Red BikeBY CARIDAD SVICH
DIRECTED BY KATE BERGSTROM A NATIONAL NEW PLAY NETWORK ROLLING WORLD PREMIERE FEBRUARY 21 - MARCH 3, 2019 |
"If you like new and innovative theatre, you won’t want to miss it."
-Cranston Herald / Warwick Beacon |
RED BIKE
BY CARIDAD SVICH
DIRECTED BY KATE BERGSTROM
THE NATIONAL NEW PLAY NETWORK ROLLING WORLD PREMIERE**
FEBRUARY 21 - MARCH 3, 2019
Remember when you were eleven years old and you had a bike,
one that made you dream about a world bigger than the one in which you live?
This is that memory.
Except it is now.
DIRECTED BY KATE BERGSTROM
THE NATIONAL NEW PLAY NETWORK ROLLING WORLD PREMIERE**
FEBRUARY 21 - MARCH 3, 2019
Remember when you were eleven years old and you had a bike,
one that made you dream about a world bigger than the one in which you live?
This is that memory.
Except it is now.
|
"If you like new and innovative theatre, you won’t want to miss it."
-Cranston Herald / Warwick Beacon |
"An 80-minute meditation on gentrification and ennui that’s full of beeps and honks and four adult actors all playing the same child (who is also an adult reflecting on being a child)...It’s experimental in a formal way, a style you don’t encounter often around here. I wouldn’t say I totally got it, but I liked the parts that I did get."
- Law and Order Party |
About
RED BIKE
by Caridad Svich
directed by Kate Bergstrom
assistant direction by Sophia Maro
music direction by Jason Quinn
production design by Andy Russ
production photos by Erin X. Smithers
featuring
Sarah Leach
|
Allison Lewis-Towbes
|
Marcel Mascaro
|
Phoenyx Williams*
|
**This play is the recipient of a 2018 into 2019 National New Play Network Rolling World Premiere in collaboration with Pygmalion Theatre Company (Salt Lake City, Utah), Simpatico Theatre (Philadelphia, PA), Know Theatre (Cincinnati, Ohio),
and The Wilbury Theatre Group (Providence, Rhode Island).
SPECIAL EVENT!
Celebrated playwright Caridad Svich will be at the The Wilbury Theatre Group, the Rhode Island School of Design, and Frequency Writers from February 22-23 as part of the Dramatists Guild Foundation’s Traveling Masters program.
Friday, Feb 22
2:00-4:00pm Translation Workshop @ RISD
6:00-8:00pm Workshop w/ Frequency Writers (Intro Level)
Saturday, Feb 23
3:00-5:30pm Playwrighting Workshop at The Wilbury Theatre Group
7:30pm RED BIKE performance followed by talkback
The Dramatists Guild Foundation Traveling Masters program is a nationwide education program providing master classes and events on the craft of writing. Participants interact with luminaries of the modern stage, allowing them to learn, ask questions, and develop their talents with input from experts. Previous Masters include eminent writers such as Annie Baker, Pearl Cleage, Melissa James Gibson, Terrence McNally, Dael Orlandersmith, Anne Washburn, and many other award-winning writers.
Friday, Feb 22
2:00-4:00pm Translation Workshop @ RISD
6:00-8:00pm Workshop w/ Frequency Writers (Intro Level)
Saturday, Feb 23
3:00-5:30pm Playwrighting Workshop at The Wilbury Theatre Group
7:30pm RED BIKE performance followed by talkback
The Dramatists Guild Foundation Traveling Masters program is a nationwide education program providing master classes and events on the craft of writing. Participants interact with luminaries of the modern stage, allowing them to learn, ask questions, and develop their talents with input from experts. Previous Masters include eminent writers such as Annie Baker, Pearl Cleage, Melissa James Gibson, Terrence McNally, Dael Orlandersmith, Anne Washburn, and many other award-winning writers.
|
|
|
|
This production of RED BIKE was recognized by StageSource's 'Standing O' for promoting gender parity in theatre.
ABOUT THE PLAYWRIGHT
Caridad Svich (playwright) received a 2012 OBIE Award for Lifetime Achievement in the theatre, a 2012 Edgerton Foundation New Play Award and NNPN rolling world premiere for Guapa, and the 2011 American Theatre Critics Association Primus Prize for her play The House of the Spirits, based Isabel Allende’s novel. She has won the National Latino Playwriting Award (sponsored by Arizona Theatre Company) twice, including in the year 2013 for her play Spark. She has been short-listed for the PEN Award in Drama four times, including in the year 2012 for her play Magnificent Waste. Her works in English and Spanish have been seen at venues across the US and abroad, among them Arena Stage’s Kogod Cradle Series, Denver Center Theatre, 59E59, The Women’s Project, Woodshed Collective @ McCarren Park Pool, Repertorio Espanol, Ensemble Studio Theatre, Lighthouse Poole UK, Teatro Mori (Chile), Artheater-Cologne (Germany), Ilkhom Theater (Uzbekistan), Teatro Espressivo (Costa Rica), Welsh Fargo Stage (Wales), Homotopia Festival UK, SummerWorks festival in Toronto, and Edinburgh Fringe Festival/UK.Key works in her repertoire include 12 Ophelias, Iphigenia Crash Land Falls on the Neon Shell That Was Once Her Heart, The Booth Variations, Alchemy of Desire/Dead-Man’s Blues, Any Place But Here, Archipelago, The Way of Water and JARMAN (all this maddening beauty). She has also adapted for the stage novels by Mario Vargas Llosa, Julia Alvarez and Jose Leon Sanchez, and has radically reconfigured works from Wedekind, Euripides, Sophocles, and Shakespeare. Her plays have been directed by Annie Castledine, Maria Irene Fornes, Lisa Peterson, Neel Keller, William Carden, Nick Philippou, Annie Dorsen, Katie Pearl, Stephen Wrentmore, Daniella Topol and Jose Zayas, among many others.
