Lysistrata Wins!

Lysistrata is a Riot!                              

The reviews are in! Lysistrata is a hit!

For tickets click on Lysistrata and Kalonike at the Tucson Museum of Art

The ladies of Lysistrata headed to the Tucson Museum of Art last Thursday to open the run of Aristophanes' comedy of war and peace, sex and abstinence (picture). The Company of players was greeted with a standing ovation on Friday night's Beowulf Alley Theatre preview. Our reception Saturday was provided by the good folks at Opa! Greek Cuisine and Fun. It was kind of an awesome weekend. Now Kathy Allen of the Arizona Daily Star and Laura Owen of The Tucson Weekly have raved about us. As Laura Owen's headline points out: Beowulf turns Ancient Greeks' Lysistrata into a delicious-- and relevant --satire. Tickets are going fast! To purchase some for this weekend and the next (March 15-17 and 22-24) click on this picture above! We hope to see you!

 

Thank you!

For the Tucson Weekly Review click the picture!

                                                                                                                            

Click on Ismenia and Autoclytis to read Kathy Allen's Arizona Daily Star Review

 

'Lysistrata' basks in over-the-top silliness

'Lysistrata' basks in over-the-top silliness:

  Kathleen Allen Arizona Daily Star

Michael Fenlason is not what he seems.

The artistic director of Beowulf Alley Theatre appears to be quiet, a bit shy, reticent.

Then he goes and writes something like his adaptation of Aristophanes' "Lysistrata" and blows those assumptions right out the stage doors.

Now granted, "Lysistrata" is a comedy. Farcical, even. But we doubt ol' Aristophanes would recognize this irreverent, anachronistic, over-the-top silly rendition of the thousands-year-old play.

But he might get a kick out of it. We sure did.

How could you not? The women decide to withhold sex but continue to tease - the tension will build and the men will agree to end the war is the reasoning.

Director Nicole Scott placed the play in ancient Greece (or maybe Fenlason did that). The women are in flowing togas, but throw them aside to reveal Frederick's of Hollywood-esque undergarments used to make the no-sex rule so much harder on men.

Read the entire review here: 'Lysistrata' basks in over-the-top silliness: 

Lucille Petty and Josh Parra in Beowulf Alley Theatre's adaptation of Aristophanes' "Lysistrata." The over-the-top silly rendition of the thousands-year-old play isn't richly nuanced, but it's plenty naughty ... and nice.

Photo credit: AMBER ROBERTS

"PAVILION" BELIEVES IN DO-OVERS

By Chuck Graham, TucsonStage.com

 

