you cover or remain aloof in the name of objectivity — “. . . to record life. Not change it,” in the words of Margulies. Do you help those who are suffering or only record their pain? Do you try to silence your own emotions in the name of giving voice to others? Are objectivity and aloofness possible—or desirable? These are the questions raised in this play.

While Margulies dramatically poses these questions, he is careful not to answer them. Instead, he maintains a precise balance that shows the dilemmas but allows the members of the audience to seek their own individual resolution to them.

For the full review, please see Talkin’ Broadway.

PIE—a loaded concept

Frances Madeson provides a provocative review of Theatre Grottesco’s PIE on Talkin’ Broadway. Here are some snippets:

As our journey begins, it’s Beethoven's piano music and not the William Tell Overture that reassuringly places us sonically in the realm of a-r-t, respectability, and tradition—Grottesco's unfolding universe is civilized!  . . . As more piano music plays, they enact the disbursement of matter. They all blow protractedly and the lights come on. What's the connection between their action and the reaction, is it causation or coincidence?

The prompts it divinely and devilishly offers are ultimately nuggets of Grottesco’s collective wisdom urging further contemplation about where we go from here. The show’s last line makes a suggestion we can either succumb to or refute. Like everything that comes before, it’s a serene provocation delivered enigmatically. Mysteries to mull when making our own pie and remaking our worlds.

Co-created by and featuring John Flax, Tara Khozein, Apollo Garcia Orellana, Danielle Louise Reddick; direction and additional writing by Kent Kirkpatrick.

For the full review, see Talkin’ Broadway!

See below on this page for an interview with John Flax, founder of Theatre Grottesco.

Don’t judge a play by its title: The Motherf**ker with the Hat

Mark Dunn of Talkin’ Broadway gives a great review of the current production at Teatro Paraguas, The Motherf**ker with the Hat. Here are some snippets:

This sharp, well-honed production of the play at Teatro Paraguas may be one of the best productions you'll see in Santa Fe this year. It is served by an expert directorial eye: Rick Vargas paces the show with precision, raising its many inter-character confrontations to the level of riveting theater. He takes time with the monologues as well, allowing the play’s characters to open themselves up in ways that feel real and immediate and incredibly engaging.

The Motherfucker with the Hat shines one of its harshest lights on that ancient tug between truth and deception. Characters in the play deceive one another, yet hold to central truths about themselves. This particular cast brings a truth and reality to the characters they play in every moment on the stage. Matthew Montoya's performance as Jackie is so powerful and his portrayal so heartbreakingly empathetic that one is tempted to recheck his bio in the program to see what TV and movies he’s lent his acting talents to. It turns out that Montoya is at this point in his career just one damned good stage actor.

See the whole review here on Talkin’ Broadway!

Roundtable Discussion re Theatre Santa Fe

Theatre Santa Fe held a roundtable discussion with our producing theatre members, Board of Directors, and Advisory Board, on Monday, February 27th. 

We had a fantastic turnout, with twelve local theatre/performance organizations represented. TSF Board member, Talia Pura, skillfully took on the task of keeping the meeting on track and we received fantastic input from everyone present.

It was a productive, thoughtful discussion reviewing and refining TSF’s mission and vision statements. Through suggestions of our members, we also identified how our website could engage more effectively with the community and theatre artists. Future goals on how to help support and collaborate with the theatre community in and around Santa Fe were discussed and prioritized. Possible connections to the film and tourism industries were also explored.

We left the meeting with a clearer picture on how to move forward as an organization. It was an invaluable gathering and we thank everyone who came for taking the time on a Monday evening to share your thoughts. We are excited by the overwhelming positive and collaborative energy to move us all forward!