As founder of theatre alliance & press NoPassport (www.nopassport.org) her work has intersected with communities of multiple diversities with works responding to the Deepwater Horizon disaster in the US Gulf region, veterans and their families, survivors of trauma and those committed to artistic expression of precarity, advocacy for US Latin@ writing voices, and engagement with representations of the “fragile shores” in our lives. She is co-organizer and curator of After Orlando theatre action in response to the 2016 Pulse nightclub shooting with Missing Bolts Productions at DR2 Theatre in New York City, Finborough Theatre in London, Chaskis Theatre in London in association with Theatre Royal Stratford East and The Vaults and over sixty venues across the US; and Climate Change Theatre Action with The Arctic Cycle and Theatre Without Borders. She has also published over twenty titles with NoPassport Press by authors as diverse as Todd London, John Jesurun, David Greenspan, Carson Kreitzer, Rinde Eckert, Lenora Champagne and Octavio Solis.
Her works are published by TCG, Smith & Kraus, Playscripts, Broadway Play Publishing and more. Three collections of her works for live performance are published as follows: JARMAN (all this maddening beauty) and other plays (Intellect UK, 2016); Instructions for Breathing and other plays (Seagull Books UK, 2014); Blasted Heavens (Eyecorner Press, Denmark, 2012). She has edited several books on theatre including Audience Revolution: Dispatches from the Field (TCG, 2016), Innovation in Five Acts (TCG, 2015), Out of Silence: Censorship in Theatre & Performance and Trans-Global Readings: Crossing Theatrical Boundaries and Theatre in Crisis? (the latter two for Manchester University Press, UK). She is currently editing a book on playwriting for Methuen UK. She serves as associate editor at Taylor & Francis’ Contemporary Theatre Review, where she also edits their Backpages section.
She sustains a parallel career as a theatrical translator, chiefly of the dramatic work of Federico Garcia Lorca as well as works by Calderon de la Barca, Lope de Vega, Julio Cortazar, Victor Rascon Banda, Antonio Buero Vallejo and contemporary works from Mexico, Cuba and Spain. She is alumna playwright of New Dramatists. She has received fellowships from Harvard/Radcliffe, NEA/TCG, PEW Charitable Trust, and California Arts Council. She holds an MFA in Theatre-Playwriting from UCSD, and she also trained for four consecutive years with Maria Irene Fornes in INTAR’s legendary HPRL Lab. She teaches creative writing and playwriting at Rutgers University-New Brunswick and Primary Stages’ Einhorn School of Performing Arts. She has taught playwriting at Bard, Barnard, Bennington, Denison, Ohio State, ScriptWorks, UCSD, and Yale School of Drama. Website: http://www.caridadsvich.com
As founder of theatre alliance & press NoPassport (www.nopassport.org) her work has intersected with communities of multiple diversities with works responding to the Deepwater Horizon disaster in the US Gulf region, veterans and their families, survivors of trauma and those committed to artistic expression of precarity, advocacy for US Latin@ writing voices, and engagement with representations of the “fragile shores” in our lives. She is co-organizer and curator of After Orlando theatre action in response to the 2016 Pulse nightclub shooting with Missing Bolts Productions at DR2 Theatre in New York City, Finborough Theatre in London, Chaskis Theatre in London in association with Theatre Royal Stratford East and The Vaults and over sixty venues across the US; and Climate Change Theatre Action with The Arctic Cycle and Theatre Without Borders. She has also published over twenty titles with NoPassport Press by authors as diverse as Todd London, John Jesurun, David Greenspan, Carson Kreitzer, Rinde Eckert, Lenora Champagne and Octavio Solis.
Her works are published by TCG, Smith & Kraus, Playscripts, Broadway Play Publishing and more. Three collections of her works for live performance are published as follows: JARMAN (all this maddening beauty) and other plays (Intellect UK, 2016); Instructions for Breathing and other plays (Seagull Books UK, 2014); Blasted Heavens (Eyecorner Press, Denmark, 2012). She has edited several books on theatre including Audience Revolution: Dispatches from the Field (TCG, 2016), Innovation in Five Acts (TCG, 2015), Out of Silence: Censorship in Theatre & Performance and Trans-Global Readings: Crossing Theatrical Boundaries and Theatre in Crisis? (the latter two for Manchester University Press, UK). She is currently editing a book on playwriting for Methuen UK. She serves as associate editor at Taylor & Francis’ Contemporary Theatre Review, where she also edits their Backpages section.
She sustains a parallel career as a theatrical translator, chiefly of the dramatic work of Federico Garcia Lorca as well as works by Calderon de la Barca, Lope de Vega, Julio Cortazar, Victor Rascon Banda, Antonio Buero Vallejo and contemporary works from Mexico, Cuba and Spain. She is alumna playwright of New Dramatists. She has received fellowships from Harvard/Radcliffe, NEA/TCG, PEW Charitable Trust, and California Arts Council. She holds an MFA in Theatre-Playwriting from UCSD, and she also trained for four consecutive years with Maria Irene Fornes in INTAR’s legendary HPRL Lab. She teaches creative writing and playwriting at Rutgers University-New Brunswick and Primary Stages’ Einhorn School of Performing Arts. She has taught playwriting at Bard, Barnard, Bennington, Denison, Ohio State, ScriptWorks, UCSD, and Yale School of Drama. Website: http://www.caridadsvich.com