Playwright and TV writer Craig Wright (“Lost,” “Six Feet Under”) almost gets the magic going in his play “The Pavilion,” first produced in 2000 and still popular in America’s regional theaters.
Beowulf Alley Theatre gives its production a good tumble with its three-member cast of Lisa Mae Roether, Michael “Miko” Gifford and Martie van der Voort.
The set-up has Peter (Gifford) a financially successful psychologist meeting up again with less successful Kari (Roether) at their 20-year high school reunion. Once they were the cutest couple in their senior class.
Then Kari became pregnant. Peter dumped her and went off to college. Kari ended her pregnancy, married a local golf pro and has been living her own life of quiet desperation.
Meanwhile the torch for Kari has been smoldering in Peter’s heart, while guilt eats away at his moral fiber in defiance of his professional distance from real life.  Peter also writes folk songs, so…there you go.
Wright the playwright, and onetime Minneapolis ministerial student, is not concerned with whether or not Peter and Kari get back together. The dilemma of that mismatched couple is just the excuse for all of us to consider our place in the universe.
After all, whether you believe in parallel worlds or not, each of us already lives at the center our own personal universe.
Ever wonder what happened to the one who broke your heart and got away? Of course you have. Who hasn’t?
In your own personal universe, you get to decide what happened. Are these imagined events any less real than our memories? Are the kisses in your dreams any less substantial than the remembered kisses in your past?
In “Pavilion” the actor most responsible for stirring these philosophical thoughts is Martie van der Voort in the role of Narrator.  But she also plays about 30 other characters, many of them flashing faces in the crowd at this reunion.
Many familiar to all of us. There’s the quiet girl who always seemed to be watching you from the sidelines; the busybody continually groping for intimate details of other people’s lives. That sort of thing.
As director, Whitney Morton has chosen to deliberately treat all these characters van der Voort plays as a blur of passing ships. The way you’d remember them through a hangover the morning after your 20th anniversary reunion dinner and dance
Without using any props or costume changes, and minimal body language, van der Voort says the lines of each passing personality. Some are only a few words, such as a gasping acknowledgement of some other unseen class member’s story.
Others are a little more developed, but we in the audience are left to sort them out on our own – while also pondering the what-might-have-beens in the unsatisfied longing    of Peter and Kari.
Yes, there is life after high school. Quite a bit of it for most folks. But are there any second chances, as Peter asks Kari?
Of course there aren’t, really. We are all prisoners of our past. Even when we break free, it is the past that determines which direction we’ll run to reach freedom.
So we watch through the second act as Roether and Gifford warm to their task, creating a poignant chemistry between Kari and Peter.
Their acting is terrific, underlining the unkindest truth: if you don’t believe in the future, there’s no place to even have a second chance.
“The Pavilion” continues through March 3 with performances at 7:30 p.m. Fridays and Saturdays, 3 p.m. Sundays, at Beowulf Alley Theatre, 11 S. Sixth Ave.
Tickets are $20, $18 for seniors, military and teachers, $8 for students. For details and reservations, 520-882-0555, www.beowulfalley.org

'Pavilion' a simple, sweet production

by Kathleen Allen Arizona Daily Star

'Pavilion' a simple, sweet production: "the play intrigues as well in this solid production, directed by Whitney Morton.

The story centers on Peter (Michael "Miko" Gifford) and Kari (Lisa Mae Roether). Once dubbed "the cutest couple" in high school, Peter left Kari stranded when he found she was pregnant. Just left town without a word.

That was two decades earlier, and now they meet again at their 20th high school reunion. Peter is contrite and thinks he lost the best thing he ever had. He wants to turn back the clock with Kari."

"Pavilion" is a delicious roller coaster ride of emotions, and a strong tale of forgiveness.

Read the entire review here: 'Pavilion' a simple, sweet production


Martie Van Der Voort, left, is Narrator, and Michael "Miko" Gifford and Lisa Mae Roether are high school sweethearts at their 20th reunion in Beowulf Alley Theatre's "The Pavilion."

Beowulf play puts queen in fictional love triangle

Beowulf play puts queen in fictional love triangle:

Kathleen Allen Kallen@azstarnet.com

(0) Comments

Marie Antoinette's life wasn't an easy one. The queen of France was pretty much hated by the French people, had a meddling mother, was often blamed for the French Revolution, and met up with the guillotine in 1793.

Heck, who'd blame her if she became embroiled in a love triangle?

It's a scenario that playwright Joel Gross has imagined in "Marie Antoinette: The Color of Flesh," which Beowulf Alley Theatre opens Friday.