—Karen Ryan, TSF board member

Valentine’s Day fundraiser for TSF

Valentine’s Day brought a special performance of Red Thread Santa Fe and For Giving Productions’ Almost, Maine. As a fundraising event for TSF, ticket sales treated the sixty audience members in attendance to a pre-show reception with appetizers generously donated by Cowgirl BBQ, Tomasita’s, and Whole Hog Café, with desserts kindly provided by Clafoutis, Chez Mamou, and Talia Pura. Jennie Lewis from the Santa Fe Playhouse was also on hand to whip up her delicious fruit punch.

After some fun mingling and noshing in the El Museo lobby, Janet Davidson, Board President of TSF and Director of Almost, Maine, gathered the audience in the theatre for a brief welcome and introduction about TSF. Some lucky winners went on to claim fantastic door prizes donated by Cacao Santa Fe, El Meson, Tomasita’s, Adobe Rose Theatre, Red Thread Santa Fe/For Giving Productions, Santa Fe Playhouse, and Teatro Paraguas.

And then for the biggest treat of the night: Almost, Maine, by John Cariani. The tour-de-force cast of Patrick Briggs, Debrianna Mansini, Robyn Rikoon, and Hania Stocker deftly transformed from one character to another throughout the nine short vignettes that make up this endearing play about love and loss. Many thanks to the cast and crew for having shared their time and awesome talents for this event.  

A great, fun Valentine’s night! Many thanks to Producer, Walter Dilts, for his support, to Red Thread Santa Fe and For Giving Productions for holding the performance, and to El Museo Cultural de Santa Fe for giving us the theatre that night. A big thank you to House Manager, Jennifer Graves, for her tremendous assistance with the pre-show reception. Another huge thank-you to our community and theatre sponsors for their generous donations. And a million thanks to everyone in attendance that evening—you truly made it a lovely, successful event and TSF greatly appreciates your support!

—Karen Ryan, TSF board member


Regional Review of Enfrascada at Teatro Paraguas

 Alix Hudson, Roxanne Tapia, and Juliet Salazar. Photo by Peter Sills.

Alix Hudson, Roxanne Tapia, and Juliet Salazar. Photo by Peter Sills.

by Mark Dunn

There are a couple of reasons I enjoy seeing plays at Teatro Paraguas. First, the intimacy of the space makes for a more naturally intimate relationship between actor and audience, which can't help but enhance audience investment in the performance. Second, Teatro reminds me of all the small theatres I went to in New York as a young playwright learning his craft. Often the performances were less about the play itself and more about what some very talented actors were doing with the material (and if they were lucky, some casting director or agent might pop her head in and help to make them famous).

Teatro Paraguas's latest production, Enfrascada by Tanya Saracho, is all about wonderful acting. The theater has made an interesting but workable choice to have the show helmed not by a single director, but by five—all members of the cast. And for you directors out there raising an eyebrow over whether such an approach can work, for this show and its incredibly cohesive cast, it works nicely.

Enfrascada ("absorbed" or "embroiled" for us non-Spanish speakers) is a play about chemistry. Not the laboratory kind of chemistry, but the sort of ancient alchemy in which magical concoctions are mixed, shaken, and then unleashed upon those we love, who seem to have stopped loving us (and only a love potion will bring them back), or more sinisterly, to pay a person back for all the heartache he or she has caused. Says Cat, one of the three mystics who guide poor Alicia in her efforts to revive her boyfriend's love for her through carefully engineered magic: "It was never as complicated as all that. Either you want to get someone, or get someone back." Alicia doesn't believe in the magic. At first. But once she changes her mind, she becomes obsessed—paying whatever price in money and dignity to get herself re-enfolded in her beloved Diego's arms. Her two best friends and her cousin watch her disturbing transformation and note with growing concern what it is doing to her, as the women try to hold on to their long, close friendship.

