Wednesday, June 27, 2012

Upcoming: The Twelfth Labor by Leegrid Stevens, Tutto Theatre and MacTheatre, August 10 - September 1

Tutto Theatre presents
in Co-Production with MACtheatre

The Full-Stage Premiere of

The Twelfth LaborThe Twelfth Labor Banner. Photo: Daniel Brock Photography




By Leegrid Stevens

(Click for AUTHOR BIO)

Directed by Gary Jaffe

10 August – 1 September 2012
WEEK 1—Friday and Saturday
WEEK 2—Thursday through Saturday
WEEKS 3 & 4—Wednesday through Saturday
All Performances are at 7:30 p.m.
The Laboratory Theater, McCallum Fine Arts Academy, 5600 Sunshine Drive, Austin, TX 78756
Thursdays – Saturdays: $15 General Admission
GACA/Senior/Student: $12 & Priority Seating: $25)

Wednesdays are Pay-What-You-CAN
Name Your Own Price w/ Donation
of Non-Perishable Canned Food Item(s) to benefit
Hope Food Pantry at Trinity United Methodist Church

[Price without donation is $12]

Featuring the award-winning artistic contributions of actors: Helen Allen, Wray Crawford, Trey Deason, Chris Humphrey, Skip Johnson, Content Love Knowles, Megan Minto, Rebecca Robinson, Erin Treadway, Fred Winkler, and introducing Annamarie Kasper; the set design of Ia Ensterä; the lighting design of Natalie George; the costume design of Benjamin Taylor Ridgway; and the hair and make up design of Austin M. Rausch.

Leegrid Stevens’ evocative new play, The Twelfth Labor, is epic, utilizing the myth of The Twelve Labors of Hercules to explore the inner workings of a hardscrabble World War II era family in Idaho. We follow a single day in the life of an Idaho farm family, October 15, 1949, as seen through the uniquely damaged mind of the family's eldest daughter, Cleo. Through her fragmented memories, often prophetic dreams, and swirling language, we come to understand the price she and her family have paid for a little dignity, as they await the return of their long absent father, lost somewhere in the war, half a world away.

In addition to the myth of Hercules, The Twelfth Labor draws upon the popular culture (music, literature, and film) of Cleo’s childhood, which frames and colors her experience of the real world—an outer shell of Realism surrounds an inner-shell of Surrealism, which together generate what The Des Moines Register (speaking of the second workshop production) called an “[…] elemental magnetism […]” which pulls the audience in and keeps them thinking of the play days and even weeks after.

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