Read the entire preview here: Beowulf play puts queen in fictional love triangle

"GLENGARRY GLEN ROSS" HAS GUSTO

By Chuck Graham, TucsonStage.com

There’s still plenty of meat on the bones of this 1983 play by David Mamet, given a driven production by Susan Arnold at the downtown Beowulf Alley Theatre.
As director she is especially successful at getting the erratic Mamet-speak rhythms down so they sound like the actual conversation of men drowning in their own stress.
Particularly good is the scene where con artist/salesman Dave Moss (Michael Fenlason) sucks his co-worker into being an unwilling co-conspirator who will steal the valued list of customer leads from the office safe.
Bill Epstein as the once-sensational but now desperate salesman Shelly “The Machine” Levene sets the right tone in his opening confrontation with John the office manager (Michael “Miko” Gifford).
Add to them the office smoothie Richard Roma (Clark Ray), a couple of other empty-souled salesmen played by Tony Caprile and Jim Ambrosek and we know exactly where we are -- swimming with the piranhas in a shark tank.
This is definitely not a country for old men, and nobody knows that better than Shelly. He gets our sympathy as we watch the oily Roma now at the top of his game edging closer to that slippery slope himself.
Strong enough to provide the counterpoint of lawful order is scowling Mark Klugheit as Baylen the detective questioning the entire sales staff after those hot leads actually are stolen.
There isn’t really a plot to “Glengarry Glen Ross” so much as there are observations on the wolfpack mentality of men working in offices. Quite often, as in the case of these six guys, they are brought together purely by coincidence.
At this level of commerce, a salesman’s loyalty to his product is no deeper than his commission -- no commission, no loyalty. Gifford gives an excellent reading of this “loyalty” in his performance.
If you haven’t been to Beowulf Alley in awhile, now is the time to return. “Glengarry Glen Ross” is the strongest production this company has staged in more than a year.
Performances continue through Nov. 18 at Beowulf Alley Theatre,  11 S. Sixth Ave., 7:30 p.m. Fridays and Saturdays, 2:30 p.m. Sundays. Tickets are $20 general admission, $18 seniors, teachers and military, $8 students. For details and reservations, 520-882-0555, or visit www.beowulfalley.org

'Glengarry' retains power of desperation

'Glengarry' retains power of desperation:
Kathleen Allen Kallen@azstarnet.com

This production, directed with a swiftness and understanding by Susan Arnold, firmly puts the struggling Beowulf back on the road to success after a few years of artistic decline.

Bill Epstein, left, captures Levene's deep fear of failure and Clark Ryan as smooth-talking Roma oozes oily charm in Beowulf Alley's production of "Glengarry Glen Ross." The David Mamet play speaks to today just as it did to the '80s.

Clark Andreas Ray's smooth-talking Romo was so slick you wanted to bathe after spending time with him. His scene with a weak-spined customer (a finely cast Jim Ambrosek) gave us a glimpse into the desperation-knows-no-ethics mind-set.

Bill Epstein captured the musicality of Mamet's language, and the character's deep fear of failure. He and Michael "Miko" Gifford as the unfeeling and emotionally removed boss Tony set the tone of anger and heartlessness that is pervasive throughout the 90-minute play.

Michael Fenlason's take as the manipulative Moss, a salesman anxious to have someone steal the leads and sell them to a competitor, hit all the right notes.

Filling out the cast and their characters were Tony Caprile as Aaronow, a salesman with little confidence and a world-weary soul, and Mark Klugheit in a small part as a no-nonsense detective trying to solve the crime of the office break-in.

Read the entire review here: http://azstarnet.com/entertainment/arts-and-theatre/glengarry-retains-power-of-desperation/article_76e5b4eb-a591-5ca6-a456-fafe77f8b253.html

Auditions for a Late Night Production

The Next Theatre at Beowulf Alley announces

Auditions for a Late Night Production of  

 

It’s Saturday Night and No One is Listening

By

Michael Fenlason and Skads Muskie

 

 

The Next Theatre at Beowulf Alley announces auditions for a late night theatre production of Fenlason and Muskie’s It’s Saturday Night and No One is Listening. Auditions are November 17^th from 4pm to 6pm at Beowulf Alley Theatre Company, 11 S 6^th Ave in downtown Tucson.  For more information, please contact Michael Fenlason at 520.882.0555 or at theatre@beowulfalley.org for an appointment.

 

It’s Saturday Night and No One is Listening tells the musical story of six young people and their attendant neurosis, dealing with city life, creepy people and art. Cell phone songs, hip hop, splash mob music and dance prevail in this alternative insane musical mashup.

 

Auditioners should call or email for audition times. The cast includes four women and two men between the ages of 20 and 30. Please come prepared with an a capella musical number. Dancers welcome.

 

 

 

'Glengarry' retains power of desperation

'Glengarry' retains power of desperation:
Kathleen Allen Kallen@azstarnet.com

Bill Epstein, left, captures Levene's deep fear of failure and Clark Ryan as smooth-talking Roma oozes oily charm in Beowulf Alley's production of "Glengarry Glen Ross." The David Mamet play speaks to today just as it did to the '80s.