This is a play about chemistry in another way as well. The performances of the show's four female leads are so fun and engaging that I want to put them all in one of the jars that clutter the stage and take them home to my own kitchen and just sit and listen to them continue their wonderfully wicked conversations about life and love and shoes and the best song ever written. (There's no consensus on that last one.) With sensitivity and warmth, Roxanne Tapia plays the beleaguered Alicia, who serves as perfect straight-woman foil for her witty, wisecracking companions. As Alicia's cousin Lulu, Liza Forrester Frolkis is on point in every moment of her performance, playing a philosophical, aphorism-spouting Greek chorus of one. At one point as the four pals sit in the car on a stakeout, Frolkis takes a pronged garden tool and mindlessly begins to comb her hair; this bit of business isn't in the script. This is an actor who knows what her character should be doing in every moment on stage, and it's comic gold.

I've had the pleasure of seeing Alix Hudson (Caro) and Juliet Salazar (Yesenia) before, and I knew I'd be in for a treat. Both actors give heart and depth to roles that could easily be caricatured (the playwright has created a somewhat derivative "Sex and the City" dynamic for her quartet, which this talented foursome effortlessly escapes), Hudson and Salazar delivering some of the play's best lines with an organic embrace of character that makes these women lovable and very human.

The script is a little uneven and would have been better served by holding with the four lead characters for much longer—since to me, the play is less about the chemistry of the occult and more about the chemistry of close friendship—the kind of friendship in which you can say whatever you want to those you love, and never have to pay a price. But there are enough of these scenes of silly, sassy, and sensitive bonding between these four fun friends that Enfrascada is more than redeemed and well worth your time.

Hats off to the rest of the cast, Leia Kelly, Jojo Sena-Tarnoff, and the three magic-makers, Michelle Artiaga, Maria Cristina López and Danette Sills, for their contributions to the evening.

Co-direction may not work for every play out there, but it serves Enfrascada well, and co-directors Frolkis, Hudson, Salazar, Sena-Tarnoff, and Sills are to be commended.

Come see this show. "Sex in the City," eat your broken heart out!

Enfrascada is being performed Thursday, Friday, Saturday at 7:30pm, and Sundays at 2pm. Through March 12, 2017. Info at or (505) 424.1601. The running time is a little over 2 hours, including an intermission.

Review • Bus Stop at the Adobe Rose

There is a great review by Mark Dunn of Bus Stop, written by William Inge, at Adobe Rose. In part, Mr. Dunn writes:

Adobe Rose Theatre’s rendering of this sweet Valentine to young, passion-driven love (as well as serving as a veritable treatise on all the other kinds of love that the human animal is capable of embracing) is enhanced immeasurably by strong performances from each member of this cohesive ensemble, which includes both stage veterans and one incredibly talented newcomer to the stage. Jessica Haring, whose portrayal of the paradoxical Cherie—an innocent with a “past”—accomplished the near impossible for me on opening night: she removed all vestiges of Marilyn Monroe (who had played Cherie in the film adaptation) and gave me a brand new, even more empathetic Cherie for whom to cheer.

Read the whole review at

Bus Stop is being performed at the Adobe Rose Theatre, 1213B Parkway Drive, Santa Fe.
Thursday, Friday, Saturday at 7:30, Sundays at 3:00.
Through February 5, 2017.
Info at or 505.629.8688.
The running time is about two hours, including one intermission.

. . . . . . . . . . .
Director: Staci Robbins (Opus, Lobby Hero)
Cast: Todd Anderson* as Carl
Melissa Chambers as Grace
Jessica Haring as Cherie
Kent Kirkpatrick* as Dr. Lyman
Ruben Muller as Will
Tyler Nunez as Bo
Marika Sayers as Elma
John Warner Widell (better known to Santa Feans as Johny Broomdust) as Virgil.

Set design: Gene Mederos
Costume design: Talia Pura
Lighting design: Skip Rapoport

Community Review of Grottesco’s Theatre Art Salon

I’m not involved in theater other than as an audience member. But after seeing Scott Harrison’s brilliant production, Creating a Scene (in a Restaurant), situated among the diners at Second Street Brewery, I decided to attend the first Theatre Artist Salon, an interview of Harrison by Theater Grottesco Artistic Director John Flax. It was an interesting look behind the curtain of the creative process in general, and the challenges of the Creating a Scene production in particular.

