We just had our first preview this evening & it went great. This is an awesome piece & I'm really excited about the work the Workhaus Collective is doing in general! I hope you'll come & see.
This Saturday, September 8 at 8 PM, be the first to see the world premiere of Dominic Orlando's
A SHORT PLAY ABOUT GLOBALIZATION
Hundreds of women and girls disappearing from factories on the US/Mexico Border, including Mark Frisbee's sister. In his quest to find her, he makes it onto American Idol...
Stick around for Summit Saturday -- a beer party with the artists after the show- every Saturday! For the price of a movie, you will SEE Randy Reyes sing LIVE, SEE Sara Richardson change shape BEFORE YOUR VERY EYES and have a beer with them after the show...LIVE AND IN THE FLESH.
CALL NOW TO RESERVE TICKETS: 612-332-7481 x 20
Find out why the City Pages calls the Workhaus Collective "dauntingly ambitious" and selected SHORT PLAY for their A-List this week!
Can't make it this Saturday? Other performances are September 8-23, Friday & Saturday nights at 8:00 PM, Sunday nights at 7:00 PM. Tickets: $8-15 sliding scale
Friday 9/7 Preview at 8 PM Pay-what-you-can.
Monday 9/17 Industry Night at 7 PM.
Friday 9/14 Benefit Performance & Wine Reception after the show with artists and members of the collective. Tickets $40.
Saturdays are Summit Saturdays
A young FBI agent heads down to the Mexico to find his missing sister-- an undercover journalist investigating the mass disappearance of female workers at the industrial plants lining the US Border. What he finds instead is that changing the economic rules of human engagement may also change what it means to be human--as he goes from Federal Agent, to a faceless servant, to a winning contestant on AMERICAN IDOL.
The Workhaus Collective begins their first season in residency at
The Playwrights Center* with Dominic Orlando's
"A Short Play About Globalization"
starring RANDY REYES & SARA RICHARDSON
Set Design by Adam Riggar
Lighting Design by Mike Wangen
Sound by Katharine Horowitz
Costumes by Clare Brauch
Props by Tory Stewart
Stage Manager Kerri Eldred
Assistant SM Sarah Radick
(if you missed us in CITY PAGES, check it out here!)
More information at:
WORKHAUS IS A REACTION AND AN INTERACTION. We are fueled by our desire, as playwrights, to communicate directly with our audiences by making shows that are adventurous and event-driven: a full-bodied experience that can only happen in live theatre.
The Workhaus Collective is: Co-Producing Directors Trista Baldwin, Dominic Orlando, and Deborah Stein, and members Janet Allard, Alan Berks, Kimberly Burke, Jeannine Coulombe, Carson Kreitzer, Cory Hinkle, and Victoria Stewart
City Pages- Performing Arts
Issue — September 19, 2007
Workhaus Collective; at the Playwrights' Center through September 23; 612.332.7481
A Short Play About Globalization
By Quinton Skinner
Dominic Orlando's daring and idea-packed new play is indeed about globalization. Fortunately, it is several orders of magnitude more insightful and entertaining than the latest screed by Thomas Friedman. The action opens in a Mexican border town, where FBI agent Mark (Randy Reyes) is being interrogated by a hostile uniformed officer (Sara Richardson). It turns out Mark is looking for his missing sister, who disappeared while researching a story about the hundreds of women who have gone missing or been murdered along the U.S.-Mexican border. From the onset Richardson lays a scary, insinuating power trip on Reyes, though any notion that this will be an interrogation drama goes out the window in the next scene, when Richardson is transformed into a lab coat-wearing technician. By now Reyes is hooked up to an I.V., his character so under siege from drugs, questioning, and sensory discombobulation that he is unable to remember his own name (if these methods of duress bring to mind Abu Ghraib and Guantánamo, it's no accident). After an interlude in which Mark is convinced he's Fox Mulder looking for his alien-abducted sister, he reappears, now named Frisbee and working as a dazed servant for an S&M-loving corporate player (Richardson, by now demonstrating that she can shift gears with greater ease than a semi-truck driver). One twist later and Frisbee is appearing on American Idol, performing a cover of Styx's "Come Sail Away." Reyes throws himself into the performance with chilling emotion, funny and cheesy, until you remember that his character is the subject of mind control and untold abuse. Orlando is playing around with heady concepts throughout, not the least of which is the idea that we live in a world in which the soul can be destroyed, reshaped, and sold as just another commodity. The real trick here is how the script and the performances tease out all manner of alarming subtexts without lapsing into a shred of didacticism. The ending is all sweetness with a whiff of bitter almonds, a fitting conclusion to one of the most original nights onstage in recent memory.
Thank you for visiting!
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