This production, directed with a swiftness and understanding by Susan Arnold, firmly puts the struggling Beowulf back on the road to success after a few years of artistic decline.

Clark Andreas Ray's smooth-talking Romo was so slick you wanted to bathe after spending time with him. His scene with a weak-spined customer (a finely cast Jim Ambrosek) gave us a glimpse into the desperation-knows-no-ethics mind-set.

Bill Epstein captured the musicality of Mamet's language, and the character's deep fear of failure. He and Michael "Miko" Gifford as the unfeeling and emotionally removed boss Tony set the tone of anger and heartlessness that is pervasive throughout the 90-minute play.

Michael Fenlason's take as the manipulative Moss, a salesman anxious to have someone steal the leads and sell them to a competitor, hit all the right notes.

Filling out the cast and their characters were Tony Caprile as Aaronow, a salesman with little confidence and a world-weary soul, and Mark Klugheit in a small part as a no-nonsense detective trying to solve the crime of the office break-in.

Read the entire review here: http://azstarnet.com/entertainment/arts-and-theatre/glengarry-retains-power-of-desperation/article_76e5b4eb-a591-5ca6-a456-fafe77f8b253.html

Lunchtime production - Hungry Hills Estates

Beowulf Alley Theatre Company presents

a lunchtime production of

 

Hungry Hills Estates

By

Jimmy Dees

 

Beowulf Alley Theatre Company presents a lunch-time compliement to their evening show, Jimmy Dees' comedy Hungry Hill Estates, November 2nd, 3rd, 9th, 10th, 16th and 17th at 12:15 PM. at Beowulf Alley Theatre, 11 S 6th Ave in downtown Tucson. Tickets are $6 for adults, $4 for groups of twenty or more. With lunch (sandwich, chips and drink), tickets are $14. Please order one day in advance for lunch theatre tickets.

 

Two hard luck real estate salesman scramble to survive. Will their latest client be their salvation or their last? Do the lads have one more story to tell? Written by Jimmy Dees and directed by Jim Ambrosek, this delightful romp features veteran Tucson performers Bryan Blue, Adrian Gomez, and Robin Carson. Showtimes are at 12:15 PM on November 2nd, 3rd, 9th, 10th, 16th and 17th. Show will run approximately 25 minutes; order ahead for a sandwich or pizza.

 

Tickets are available at the door. For advanced tickets, please call 520-882-0555 or email theatre@beowulfalley.org.

This play is directed by Jim Ambrosek and features Bryan Blue, Adrian Gomez and Robin Carson.

 

READING OF DUSTIN LANCE BLACK’S NEW PLAY “8”

BEOWULF ALLEY THEATRE COMPANYANNOUNCES READING OF DUSTIN LANCE BLACK'S NEW PLAY "8"

Beowulf Alley Theatre Company Joins Nationwide Productions of Landmark Marriage Equality Play by Academy Award-Winning Screenwriter of Milk & J. Edgar 

 

Beowulf Alley Theatre Company, with license from the American Foundation for Equal Rights (AFER) and Broadway Impact, is proud to announce a one-night-only reading of "8," a play chronicling the historic trial in the federal constitutional challenge to California's Proposition 8, written by Academy Award-winning screenwriter and AFER Founding Board Member Dustin Lance Black.

 

"8" is an unprecedented account of the Federal District Court trial in Perry v. Schwarzenegger (now Perry v. Brown), the case filed by AFER to overturn Proposition 8, which stripped gay and lesbian Californians of the fundamental freedom to marry.

Black, who penned the Academy Award-winning feature film Milk and the film J. Edgar, based "8" on the actual words of the trial transcripts, first-hand observations of the courtroom drama and interviews with the plaintiffs and their families.  

 

The performance of "8" is Thursday, November 8^th at 7:30PM. Tickets are $20 and available at beowulfalley.org. We do recommend purchasing tickets in advance as this one-night only presentation will likely sell out. Interpreters for the deaf will be provided as well, please specify in your reservation if you need special seating for interpretation services. A talk-back with members of the community and cast will follow the reading. 