A Theatre Artists Salon seems like a great idea and I look forward to more. It seems like it will be a terrific vehicle to bridge both audience and artists, to learn more about the importance of theatre in general, and to focus on our local theatre scene in a bright way.

—John Tollett

Community Review of “Winning the Future”

After attending a performance of Winning the Future (an evening of original sketches and songs), I found myself thinking about Mark Twain, who wrote a short story called “Captain Stormfield’s Visit to Heaven.” In that story, Twain suggested that the most talented people throughout history are never recognized on Earth, only in Heaven. He wrote, “The greatest military genius our world ever produced was a bricklayer from somewhere back of Boston” and a tailor, “Billings, from Tennessee, wrote poetry that Homer and Shakespeare couldn’t begin to come up to.” In Twain’s universe, the greatest minds aren’t “rewarded according to their deserts on Earth.” If he’s right, that would be a terrible shame. Fortunately, you have an opportunity to see three of the most talented, and unknown, performers on the planet while they are still alive.

At a time when Donald Trump has taken hyperbole to record-breaking extremes, I understand if you think I am exaggerating. I am not. Attending Winning the Future was like having tantric sex while eating a chocolate sundae—it is overwhelming in the best possible way.

The performers—Robin Holloway, Kate Chavez, and Lindsey Hope Pearlman—met at the London International School of Performing arts, but the intelligence of their material suggests they met at the London School of Economics. It is fitting that they began their collaboration while attending university in London, since that is how Monty Python began their legendary careers. While they share Python’s insight and intelligence, they surpass their British counterparts with a level of musical talent that is equaled only by the greatest pop stars.  Imagine if Katy Perry had a PhD in political science and wrote accordingly. When you leave the theatre, you find yourself humming tunes that are not only memorable for their musicality, but even more for their social impact.

It would be easy to focus on the collective political insight of these three gifted performers, but that would mean ignoring the sheer delight of the comedy and music that lifts this experience above mere social commentary. Imagine putting John Oliver, ABBA, and Lin Manuel Miranda into a blender—that is Winning the Future.

If their goal was simply to write infectious songs that leave you smiling uncontrollably, they would have succeeded, but they do so much more—they take complicated (and important) ideas, and turn them into laughter and melody. Their work would be important at any time and any place, but during this particular year, when there is a rather interesting election going on, their work exceeds importance and attains to necessity.

Attending “Winning the Future” should be required before anyone is allowed to vote (especially fans of third-party candidates, who would be properly edified by their song about Ralph Nader).

Among their many virtues, it must be noted that they are equal opportunity offenders—they take on Donald Trump, Barak Obama, self-satisfied philanthropists, and self-righteous vegans with the same energy. They are not partisans or proselytizers—their only agenda is to say something important while entertaining the shit out of their audience.

If you miss the opportunity to see them this weekend, and Mark Twain is right, you will have a chance to catch them in sixty years when they are headliners at the biggest theatre in Heaven.  Just to be safe, I suggest you see them now.

Winning the Future through November 6 at the Adobe Rose Theatre.

—Duncan North

Community Review of “Girls Like That”