 

This staged reading is directed by Eugenia Woods.

 

"8" had its much-heralded Broadway world premiere on September 19, 2011, at the sold-out Eugene O'Neill Theatre in New York City.  The production brought in over $1 million to support AFER's efforts to achieve full federal marriage equality.  

 

 

"8" had its West Coast premiere reading at the Wilshire EbellTheatre on Saturday, March 3, 2012, in Los Angeles. The West Coast premiere reading of "8" featured an all-star cast led by Golden Globe Award-winner and Academy and Emmy Award-nominee Brad Pitt as United States District Chief Judge Vaughn R. Walker; and Academy and Golden Globe Award-winner and Emmy Award-nominee George Clooney and Emmy and Golden Globe Award-winner Martin Sheen as Plaintiffs' lead co-counsel David Boies and Theodore B. Olson. The benefit reading was directed by AFER Founding Board Member Rob Reiner, and raised more than $2 million for the fight to secure full federal marriage equality.

 

"People need to witness what happened in the Proposition 8 trial, if for no other reason than to see inequality and discrimination unequivocally rejected in a court of law where truth and facts matter," said AFER Founding Board Member Dustin Lance Black.  "The goal of '8' is to show the world that marriage equality is a basic constitutional right. The facts are on our side and truth always finds the light.  AFER and Broadway Impact are doing all we can to help speed that process along." 

Throughout 2012, AFER and Broadway Impact are licensing"8" for free to colleges and community theatres nationwide in order to spur action, dialogue and understanding.  Most productions will be followed by a talkback where cast and audience members can discuss the issues presented in the Perry v. Schwarzenegger trial.  

 

"We felt this was a moral imperative. When Miko Gifford told me about the play and suggested we become involved, I couldn't say yes fast enough.  AFER and Broadway Impact are doing important work. It's an honor and privilege to help. This is an important issue of civil and human rights"

--Michael Fenlason, Artistic Director

 

The story for "8" is framed by the trial's historic closing arguments in June 2010, and features the best arguments and testimony from both sides.  Scenes include flashbacks to some of the more jaw-dropping moments of trial, such as the admission by the Proposition 8 supporters' star witness, DavidBlankenhorn, that "we would be more American on the day we permitted same-sex marriage than we were on the day before."

 

On February 7, 2012, the United States Court of Appeals for the Ninth Circuit issued a landmark decision upholding the historic August 2010 ruling of the Federal District Court that found Proposition 8 unconstitutional. The Ninth Circuit concluded:

 

"Proposition 8 serves no purpose, and has no effect, other than to lessen the status and human dignity of gays and lesbians in California, and to officially reclassify their relationships and families as inferior to those of opposite-sex couples. The Constitution simply does not allow for laws of this sort."

 

To purchase tickets, please go to beowulfalley.org and clickipurchase tickets at the top of the page. Scroll down to our Special Events section and you may purchase tickets there.

 

Follow "8"on Twitter: @8theplay or on Facebook.

 

 

2 views of 'Hedda Gabler' creative leap for Beowulf:

2 views of 'Hedda Gabler' creative leap for Beowulf

September 13, 2012 12:00 am  •  Kathleen Allen Kallen@azstarnet.com

The manipulative, duplicitous Gabler takes center stage at Beowulf Alley Theatre in Henrik Ibsen's classic drama "Hedda Gabler," playing in repertory with Jeff Whitty's comic "The Further Adventures of Hedda Gabler."

Both productions mark a milestone for Beowulf -they open Michael Fenlason's first full season as artistic director, and they signal several steps up in the quality of work on the Beowulf stage.

Fenalson directed "Hedda Gabler" with clarity and timing. ...

Read the entire review here: 2 views of 'Hedda Gabler' creative leap for Beowulf

Gabler vs. Gabler | Review | Tucson Weekly

Gabler vs. Gabler | Review | Tucson Weekly:

Gabler vs. Gabler 

Two Heddas are better than one at Beowulf Alley

by Laura C.J. Owen 

It's a double-Hedda!

Two Heddas are running in repertory at Beowulf Alley Theatre as the first offerings of the season: Henrik Ibsen's classic Hedda Gabler, and Jeff Whitty's The Further Adventures of Hedda Gabler, a contemporary riff on the iconic character.

The conjunction of the two shows is a clever idea, ...

Read the entire review here: Gabler vs. Gabler | Review | Tucson Weekly

Bree Boyd-Martin and China Young in The Further Adventures of Hedda Gabler.

Beowulf whodunit mixes sweet and strange | Beowulf Alley Theatre

Beowulf whodunit mixes sweet and strange | Beowulf Alley Theatre:

Beowulf Alley Theatre

Beowulf whodunit mixes sweet and strange

A treat for fans of Dorothy Sayer's fictional detective, Lord Peter Wimsey

Posted Aug 10, 2012,

Dave IrwinTucsonSentinel.com

Fans of Lord Peter Wimsey, the 1920’s version of Sherlock Holmes, have reason to rejoice in Beowulf Alley’s latest production, “The Body In The Bath.” Turning Dorothy Sayer’s 1923 novel, “Whose Body?” which introduced Wimsey, into a play will no doubt delight those aficionados.

Mumsey and son, Lord Peter Wimsey (Leah Kari, Pip Cardnell)Catfish Baruni/Beowulf Alley Theatre Co.

…

“The Body in the Bath” continues the resurgence of Beowulf, evident in earlier works of its Next Theatre summer series which concludes with this play. 

Read the entire review here: http://www.tucsonsentinel.com/arts/report/081012_body_in_the_bath/beowulf-whodunit-mixes-sweet-and-strange/

All wrung out over the body in bath:

All wrung out over the body in bath

THEATER IS MOUNTING TUCSON WRITER'S ADAPTATION OF DOROTHY SAYERS MYSTERY

August 09, 2012 12:00 am  •  Kathleen Allen Kallen@azstarnet.com

Leah Kari, left, as the Dowager Duchess of Denver and Pip Cardnell as Lord Peter Wimsey in "A Body in the Bath."

Photo credit: CATFISH BARUNI

Imagine this: You glide into your bathroom to brush your teeth. Instead, you discover a body in your bath. A naked one, wearing nothing but pince-nez, those nose-pinching glasses popular in the 19th century.

It's the mystery that grips Lord Peter Wimsey in Dorothy L. Sayers' first detective novel, "Whose Body?"

Tucson playwright/actress Joan O'Dwyer has given that novel its first adaptation, switching the title to "The Body in the Bath." It's on stage now at Beowulf Alley Theatre.

READ THE ENTIRE PREVIEW HERE: All wrung out over the body in bath

Play 'Hope' ponders ‘How bad is bad?’ | Beowulf Alley Theatre Company

Play 'Hope' ponders ‘How bad is bad?’ | Beowulf Alley Theatre Company:

Play 'Hope' ponders ‘How bad is bad?’

Despite political jabs, real story is about love

Posted Jul 26, 2012, 8:13 am

By: Dave Irwin, TucsonSentinel.com

“Hope,” the latest in Beowulf Alley Theatre Company’s summer series, is ostensibly about a man considering becoming his party’s nominee for Congress. Locked in a hotel room, he reviews his life not to see if he is good enough for national leadership, but to assure the party and himself that he’s not irredeemably bad.

Director Michael Fenlason keeps the pace as fast as can be allowed in a narrative that constantly moves back and forth in time. He uses side entrances and lighting to suggest Joe’s dream states and introduce the skeletons rattling around inside his mind.

… “Hope” is worth the effort required to get to the theatre’s downtown location during the construction and experience it for oneself during its brief run.

Grace Fenlason/Beowulf Alley Theatre

Michael Gifford and Chezale Rodriquez in 'Hope.'