Community Review of Girls Like That at Santa Fe University of Art and Design

Opening night at the Greer Garson Theatre was again lavish and handsome, and I highly recommend SFUAD’s many offerings to my neighbors. The theatre should have sold-out houses instead of half empty ones. The ticket price is a token, yet stage magic is reliably made. The company is capable of brilliance, too, as last season’s Polaroid Stories proved.
    Put differently, we have a gem in our midst that won’t be there forever. And anyone who feels that top-drawer stagecraft needs a professional cast and an expensive seat is certainly wrong.
    Girls Like That, Evan Placey’s award-winning modern take on all-girls schools, is well played and smartly choreographed. Critics called it “melodrama,” but it’s written rather like comedy and would be better understood that way.
    For the girls at St Helen’s, mob mentality makes Scarlett (probably punning on Hawthorne) an isolated outcast. This contrasts meaningfully with SFUAD’s The Heathers where popular tyrants rule over lesser outsiders (until they don’t). What resolves in the former is guilty feelings; in the latter, violent murder.
    Either way, the meanness of girls is the centerpiece, something that ironically accompanies girl-power, rather than diminishing through it. But don’t shy away fearing this play is scary or sad: it’s too funny to be scary, and too clever to penetrate deep feelings. Here lies a complaint: the humor is not broad enough, nor yet nuanced enough, for maximum effect. Either more subtlety or more slapstick would bring viewers unsettling, conflicting feelings, and through them an opening to irony and poignancy that is missing.
    What works well are the two kinds of flashbacks that are intertwined: one is the study of group dynamics and the other a timeline of civil rights progress. The former driven by “what Mommy said,” the latter by an inference that feminism is heritable. The satire is shrewd: To misquote Reverend King, “The arc of history is long, but it tilts towards firing Ailes and dumping Trump.” Paraphrasing Placey, “Boys are still jerks, but girls are now the jerks boys used to be.” And, even funnier, many girls have become “indigestible.”
    In a Santa Fe coincidence, one of the girls boasts of playing Anita from West Side Story in the school play. In this very week, Rita Moreno powerfully explained at the Lensic just what the character decried: People of color are interchangeable in our stereotyping and largely xenophobic society. It’s a sub-theme Placey can’t resist, along with many other topical side-jokes.
    In closing, I disagree with those describing Girls Like That as “...urgent...explosive...brave... dazzling...” and with the Director, who quotes Blanche Duboise about deliberate cruelty. This play self-consciously skirts the proposition that meanness is individual or intentional, repeating "Someone did this, but it wasn’t me!” (or, even funnier, “Possibly not me”).
    But I agree that the play is not mostly about girl-shaming (albeit timely), but more about flourishing despite it. As a school teacher in Pojoaque, I expected it would be about cyber-bullying, but being disappointed was a relief. Remember, too, it’s too hip and witty to break your heart. So, go fearlessly and enjoy yourself.
    Hopefully this play will hook you: keep abreast of what our local University offers, for however long she’s there to appreciate.

—Jonathan Back

Get your drama on

Created as part of Santa Fe’s Collaborative Arts Marketing Pilot Program, was conceived by a group of local theatres, artistic directors, and actors to provide the city of Santa Fe with its first ever single source for event listings.

Founded as a way to celebrate theater in Santa Fe and Northern New Mexico, Theatre Santa Fe brings together the best of the City Different’s live performance companies. These include theatre venues, theatre companies, and theatre people and places: the Adobe Rose Theatre, For Giving Productions, the International Shakespeare Center, Ironweed Productions, The Lensic, Pandemonium Productions, Red Thread Santa Fe, New Mexico Actors Lab, Santa Fe Playhouse, Teatro Paraguas, Theater Grottesco, Theaterwork, and Wise Fool New Mexico. is designed to put all these entities into one convenient web-based location. A virtual meeting place where you can find out what’s going on where, who’s who, who’s where on what dates, and how to contact a theater, a company, a director, a volunteer, a space, a production. A site where Santa Fe’s rich theater community and its audience can find each other.

To be as comprehensive as we should be, though, we need your help. The site will be great if all its parts come together for the greater good. So we need your assistance—consistently—to maintain our status as Santa Fe’s one comprehensive online guide to everything great that’s going on theatrically.

Beyond going to lots of theatre, here’s what else you can do to help:

  • Go to whenever you need info on the latest theatrical production.
  • Share our news with your friends.
  • Include the logo and link on your website.
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