Read the entire review here: Play 'Hope' ponders ‘How bad is bad?’ | Beowulf Alley Theatre Company:

'Exorcism' offers brief, frank insight into Eugene O’Neill | Beowulf Alley Theatre Company

'Exorcism' offers brief, frank insight into Eugene O’Neill | Beowulf Alley Theatre Company:

'Exorcism' offers brief, frank insight into Eugene O’Neill

O’Neill fragment is with seeing—especially with student discounts

Jul 11, 2012, 5:51 pm

Dave Irwin

TucsonSentinel.com

Evan Engle as Ned, gives an idealized performance as O’Neill would probably like to have seen himself: square jawed, ruggedly handsome, too tough to die and too strong to be denied.

Ken Beider gives a heart wrenching performance as down-and-out Jimmy. Having recently returned to the stage after an eight-year absence (in Beowulf’s “Sins of the Mother”), Beider’s physicality embodies a man who is slowly collapsing in on himself, day by day, drink by drink.

 

Ken Beider and Evan Engle as pals in Exorcism

Grace Fenlason/Beowulf Alley Theatre

Read the entire review here: http://www.tucsonsentinel.com/arts/report/071112_oneill_exorcism_review/exorcism-offers-brief-frank-insight-into-eugene-oneill/

O'Neill's 'Exorcism' gives a glimpse at playwright's early, dark brilliance:

O'Neill's 'Exorcism' gives a glimpse at playwright's early, dark brilliance

By Kathleen Allen Kallen@azstarnet.com

A Eugene O'Neill play is never light fare, but it is almost always illuminating.

And Beowulf Alley Theatre is turning on the O'Neill road less taken over the next few weeks with its staging of "Exorcism."

The one-act, one of O'Neill's first plays, was discovered just last year, more than 90 years after the playwright penned it.

From left, David Swisher, Evan Engle, Michael Fenlason and Ken Beider are in the cast of Beowulf Alley's "Exorcism." The play was discovered just last year.

Maybe he wanted it lost - it's the story of his attempted suicide, and, like most of O'Neill's plays, it puts him and his family in a questionable light.

The play was produced in 1920, but shortly after that O'Neill was said to have destroyed all copies. Ostensibly, he did it to please his father.

It isn't quintessential O'Neill - look to "The Iceman Cometh" and "Long Day's Journey Into Night" for that. But it is O'Neill, for goodness sake. A glimpse of his dark and stirring brilliance before it was in full bloom surely marks "Exorcism."

Performances are 7:30 p.m. Fridays and Saturdays through July 13, with one matinee at 2:30 p.m. Sunday at Beowulf Alley Theatre, 11 S. Sixth Ave. Tickets are $15, with discounts available.

Call 882-0555 for more information. 

Beowulf Alley Theatre presents Eugene O'Neill's Lost Play, "Exorcism"

Beowulf Alley Theatre Company

Presents

 

 

Eugene O’Neill’s Lost Play

Exorcism

 

Beowulf Alley Theatre presents Exorcism by Eugene O’Neill Friday and Saturday, July 6^th, 7^th , 13^th and 14^th at 7:30 PM and Sunday July 8^th at 2:30 PM at Beowulf Alley Theatre, 11 S. 6^th Avenue in downtown Tucson. Tickets are $15. $12 for seniors, military and teachers. Our student price is only $8.

Recently rediscovered, this autobiographical one-act was buried by O’Neill. The play was performed by the Provincetown Players in 1920 for about two weeks and then quickly withdrawn. It is speculated that O’Neill was too uncomfortable with such an honest portrait of himself and his father. Exorcism is about a troubled young man and his difficult relationship with his family. It is something of a palimpsest for Long Days Journey Into Night, as the main character Ned is reminiscent to Jamie Tyrone.

Starring Evan Engle as Ned, Ken Bieder as Jimmy, David Swisher as Major, Mark Klugheit as Malloy and Michael Fenlason as Nordstrom.

This production will run Friday and Saturday, July 6th, 7th, 13th, 14th at 7:30PM and Sunday July 8th at 2:30PM.

Tickets run $8-$15 and can be purchased online, over the phone or at the door. Reservations and purchases can be made are 520-885-0555

For more information, contact Michael Fenlason at Beowulf Alley Theatre, theatre@beowulfalley.org, 520 882 0555.